Page:The Strand Magazine (Volume 3).djvu/577

 (and fixed upon a turn-table, so that each side may be brought successively to the light and worked upon), the next thing is to begin the work of modelling with the clay. This proceeds, of course, from the base upwards. The more solid parts are filled up very largely with pieces of wood mixed with the clay. Then along the limbs, where the clay might slide off when left, if the clay be very wet, boards and "butterflies," as described above, are fastened at intervals along the iron bars that serve as framework. The latter, held in place by the copper wire on which they are suspended, and worked into the clay, give it support. This rougher and more mechanical part of the work may be done by a clever assistant; but when it comes to the actual work of modelling the form and the limbs, and giving life and character to the group, then the master hand and eye must needs come into requisition. For instance, it is very necessary to make constant reference to the living model, as also to the anatomical specimens, for correct measurements and action.

Not unfrequently after the work has proceeded thus far, and it seems to be all but finished, the artist sees, perhaps, some details that do not come out so happily in the large model as they did in the small sketch, and consequently has to make some minor alterations. In any case, such a colossal work as that depicted takes months to build up in skeleton and model. During the whole of the process of modelling the clay has to be kept in a state of moisture by daily wetting and covering up at night with wet cloths; otherwise it would dry, crack, and fall to pieces.

Before covering up for the night, however, the artist takes a good look at the work that has been done during the day, comparing the masses one with another, in order to correct any inaccuracy as regards the relative sizes of the parts. This is best done in the half-light of the evening. The masses then render themselves in their true