, 1888-07-14
PATRONS OF THE SCULPTOR
Ladies' Who Want Their Faces Duplicated
On Marble or Terra Cotta-

LAules VINO want Iheir races Duplicated
In Marble or Terra Gotta
Sculptors nave at last become the rage
as well as painters. 1t is all the style
now for a woman to have her bust made
by a sculptor of renown. If a painting
renders the expression Of eyes and face
more faithfully, on the other hand the
bust show plastic beauty, the graceful
bend of the head, the curve of the neck
and the slope of the shoulders. Beside,
there is n certain dignity of bearing at
tached to a bust that one in vain tries to
sec in a painting. Marble seems to bring
out all the austere virtues of the model;
it is cold; it is classical. A mundane Wis
itor entering a drawing room in which
he sees the bust of the lady he is calling
upon is apt to be so impressed with her
cold dignity that however willing he was
ON his entrance to engage in an innocent
Irritation, the sight of the bust will freeze
his intentions. How different it is with
II painting. The face is sure TO have its
finest, most engaging smile, the dress the
most becoming shade and cut, the pose
most suggestive of amiable sociability,
the head so tapering, soft and shakable,
the whole so charming, so fascinating,
that every gentleman beholder cannot
b0A AtA INV NoNNl1 Nudb Nplldll
must be in a tete-a-tete."
Some ladies prefer terra Gotta t. mar
BILE; it gives the bust a more life like APP
pearance; the accentuation of the feat
ures is less austere and hard. But terra
Gotta is most fragile; climate and dust
affect it; besides, it is not considered
nearly as elegant as marble. 1t is much
more disagreeable to pose for a bust than
a painting; the sculptor's studio is gen
orally cold, bare, s~cantily draped and
furnished; the model must mount on a
hard bearing block, for she must be
raised a certain distance above the eyes
of the artist. The wet clay is first applied
on an iron apparatus; then the sculptor,
with large strokes Of the gauge, traces
the shape of the mead and the outline of
neck and shoulders, after which, with
the end of his thumb, he models the
face, forms b nose, digs out the eyes,
gives shape to the neck and cheek and
sketches the ears. 'sHow s~lovenly a
sculptor goes about to make works Of
art, exclaimed a lady, surprised to See
a great artist in his stained white blouse,
an old straw hat over his eyes, his face
full of splashes of clay and his hands
wrist deep in wet mud. The great sculp-
tor Pajau, before the king and the whole
court at Versailles, used to take his coat
off and raise his shirt sleeves above the
elbows to work at his models.
Society women are as hard to please
with busts as with oil paintings. They
watch the progress on the bearing block
with feverish anxiety, for the artist may
Accumulate features which ought to be di-
minished, and lay no stress on those
which produce harmony in the ensemble.
MY ears are a little out of proportion,
are they not?' remarks the Countess s.,
whose rival in society is often compli-
mented for her small, pink, shell like
appendages. '.Small ears do not indi-
cate intelligence" answers the sculptor,
as he delicately molds the auricle. "But
my eyes are certainly too small" ''Ah,
madame, they are 30 full of expression"
"Oh, you are now paying me compli-
ments; you know / don't want to be fiat
tered in the least. l want the bust to be
n perfect likeness" ''Rest assured,
madame" "Let me seel'' 'For
Heaven's sake do not move, madame.
All is lost if you do" If you wish TO
read between the lines of this bit of dia-
logue it means the following: She-I
hope he will make my ears smaller and
my eyes larger. hope he knows that
in art notifications are admissible. l
must look to it. He-She imagines. l
don't understand her. She can rest as
sured shall make her ears small and her
eyes large. / don't care n snap whether
1t is a good likeness or not.-Brooklyn
Eagle.