The sun. [volume] (New York [N.Y.]) 1833-1916, 1897-04-25
A GLIMPSE OF ITALY.
Fourteenth Streets Crowded Resort OF tho
Plaster Gods.

Plaster GODS.
Away over In East Fourteenth street, in one
Of the most sordid quarters OF prosaic New
York, there is a dusty old shop, in which can be
found moro truly beautiful things than in
almost any other place in the city. Perhaps the
people of the neighborhood would sniff in scorn
at this statement, but that wouldn't settle the
matter. You can't sniff away the reputation
OF the Venus Of Milo; that is to say, her reputa-
ton for beauty.
The Venus OF Milo is not the only example of
beauty in the shop. There are a dozen or more
OF her. either full length or abbreviated to q
bust, but she does not monopolize the place.
Surrounded by Apollos and Dianas, fauns and
nymphs, Graces ana garFoyles, she cannot be
lonely. From floor to ceiling, ranged upon
shelves, hanging from hooks, crowding the cor
ners, the masterpieces of ancient and of modern
art smile or sneer or look with the calm, superior
glance which seemed to be the proper thing in
polite Olympian circles.
This plaster of Paris edition Of Greek my.
thology is all mixed up with notes Of the middle
ages and modern events. Paderewski and the
young Cesar stand side by side. Charles Dick
ems and the Apollo Belvedere seem to exchange
condolences in a corner. Beethoven frowns on
the Florentine singing boys, ana Napoleon and
the Victory Of Samothrace appropriately pair
might let loose his Imagination and conjure up
all sorts OF strange fantasies. There is, how
place than is commonly relished by dreamers.
Anthony Comstock would probably take one
l ES6 a at t tss repFsae fos 3bs F a6sr sn Gre sSd q ises
which has given him so much trouble and hint
that the sulphuric atmosphere was a reminder
of the place where mythological immodesty is
getting its just deserts.
The source Of the odor. however. is much
nearer at hand. 1t comes from the rear room OF
the establishment. and is not at all diabolical in
its origin. The back room is full Of the moplds
from which the casts are made, and the sulphur
is used to give the plaster moulds greater hard
ness and durability. Near the moulds stand the
imported, and are supposed to be p%erfectiy exact
in proportion and details. The further removed
q cast Is from the original IN the number OF cast,
who carry their wares about in baskets and dis
play them on the steps Of. unoccupied houses
have made their own stock in trade. They buy
certain casts, make their own moulds. and then
turn out as many reproductions as they can sell.
great care and skill. The sections of the mould
are lifted together one by one. until. In the case
securely so that none of the pieces can slip a
hairs breadth, There Is an opening at the base,
a ahe h anr9 sh Of a te eeee eaSn,a P phe pIas It. PS %oaid rum an
into the hollows and harden there in Jumps, but
the experienced workman does not permit this.
He rapidly but smoothly turns the mould over
over the entire surface. Not ali OF the plas-
o esI ne eeonES 4 to put make in al a 'f hin s'af Coating Rns
on the interior. This Is Followed by. layer upon
when it is put aside so that it may harden thor;
oughly. The moulds have been previously coated
with a mixture Of lard. steariDe, and kero-
sene, so that there Is no adhesion. There are
always small seams showing the sections OF the
mould. and artists prefer generally to have
these seams left untoSched. The seams are re-
moved when it is requested by smoothing them
down with sandpaper. but there is always dan.
ger OF taking away more than is necessary and
spelling the modelling.
The shop where all these beautiful figures are
reproduced belongs to an old Italian and his
originals of all casts they make. Many Of these
originals they have seen In Florence, in Rome.
In Naples. Every few years one of the family
goes abroad to buy new models and-fOr the
models might easily have been ordered by mail
breathe the air OF Italy again. They say that
America is all right for business, but that one
does not really live outside of Italy.
There Is a decided difference in the salable
quality Of the casts. The Venus of Milo stands
at the head. The Winged Victory of Samothrace
comes next. Luca della RObbia ~reliefs. the
Unknown Woman" the DonatellO Laughing
Boy, Paderewski and the anatomical figure
sionally there Is n demand for reproduction OF
statues in this country, but such requests could
almost be counted on the fingers OF one. hand.
The fad for having casts made of ones own
hands, by the way, has not yet died out. Occa.
sionally some one wants a cast made OF the head
and shoulders. In casting the face a thin tube
or straw Is put into the mouth or nostrils so
that tho g patient" can breathe. or the mouth
Is left uncovered until the very last, when a
quantity OF plaster mixed with salt is put on.
This hardens instantly, and the whole thing can
be removed at once. There Is almost no de-
mand for death masks.