448 SCULPTURE, 



made with teeth, to rake or scratch the clay, which is the first pro- 

 cess of the tool on the uork, and in which state many parts of the 

 model are frequently left by artists, to give an appearance of free, 

 dom and skill to their work. 



If clay could be made to preserve its original moisture, it would 

 undoubtedly be the fittest subtance for the models of the sculptor ; 

 but when it is placed either in the fire, or left to dry imperceptibly 

 in the air, its solid parts grow more compact, and the work shrinks, 

 or loses a part of its dimensions. This diminution in size would 

 be of no consequence, if it affected the whole work equally, so as 

 to preserve its proportions. But this is not always the case: for 

 the smaller parts of the figure drying sooner than the larger ; and 

 thus losing more of their dimensions in the same space of time, 

 than the latter do j the symmetry and proportions of the -work in. 

 evitably suffer. 



This inconvenience, however, is obviated by forming the model 

 first in clay, and moulding it in plaister of Paris before it begins to 

 dry, and the taking a plaister cast from that mould, and the re. 

 pairing it carefully from the original work ; by which means you 

 have the exact counterpart of the model in its most perfect state ; 

 and you have, besides, your clay at liberty for any other work. 



In order to model in wax, prepare the wax in the following man- 

 ner : to a pound of wax add half a pound of scammony (some mix 

 turpentine also), and melt the whole together with oil of olives; 

 putting more or less oil as you would have your modelling wax 

 harder or softer. Vermillion is sometimes mixed with this compo. 

 sition, to give it a reddish colour, in imitation of flesh. 



In modelling in wax, the artist sometimes uses his fingers, and 

 sometimes tools of the same sort as those described for modelling 

 in clay. It is at first more difficult to model in wax than in clay, 

 but practice will render it familiar and easy. 



Of the use of the model. Whatever considerable work is un. 

 dertaken by the sculptor, whether bas-relief, or statue, &c. it is al. 

 ways requisite to form a previous model, of the same size as the 

 intended work ; and the model being perfected, according to the 

 method before described, whether it is in clay, or in wax, or a cast 

 in plaister of Paris, becomes the rule, whereby the artist guides 

 himself in the conduct of his work, and the standard from which 

 he takes all its measurements. In order to regulate himself more 

 correctly by it, he puts over the head of the model an immoveable 



