MODELING TERRA-COTTA.
Considering the fact that this is a great time for the revival of lost or neglected arts, it is not surprising that modeling of terra-cotta should have been given a high place, It is a kind of work eminently adapted for amateurs, and those who con template making a business of clay working, and we do not hesitate to commend it to them, in the belief that faithful and conscientious workers will reap a rich and abundant harvest as the fruit of their labors. In the earliest ages this sort of model ing was much practiced ; then came sculpture ; but that art de pended on modeling, as it does now, for its excellence.
The process of manipulating terra-cotta is not essentially dif ferent from that of other clay. Care should be taken in the selection of the model. Bearing in mind that it is easier to a large-sized head than a small one, for the reason that the lines of the former are longer, deeper, and require less minute work, the amateur should choose some fair-sized plaster of Paris cast as his first model. Very good specimens can be procured of almost any cast-maker at a low rate. As the worker progresses in the art it will be well to copy works of representative masters, many of which are well worthy of imitation, whether for the excellence of the work, the faithful ness of the model, or the patience and scientific knowledge dis played in their construction. From this the transition to copying from life is easy ; for, although in the latter work a greater experience in drawing is required, and some familiarity with geometry and anatomy is necessary, it is not so difficult as may be imagined.
The materials are few in number and inexpensive, which lat ter fact will score a long point in its favor with many amateurs, especially those who undertake the work merely as an experi- ment The material consists of a modeling stool, a hollow flat box, a few boxwood tools of various shapes and sizes, and the terra-cotta clay, which may be obtained ready for use, and which will keep for months.
If the subject be a head, the process is as follows : Take the flat box and screw an upright piece of wood firmly through its middle and let it pass through the hole of the modeling stool that is made to secure it. This will also support the bust while
it is in a moist state. The clay is then piled around the wood after having been wetted and well kneaded to prevent it being hempy and streaky, and cracking while it is drying. Work the clay compactly and firmly around the base of the up right first, and then pile it up to the required height of the bust and knead it well with the fingers, which should be kept moist to prevent the clay from sticking to them. The clay will settle and it may possibly fall down after being left, and must be rebuilt, but this little trial will not occur after the sec ond working. Form the clay into the rough form of the bust, and having measured the height and widths of the model, work the clay to match its proportions, using the fingers for the purpose. Then model the features roughly, and block in the hair in broad masses.
This being done, the first day's work is finished and the terra cotta should be enveloped in a wet cloth, which must be kept moist. This may easily be done by sprinkling it with a florist's syringe, which is a much better plan than removing it. Some judgment is required in this, as, if kept too wet, terra-cotta will not bear shaping with the fingers and tools, and if allowed to get too dry it will invariably crack and spoil the work.
The second day's work consists in shaping the features, which is best done with a wet rag wrapped around the forefin ger. All the features must be gone over and carefully worked up, and the head and hair completely formed, the lines of the hair being finished with the modeling tools. A little terra cotta clay softened to the consistency of cream will be found useful to apply to any parts that require smoothing.
When the work is finished and nearly hard it should be pol ished. This is accomplished by taking a piece of fine leather, soaking it in water and rubbing it gently over the bust until the result is attained.
Modeling terra-cotta from the clay is very fascinating work, and not difficult. A fair knowledge of drawing is of course necessary. A good stock of patience and perseverance will also be required to achieve anything like satisfactory results, but the game is worth the candle.