The Abbeville press and banner. [volume] (Abbeville, S.C.) 1869-1924, 1890-11-19

HEAD MOCEL hEAD1 FUN EdE NAA
supplemented by two or three figures so
realistic as to suggest to the intelligent
observer that there were possibilities in
wax figures previously unknown in
America.
The wax work of to-day have reached
probably the highest degreee of excel
lenee. The well-executed figure has all
the grace that living figure could show
if posed IN as immovable a style as the
other. They all look stiff to the eye
which fingers on them tor any length OF
time, because they are absolutely motion
less.
A single glance at good figure will
find in it not only good pose, but what
the artist calls action, but when the eye
gets more accustomed to the work its i'm
movability soon suggests stiffness that
is really not evident.
Some years ago several expert wax
figure makers, Frenchmen for the most
part, were brought to this country. The
leading man in an establishment of this
kind is the sculptor. To secure good
results it is necessary that the sculptor
should be highly capable. At the present
time Mr.. Feinberg is at the head of a
corps of assistants in suite of rooms
which are filled with lifelike figures in all
degrees of preparation.
When single figure or group is
needed the sculptor gets together his
pictorial matter, if the order is for some
thing historical, and with the aid of this
material he makes a careful drawing,
showing the figures properly draped, and
in addition, all the accessories that would
90 in to the completed work. This sketch
being approved, small model in bas.
relief is made of the whole design, and
this miniature design being approved, or
altered until satisfactory to the committee
the actual work is begun.
AS the average wax fxure is the re-
production of some man or W oman of note
in past or present the greatest skill on
the part of the sculptor is necessary to
produce a likenes. Very often there is
nothing but a portrait to work from, and
that is not always in the exact shape or
position that the group calls for.
There have been many instances, how
ever, where living celebrities have con-
sented to pose for the sculptor, and thus
made strong work possible. Mr.. Con-
slant Thys, a skilful "cirier," as the
French term it; word which fully trans
lated means "waxer," told the writer
that the difficulties experienced in por-
traiture were the most exhausting part of
of the work.
When the sculptor has secured all the
material possible he begins to shape a
head in clay. If the design calls for an
exposure of the body below the neck, as
in the case of savage, the shoulders are
reproduced in clay as we'll as the head.
If the face is a bearded one the beard is
modelled in form, and naturally to Sc
cure likeness the hair of the head is
also formed.
When the head is finished in clay it is
approved either as regards its proper
tions or its likeness to the original, and
when so approved it is ready for the mold
er to handle.
The next operation is an important
one, as it means to certain extent, the
destroyal of the likeness obtained by
long and patient work. This operation
is the cutting away of all the clay which
represents the hair and beard of the
riginal. This mutilatlon is necessary,
because the hair and beard are to be
made eventually of the real article.
The head of clay, when stripped, is
now oiled and then covered by MIR. Bertl,
the sculptor's assistant, with coating OF
plaster of Paris about three or four inches
thick. In ten minutes this coating is
partially hardened and the work of cut
ting the mold into pieces is begun. A
sharp knife will cut through this dough.
like substance, now too soft to chip and
too hard to run.
When the mold is cut in five or six
pieces the lowest end, at the base of the
neck, is cut away in the centre, leaving
an opening about five inches in diameter,
if the head is life size. On one Of the
cut sides of each piece the srtist makes
two or three holes at intervals of three
inches. On the piece which fits against
it he places little dabs of soft plaster.
The holes are now oiled and the whole
mold is put together again. The soft
plaster dabs are now allowed to harden
in the oiled holes, and when the mold
is taken apart again it is provided with
little 'tlocks," which prevent the pieces
from slipping apart at an inopportune
moment.
While these operations on the hand are
under way the bodies which are to CON-
plete the figures are being made in a
somewhat different manner. As explained
above only those portions Of the upper
part of the body as are to be exposed
are maze III clay. 1ne hands, arms ana
extremities are made in most cases from
living models.
When a group has been designed the
different positions of the hands and arms
are made from male and female models,