MODELLING. Modelling in clay requires the aid of a few tools ; but no tool is more useful than the finger ; indeed tools have been invented as mere aids to the fingers, and are designed only to do what they cannot perform. Wire tools are the most useful, being fashioned into loops of various shapes and sizes, round and angular, and fixed into wooden handles. The wooden tools are made of box and ebony, of various shapes and sizes—curved, straight, pointed, rounded, and fiat and broad ; the broad tools being notched, and designed chiefly for working the large convex masses, or large folds in drapery.
The clay used is common potter's clay, but of the best quality. It must be so wet that it will not stand in a mass much higher than its own width without support. The supports for the clay are a most important consideration ; for if not properly attended to, the finished work, the fruits of months of labour, might suddenly fall to pieces by its own weight. Sculptors generally model figures of the ordi nary size upon a bench or stand called a banker, about 30 inches high, and about 30 inches square,—for a bust it must of course bo much higher ; above this a solid circular plinth is fixed on a wooden bos, and is re upon six or more wheels, or what are better, short slightly conical rollers, fixed to tho plinth near the circumference. A revolv
ing plinth is necessary to enable the sculptor to sco his work on all sides in any light, and it enables him to work on all parts, in one spot, or in the same light. On the centre of the plinth is built up a skeleton frame-work of iron and wood, projecting in various direc tions to support the various parts of the figure.
Another essential part of modelling is pre serving the moisture of the clay, which should be always uniform if possible ; it must never be allowed to dry, and it can be kept moist with'very little trouble. While the modeller is at work, and the figure is exposed, especially in warm weather, he should repeatedly sprinkle it with water. A plasterer's brush is the best instrument for this purpose. When the model is complete, the next process is to take' the cast, to work the marble from, or to make I other casts from. The ancient sculptors used to bake their models, but this is not so good a plan as making plaster casts from them, though less troublesome and much cheaper.