264 National Geographic Magazine. 



a contour is frequently carried across a ravine, instead of follow- 

 ing it up, as it "wonld do if the map were on a larger scale. Such 

 generalizing is of course perfectly proper in a map, but, with the 

 same scale, we expect more detail in a model. The modeler must 

 have judgment enough and skill enough to read between the 

 lines, and to undo the generalizing of the topographer and 

 draughtsman, thus supplying the material omitted from the map. 

 This can be done without materially affecting the accuracy of 

 the model, considered even as a copy of the contoured map. 



The contours of card board or other material are, let me 

 repeat, only a means of control. The perfect modeler — a variety, 

 by the way, yet to be evolved — would be able to make an accu- 

 rate relief map without them, in the same way that other subjects 

 are made ; as, for example, a flower panel, an architectural orna- 

 ment, or any other subject in low relief, where the object sought 

 is artistic effect and great accuracy is not a desideratum. It is 

 the converse of this idea that has produced the numerous models 

 that one sees ; accurate enough, perhaps, but wholly expression- 

 less and absolutely without feeling. This is the great fault of 

 nearly all models made by building up the contours in wood and 

 then carving down the shoulders. It is then necessary to sand- 

 paper them, and what little character they might otherwise have 

 had is completely obliterated by the sand-paper. Such models 

 almost invariably look wooden. Let the modeler, then, have a clear 

 conception of his subject and not depend wholly on the contours, 

 and let him work out that conception in his model, " controlled " 

 and helped by the contours, but not bound by them ; the result- 

 ing model will thus be far more satisfactory and a far better rep- 

 resentation of his subject, in other words, it will be more life-like — 

 more nearly true to nature. 



The model, provided it be not of clay, is sometimes used in the 

 state in which it is left when finished. It is much more common, 

 however, to make a plaster mould, and from this a plaster cast. 

 For this purpose a moulder is usually called in ; but moulders as 

 a rule are ignorant men, accustomed to one line of work only, and 

 the result is not always satisfactory. It is much better for the 

 modeler himself to do this work, though to obtain good results 

 from plaster it is necessary to know the material thoroughly, and 

 this knowledge comes only from experience. The mould is gen- 

 erally made quite heavy, in order to stand the 'subsequent hard 

 treatment that it may receive, and should be retouched and thor- 



