Evening journal., 1897-08-06
THE MAKING OF A STATUE.
yhe Science OF Mechanics Pressed
Into the Service Of Art.

Into the Service Of Ara.
When we look upon finished marble
statue, says an expert, we rarely think
Of the time and labor that have been
expended upon it. First, model must
be made; but even preliminary to this
the sculptor puts his ideas in the form
of rough sketch in clay or wax, ac-
rording to the delicacy required. Here
the main points are rapidly nodded in,
and some idea is obtained of how the
statue will look when il is finished. A
passing thought, an idea, is in this way
fixed, and is more carefully worked up
in the model. AS a rule, the first model
is small, ana is Of clay or wax, and
at first consists of a nucleus of tow or
some such material, on which the clay
is laid. Bit by bit it is built up, until
by trimming and adding, ilattening and
rounding Off, the figure comes TO as
sumo its proper proportions. The rough
outlines of the sketch" are developed,
new ideas are added, others are altered
and by degrees the realization OF the
sculptor's thoughts begins to appear
in the clay
In the actual manipulation great care
must be taken that the clay is of the
proper consistence and possesses the
requisite amount of moisture, otherwise
it may become dry and crack. A still
more serious accident is where the clay
crumbles to pieces. In this way the
labor of months may in few minutes
vanish into mass of debris, an cN-
perience which many sculptors have
had. To guard against this the clay
must from time TO time be moistened,
and when work is finished for the day
the model must be carefully covered
with damp cloths. In this way acci-
dents may be prevented. When large
models have to be made, extra precau-
tions must be taken against drying.
The nucleus must be made strong, Of
iron rods along the lines where there
is least support, as in the case of out
stretched arms or legs, and the rods
must he properly fixed in stable basis.
At first the figures are modelled nude,
and full regard is paid 20 all the an
atomical details. The drapery is added
nfterward, from studies arranged on
clay figures.
When the model is finished according
to the taste of the sculptor q second
one is made of the exact size intended
for the final piece of work Where the
statue is to be made of bronze the full.
e sized model is an absolute necessity, rs
d the casting in bronze is made from the
model, and it reproduces the latter in
every detail. Where the statue is tc
| al ...I
, necessarily be full size, and many
D sculptors prefer working from small
y highly-fnished models. Uusally. how
r. ever. full-sized model is made in clay
q The sculptor can still alter or modif,
his original design, bringing certaii
features into greater prominence, sub
f. DUNG others. When the model is fin
= ished q cast of it is taken in plaster
and this latter is used as the fina
model, and with it as a guide the blocl
of marble is carved by skilled work
d men. This is an art which has bee
= carried to high degree OF perfeetio
1t in Italy, and the worldnen of Carrar
y are famous. The sculptor makes hi
u model in clay and takes plaster cast
u and then sends it to the works in Cnl
- rara, where it is chiseled and then II
70 turned to him for the final touches.
e. After the choice of q suitable bloc
a of stone, most important piece @
1t work has to be done. namely, the marl
p ing of certain points on the plaster cas-
s and the determination of similar point
y in the marble. Various methods an
- instruments have been recommends
for this purpose. In practice divide
frame is used, and the exact distanc
m of certain marked points on the plaste
,e cast is accurately measured. Fixe
D. points on the stone are marked, an
IA from these the other points are meal
re ured with instruments, and the dept
le to which the stone must be cut {
drilled is determined with great a.
- curacy. In this way all prominer
A. points are marked out, and holes al
drilled to the required depth and th
intervening marble chiseled away, {
first roughly, then with greater an
y greater care, till the marble begins
ef assume its finished shape. In Il
lie larger sculpture works one man doi
ne the marking, another the rough chise
OF ing, another the fine work. Finally
At stage is reached when it again pass'
into the hands Of the sculptor himsel
and he it is who puts the lines of genil
he into it with his fine instruments. A
ID though the workers in Carrara al
IL clever, they seldom are gifted enoul
c. to supply the finishing touches whis
ne give the characteristics of the gre
e. eculptors themselyes.-N. Y. Tribune
r. Strange Obstinncy OF Mexican,
C. One evening as the express train of Il
e- Mexican Central was approaching Me
be icocity, the engineer observed an India
he shepherd lying on the track. The e
~ gineer whistled five or six times, b
y, ~ the man would not get up. and it wi
impossible 10 stop the engine in tim
The pilot of the locomotive struck n
head of the PROSTATE man and roll
On him down an embanlmcnt. When q
IS train was stopped and the conduct
Ier and some Of the passengers alighted
mo | I,oT- 4, Tho v,op a. xw,c forr1 fl,r