The Hawaiian star. [volume] (Honolulu [Oahu]) 1893-1912, 1912-06-29

built a rough framework OF wood and
canvas and on this the sculptor piles
his clay, using, sometimes, tons of it.
The statue OF the Whaleman required
G0o0 pounds of clay. The details in
the clay are worked out with the
fingers and few small tools, such
as trowels and knives All the time
however, the clay is kept moist so
that it will cling together or that
slight changes may be made from
time to time.
When the model is completed it IS
given a coating of sweet oil and then
casts of plaster of paris are taken
from it, just as from the living model.
From these casts, which are really
moulds, are made other casts and then
the sculptor has, in sections, a replica
of his model. These replicas are then
ready for the bronze worker.
There are two distinct methods II
making ~ SITS, one by the cire perdue,
or lost wax, vstem and the other by
sand moulding. The former method
is most generally mployed and is the
most interesting. The plaster model
or replica is sent to the :pundryman
upon whose shoulders falls 10 most
oil Mt Af hn he -
of the casts, or moulds. These casts
are made in pieces. or sections, for
the convenience of handling. FIJI
the model is treated to coat o..
shellac and then to oil. From this
model another cast is taken, Just as
the east was taken from the clay by
the artist and this cast constitutes the
first step in the making of the final
mould. The mould is then coated
with wax to the depth which will cor
respond with the thickness of II
metal, an eighth, a quarter or
an inch thick, as the case may be-
When the wax has hardened it is
backed up with special cement an,
then the plaster is removed Thi
then gives replica of the statue Il
wax. The wax is carefully retouctet
and then over it is put another Goa
ing of cement
The section is then placed in an
oven and baked. This baking while
it hardens the cement melts the wal
and leaves a space between the tv
inner faces of the cement. Into Il
die is then poured the molten bron
OF course here and there are yer
for the air to escape as the met
works it's way through and when
pouring is completed and the met
has chilled, the cement is brok,
away and the statue is complete.
For large statues, groups. etc, N
casts are made in sections and thes
sections are then bolted or riveted to
gether, the seams being fooled of
Sometimes it is necessary to do som
hand work on the statues, but N
more skillful moulders do not fint
this necessary
The sand moulding system is pretu
much like that employed in maxim
cast iron work, the only diferenc
being that the work is done wit
finer grades of sand and with niue
more care. In this class OF worl
however, 1t is possible for more tb'
one cast to be made from the MOI
whereas in the cire perdue systt
but one cast is possible, unless a n
wax treatment is given.
One of the features of making
statue is that II must be made TO
respond with the height at which
is to be viewed. There will be a n
terial difference between statue Il
is to be placed upon the ground al
one that is to be placed on the TOP
tall pedestal. The difference
what is known as perspective. II
statue intended for the top OF a n
shaft were to be set upon the groua
j, or viewed from it's own level It won
l. appear as though faulty in desl
the proper view point being from
2 low and the same holds true Of
y statue destined to stand on the groul
or at a slight elevation. '