The Democratic advocate. [volume] (Westminster, Md.) 1865-1972, 1881-07-16
9esrrlptlre Artltles.
HOW SOULPTORs WORK.


sculptor of New York, and watched him
at work on his colossal statue, the Conti-
mental Soldier was the only visitor, and
Mr. Mcdonald talked to me as he worked,
explaining in detail the various stages by
which the seulptor's idea is worked out of
a shapelsss mass of clay into form and
beauty. Let me tell you about it; | am
sure you will find it interesting.
Mr. Mcdonald is not worker in mar
bic; he confines himself to statues of clay,
which are afierward cast in bronze, and it
is that branch of sculpture which | pro,
pose to describe. The first step in the
work is to make model of the intended
statue, say two feet high, but always by
scale, which he calls the intellectual. and
to it he gives long aud careful study. I
Every feature must have life and express
sion, every limb strength and character.
When it is finished he prepares for the
statue by building strong skeleton frame
work of iron, and on this he lays the clay,
making rough outline of the figure. To
fashion this unsightly trunk into the shape
of n man he begins at the feet and works
upward, calling into service nude living
model, who poses hour after hour, with
necessary resting periods, in the desired
position. Every muscle and tendon in the
model is reproduced in the clay, for the
statue is always nude, whether it is TO be
clothed when finished or not. Over GER
tain parts of the body whose proportions
must be carefully preserved the artist
spreads thin layer Of highly eolored clay,
SO that 10 subsequently working down the
drapery with his tools he will not cut into
the fgurc-lhe colored clay warns him to
stop.
When the nude figure is finished dra-
perry Of clothing is put on the living model
precisely as il is to appear on the statue,
aud he is made to pose again in the re-
quired position. The sculptor now pro-
eeeds to drape the statue by laying on clay
where draPery is necessary and working
il into shape as deftly and easily as you
would write a paragraph, except in the
matter Of the time consumed. If he
could get along as rapidly with his work
as do with the description Of ii he would
make oceans Of money, but colossal statue
is the object of close study, hard labor
and tender soliei,ude for from eight to
twelve months. Night after night as work
is suspended the figure is carefully covered
with damp cloths, and sort Of sentry-box
made Of strips Of wood aud oil cloth is put
over il to keep the clay in proper condition
for work the next day.
But the modelling aud the cutting, and
the scraping come 10 an cad at last, and
the huge, dark-gray figure stands before
its maker all radiant with life and genius.
His eve kindles aud his heart thrObs with
pardonable pride as he looks upon its beau
tiful proportions-ibe work Of his hands
and an irresistible feeling OF sadness comes
over aim as he thinks that in few days
j, must be knocked and battered into
shapeless clay agaia. But | must not get
ahead Of my story.
The sculptor's idea is materialiZed in
7 the finished clay statue, but it is to live in
/ imperishable bronze, and the mechanical
part Of the work now begins. His assist
ants apply liquid plaster Of paris to the
figure With brushes, beginning at the bot
tom aud carefully filing every fold aud
creyiee. The plaster hardens rapidly, and
coat after coat is put on until il IS about
two inches thick. This plaster forms the
mold 10 which the model for the bronze
I foundry is made is 10 be cast, and il must
T be made ia sections, so that it can be
readily removed from the clay figure when
done. To accomplish this, rows of little
wooden pegs are inserted around the hg-
ure, where it is desired to have the joints
in the mold, and on them is placed strip
I of clay half au inch thick and two inches
wide. The plaster IS put on up to this
strip, tie upper edge of each section Is
doubled, the pegs are removed and the
plaster allowed to harden. The strip OF
elay is then taken of aud the edge Of the
plaster covered with shellae to prevent the
next section from adhering as the brushes
apply it. This work is continued until the
whole figure is covered, and after standing
an hour or two to harden, the mold is re-
moved by sections. 1t separates easily
from the clay figure, and the latter, having
served its purpose and given the sculptor
matrix for his plaster model, is broken
into shapeless fragments of clay to be used
again when needed.
The sculptor now covers the inner sur
face of the mold with shellae to prevent
the plaster from sticking, fits together
nicely and firmly all the parts belonging
to the figure aud the plinths the statue
footpieee, except those for the arms, which
for convenience are east separately, and
pours in liquid plaster of Paris by the
bucketful until the mold is full. In two
days the plaster hardens and the mold is
taken of. 1t only remains for him to join
the arms to the figure, and he does this BY
wetting the surfaces to be welded and
holding the arms in position little while
when they become firm and solid. The
original clay figure has now been produced
in plaster of Paris, the latter is sent to the
foundry where the bronze statue is to be
cast and the sculptor's work is done. But
let us follow the plaster model and see
how the foundryman goes about his part
of the work. He makes mold for cast
ing by laying moist clay in small piece;
over the model, cut to fit neatly and com
paetly, aud so arranged that one supports
another. Pressure upou the clay gives an