When the cast is made, and what they call backed up (that is, strengthened with a coarser composition within), the process of paint ing commences ; but all effects cannot he given by mere colour, some morbid deposits and effects require to be expressed by adding wax of the proper colour with a hair-pencil or other tooL The colouring is done from the natural object represented, with fine hair-pencils and powder colours moistened with turpentine and tempered with a little wax ; simple water Is also sometimes used as the colouring vehicle. When tho colouring is finished, the whole is covered with mastic varnish. In cases where the morbid effects or evidences of disease are of a distinct substance from the healthy texture, different coloured wax should be used In casting the healthy and diseased portions, and the parts mass be corrected by modelling. The same process must be employed In modelling fruit and other objects of natural history, as in preparing anatomical models : but fruit, which is generally In full or high relief, will require pieco-moulde, that its, to be moulded in several pieces, which is done half or part at a time. Flowers are not all cast ; they are prepared from leaves of coloured wax made expressly for the purpose. These leaves are cut the required shape; they then, with the necessary colour and a hair-pencil, receive their local tints; and are finally joined and fashioned into the required flower. Insects are modelled by combining the two processes. In moulding objects with hair or delicate raised parts, a little oil must be carefully put over the parts, unless they are wet. Dry firm objects may be moulded without oil ; the plaster must be removed as soon as it is set.
It remains yet to speak of the mode of making images. These like wise are made in various ways ; but the essential process ie casting. A head may be simply cast, and, when the hair and eyes have been added to lt, the local tints be given with turpentine and colour. This method however uses a considerable quantity of wax, and various devices have been had recourse to to save wax. One mode is to cast the pure wax thin, and to back up or fill in to a considerable thickness with a coarse composition of bees'-wax, resin, and cow-hair or tow ; In casting images the mould may be oiled. Ordinary heads however may
be made in this manner :—Let a thin block head be fashioned in a mould or otherwise, of coarse paper pulp and size ; when dry it must be coloured all over with flesh-tint, the local colours being put on, a higher degree than is natural, as also the colours of the cheeks, lips, and eyebrows ; the whole may then be covered with wax, which must be poured over It two or three times, until the surface is well covered ; its regularity may be secured by retarding the cooling of the wax and assisting it to run, by means of a hot iron or burner (called cautcrium by the ancients), which must be held near it until the whole has a uniform surface. The colour originally painted on the paper block will show through the wax, and the head will require but the hair, the eyes, and a few local touches to finish it. Masks may be also dipped in wax, or the wax may be put on with a hair-tool, if the mask be kept warm; or a wax cast may be backed up or strengthened with strong paper pulp. There are however other methods of modelling wax figures, but no method can be properly explained by a verbal de scription; such mechanical processes must be witnessed to be under stood : for this reason this article has been limited to mere general principles, which is as much as the general reader can require or understand.
Sculptors are in the habit of making wax models of small objects in the round, or for bassi-rilievi to be cast in metal, in the same manner and with the same tools that common clay models are male of : the same wax is used as is required for casts. [MODELLING.] Medals and small bronzes are generally modelled in wax. Impressions from seals, engraved gems, and cameos are taken with wax. The wax, which is prepared with a little powdered sugar-candy, turpentine, and lamp black, after being melted, is preserved in small cakes. These cakes when wanted are softened by repeated pressure of the fingers, and are then compressed into or upon the seals or cameos, previously wetted, from which the impressions may be required.