The Lambertville record. [volume] (Lambertville, N.J.) 1872-1968, 1883-09-12
HOW STATUES ARE MADE.
Fi.e Proeess From the Artlst's Eden TO the
Z Completed Marble


In the first place, the sculptor has small
model study or sketch, as it is called. which
embodies more or less roughly his idea.
de employs model to work from, either a
man or woman, as the case my be, and he
usually has model of any accessory which
may be introduced, as chair or sword.
together with clothing and drapery. which
ne must necessarily study.
II you enter sculptors studio, then,
when he is ut work, all that YOU find is a
Big mss Of clay upon stand, either barely
shaped into the outline of head or perhaps
nearly finished, If it is bust. or else YOU
discover large, low platform, perhaps
arranged upon rollers as turntabie, and
on this the figure which looks very much
IKE the snow man which we were all so
fond OF constructing in childhood--that is,
provided it is still unfinished There is
very little time to lose after the statue or
bust is finished in clay, for the clay dries
rapidly ON exposure, and the air is apt to
shrink and crack it. The next thing to he
done is to obtain cast in plaster; but
should adj that the work of the sculptor
ends practically when the model is finished
IN clay In New York, as everywhere, for
that matter, the plaster modelers are chiefly
Italians. They make their first cast which,
OF course, is to be the mold for the perman-
ant cast, in two halves, like the halves of an
oyster shell. Suppose they are dealing
with bust. One way of getting q cast is
to pass string over the head, coming down
over each ear, and then throw liquid plaster
on before and behind this string until the
bust is completely covered. While the
plaster is still soft the workmen take the
string by either end and lift it up and out,
thus separating the halves of the cast At
ter hardening, the halves are chiselled away
from the bust and then, when they are
fitted together, they form complete mold.
BY another method, narrow band of clay
is put on the bust from the shoulders over
.the sides and top Of the head the plaster is
then thrown against this band until the bust
is completely covered, and the clay is then
removed, enough remaining on the edges
of the plaster to prevent them from sticking
together. After the two halves OF the cast
are removed and fitted together, they are
rubbed with soap and olive oil, which is
done 70 prevent the liquid plaster that is
poured into the mould from adhering TO the
sides. after the last process is carried out.
the Ywos halves of the shell are chiselled
away. and the cast is complete. This is the
process for the bust
For. the statue the different ports, the
arms. legs. head aud trunk are separable
whenever this is possible, and are usually
east in different pieces.
If statue is TO be cut in marble, il il
necessary TO exercise great care in selecting
the stone, the best of which comes from
Italy In order 70 avoid yellow discolora-
tons and flaws The first thing to be done
is TO chiselaway the outer part of the block
of marble into the shape of rough likeness.
This is done by the eye but after this the
-nasl.laiA 4aaasa- =. aaaisa- s--ss..rs.
instrument This resembles d small wooden
cross, with q movable arm, to which arm ia
attached finger which can be adjusted in
any position. With this instrument the
workman fixes three points on the plaster
bust generally one on the forehead and
one on each shoulder. He marks these
points by little metallic discs which are
pasted IN, or by driving in short tacks. He
then places his instrument on the bust so
that the extremities touch these three points,
carefully noting the exnct places where they
come into contact with the instrument, and
while the instrument is in this position, he
moves the adjustable finger until its end
touches given point ON the bust, and then
he secures il in place. After this he takes
three points ON the marble corresponding to
those on the plaster bust, and the instrument
is placed upon these points in exactly the
same position. The marble, of course, is
rough and irregular, and this prevents the
adjustable finger from touching the fourth
point, as it did upon the plaster; thereupon
the workman carefully cuts and files away
the marble until this finger can assume the
on the plaster. Then it is evident that the
fourth spot ON the marble corresponds to
the fourth spot Oh the plaster bust. Then
he places his instrument upon the plaster
again, and moves the finger until another
fourth point is marked, and, moving the
cross to the marble, chisels away the ire
gularities, until the finger assumes the pro-
per position, and second point is secured,
exactly the same as on the plaster. This
process is continued, aided by frequent
measurements, and by the skilled eye of the
workman, until the plaster bust or statue is
reproduced in marble.