The Indianapolis journal., 1902-08-31
HOW TO MAKE A STATUE
TOOLS AND APPLIANCES USED BY
PRACTICAL sCULPTORs.
They Are simple and Any Ambitious
Boy May Provide Them for Him.
self-Mechanics of the Art.

funny pictures Of his teacher may hope TO
become a great sculptor. Nevertheless,
there are plenty Of brilliant examples Of
talent. displayed during childhood in just
such ways. which has attained the greatest
fame for its possessOr in advancing years.
Frederick Remington. whose pictures OF
American Indians and horses have made
his name familiar 10 every boy in this
country, used TO spend spare hours tracing
out images of horses with sharp stick in
the dirt Of his grandfather's back yard.
Paul Bartlett, famous American sculp-
tor, who lives in Paris, began his career
by modelling likenesses of his grandmother
in clay. one Of which is now regarded as
the best thing he ever did.
Consequently. if a boy or girl shows great
interest IN making Iikenesses of anything,
in clay or with pencil, or even penknife,
the question is worth investigating, and
with a little encoura cement. the talent. if II
be such. will soon develop. In any case,
children enjoy playing with clay just
they like to make mud pies and paper dolls.
Any boy can make scuIptor's outfit for
himself. and then il he wants TO amuse
himself attempting TO fashion busts of his
father and mother or little sister. there is
no harm done except to the feelings of his
models, who may object TO being carica-
tured.
To such boys and girls as are ambitious
70 become great sculptors, little advice
may not be unwelcome. and those who
have no such dreams may listen, too, and
go off and amuse themselves with the i'm
plements Of created art.
You must first build a framework for the
model Any carpenter will build it under
your directions but il is better to know
how 10 do it yourself. The base is to be
made of two slabs of half-inch pine about
a foot square. securely fastened together
TO the sides with two pieces Of wood each
an inch thick and four inches wide. In the
center Of this you will insert an upright
stick. nearly as long as your bust is high.
Near the top Of the upright you secure
cross piece, forming a cross. This is to be
a support for the shoulder. You will now
cover this skeleton work with clay until it
reaches about half the required thickness,
and let it stand over night to dry and
make a solid cone or foundation for the
artistic work OF the outside.
EXPLICIT INSTRUCTIONS.
Should you decide upon making a statu-
cite. your skeleton or framework would be
a little more complicated. For figure
two and one-half feet high you should pro-
cure a square iron bar about two feet long
and an inch thick. with three legs or braces
at the bottom containing screw holes. by
which the contrivance is fastened to a
wooden base Then take a piece of half
inch lead pipe and with copper wires fasten
1t to the end of the iron bar. leaving it long
enough to penetrate to the middle of the
head. This allows the position of the head
20 be changed as desired.
Now affix a wooden brace where the
shoulders are TO be. and another at the
widest part of the hips, and through holes
IN the upper braces arrange twisted copper
wire or lead pipe so that II will extend
through the arms. With similar attach
ments TO the lower braces for the legs and
one two extra pieces of wood wired on
10 help support the weight, you will be
ready TO begin modelling. The skeleton for
a large statue would be substantially the
same. but many more supports would be
needed, and they must be arranged with
considerable mechanical skill to support
the greatly increased weight.
n modelling stand is a necessary adjunct
at this stage OF the proceedings. This is
much like an ordinary Office stool with a
revolving seat. For large statue, a very
substantial revolving platform is needed
Have a zinc-lined box or pail IN which to
mix and soften your clay so that you can
work IL easily. Then do not forget that
your statue must not be allowed TO dry or
crack over night To provide against this,
have few old cloths, rubber, WOOL or
even cotton Wet these thoroughly and wet
your bust or statue when not at work on it,
and, even when you are working. sprinkle
IL now and then. so that your modelling will
be more facile. BY many sculptors a zinc
cover is considered better than cloths, but
any old rag well moistened will answer the
purpose a bowl OF water standing under
meath such a cover will keep the work
moist and In good condition for several
weeks.
An easel for reliefs-a common easel, but
higher than usual: modelling board. which
Is only a common board of any convenient
width. with Stats nailed across. a quarter
OF an inch apart, 10 keep the clay from
slipping; TO these supports add a few
modelling. tools. small and light. and the
outfit Is complete. IL is neither intricate
nor expensive. With these simple things
all the statues Of the world have been
modelled.
FINGERS ARE SUFFICIENT.
The modelling tools are very much accord
ing TO the fancy OF the workman. The best
modelling tools are the ten fingers. Some
times helps are needed. however. and FOR
this purpose there are ,ools made OF wire
or lockwood. Wire tools for sculptors can
be bought In any art furnishing store. but
the lockwood implements the sculptor usual
ly makes for himself.
Some sculptors provide themselves with a
modelling costume. This Is apt 20 be "a Ions
linen robe. reaching 10 the heels. TO protect
their clothes, and a smoking cap or any old
hat. Such sculptors as J. Scott Hartley. J.
q. A. Ward and others wear their old
clothes as they would II gardening. This is
not al all necessary. however. and there are
many sculptors who abjure the old clothes
idea entirely. William Clark Noble will
work all day dressed as he would for an
afternoon tea. and never soil his linen cuffs
lie holds 20 the idea that sculptor should
never be so dsrespectful 90 his art as q
appear before the masterpiece that he {.
creating in ungcutlemanly attire.
But after these preparations have beer
made you have your tools. framework fol
your bust or statue. and a lump OF clay
This IS all right far as II goes but yoI
will find that your mechanical knowledg,
g. of ~ uge fr, settfrf,tra sVft bout