713 



MODELS, ARCHITECTURAL. 



MODULATION. 



714 



While the modeller is at work, and the figure is exposed, especially 

 iu warm weather, he should repeatedly sprinkle it with water. A 

 plasterer's brush is the best instrument for this purpose, and much 

 superior to a syringe or the mouth, which some sculptors formerly 

 used to apply as a squirt, even in the presence of their sitter, when 

 modelling a bust : Nollekens, according to his biographer Smith, 

 adopted this elegant mode of keeping his clay moist while modelling 

 the bust of George III., and in the king's presence. Bacon, on a 

 similar occasion, used a silver syringe. At night time, or when the 

 artist is not at work on the model, it should be covered over with a 

 wet cloth or sheet. A figure may be kept moist for a long period 

 without adding water, provided the air be kept away from it ; this 

 may be done by an oil-silk or any air-proof bag, which can be made 

 fast to the plinth of the banker by clay. Sculptors generally model 

 flowing draperies from lay-figures. When the model is complete, the 

 next process is to take the cast, to work the marble from, or to make 

 other casts from. The whole model, while wet, must be covered, in 

 two or three masses, or more if necessary, with plaster of Paris ; when 

 this is fixed and dry, the whole may be separated at the joints, with 

 out any regard to the preservation of the model, for when the mould 

 is taken the model is no longer of any value. When the clay is com- 

 pletely removed from the mould, the component parts of the mould 

 must be again put together, and iu the place of the original clay it 

 must be filled with plaster of Paris, and when the cast is well set, the 

 mould may be carefully broken off iu fragments, and the cast is ex- 

 posed, and complete, the finished work. If casts of it are required, 

 a new working mould, or safe mnvld, as it is termed, must be taken, 

 in many parts. If the figure is to be executed in marble, it is copied 

 by the carvers, with the assistance of the pointing-machine, which is 

 so contrived that it can diminish or increase the scale of the model 

 with perfect ease and nicety. It is always best to make the model of 

 the size of the intended figure if practicable, because any error in a 

 small model becomes multiplied in a larger one in proportion to the 

 difference of size. Flaxman was in the habit of making small models, 

 and he had in consequence sometimes immense labour to go through 

 to diminish errors in the full-sized marble work : it is hardly possible 

 to completely rectify them. 



The ancient sculptors used to bake their models, but this is not so 

 ;;ood a plan as making plaster casts from them, though less trouble- 

 ;md much cheaper : the clay in drying shrinks, and is .apt to 

 crack, and certainly never comes out of the oven the same shape that 

 it was when put into it, or at least when originally modelled. These 

 baked models are called terra-cotta (baked earth) figures, are extremely 

 numerous, and are generally of small dimensions, but there are a few 

 of a large size in various European museums. The ancients made also 

 moulds uf cUy, which they likewise baked, and they formed their casts 

 by pressure of clay into these : this practice of pressing clay, or any 

 malleable substance, into a mould is still occasionally had recourse to 

 iu works of fine art, and constantly in the potteries, and by frame- 

 uiakers. 



The ancients used also wax for casting and in forming their modeln, 

 especially those of the small bronzes, which are still so exceedingly 

 numerous, and it is the common material used by goldsmiths and 

 medalists. Modelling wax is prepared by melting virgin wax with a 

 very small quantity of Venice turpentine and flake-white in fine 

 powder : if coloured wax is required, a colour in fine powder must be 

 substituted for the flake-white. The tools used in modelling in wax 

 aru made of wood and ivory, and have the same shapes as those of 

 wood, already spoken of, for modelling in clay. Other processes in the 

 art of sculpture will be found explained in the articles BUOXZK : 

 faatmao; s< IM-TURK; and WAX MODELI.IXG. 



MODELS, ARCHITECTURAL. Besides the usual delineations 

 upon paper showing the plans and different parts of a building, and 

 their details in elevations, sections, and working drawings [DESKIN; 

 Am iiiTKi TI KK], a solid representation or miniature facsimile of the 

 proposed edifice is sometimes formed, in order to give a more distinct 

 idea of it than can be obtained from a number of separate drawings by 

 those who are unable to comprehend them perfectly, and combine them 

 mentally, so as to figure to themselves a complete and distinct image 

 of the whole. Models of this kind are variously executed, and more or 

 lean finished up, as may be required. Sometimes they are of wood, 

 either coloured or not ; and if economy is studied, the capitals of the 

 columns, the cornices, and all other decorative parts, are merely blocked 

 out in the rough, the mouldings and ornaments being omitted. But 

 the material now more generally used is plaster of Paris, because 

 columns and other parts that require much carving may be cast iu 

 moulds, and afterwards finished up with comparatively very little trouble 

 or expense. Another material employed for making architectural 

 mo<l.:ls in card-board, applied in surfaces of various thicknesses ; and 

 although it seems fitted only for very plain buildings, it is capable of 

 being wrought so as to express even the minute and elaborate tracery 

 and other ornaments in Gothic architecture : models thus formed are 

 lew beautiful than those of plaster, but they are less susceptible of 

 injury, and may be more easily coloured to represent the different 

 materials stone, brick, wood-work, slate, &c. They are however more 

 expensive, being attended with much greater labour, and requiring to 

 be built up, as it were, like the edifice itself. 



Models arc by no means so generally made unc of as they ought to 



be, on account of their expensiveness ; but when a building of great 

 magnitude is to be erected, the cost of a model, although it may be 

 considerable iu itself, becomes a mere trifle in the sum-total. Where 

 merely the fa9ade of a building will be exposed to view, a model may 

 be dispensed with, as a simple elevation will answer the purpose 

 quite as well. But for one that is insulated, or is at all complex, a 

 model becomes desirable : the same again if a facade is composed of 

 many parts or surfaces, some projecting, others retiring, the elfect of 

 which cannot else always be so distinctly foreseen as it ought to be, 

 except perspective drawings be made of it from several different 

 distances and points of view. For showing the internal parts of a 

 building, models are of comparatively little use. 



Portrait models of celebrated edifices are frequently introduced iu 

 libraries and galleries, either as restorations of the original structures, 

 or as showing them as dilapidated by time. For those of the last- 

 mentioned kind, cork is the material usually made use of, it being well 

 calculated to express of itself the ruggeduess aud flaws of decayed 

 stone buildings. 



MODES, Ecclesiastical (Tuoni Ecclesiastic!), or Tunes of tlie Church. 

 In what is called the Gregorian Chant there are eight modes or tones 

 four Authentic and four Pla^al. [AUTHENTIC ; PLAGAL.] The 

 Authentic modes are the Dorian, Phrygian, Lydian, and Mixo-Lydian 

 of the ancients, which correspond, according to Dr Barney, to D and 

 A minor, c and D major, of the moderns. These were chosen by St. 

 Ambrose, about the year 370, for the church of Milan. The Plagal 

 modes are the Hypo-Dorian, Hypo-Phrygian, Hypo-Lydian. and Hypo- 

 mixo- Lydian, corresponding to o and A miuor, F and o major, and were 

 added by St. Gregory about 280 years after the adoption of the former. 

 It must be observed, that the Gregorian Chant has its dominant, but 

 takes this name from being the note most .often heard : hence it is 

 frequently mentioned in the Gregorian schools as the key-note. 



MODILLION (Architecture ),an ornamental member in the Corinthian 

 cornice, resembling a small bracket placed horizontally, that is, with its 

 back against the soffit of the part it supports, in which respect it 

 differs from the console, which is placed upright, with its back against 

 the vertical face of the part to which it is attached, aud with its larger 

 or convex end uppermost, whereas the larger end of the modilliou is 

 placed backwards, and its smaller one in front. Yet though they thus 

 far differ both as to the mode aud the purpose of applying them, aud 

 also as to their details, in general form the modilliou and the cousolc 

 closely resemble each other, the face being composed of a curve of con- 

 trary flexure. Modillions are placed beneath the corona of the cornice, 

 and although sometimes omitted out of parsimony, are indispensable 

 to the character of the order, being quite as much distinguishing marks 

 of its entablature as mutules are in the Doric and dentils in the Ionic 

 cornice. [See the cuts in the article COLUMN, cols. 47 and 52.) 



MODULATION, in Music, is a changing of the key, or 'mode, 

 during the progress of a composition. The word is derived from the 

 Latin verb modular, to compose or ling in measure, melody of. some sort 

 being inferred. 



Though it is not quite clear what the ancients meant by the term 

 Hiia/tilnlio, yet the presumption is that they signified by it the rise and 

 fall of the voice (accentus) and the measure of the syllables in recitation 

 and declamation, altogether amounting to a kind of Hinging ; and this 

 we are inclined to think was the boundary, or nearly so, of their 

 proficiency, and what they chiefly aimed at, in the vocal art. 



In modern music, Modulation is a most important element, aud in 

 proportion to its importance should be the manner of treating it here ; 

 but limited as we are in space, we jnust be confined to some general 

 remarks, illustrating these by a few brief examples. 



Modulation may be divided into .Simple, Chromatic (or extraneous), 

 and Enharmonic. Simple Modulation is a change from a given key to 

 another nearly related to it, namely, its fifth, fourth, relative minor, 

 or relative minor to its fifth ; and this modulation, not to be abrupt, is 

 effected by at least one intermediate chord, which must belong to the 

 harmony of the key into which it is intended to pass. Examples in 

 four parts : 



C to O. . C to F. 



ELJ=EBiS 5 1_ --=E_| 



The close resemblance of the scales of o, r, A minor, and E minor, to 

 the scale of c, renders the modulation easy and natural ; hence we 

 have termed it simple. And it must now bo observed, that the natural 



