Fig. 58
The second essay might follow the lines of the statuette here illustrated for the three-piece mould.
A decorative treatment, giving stiff lines and a simple silhouette, is chosen. The hands are concealed, and the face, the only flesh showing, clearly cut out by the costume. The section shows the comparative depth of the folds in the drapery. Three pieces only were used for the mould, indicated by the illustration. (Fig. 63.)
In moulding from plaster or biscuit the model must be absolutely non-absorbent and should be carefully treated with shellac, beeswax dissolved in turpentine, or parting. Beeswax is best for fine work and should be applied very thinly and repeatedly. Clay originals need no preliminary treatment, if the clay is still plastic.
Fig. 59
The divisions of the mould being decided upon, plastic clay is rolled out thin, cut into strips, and built round the section, as shown in the illustrations. (Figs. 60 and 61.) The exposed figure within the clay walls is then very slightly filmed with olive oil. The plaster is then mixed and thrown on or poured. The walls should stand out at right angles to the circumference of the figure or so nearly as the exigencies of the figure permit. They should be
buttressed where needing support, and be deep enough to give a good thickness to the mould. When the plaster sets, they may be removed, and when quite hard, the plaster itself detached. This comes away quite readily from the clay, but is apt to hold on plaster or biscuit. A little water dropped from a clean sponge onto the cleaving line will often release the two parts.
Fig. 60