Orange County observer. [volume] (Hillsborough, N.C.) 1880-1918, 1896-05-23
MODELLING IN CLAY.
How Sculptors Prepare Their Diff
fcult Work.
The Principal Tool is the Artists S
FOrefinger.

Modelling in clay is completely a
practical art. The tools, called mod
cling tools, are made of wood ana
ire but no tool is moro useful than
the finger; indeed, tools have been
invented as mere aids to the fingers,
and are designed only to do what they i.
cannot perform. Wire tools are the
most useful, being fashioned into
loops OF various shapes and sizes,
round ana angular, and fixed into
wooden handles. The wire is some
times notcaed or indented, to give
rough surface to the clay. The
wooden tools are made of box and
ebony, Of various shapes and sizes
curved, straight, pointed, rounded
and flat and broad-the broad tools
being notched, and designed chiefly
for working the large convex masses
or large folds in drapery. In model
ing bust, especia ally the features,
great nicely is required, and the mod
cler must be particularly careful not
to lnJure what is already done, by re-
touching with the tool while clay is
adherlng to it, or he may risk the
complete destruction of his work: the
adhering clay will drive up the sur
face.
The clay used is common potter's
clay, but should he of the best quality.
1t must be SO wet that it will not stand
IN mass much higher than its own
width without support. The supports
for the clay are most important con-
sidcration, for, if not properly at
tended to, the finished work, the fruit
of months Of labor, might suddenly
fall to pieces by its own weight.
Sculptors generally model figures of
i.lue ordinary size upon bench or
Stand called banker, about thirty
Inches high and about thirty inches
bust it must of course.
be much higher; above this solid
lcircular plinth is fixed on wooden
boss, and is reyolved upon six of more
wheels, or, what are better, short,
slightly conical rollers, fixed on the
1pllnth near the circumference.
On the centre Of the plinth there
must be fixed vertically a strong iron
bar, about the height of man, aud
from about six to ten inches in cir
cumference, according to the weight
Of the figure; it must necessarily be
strong and firmly fixed, as it is the
main support Of the whole skeleton of
supports.
In modelling bust very little sup
port IS necessary, an upright piece OF
wood with a crossbar at the shoulders
being quite sufficient, but a small
crossbar at the head would do no harm.
Another essential part of modelling is
preserving the moisture of the clay,
which should be always uniform if
possible; it must never be allowed to
dry, and it can be kept moist with very
little trouble.
When the model is complete, the next
process is to take the cast to work the
| marble from, or to make other casts
must be covered in two or three
masses, or more, if necessary, with
pIastef Of Paris; when this is fixed
and dry, the whole may be separated
at the joints, without any regard to
| the preservation cf the modeL for when
| the mold is taken the model is no
| longer of any value. When the clay is
completely removed from the mold,
the component parts Of the mold mus t
/ be again put together, and IN the place
/ of the original clay ii must be filled
with plaster Of Paris, and. when the
east is we'll set. the mold may be
carefully broken off IN fragments,
and the cast is exposed and complete,
the finished work. II casts of it are
! T required, q new working mold or
safe mold. as il is termed, must be
taken N many parts, and, II the figure