Page:The Strand Magazine (Volume 3).djvu/581

 further, coming, perhaps, to within an eighth of an inch of what will be the actual surface of the figure or bust, if such it be, when finished, thus greatly lessening the mere mechanical part of the labour, while leaving the artist with ample material and scope for alterations. It is now that the actual work of the sculptor begins, and that those final and finishing touches are given that invest the stone, as it were, with the breath and vigour of life. To many it would appear that, when the carver has completed his work, the thing is perfect, and there is nothing more to be done. But this, in reality, is the point at which the true artist displays his greatest gift for expression. Frequently, of course, both the pointing and carving are done by the sculptor, although, if he have much work to do, it pays him to employ an Italian pointer and carver, and so save time. Indeed, a sculptor is not usually of much account if he cannot carry through every operation, from the making of the sketch model, through the stage of casting, and finally to completion in marble.

It should be said that occasionally, when a work is to be executed in marble, more especially if the composition be very intricate, and has, in consequence, been modelled in wax, the casting of the model is obviated, the wax or clay model itself serving instead of the cast. This, however, is rare, on account of its inconvenience, because an important work is sometimes months, if not years, in operation, and if clay is used the model has either to be kept moist all the time, or else it has to be fired.

When, in place of being produced in marble, the work has to be cast in metal, the labours of another craftsman have to be called into requisition, those, namely, of the founder or metal caster, whose operations constitute an art, and a very beautiful one, in themselves. For this climate bronze is the chief material used for outdoor statues and monumental groups, marble being reserved for inside work, especially the beautiful Carrara, which quickly perishes when exposed to the weather. Greek marble (the finest and most expensive) is alike unsuitable for our rough climate. The blue Sicilian variety, however, is harder, and will stand exposure, and is therefore often used for monumental work intended for the open air.