The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1892-04-24

a smooth surface. In this the lower half of
the pattern is imbedded. and the surface is
covered with dry or faclng-sand to prevent
adhesion. Upon this second flask is
placed and sand sand for founding almost
resembles kind Of loan, being extremely
ine-grained) is carefully rammed upon the
pattern until the box is completely filled.
Ihereupon the whole is turned over and the
first or false part is emptied. The surface
of the upper half is smoothed and also faced
with sand or finely ground coal or charcoal
The second half is then nodded In second
flask in similar manner Thus a complete
obtained. Afterward the hollow mold is
filled with another mixture of sand. giving a
reproduction OF the original object. This
reproduction Is reduced to smaller size by
cutting all around its surface and taking
away layer OK IT, representing the thick
ness which the hollow metal cast is to
obtain. The thus reduced copy is inserted
III hollow mold corresponding 10 ii, as
core, and kept from touching the inner sur
lace OF the mold by means OF bars. which
hold II In place. Both the core and the
form are then baked, and when they are
hard the whole structure is rammed with
sand into cast-iron box and the molten
metal Is poured into the hollow space be-
tween the core and the form, which space
1t ehters through numerous ingates and
runner-passages.
Extraordinary care is required in placing
the so-called ingateS or runner passages so
as TO allow the mold to be regularly and
rapidly filled, and TO prevent any part Of
the metal from setting or chilling before the
proper moment
We have now seen the different steps of
progress through which a plastic work has
to advance from the moment of its cOncep-
ton by the artist until it reaches It's final
state, and although merely the outlines of
the work have been given IL will be APP
parent 10 the reader that an enormous
amount OF labor is required before the ultl-
mate stage Is reached.
Let us now in conclusion review few Of
the talents and qualifications true artis.
must possess in order to obtain success.
In the first place be must have vivid
imagination, so as to see with his minds
eye the picture which represents to him the
idea that he is going to embody. Let us
take. for instance, the sketch representing
the scene at the time Of the flood, which is
Illustrated in these columns. and the author
of which Is Mr.. Gulielmo. Though the
outlines in the clay model are by no
means finished the idea is graphically
represented. the conception is grand,
and the whole shows the plan of an original
genius. The powerful figure of the youth
forming the center is an excellent epitome
OF manly strength, the debility of age Is
strikingly illustrated by the old father who
Is supported on the shoulders of his son.
while the young woman clinging to the body
of the youth and trying to rise up to him
completes the pathetic picture. The whole
situation is further characterized by tiger
carr. ing its cub up to the rock to seek ref
uge. and the cause of the danger is graphi-
cally illustrated by the waves dashing
against the lonely cliff.
Ii it takes talent of the highest order to
conceive a plastic work and to model it
even in the rough. it takes serious study
anu careful application to execute the clay
statue in all its fine details and exquisite
outlines until 1t is ready TO be cast in plas-
ter. Only those who have real talent can
grasp and reproduce the beauty of form.
Only those who earnestly study eau ae-
quire the knowledge necessary to create
new forms out of those which they have