Richland beacon. [volume] (Rayville, La.) 1869-1890, 1888-06-02
In A SCULPTOR'S STUDIO.
THE CURIOSITY SHOP THAT ART
lists BUILD AND WORK IN.
Away From the WOrld-What He
Does Up There-Clay. Plaster
and Marble-Death Masks.

Away From the World-What He
Does Up There-Clay, Plaster
and Marble-Death Masks.
1t was an ideal. The very atmosphere
was different from that outside. Span
lsh moss hung in great wavy punches on
the wall, while here and there were
photographs and medalliOns. Bits Of
bright ribbons gave cOquettish effect,
and cOntrasted with the sOmbre drab OF
the moss, just as summer does with
winter. The mantel was covered with
pictures, bits of sculpture in clay and
plaster, and score of sea shells. The
room was full of models, easels, casts
and busts.
"Where are your hammer and chisel,
and marble9' asked reporter for the
Atlanta Constitution.
She sculptor laughed heartily.
"Now, how many people in Atlanta
do you suppose think that a sculptOr's
first and only work is in marble, and
with hammer and chisel9 No, the art
is all in clay every bit. Putting it in
marble is merely mechanical. 1t is just
as if we nodded in clay, and then by
some chemical process could change the
clay into marble There is no art in that
it is all in tn clay After death
mask is perfected, mold in plaster
will be taken, and then it will be put in
marble"
"What is the use in changing it into
plasterl Why not take the measurements
direct from this?"
'It's too soft, and you cannot allow it
to harden, for it will crack and draw.
There is the death mask of Judge Loch-
rane. l am making q marble bust OF
him, aud it is being put into marble
now."
The mask referred to is in plaster, and
being taken by direct impressions from
the lace of the dead, the mask is vivid
reproduction-the whole effect being
heightened by the pallid color. The
features were perfect. The eyes were
closed as if in sleep, and the general ex-
preston is one of peace and of rest.
This was taken soon after death, and
the features are perfectly natural.
''That is TAKEN" explained the sculp-
tor, Mr.. France, "by impression, the
soft plaster being spread over the feat
ures, and blown carefully into each
crevice and wrinkle. That forms the
mold, and the cast is taken by simply
running in plaster"
"How do you make medallion9"
"From photographs, and then perfect
them from life."
"Suppose the model is deadH'
'.Then the best of all aids is the death
mask. That's true in making a bust as
we'll. But if we haven't that we get as
many photographs as We can-front,
three quarters and profile, if possible.
Then we work in clay until tits as neal
perfect as we can make it from what We
have to go by, and then get criticisms
upon the work from those that knew the
dead. After the clay model is perfect
the art work is complete"
as that clay in solid lump?"
"Oh, no. We build frame of straw
usually for bust, and for a larger statue
frame or skeleton of wood or iron.
Gas pipe is splendid"
"Where does the clay come from"
cit is potter's clay from Ohio. l like
the New York potter's clay better
though, and we snail DeSln using II
soon."
"Can you use the same clay over and
overl"
"Oh, yes. The same clay would last
life time, but, of course, it is wasting
continually"
"Why not use the common clayW
'It is never free from mica scales and
grains of sand. That ruins an artists
too.s. Then it is not so pliable nor SC
cohesive"
"Where does the marble come from:
'Italy. We can use only Carrara mar,
bic. For two thousand years thos'
mines have been worked ant
there has been no substitute. BY far thu
closest imitation comes from Western
North Carolina, and I believe that a
they mine deeper, the marble will be
come as pure as Carrara."