Of the manner of making Models in Wax and in Clay; how they are draped, and how they are afterwards enlarged in proportion in the Marble; how Marbles are worked with the point and the toothed tool, and are rubbed with pumice stone and polished till they are perfect.
§ 41. The small Sketch-Model in Wax or Clay.
Sculptors, when they wish to work a figure in marble, are accustomed to make what is called a model for it in clay or wax or plaster; that is, a pattern, about a foot high, more or less, according as is found convenient, because they can exhibit in it the attitude and proportion of the figure that they wish to make, endeavouring to adapt themselves to the height and breadth of the stone quarried for their statue.
§ 42. The Preparation of Wax.
In order to show how wax is modelled, let us first speak of the working of wax and not of clay. To render it softer a little animal fat and turpentine and black pitch are put into the wax, and of these ingredients it is the fat that makes it more supple; the turpentine adds tenacity, and the pitch gives it the black colour and a certain consistency, so that after it has been worked and left to stand it becomes hard. And he who would wish to make wax of another colour, may easily do so by putting into it red earth, or vermilion or red lead; he will thus make it of a yellowish red or some such shade; if he add verdigris, green, and so on with the other colours. But it is well to notice that the colours should be ground into powder and sifted, and in this state afterwards mixed with the wax made as liquid as possible. The wax is also made white for small things, medals, portraits, minute scenes and other objects of bas-relief. And this is done by mixing powdered white lead with the white wax as explained above.
§ 43. Polychrome Wax Effigies.[[156]]
Nor shall I conceal that modern artists have discovered the method of working in wax of all sorts of colours, so that in taking portraits from the life in half relief, they make the flesh tints, the hair, the clothes and all the other details so life-like that to these figures there lacks nothing, as it were, but the spirit and the power of speech.
§ 44. The Manipulation of Wax over an Armature.
But to return to the manner of preparing the wax; when the mixture has been melted and allowed to go cold, it is made into sticks or rolls. These from the warmth of the hands become, in the working, like dough and are suitable for modelling a figure that is seated or erect or as you please. To make the figure support itself, it may have underneath the wax an armature either of wood, or of iron wires according to the pleasure of the artist; or this can be omitted if it suit him better. Little by little, always adding material, with judgement and manipulation, the artist impresses the wax by means of tools made of bone, iron, or wood, and again putting on more he alters and refines till with the fingers the utmost finish is given to the model.