The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1880-12-30

WORK Oh tUS SCuhPsVEs
now us rvnopIEs HIS CoNcErn0N--FAsiI-
JOINING TIE CLAY aoDEL-MAKING THE
PLASTER cAsT--IHs FINAL REsuLT IN MAR
BILE on BRONZE.
New York Tribune.l
man wearing high white cap and an
aprou. brandishing chisel in bis left hand
and a malet Ia his right, and striking Oh
CHIPS from huge block OF marble which
represcpfs the future statue--'bis Is the idea
that many people have OF a sculptor. The
real sculptor when at work Will be found 10
be man with hands as dirty as those Of
how making mud-pies, who Is cutting,
punching, and smoothing y mass OF soft
clay. There may not be fragment OF
marble In the studio, Tor with marble The
sculptor has practically little 10 do. His
work is generally in clay, but sometimes in
plaster.
The clay used in most OF the studios in
this CITY comes from New Jersey. The
Terra-CottG Company at Perth Amboy
mixes the clay with water and allows II to
run out into broad pans. The gravel and
stones sink to the bottom, the water evap-
crates, and the upper layer OF the clay is
used for purposes OF sculpture. There is
a place in Lille Twelfth street, in this city,
where sculptoi's clay is said 10 be prepared
by a grinding process in a mill. IL is then
mixed with water. and finally allowed to
harden In cakes, which are sent 10 the stu
dios. The sculptor, chipping off pieces
from n cake OF clay, mikes them with water
and works the mass until the whole, though
stj,ltbick and tenacious, becomes soft, and is
readily moulded. This is his material. Ii
bust Is TO be done, large mass OF clay is
roughly piled upon the nat top Of hign
stand, AMI fasbionCd into the rude likeness OF
a head. The implements used are The hngeis
and kind of spatula made OF wood, some
times ebony. pointed ana curvlng III DOM
ends. so as to present convex as wen as
concaye surface. Then the process becomes
more delicate, aud the scnlator's art is put
10 The test. Studying intentIy the face OF
the sitter, the sculptor pares away little bits
OF clay. here indicating line and there q
prominent bone or muscle, striving to catch
the characteristic expression OF his subject
aud to syoid making the bust appear heavy
and wooden. Ii pressed for time the sculp-
tor occasionally takes measurements OF tue
e,tter's head 10 assist in the work, but Of
tener he depends entirely upon the eye.
III a statue Is to be modelled the CLAY re-
quires support, which is obtained by plas-
iering 1t upon framework OF strong wires
or wood. The clay, which Is constantly
Kept wet BY being sprayed with water and
wrapped In cloths, Is more likely TO crack,
however, when it is kept In position by a
framework. Modelling IS sometimes done
in plaster, which offers certain disadyan-
taces on account OF its hardening rapidly
and tending to give j dull, lifeIess express
sIon 10 the face Of the bust. In plaster
modelling, as sometimes in working with
clay. ebauch0irs, polluted iron instruments
VARYING slightly in their shapes, are used to
chin of unnecessary projections and to
smooth surfaces. In working upon an ideal
statue the artist. starting with bis coDcep-
lion OF the motive or idea OF the work, is
aided by models, and by the study OF casts
and busts.
PUTTING THE WORK IN PLASTER.
When the bust or statue Is completed in
clay IL must be put into plaster, for The clay,
driving rapidly on exposure to the AIR,
shrlpks in size and is liable TO crack. With
this the sculptor has little TO do. The SER
vices of plaster. modellers, usually Italians,
are employed. The first cast, which is to
form the mould OF the permanent cast, Is
made In two parts like the halves OF an oys-
ter shell. There are two WAYS OF doing
this. Often q string is passed over the head
of the bust. coming down over each ear.
Then the liquid plaster is thrown on be-
tOfc tUu Ututtu tuio Stiib6 $3.50 ~
bust is completely covered. While the
plaster Is still soft the string, taken by
each end, Is lifted straight up and out, thus
cutting a division between The two halves.
After hardening the halves are chiseied
away from the bust and then fitted together,
forming mould. Another method IS to
nut on q narrow band OF clay from the
shoulders over the sides and top OF the mead
Of the bust. The plaster Is then thrown
against this band until the bust is entirely
encased. The clay Is thereupon removed,
but enough adheres 10 the edges OF the
plaster 10 prevent them from sticking
together. 10 either case, when the two
halves are removed t5eir interior, giving
OF course an exact impression OF the bust,
is literally anointed with soap and olive
oil. This Is to prevent the liquid plaster
that is to be poured into the mould from
adhering TO the sides. When the halves are
fitted and bound together, the liquid plaster
is poured 10 and allowed to harden. Then
the shell, owing TO the use OF the oil, is
readily chiselIed away and the pIaster-cast
is complete. In case OF a large statue, the
parts are usually separable, and arms, legs,
The head, and trunk are cast in separate
pieces. A similar process is carried out for
decorative forms OF sculpture like friezes,
fjrc.places, and the finer forms OF bas-reliefs
that sometimes decorate ceilings.
After being cast In plaster The bust or
stafue IA ready TO assume Ms permanent
form 10 marble or bronze. Marble-cutters
and bronze-casters form two distinct classes,
the former being usually Italians and the
latter Frencbmen. In selecting block OF
marble, OF which the best comes from Italy,
great care IL taken 10 avoid yellow discolor-
atlops and flaws. After cbse]lng away the
l. n 10. hot