New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-12-27
WORK OF THE SCULPTOR.
HOW he EMBoDIEs HIS CONCEPTION.


his right. and striking OF chips from huge block of
marble which represents the future statue-this is
the idea that many people have Of sculptor
The real sculptor when at work viii be
found to be man with hands rs dirty as those of
boy making mud pies. who Is cutting, punching ana
smoothing mass of soft clay. There may not DC Il
fragment of marble IN the studio for with marble
The sculptor has practically little to do. His WORK
is generally in clay. but sometimes IN plaster
The clay used In most IF the studios inthis city
comes from New-Jersey The Terra Gotta Coh-
ranv AT Perth AmbOy mixes tie clay with wafer ana
allows II to run out into broad pans. Inc PraVei
and stones sink tie bottom, the water eVapora'es'
ard the urper LAYER Of the clay used for purposes
of sculpture. There is a place IN Little lWe!fth-s''
IN this city where scuIptors clay is said to he pre-
nared Inv n grinding process in a mill. 1t is then
nuxed with water, and finally allowed TO harden IN
cakes which are sent to the studios. The sculptor
Ginning off pieces from cake of clay mixes them
with water ami works the mass until the whoe,
though still thick and tenacious, becomes s0it ana
- readily moulded. This is his material. III ouSu
il 10 a., large mass Of clay is roughly PIE"
upon the nat top OF ish stand, and fashioned into
the rude likeness If head. The implements used
are the fingers and Kind Of spa~,~ ,r,ado 80 "'i,
sometimes ebony, pointed and cuIving at both ends,
so as 10 present convex we'll as a concave sur
tacc Then the process becomes more delicate, and
the sculptoT's art Is put to the test. Studying III
tenty the face IF the sitter, the sculptor pares away
little bits of clay, here indicating line and there
n prominent bone or muscle, striving to catch the
characteristic expression OF his subject aud to avo
making the bust appear heavy and wooden ii
pressed for time the sculptor occasionally takes
measurements OF the sitters head to assist IN the
work but oftener he depends entirely upon the eye
1T statue is TO be modelled the clay requires
support which is obtained by pastenng 1t upon
framework of strong wires or wool Inc cray
which is constantly kept wet by being sprayed with
water and wrapped III clothss more nkely 10 crack.
however. when 1t is kept IN position by frame
work. Modelling is sometimes done in plaster
which offers certain disadvantages account of its
hardening rapidly and tending TO give dull. hte-
less expression TO tine face of the bust In plaster
modelling as sometimes in working with clay
ILqncboirs pointed iron Instruments varying signify
in Their shapes, are used TO emp gu unnecessary unnecessary
projections and 10 smooth surfaces. In "oIkihR
mon an ideal statue the artist, starting Win MS
conception of the motive or idea OF the works. alded
10y models. and by the study OF casts ana ousts
PUTTING THE WORK IN PLASTER
When the bust or statue is completed IN clay 1t
nnst be put into plaster for the clay, drying rapidly
on exposure TO the air, shrnkS in size and is liable
10 crack With this the sculptor has little to do
The services of plaster modeilers usually Italians,
are employed The first cast, which is to form the
mould OF the permanent east, is made IN two parts
like the halves of oyster shell. There are Two
WAYS Of dong this. Oftena strIngl passed over the
lead Of the bust. coming down over each ear Ihen
the LIQUID plaster is thrown on before and behind
tni, string until the bust rs completely covered.
While the plaster is still soft the string taken hF
each end. Is lifted straight up aud out, thus cutting
g division between the two halves. After hardening
the halves cmselled away from the DUST 4ud
then fitted together, forming mould Another
method IL TO put on narrow band OF clay from me
shoulders over tue siGeS and top OF the head of Inc
bust. The plaster Is then thrown AGAINST t1ls Dahd
u the huSi is entirely cncased. The clay Is there
upon removed. tut enough atheres t. tie edges OF
The plaster TO prevent hem rom sticking together
In either case when the two halves are removed
their interior giving OF coruse an exact impression
a. the bust is literally anolnfed Wltn soap and ov1
OIL Tins Is to prevent the liquid plaster that is TO
be poured into the mould nom adnerlng TO inc
sizes. When the halves are fitted ana hound 10
ccther tic liquid plaster IS poured IN ana aIoWed 10
harden. Then TIE shell, owing 10 the use OF the OIL
is readily CSced away aud the plaster cast IS CON-
plete. In case of large statue. the parts are n'u-
ally separable, and arms legs, the head ana trunk
are cas-; in separate pieces. similar process ~ car
red out for decorative forms 81 Sculptuie ilkc
friezes tir--plac-s and the timer forms 81 hasIeheis
that some times decorate ceilings.
After beng cast IN plaster the bust or statue is
ready to assume Its permanent form ID maiOle OF
bronze. Marble cutters and bronze casters form
two distinct classes tne former beng uNuiIy
Italians ANA the latter FTenchmcn In selecting a
block of marble of which ne best comes from
Ialy great care Is taken L. avoid yellow dScOlora
lions and flaws After chi cling away the outer
part of the block of marble, 20 that rough likeness
OF a head Is approached, the marble custer - aided
by a curious instrument which Il Is rather dlmcHt
10 descnbe. III resembles s'heW naO 4 sii"ll Mooo
eros, the arm OF winch movable ana has attached
10 il finger which can be adjusted III any POSITION
Three points are taken on The plaster DuSl' usually
one on The forehead and one OF eacn shoulder these
are marked by little metallic disks when are
pasted on. or short tacks with broad heads are
driven jn. Inc cross is placed against the bus 50
that the cXiIemltIes touch these tuIee points TIE
exac, spots where they come IN contact win. the
cross beng carefully noted. linen wmle the cross
Is IN this POSITION the adjustable hnger IS moved
until it's end touches gwen point on the Dust ana
il secured III place I6en three points are taken
OF she marble corresponding 10 those on the plaster
and the cross Is placed against them IN exactly
the same poSU D.. Bat the roughness OF
tbe marble prevents the movable hngeI
did upon the plaster. Hence the workman care
fully chIscS and files away the marble uull TINS
finger can assume the position IN when II nad
been placed on the plaster wnel 1t Is evident thaJ
thai point the ma. bic corresponds exactly to the
similar point on the plaster Then the cross Is
placed upon the plaster again ana TN" Niger moved
until another fourth point is marked BY Us August
meDt Removing the cross II the marble, lEequdli-
ties ale cut away until the niger ~ III place ana
sncnn6 polnt Il secured. his process continues
aided bv various measurements and trained eye
until the plaster bust Is reproduced almost exactly
III marble.
DIFFICULTIES OF CASTING IN BRONZE.
The ufocc,s OF bronze casting Is exceedingly COM
plcated ami difficult. Some sculptors send their
work 10 France 10 De cast, and the bronze casters
by artists IN tins city are almost all
F-enchmen. Sand IS the material ussd for moulds.
Statues are usually cast in separate parts, but
brief description Of the way of securing bronze
cast of a bust viii indicate the method Of the work
Taking sand. mOistoncd often with lager beer, winch
renders it more sucky, tire worknen pat II upon the
bust uatll cake Of the wet saud IS III place cover
ing perhaps the chest. Tins dries IN position ana
then another piece is plastered on, enNeiopng the
front of The II, ck and so on until the whole Of the
Inst Is cura,cd IN pieces tdc of tbs wet sdnd
Which dries and hardens IN pac,; over
tins first layer made up OF several pieces
whole mass i then PVT into box open on two sides
and secured from rolling about oy long nails Here
il remains and dries for time Very carefully me
outer she'll and the inner layer chisellcd away