Evening journal., 1898-02-16
HOW A STATUE IS Mao.
Elaborate Process In aIodelInE Whici
Must DC Undertaken.

T.
Must DC Undertaken.
There used 10 be an old-fashioncd
hoke about Powers, the sculptor, being
the meanest man on earth, because he
had "chiseled a poor Greek Slave out
OF a marble" AS a matter Of fact, he
did nothing of the kind. Some expert
marble cutter probably did the chisel-
ing, while Powers superintended and
hdded the finishing touches. At least
that is the way most sculptors do.
Their difficulties are over before the
marble part is reached. Their hard
work comes in earlier.
When sculptor has an idea for a
statue he first manipulates a small
Rough figure from clay or wax. This
Is his Sketch" precisely like a paint
er's first jottngs, to be afterwards
elaborated. When the little sketch has
been worked over to his satisfaction
and he decides that it is worthy of an
enlarged version, the first thing he does
lis to build a sort of skeleton-"arma-
ture" is the technical term-out of iron
ioints. Then he bars this in places
with wood. Then he fastens TO it nu-
merous short wires with fat bits Of
wood hanging from them, like the bobs
of kite. Technically, again, the name
for these is butterflies" Then he be-
gins putting clay all over his skeleton
with his hands, the butterflies" form
ing so many tiny edges or shelves to
support the clay. BY the time the ar
mature is completely hidden the mass
| has assumed in a blocklike way the
! general form he means his figure to
take. Now is the time to hire model
and begin the actual careful copying
from nature. Day by day and week by
week, under his skilled touch, the bulk
is shaped and refined into the likeness
of human being, idealized far beyond
the poor, imperfect living creature be-
fore him.
Every statue, Bacchante or saint,
warrior or clergyman, is first modelled
nude. When the form is as perfect as
The artist can make Il he dresses q lay
| Figure in uniform or parsons gown, or
classic toga. For clinging transparent
drapery wet cheesecloth is sometimes
used. If rich and solid folds are de-
sired canton flannel or some wooden
material is arranged upon the lay fig
Hre. When this has been faithfully re-
produced, when the nymph or the god
dess stands complete, in light floating
robes. the time has come 10 make q cast,
, for the clay cannot be long preserved
, Even while working on it the sculptor
2 has to keep it constantly sprayed with
water or covered with wet cloths to
keep it from cracking apart under his
hands.
To make a piece mold or matrix the
clay statue is simply covered with wet
. | plaster, which when removed dry /.
naturally concaye wherever the statu,
was convex. To facilitate remova
strings are laid about the clay, or mar
row strips of tin set into it upon edge
: | These separate the plaster coating Sc
I. that il can be taken off in sections
The sections are stuck together will
q wet plaster and the joining part
! | smoothed over. From this matrix a
many casts as desired can be taken b,
il pouring wet plaster in and taking
n out when dry. If the statue is larg
it is made over iron rods. and fiber
d, are mixed in the plaster. A bronz
l. figure is cast on the same general prir
ciples as a plaster one, except that tn
e matrix is of fine, adhesive, closely
packed sand. Into this the molte
meta is poured to cool. A statue
h i'put into marble" by an elaborate me
> chanical system of measuring, pointin
off and drilling, until the proportion
/ Of the figure are obtained, after whic
+ the work is executed by hand with tn
greatest care and sldll.-Cincinnat
d, Commercial Tribune.