SCULPTURE. 



node], by trying it with a perpendicular line, er fome other 

 fixed point, both in the marble and the model. 



The moderns perform this ©peration in another manner. 

 After, by taking rough meafurts, they have found that the 

 block of marble is fufficient to make the ftatue equal m fize 

 with the model, they then fix it on a bafement of Itone, or 

 a ilrong wooden bench, called a banker ; in the front of 

 which is a long ilrip of marble, divided into feet and inches. 

 A ftrip of marble, divided exaftly in the fame manner, is 

 placed in front below the model ; and a wooden perpendicular 

 rule, the height of the whole work, which is capable of 

 being moved from the Itrip of marble or fcale under the 

 model, to the drip of marble or fcale under the marble, at 

 the workman's pleafure. This inftrument being firfl placed 

 upon the fcale of the model, and the exaft diflance being 

 taken, from its perpendicular, we will fay, to the point at 

 the end of the nofe of the model, and the perpendicular rule 

 being transferred to that fcale on which the marble is 

 placed ; the workman cuts away the marble from the per- 

 pendicular rule at the fame height, till he has arrived at 

 nearly the fame depth that thepoint of the model's nofe 

 was from the rule ; and by this means, he finds the point 

 of the nofe exaftly where it fhould be in the marble. He 

 proceeds in the fame manner with all the other parts of the 

 figure ; for example, the top of the liead, the chin, the 

 flioulder, and every other part of the body and limbs ; 

 until, by cutting down the marble at the fame height and 

 depth from the perpendicular line of the rule that he defires 

 to transfer from the model to the marble, he finds a cor- 

 refponding point to that he has taken from the model ; and 

 fo goes on until he has obtained the general proportions of 

 the whole work. 



When this is done, the fculptor proceeds to work over 

 his ftatue with a flat-ended fteel tool, called a chilFel, whofe 

 fquare end is about five-eighths of an inch broad. In the 

 naked parts of the ftatue, and wherever there is a flat fur- 

 face, he proceeds in this manner : for inftance, we will fay, 

 upon the breaft of the figure, he cuts away the rough furface 

 from a given point in a ftraight line, to another given point 

 at fome diftance ; he then cuts away the furface from one 

 given point to another, exadlly parallel to the courfe his 

 chiflel went before ; he then cuts the marble in a line at right 

 angles with the former direftion of his chiflel. He continues 

 to work over the furface in the fame manner, continuing to 

 cut it away in lines parallel to each other, leaving the fpace 

 of about one-eighth of an inch between each courfe of his 

 chiflel : he afterwards cuts away the remaining rough fur- 

 face of one-eighth of an inch between each two courfes of 

 his chiflel ; thus obtaining a beautiful flat furface to his 

 work, which can be done by no other means, and may be 

 afterwards varied with the curvatures and indentures of 

 lefTer parts at his pleafure. 



This method of cutting the ftone is followed, as much as 

 poflible, in all parts of the work ; that is, as much as all 

 the varieties of outline and hollows will permit. 



When hollows are fo deep or intricate, that they cannot 

 be cut out with fmall chiflels ftruck by the hammer, drills 

 of different kinds are ufed to produce the rough hollows, 

 which are afterwards finiflied with the hammer and chiflel, 

 or by long tools fixed in wooden handles, ufed by the hand 

 only, without the hammer. 



A particular dexterity is requifite in produeing the dif- 

 ferent charafters of the hair vi'ith the chiflel, to make it look 

 light and foft, whether curled, crifped, or plain ; and this 

 may be done by the hand of the praftifed fculptor, with 

 nearly the fame effeft as it can be by the painter, in laying 

 »n his colours with the pencil. 



The finifliing of flelh in imitation of the fulnefs of mufcle; 

 the apparent phability of the fofter parts, the greater or 

 lefler durability of tendon and bone, may alfo be reprefented ^ 

 on marble nearly to deception : but then the fculptor mutt ^ 

 be well acquainted with the ftrutlure and appearance of the 

 parts he reprefents, and accurate in copying the objeft of 

 his imitation. To inform the mafs with life and fentiment, 

 whether it be of marble, bronze, wood, ivory, clay, or 

 wax, is the very end and purpofe of imitative art. 



The laft finilh of marble, in the modern praftice of fculp- 

 ture, is performed by the ufe of rafps, and afterwards of files. 

 The beit rafps for fculpture are thofe made in Italy : the teetli 

 of thele rafps being cut more fharply than thofe made in 

 England, at the fame time that the ends of thefe rafps and 

 files are capable of being bent in any form, according to the 

 ufe for which they are to be employed. 



When a piece of fculpture is required to have an ex- 

 ceeding fmooth furface, the pumice-ftone is ufed after the 

 file ; and fometimes the whole furface is rubbed or ground 

 carefully over with fmall pieces of grit-ftone, accommodated 

 to the various forms of the furface, as to fl'at fpaces, rounds, 

 and hollows of different depths. But the hair, in all cafes, 

 muft be finiflied with the tool ; and for this purpofe, the 

 edge of the tool muft be fliarpened with great accuracy and 

 acutencfs ; and if it is required that the work fliould be 

 very highly finiflied, the lait edge of the tool muft be given 

 by an oiled Tiirkey-ftone. 



Chiflels may be fliarpened, for the diff^erent kinds of work, 

 either on one iide, or on both fides, horizontally, diagonally, 

 circular, or pointed. 



The fculptor ufes large fquare four-footed ftrong ftools, 

 with tops which turn round upon little balls of brafs or 

 iron, on which he places the marble ilatue he works on. 

 Hir tools are fteel chiliels of different fizes and lengths; 

 their ends being from an inch broad, and diminithing in luc- 

 ceffion, till they become perfeftly pointed. Thefe are 

 worked with an iron-headed hammer, weighing from two to 

 four pounds, according to the hcavinefs or lightnefs of his 

 work. The firft tools ufed in waiting away his marble are 

 ftrong fteel tools, fliarpened nearly to a point ; which, being 

 ftruck with a heavy hammer obliquely, knock off the wafte 

 marble in much larger pieces than a broader pointed tool 

 would do. 



The praftice of the fculptor alfo requires the frequent 

 ufe of the fquare and compafles, as his own ingenuity may 

 direa. 



There are fome few fragments of marble ftatues, which 

 have been found in different parts of Greece, efpecially 

 where the works of fculpture have chiefly flouriflied, as 

 Athens, -lEgina, and Corinth, which appear to be the re- 

 mains of very early attempts in this art ; perhaps in an age 

 when making the proper tools was either not known, or 

 during the infancy of their invention. From thefe fpeci- 

 mens, the edges of the tools, and the manner of uGng them, 

 appear to have been equally imperfeft : the courie of the 

 tool is infirm, indireft, and ragged ; the furface it pafled 

 over, irregular. In the naked figure, the mufcles are httle 

 determined, and the forms confufed by the unpraftifed 

 manner of working. In the draperies, the edges are unde- 

 termined, and the hollows are few and fliallow ; a natural 

 confequence of the workman's want of power over his ma- 

 terial ; and therefore, of his defire to produce his idea in 

 the grofs, bccaufe he knew his incapacity to render a dif- 

 tinft and perfedl detail. 



High finifliing in marble feems to have been a confe- 

 quence of working in bronze, for two reafons : firft, the 

 working of metals requires a confiderable knowledge in the 



lO tempering 



