SCULPTURE. 529 



genius, and inventive power, are mostly displayed ; as the remaining 

 process of transferring it to the stone, or making a cast from it, is 

 chiefly mechanical. When a clay model is undertaken, if the pro- 

 posed figure be large, a frame of wood or iron is erected, to give it 

 support and strength. Upon this frame, the tempered clay is distri- 

 buted, and shaped with tools of wood or ivory, until it has taken the 

 form required. The clay hardens in drying; and if the figure be 

 small enough, it may be rendered firm and permanent by burning or 

 baking it, like pottery. 



Modelling in wax, is executed in a similar manner ; only requiring 

 that the wax should be softened, by a gentle heat, in order 10 give it 

 plasticity, and tenacity. The wax figures, often carried about for 

 exhibition, are made of a light frame covered with beeswax; which, 

 for delicate work, is bleached, and then colored with different pig- 

 ments, in the same manner as for making wax flowers. Wax figures 

 are very perishable, being easily soiled by dust, and deformed or 

 melted by heat ; and hence they are for the most part, rudely made, 

 and of little value. The great principles to be observed in modelling, 

 are, the choice of a suitable subject ; of a suitable attitude and cos- 

 tume ; the observance of harmony and proportion of the parts ; of 

 unity, ease, and boldness in the design : and of delicacy and freedom 

 in the execution : the final object being to produce some striking 

 expression, or decided effect. 



2. Carving, or sculpturing, is most frequently executed in white 

 marble ; but statues of alabaster, serpentine, porphyry, freestone, and 

 granite, are sometimes executed ; and such are found occasionally 

 among the remains of antiquity. Ivory is sometimes used for small 

 objects, or parts of large ones ; and wood was used by the earlier 

 artists of Greece, before the introduction of marble. The material 

 being provided, the sculptor begins by cutting with the chisel and 

 hammer, until he establishes a point in the block, corresponding to 

 some prominent point in the model. From this, he measures the 

 exact distance and position of another prominent point, working deli- 

 cately as he approaches it, to avoid cutting in too far. Proceeding in 

 this manner, he knows where he may cut deeply, and rapidly ; and 

 the nearer he approaches the intended surface, the more frequent and 

 cautious are his measurements. 



Instruments have been contrived, to facilitate these measurements ; 

 such as compasses with three or more feet, to be applied first to the 

 marked points of the model, and then to the corresponding points of 

 the work ; or a frame, with moveable arms sliding horizontally and 

 vertically, fitted to the model, and another frame precisely simi- 

 lar, fitted to the block, to which the measurements are thus trans- 

 ferred. When a sufficient number of points is thus established, the 

 surface between them is rounded and shaped by the judgment and 

 skill of the artist. Occasionally, saws, and drills, or other per- 

 forating tools are employed ; and the surface may be rubbed down 

 with files, or sand paper, and polished with pumice stone, or putty 

 of tin : but the ancient sculptors appear to have relied chiefly on the 

 chisel, and to have finished many of their finest works with this tool 

 alone. 



67 2 Y 



