[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.