Art of moulding Carving in Wood „ 
Experiment II. 
I then introduced my two figures and the hygrometer 
into another very dry bell, under which I had placed a 
capsule filled with calcined potash. The moisture of 
the air by which the figures were surrounded was soon 
absorbed, and the hygrometer indicated zero. In or- 
der to ascertain whether the whole moisture imbibed 
by the unvarnished figure was entirely dissipated, I 
left every thing in statu quo for four hours, the hy- 
grometer still indicating zero. I then took out the two 
figures, neither of which had experienced the least al- 
teration. 
Experiment III. 
I repeated the first experiment with a view to cause 
the two figures to absorb as much moisture as possible ; 
and when the hygrometer marked 100 degrees I took 
them from the bell, and suddenly introduced them into a 
stove the heat of which was 50 degrees of Reaumur. 
The unvarnished one became dry without cracking, and 
the other showed a little softening in the varnish. This 
effect I ascribed to the imperfect desiccation before the 
experiment, for the softening was more considerable than 
is generally the case when a varnished body is exposed to 
heat. 
These experiments appeared to me sufficient to induce 
me to conclude, that sculpture in moulded wood, accord- 
ing to the process here described, is unalterable by mois- 
ture or drought, for in our climates the thermometer ne- 
ver rises to 50 degrees. Such sculptured figures have 
the solidity of wood, and are even preferable to it; for 
a slight blow given to wood, if cut across the fibres, 
will detach some of the parts ; whereas figures formed of 
artificial wood, if I may be allowed the expression, are 
