As beheld on the day of our arrival, this scenery was of an incomparable desolation. Above was the coldest gray sky I remember to have seen; the sea lay all in pallid, deathly gray beneath; islands in all shades of grimmer and grimmest gray checkered it; vast drifts of gray old snow filled the deeper hollows; and a heartless atmosphere pushed in the sense of this grayness to the very marrow. It was as if all the ruddy and verdurous juices had died in the veins of the world, and from core to surface only gray remained. To credit fully the impression of the scene, one would say that Existence was dead, and that we stood looking on its corpse, which even in death could never decay. Eternal Desolation,--Labrador!
I have heard so much, lately, about artists who do not do their own work, that I feel disposed to raise the veil upon the mysteries of the studio, and enable those who are interested in the subject to form a just conception of the amount of assistance to which a sculptor is fairly entitled, as well as to correct the false, but very general impression, that the artist, beginning with the crude block, and guided by his imagination only, hews out his statue with his own hands.
So far from this being the case, the first labor of the sculptor is upon a small clay model; in which he carefully studies the composition of his statue, the proportions, and the general arrangement of the drapery, without regard to very careful finish of parts. This being accomplished, and the small model cast in plaster, he employs some one to enlarge his work to any size which he may require; and this is done by scale, and with almost as much precision as the full-size and perfectly finished model is afterwards copied in marble.
The first step in this process is to form a skeleton of iron, the size and strength of the iron rods corresponding to the size of the figure to be modelled; and here, not only strong hands and arms are requisite, but the blacksmith with his forge, many of the irons requiring to be heated and bent upon the anvil to the desired angle. This solid framework being prepared, and the various irons of which it is composed firmly wired and welded together, the next thing is to hang thereon a series of crosses, often several hundred in number, formed by two bits of wood, two or three inches in length, fastened together by wire, one end of which is attached to the framework. All this is necessary for the support of the clay, which would otherwise fall by its own weight. (I speak here of Roman clay,--the clay obtained in many parts of England and America being more properly potter's clay, and consequently more tenacious.) The clay is then pressed firmly around and upon the irons and crosses with strong hands and a wooden mallet, until, from a clumsy and shapeless mass, it acquires some resemblance to the human form. When the clay is properly prepared, and the work advanced as far as the artist desires, his own work is resumed, and he then laboriously studies every part, corrects his ideal by comparison with living models, copies his drapery from actual drapery arranged upon the lay-figure, and gives to his statue the last refinement of beauty.
