Practice Modelling

Sufficient plasticine must next be applied to the armature and the work of modelling should proceed until it arrives at an ap proximation of the original sketch at which time a living model should be obtained and posed as nearly as possible like the sketch. From the model measurements can be taken and corrections made to bring the work closer to life and actuality. Sculptors sometimes take liberty with modelling and this is the artist's license if any advantage of gen eral effect is obtained, but though it is not entirely essential to fol low the anatomy of the model or models exactly, it is certainly very necessary that the sculptor be well versed in this part of his work and equipped with the knowledge which makes it possi ble for him to change the forms to advantage. It is wise to follow the model closely in the control of mass as a whole, but many of the details may be changed so that the planes and profiles are better related and more pleasing.

When the artist feels that he has accomplished to the best of his ability the work before him, he must next consider the process of putting it into plaster, as no casting in bronze or cutting from the stone can be made from the clay model. It is advisable to have a professional moulder do this work, as even the mixing of the plaster is a skilful process and the location and arrangement of the mould sutures takes a great deal of practice. (See section, this article, Plaster Casting.) Relief.—The sculptor, if he would be successful in modelling high or low relief, should have a mastery of modelling in the round as he is attempting in relief to give a three-dimensional effect and this involves the same understanding of mass, composition, planes and profiles as in the round. The most important question

to be considered is that of the relationship of the highest points to the lowest in the background, and this must be carefully thought about and established. The background does not, however, have to be perfectly flat but may follow the general movement of the figures upon it, being deeper in some places than in others, in order to soften certain passages and aid the relief in its various planes.

Enlargement.

For enlarging to life size or greater, the modern sculptor makes use of a so-called enlarging machine of which there are several types, all based, however, upon the prin ciple of the pantograph. For the large figure the armature is erected similar in principle to that for the small work, but is usually constructed of wood, lath and plaster so as to bring the bulk of the armature closer to the surface and in this way not necessitate the use of such great masses of clay, and thus avoid the possibility of parts falling off by their own weight and lack of proper support. For some large works plaster may be used as a modelling medium, thus avoiding the extra work and expense of the final casting.

After the figure has been so treated and carefully "pointed up," it must be gone over again carefully by the sculptor to make any minor changes which appear to be necessary when the figure is perceived in larger scale and which were not so obvious in the smaller model. Thus the modern sculptor not only makes use of all the above mediums for the betterment of his work, but also keeps the result carefully under his supervision so that it is in perfect keeping with his personality and the spontaneity of his conception. (See discussion of other related subjects in this article.) (L. LEN.)