The Opelousas courier., 1891-08-29
HOW STATUES ARE MADE
TIE scULPToR's ART AS PRAC-l
TICED HERE AND ABROAD.
The CLAY Model and the Plaster Cast
The Process Of Making a Marble

In painting, mechanical dexterity is
quite a minor matter, and the painter is
comparatively free from any but artistic
considerations. In sculpture; on the
other hand, though the same application
of artistic principles isexacted and neces-
sary,a large proportion of purely mechan-i
ical work falls to the share of the artist,
/ necessitating unusual care and skill.
What anxiety the sculptor feels while his;
clay takes on form, when it is being cast
in plaster, and finally during its repro
duction in marble or the delicate process
of casting it in bronze!
A painting practically passes through
only two, or at most three, stages in the
course of its development into completed
form; there are the sketches, the studies,
and finally the finished painting. In
sculpture the case is somewhat different.
There we have also preliminary studies,
and sketches, but the clay model already
shows the work in its artistic compile
tion. The plaster cast is simply a repro
duction in marble or bronze. Thus, when
the statue is practically finished, it must
still pass through two more stages, in
which usually nothing is added to the.
original work Except sometimes in the
plaster cast, but it is simply reproduced
in other materials. But this process. i'm
wolves no end of labor and anxiety:
The painter makes preliminary sketches
and studies, often many in number; for
his works. Similarly the sculptor. He
begins by giving form to his idea In q
small model from four to six inches in
height. This is a mere sketch, roughly
blocked out, but it %sufices to give an
idea of the position of the proposed
figure, or the composition of the group,
if there are several figures. The material
used in this first study is sometimes
modelling wax, but usually clay or plasti-
line. The latter, a kind of wax, sones
what resembles putty, but does not
harden; unlike clay, therefore it does
not need to be wetted. Naturally, the
sculptor sometimes turns out these little
figures just as the painter often does his
sketches; not necessarily as studies for
larger works, but also simply for prae-
tice. Thus the visitor to the studio Of
John Rogers of stgroup" fame, for in
stance, can often see long rows of these
minute statuettes IL the rough, filling
shelves that run around the room.
From this preliminary sketch the art
ist usually prepares a larger study, gener-
ally in clay, and, say, about. one foot in
This is already very much more J
elaborate than the first and allows the in.
tent and conception of the sculptor to be
seen much more clearly. So, for ex-
the study of Beecher for Wards
statue of the great preacher, which the
writer saw at the studio about two and d
half years ago, was extremely suggestive
in its presentation of spiritand character.
Now, for these smaller models, which
have been wrought over into a suggestive
semblance of the work to be, there must
be evolved a large clay model of the size
IN which it is intended to reproduce the
figure or group. But such a mass of clay,
if left unsupported, would collapse. Even
the precautions that are taken, dan.
gerous breakdowns have occurred in large
equestrian groups. But these would
occur only through the inexperiencs of
the sculptor. The clay is nodded around
sort Of iron skeleton, with lead pipes
Tor the arms and legs, which are bent in
10 the positions required. This model is
placed on a revolving stand, So that the
sculptor may have the light on any side
ae wishes. The modelling is done with
;ools of bone and wood of various sizes.
Some are about the length and thickness
If a carpenters pencil, and hattened out
It one end or at both ends; others have
triangular wire loop projecting from
end. The finer touches are often
with the fingers alone, and it is in
eresting to watch the artist at work, !.
off a small lump of clay at one !
'lace and dabbing it on in another, or
Producing delicate effects by deft digs
II sweeps with his thumb. Water Is oc-
asionally squirted upon the modei to
,eep it moist, and when the days work :
J done the figure, after another spring !
ling from the hose, is covered with damp .
loths. Some sculptors. after thus :
up their clay model, take :
arther precautions to keep off the air. !.
It Wards studio a cylinder of black oil :
10th, closed on top and held in shape :
bove and below by stiff rings, is let :
own from the ceiling over the model. : J
/. Scott Hartley effects the same result :
y means of a metal cylinder which has !. :
resemblance to an inverted ash can =
nd which was invented by Walter Clark, I
ne of his pupils. Sometimes the clay !.
mixed with stearine and glycerine, in =
cad Of water, but the latter is generally =
sed. !.
In this clay model the figure is worked 4
completely to the smallest detail, and =
hen the sculptor has fashioned the pill :
Die material into exactly the shape thatl d
wants, the whole is cast in plaster of II
iris. A plan followed by some sculp- =
RS is to have the plaster cast made be- :,
re they have finished modelling; in I,
at case the work is completed on the :,
aster cast, as good plaster can be pre-. y
red for this purpose. Hiram Powers !,
sud to have done all his modelling in :
aster, and invented some very ingenious =
OILS for his work. Ward, I am told, J.
hen making the equestrian statue of y
sneral Thomas, FIRST prepared a careful +
Of the horse, about one-third of a,
g proposed size. From this, by ex- q
t measurement, he manufactured a sort m
skeleton, three times q large, with II
which he covered with burlaps. 4,
len he piled on the plaster, being +,
all the while by measurements b,