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T. S. DENISON, Publisher, Chicago, Ill.
The New York Sun on April 11, 1896, said of
HARPER'S
PERIODICALS
They are handsome and delightful all, and are as friends that one is glad to see. They please the eye; the artistic sense is gratified by them; they overflow with varied material for the reader. They educate and entertain. They are the well-known and well-liked literary and artistic chronicles of the time. They are a credit to their publishers and to the discernment of the public that approves them. May they continue to be as admirable as they have been and as they are. Better could hardly be wished for them.
FOR SALE EVERYWHERE.
This Department is conducted in the interest of Bicyclers, and the Editor will be pleased to answer any question on the subject. Our maps and tours contain many valuable data kindly supplied from the official maps and road-books of the League of American Wheelmen. Recognizing the value of the work being done by the L.A.W., the Editor will be pleased to furnish subscribers with membership blanks and information so far as possible.
There are so many questions constantly being sent in to us, asking how to get out of New York on a wheel, that, in spite of the fact of maps already published showing the exits from New York, it seems advisable to give, in brief form, a description of the two or three roads which are at all rideable.
There are but three ways to go northward. One runs from 59th Street and Central Park to 110th Street, thence out Seventh Avenue to 116th Street. Here, turning left into St. Nicholas Avenue, it continues to Tenth Avenue, thence crossing the cable and running to Kingsbridge Road. In time we shall be able to run out direct to Kingsbridge over the new bridge, down the long hill beyond 181st Street, but for some time this road has been in a state of construction and repair that was enough to give bicyclers nervous prostration. It has been advisable, therefore, to cross at 181st Street on Washington Bridge, thence following Featherbed Lane to Macomb's Dam Road, to Fordham Landing Road, to Sedgwick Avenue, to Bailey Avenue, to Kingsbridge, and thence out of the city along the Hudson to Yonkers. This is the main road up the Hudson on all routes, long or short. It is the best road from the start, and for many reasons the wheelman is advised to take it even when he is bound southward and eastward. A mile or more on a bicycle is nothing compared to the difficulties of getting over a bad road, and any rider will prefer five good miles to one very bad one. A map of this route is published in Harper's Round Table, No. 810.
This is what renders the other two routes out of New York undesirable as compared with what the Kingsbridge will be when it is completed. The second in order of importance as good road is that which leaves 59th Street and runs through the Park to Seventh Avenue, thence proceeds to the new 155th Street bridge. Cross this and run out Jerome Avenue, through Morrisania to Jerome Park, along the old aqueduct for a bit, thence through South Yonkers, Bronxville, Tuckahoe, to White Plains. The road here is not good in any part. The Avenue is badly macadamized, and here, as elsewhere in this part of New York, the road-bed is torn up with repairs, and new plans and works for the system of roads which some day, when we are all dead and wheeling has gone out of fashion, will make the northern exits of New York the finest in the world. However, this is the road to take if you are bound up the valley or series of valleys lying between the Hudson River ridges and the western ridges of Westchester. Certain routes out this way are rideable. The others are not to be thought of under any circumstances if pleasure is the object in view.
The third exit is further to the east, and runs from 59th Street, as follows: Leave Central Park and run into Fifth Avenue from the Park at the exit where the asphalt begins on the avenue; thence run out to 120th Street, turning west to Morris Avenue, to 124th Street; then, turning back, eastward to Fifth Avenue, to 135th Street, and thence to Madison Avenue, crossing the bridge. After crossing, turn left to Mott Avenue. From this point the run to White Plains is pretty bad work, being over hilly, rough roads, with nothing of interest at hand for the eye to rest on. The route is to 162d Street; thence east and south to 161st Street, turning left into Washington Avenue, to Third Avenue, to Fordham Railroad station, at the left a few blocks on. Crossing the bridge here, turn right into Webster Avenue and run direct to Williamsbridge.
[BUILDING A STATUE.]
Modelling the clay for a statue is one of the most fascinating, interesting, and, at the same time, instructive sights. From the moment the preliminary frame-work is constructed to the final delicate finishing-touches of the sculptor, the work progresses through many stages. It is seldom that we think of the time and labor spent on such works of art.
The sculptor who undertakes a commission to model, let us say, an equestrian statue of colossal size, to be erected in commemoration of some great General, finds a long task before him. In the first place, he reads up the General's life, obtains all the information possible of his characteristics, habits, etc. Then he procures all the photographs of him that he can, and after careful study of them he works up a number of pencil sketches, until he strikes a typical pose that he hopes will be satisfactory. Then comes the production of the miniature model. This he deftly works into shape with clay or wax. Oftentimes these small models are carried to a nearly perfected stage, and it is in these that the genius of the sculptor asserts itself.
From the lump of clay which his fingers have flattened, trimmed, rounded off, the little model issues forth as a nucleus, from which its gigantic brother is to come. With the proportions laid out in the small one, the sculptor sketches his iron frame-work for the full-size model. On a platform of heavy beams he constructs this frame-work, which, when complete, has an anatomical look about it; but it would be a difficult matter to find in the seemingly crazy arrangement of twisted iron and the wire ropes, with blocks of wood tied on them, anything resembling anatomy.
The skeleton frame has to be exceedingly strong; for should any part give way later with the weight of the damp clay, it would doubtless involve the beginning of the work all over again. With the frame complete and tested as to its strength, the clay is built up around it, careful attention being given to each minute detail, especially to the anatomical ones. From the beginning, in the use of the clay, it is essential to keep it damp, and all through the construction water is applied through a hose-pipe with a sprinkler attached. This wetting-down is extremely important, for should the clay get dry, it would crumble like dirt, or crack, thus ruining the work.
The figure of the General is modelled nude, and brought to a high finish. A live model is employed for the purpose, and he poses astride a dummy horse in the position the sketch and miniature model call for. After the figure is finished, even to the curve of each muscle, equipments are put on the dummy horse, and the model dresses himself in the General's costume and again takes the pose. The sculptor then proceeds to dress the General and his horse. With his many different tools he slowly shapes the clothing in the new clay that he has ruthlessly slapped on the exquisite modelling underneath. Bit by bit the various garments assume form and develop under the ready hand of the master, every little fold or crease being carefully worked up. The likeness is the most important part, however, and great attention is paid to the face. In this it is necessary to combine so many things besides likeness that the task is at times almost discouraging.
Months have been required to accomplish the work, and all through it the sculptor has been studying the history of his subject, reviewing his results, altering them to suit his tastes, until finally he lays down his tools and calls his work finished. Plaster casts are then taken of the model, and from these the bronze casting is made.
If a marble statue is ordered, the sculptor sometimes prefers to model on a small scale and then to put his model in the hands of skilful cutters in marble, who carry the work as far as they can judiciously, when it is again taken up by the sculptor, who finishes it, putting in the lines that proclaim his genius and commend it to the world as a work of art. When this is done, the small original model must be finished up to the highest point of the sculptor's ability. Usually, the first modelling is done in the clay, life size, as this allows of alterations that may suggest themselves during the advancement of the work.
Hubert Earl.
Any questions in regard to photograph matters will be willingly answered by the Editor of this column, and we should be glad to hear from any of our club who can make helpful suggestions.