Year: 1874

'hpN'~'''-''


scULPTURE-How STATUES ARE MADE-FoEMA-


TIoN OF THE SKETCH, THE MODEL, THE PLASTER


MOLD, AND FINAL FIGURE-QUAIIFICATIoNS OF


TIE SCULPTOR.


[FRoM AN OCCASIONAL CORRESPONDENT OF THE TRBUNEI


NEw-HAyEN, Nov 1S.-PrOf. Weir delivered
the third of his series OF art lectures this evening IN
the presence OF the usual largo audience He set out
with the statement that Socrates who was himself
sculptor, when he would inquire into any subject,
sought the practitioner teacher who was In some way
identified with 1t. and piled him with questions. We
cannot do better said Prof Weir, than follow his ex-
ample If we would inquire seriously into the merits and
aims OF art To the atelier therefore, should go
where surrounded by the implements Of his art find
the artist actually engaged in the practice of his calling
The studio of the artist is the amalgamaton OF the
study workshop Tue source and character OF the
motive in art is matter OF intellectual impulse; the
art In its me hods is OF practice. The head con-
ccivcs the hand executes As we proceed we shall see
how essential the arts, that he excel not alone in
comprehension OF lls WORK. out Is iache III us eAeeu
ti0n.


From the fact that sculpture ia less complex than
either architecture painting IL Is perhaps more
easily understood. Form IL the most positive element
in art, and most prominent in sculpture But We
must not infer the simplicity of this member OF
the arts Of design that 1t is of lower order than the
other two. Supreme excellence in whatever form 1t





frequently find Shakespeare Michael Angelo and Beet
hoven referred to as different exponents Of the same
great creative power. As remarked the peculiar means
through which in sculpture the artist seeks expression
is FORM II is proper therefore, that we have clear
idea OF what this term here. In the first place,
the form is almost exclusively employed, and
is this that 1 shall make special reference. The
ANALYSIS Of visual impressions of the forms OF objects
reduces them to outline and shadow the first gives ini-
pressions OF shape the second those of relief These
are the elements Of form Then again, with respect to
FORM there two distinctions which are OF import
ance to the arst-the science and the Of FORM
No artist is properly disciplined who negects either OF
these branches Of study. No amount OF scientific
knowledge OF form will avail in the absence OF the
artistic sense Of 1t; will q development of the
artistic sense, such thing possible avail in the
absence Of "a knowledge of anatomy. This knowledge
must be Of high order, and the faculty for its use
we'll disciplined to enable the sculptor to represent the
human form not only under ordinary action, but under
such would assume in such imaginary situations
do not admit of direct observation and study for
instance, the Laocoon group. Such work as this ind-
Gates precise knowledge of facts and in addition, OF an
Imagination which viv1es them, aud makes them sub
servien psychological knowledge OF higher kind


Let us now inquire into those means with which tho
sculptor is identified in the practice OF his art They
exceedingly simple The first step Is to make rude
sketch on paper which shall suggestion.
though 1t ia uncommon thing for those whose facu
ties well dlEcpl hold suggestion I'D
mind merely without the representation paper Tic
cuptor next prepares small MODEL OF the proposed
work, either In clay IN which he endeavOIs TO
express with decision the character and forms OF the
statue freely changing them his conception advances
and natures. Many sketches by the old masters with
which the public are becomi ng familiar through the au-
totype process OF reproduction exhibit IN very inter
estng these trials in the search after the highest
expression Of FORM Few things have greater interest
for the artist than these for they lay bare the process
9l tnongnt through wIch inc finished work mas passed
Next comes the skeleton, or support Tor the cay IN
which material the proposed statue is first modelled
This consists merely OF upright bar OF ron fitted into
arev0lVIng base upon which the clay rests Attached
to This upright bar are other supports, and pendant
wires with pieces % wood 10 support the drapery
the modelling clay generally OF gray Color freed from
gritty substance and moistened TO the proper consist
ency The figure Is built up from the base, roughly,
following The attitude and proportions OF the original
sketch This setting up OF the statue is generally
done by the scupt0rs assistants. Then when through
these means the work has been sufficiently advanced,
the sculptor himself takes 1t III hand. 1t is az this
part carefully studied from the life. The statue Is
modelled first nude and then clothed by running strips
OF clay over those parts where the folds of draDery
fhthest removed IRON the DOdy whore they follow the
form the contour of the limbs is carefully preserved
hut characterize ID draped by the texture gwen the
surface. The flesh Is often finished a stippling
brush. which gives soitness and peculiar sh-like APP
left By the modelling tool. When the days work is done
the clay is sprnkled with water to keep 1t moist.
work. L will remark here. III anticipation OF what l
have to further that in the composition OF the
model the sculptor strives 10 avoid ar as possible
any great extension OF portion OF the ure, aud con-
sders where II to be placed and OF wnat material II





The clay, then Is the intermediate between motive
and expression Ii Is plant yielding, capable OF re-
clay in the hands OF the potter" an old snile n n
precated 10y those who have witnessed the sculptor NJ
touch by which the skilled iuusicln nlodulates solnS
the sculptor gives expression 10 the character aud sub
teties OF FORM Few things fascinating 10 the
observer than to watch the clay form and octin
under the hand OF the sculptor The eye puzzled Dy
come pained part, when, through the adition -
slight detail II suddenly the character ~
lile BY thus following the artist In this work n i
hot " nt f.r,,
the behold ,r We soon learn TO sec Character ard ~
beauty where before mere substance 20 that in n
fragment can discern the highest excellence Moi
ern IDEAS and customs have succeeded in euppres.,n,
the OF form TO extent almost ruinois IA tb'
art. Drapery among the ancients, when used at III
employed not 10 conceal tue FORM but rather lend
IT additional grace or Charm. The lecturer here
intense the admiration OF the Greeks for pvsicai
beauty. The sculptor must now suggest rather than
express.


But let us imagine the sculptor having comnletaa
his statue In the clay. Inc JormaOre then covers it
with plaser0f paris, and makes wDat Is called vast
mold When The plaster Is suiheIent!y hard, the i'm.
pressicn Is carefully removed IN sections this rrn
cess the original model Is completely wrecked fact
which rise to remark of Michael Angelo thar The
clay represented e the plaster death, and the marble
sculptor returns 10 his labors win implements and
fresh observations awakened by this change and with
iDalet and chise gives that Hna finish which the work
demands His workmcn now take II and either repro
dnce II in marble convey 1t TO the fOundery II The
clu1ed IL 1t is TO be reproduced in marble he has s
put the finishing touches when the statue returns





Certain characteristics OF the scuptOr's art rnaL. a.
particularly attractive. His studio becomes popaiataa
with his work. Tor tue original models are retained by
bim, thus giving hun advantage over the nsin,oy
whose works not duplicated. There Is an endnrau,
also about his art which Is impressive. While The
painters Greece exist but in tradition her


1--we eyes. The powers Of the orator and actor die
with them OF the painter may survive thonsand
years. but sculpture endures throughout the agos Tnc
sculptor also treat his work completely can
walk around 10 and perfect IL nature does And ,ya
will 40 lbis WILL AS In the statues Of the Pedinent
OF the Parthenon, work as lovingly on those portions
f.a nm flnGat m via
was a noble OF Phidias 10 those who inoureS
why he labored SO earnestly on these concealed parts
" Tae Gods them and they must be satisfied Thi.
plicity in subject Desirable. single figure s prefer
able TO a group. and bgure In repose to one more
picturesque.


In cOnclusion fey words on the educatlcn OF tho