Audubon Republican. [volume] (Audubon, Iowa) 1894-1925, 1894-08-09
FROM CLAY TO MARBLE.
PROCESSES USED IN THE
BUILDING OF A STATUE.
The sculptor Merely Prepares the Model
In Clay-How. the Model Is Made and
Reproduced in Bronxe-How Sue
Cessful Artist Works.

The sculptor produces his statues
IN modelling clay. In that material
his work practically begins and ends.
He may perhaps make preliminary
sketch of his proposed statue on
paper Especially if it is to be a
large public monuT >nC, but
it is in the clay that his idea first
begins to find adequate expression.
A portrait bust is usually modelled
at once of the proper size; but full
sized figure necessitates much more
preliminary study. Often the artist
will make small studies in modelling
wax, in clay. or oftener still in
plastillina, kind of wax that does
not need wetting. like clay.
The large figure cannot be built
up of clay simply piled up unsup-
ported, for it would give way. An
iron frame or skeleton of the proper
size is therefore made for this pur-
pose from careful measurements and
calculations, and furnished with
arms OF lead. SO that they can be
bent readily into any required posi-
ton.
A iurt Ter precaution may be OBJ.
served by fastening bundles of wood,
en- crosses to the iron frame with
wire. A solid support is thus
furnished for the clay, which can
now be packed around the "skele-
ton" The latter is mounted on a
revolving stand. so that, as the figure
progresses, the artist can turn any
part of it toward the light.
The tools used in modelling are all
fashioned on the spatula principle;
sometimes solid. of bone or wood,
like thick pencil flattened at one
end, or again formed of triangular
loop of wire set in a wooden handle.
Nor must one of the best tools" for
delicate effects be forgotten, namely,
the artists own fingers, especially
the thumb.
The modelling in clay is really the
only active part the sculptor himself
takes in the production of the stat
ues. In some cases, where popu-
larity brings in orders so fast as to
provide work for years ahead. artist
assistants are employed for modelling
some of the figures they being
guided by the studies and directions
of the sculptor
The latter, of course, afterwards
gees over the work, finishing it and
adding that which tends to leave on
the completed model the impress of
his own mind and his style.
While working on the clay the
artist must keep it damp by occa.
sional sprinkling with water from II
hose The clay is sometimes mixed
with glycerine or stearine, but water
seems to be generally preferred
At night the model is kept COW
cred with damp cloths, and the air is
also further kept off by various con-
trivances Sometimes a cover of
black oilcloth, held out in the shape
of cylinder by hoops at the top and
bottom, is let down from the ceiling
over the model; or. on busts and
smaller figures, a metal cover which
looks very much like an inverted ash
can is used.
If Michael Angelo occasionally
hewed his statues out of the marble
block without model, he performed
feat that called forth few imitatOrs.
The sculptor's work is done in a
material that is very perishable. 1t
offers him every facility for correct
ing and changing while he is work
ing upon it, and while it is moist it
gives the plastic form beautifully
life-like character (due generally to
its soft and porous nature), but it
would crack and crumble as soon as
it dried
The statue must therefore be re-
produced in more durable form
marble or bronze being generally
used-and for this purpose it passes
through an intermediate stage, the
plaster cast.
The plaster cast is made in the
usual way. A model is first made
by covering the clay model with a
thin layer of plaster with which
some coloring matter (say red) has
been mixed, and over this white
plaster is piled on.
A negative" of the clay model
having thus been produced, the lat
ter is destroyed, and the interior Of
the mold (Which consists of two or
more pieces, according as the statue
is larger or more complicated) is
carefully cleaned. 1t is put together
and firmly fastened, and plaster is
poured into it through an opening.
so that the place before occupied by
clay is now filled with plaster.
This done the enveloping mold is
cut away with hammer and chisel,
the artisan always receiving timely
warning by the change in color
when he penetrates the white plaster
and reaches the red. The latter he
cuts away very carefully. so as not
to injure the clay form beneath.
The final process of reproduction,
which in the case of all public stat
uary usually consists in perpetuating
the sculptor's work in either marble
or bronze, is delicate and difficult
operation says the Chatauquan.
In the production OF marble
statue, for instance the utmost ex-
actness that mechanical appliances
can secure is observed. Every
stroke made with the hammer upon
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