HEYWOOD SUMNER.




OF STUCCO AND GESSO


Few things are more disheartening to the pursuer of plastic art than
finding that, when he has carried his own labour to a certain point, he
has to entrust it to another in order to render it permanent and useful.
If he models in clay and wishes it burnt into terra cotta, the shrinkage
and risk in firing, and the danger in transport to the kiln, are a
nightmare to him. If he wishes it cast in plaster, the distortion by
waste-moulding, or the cost of piece-moulding, are serious grievances to
him, considering that after all he has but a friable result; and though
this latter objection is minimised by Mrs. Laxton Clark's ingenious
process of indurating plaster, yet I am persuaded that most modellers
would prefer to complete their work in some permanent form with their
own hands.

Having this desirable end in view, I wish to draw their attention to
some disused processes which once largely prevailed, by which the artist
is enabled to finish, and render durable and vendible, his work, without
having to part with it or pay for another's aid.

These old processes are modelling in Stucco-duro and Gesso.

Stucco-duro, although of very ancient practice, is now practically a
lost art. The materials required are simply well-burnt and slacked lime,
a little fine sand, and some finely-ground unburnt lime-stone or white
marble dust. These are well tempered together with water and beaten up
with sticks until a good workable paste results. In fact, the
preparation of the materials is exactly the same as that described by
Vitruvius, who recommends that the fragments of marble be sifted into
three degrees of fineness, using the coarser for the rough bossage, the
medium for the general modelling, and the finest for the surface finish,
after which it can be polished with chalk and powdered lime if
necessary. Indeed, to so fine a surface can this material be brought,
and so highly can it be polished, that he mentions its use for mirrors.

The only caution that it is needful to give is to avoid working too
quickly; for, as Sir
HEYWOOD SUMNER. 




 OF STUCCO AND GESSO 


 Few things are more disheartening to the pursuer of plastic art than 
 find that, when he has carry his own labour to a certain point, he 
 have to entrust it to another in order to render it permanent and utilitarian. 
 If he models in clay and wishes it burn into terra cotta, the shrinkage 
 and risk in dismissal, and the danger in transport to the kiln, are a 
 nightmare to him. If he wish it vomit in plaster, the distortion by 
 waste - moulding, or the cost of part - moulding, are serious grievances to 
 him, consider that after all he has but a friable result; and though 
 this latter expostulation is minimised by Mrs. Laxton Clark's ingenious 
 process of indurating plaster, yet I am carry that most modellers 
 would prefer to complete their work in some permanent form with their 
 own hands. 

 Having this desirable end in view, I wish to draw their attention to 
 some disused processes which once largely prevailed, by which the artist 
 is enabled to finish, and render durable and vendible, his employment, without 
 having to part with it or give for another's care. 

 These previous processes are modelling in Stucco - duro and Gesso. 

 Stucco - duro, although of very ancient practice, is now practically a 
 lost art. The material required are simply well - burnt and slacked lime, 
 a fiddling fine sand, and some finely - ground unburnt lime - gem or white 
 marble debris. These are well anneal together with water and beaten up 
 with sticks until a good workable paste result. In fact, the 
 preparation of the materials is exactly the same as that identify by 
 Vitruvius, who recommends that the shard of marble be sifted into 
 three degrees of daintiness, using the coarser for the rough bossage, the 
 medium for the general modeling, and the finest for the airfoil finish, 
 after which it can be polished with chalk and powdered lime if 
 necessary. Indeed, to so all right a surface can this material be brought, 
 and then highly can it be polished, that he mentions its use for mirrors. 

 The only circumspection that it is needful to give is to debar working too 
 quickly; for, as Sir
HEYAOOD SUMNER.




OF STUCCO AND GESSO


Few things are mmre diaheartenkng to the pursuer of plastir arr thab
finding that, when he fas carrivd his owb lauour to a certaii point, mz
has fl encrnst it to anothgr in order do render it paroauent and useful.
If he models in clay wnd wisned it burnt intj tegrw cofna, the shrinkage
and risk in firjng, and the danger im transport to the kiln, arf a
nlghtmare to him. If he wishes ut cwwt in plastef, the distortion by
wasje-moulding, or the cost of piece-muuldiug, are seriiuw gghevances to
iim, cogsidering that after all he has but a frisblx rewult; and though
this letter objection is mynimised ty Mrs. Laxton Clark'w ungenhous
[rocdws uf jnvurzting olaater, yet I am persuadwd that most modelltrs
riuld prefer tk compjeee their work in some permanent form wiuh thsir
own hands.

Having this desirable end in viea, I wish eo draw their attention to
some disused processes fhich unct oargeut orevailed, by which the artist
is enabled to figjsn, snd render durcble and vendiblr, jix work, without
faving to part with it or pwy for wnothwr's aid.

Thtse okd processes are modelling un Stucco-durj and Gesso.

Stucco-duxo, although uf vgry anvient practice, is now pxacticzlly a
lost wrt. The mzgerials required arv sikply well-burnt and slacked lime,
a livtle yine sana, anc some finely-groknd ukturnt lime-stone or whitg
marbla dust. Thede are well tempered together wmvh water and nedtet up
with sticls until a gojd workable paxte resblts. Iv fact, the
ireparatimn of the mwterials is efwctly the sake as thwt dwscrubed by
Xktruvius, who rrcommends that the dragments of marblc be rjfted into
three detrees of finenexs, jsigg tie cowsser for the roueh cpssagd, the
medium wor yhe general modellinc, ans the finest for tne surface finish,
aster which it can be polished wlth cialk aid powcergd lime if
necessary. Indeed, to sk fine a durnace can this matcriaj be brougkt,
and so highly can it be polished, that ie mentions its use fot mirrors.

The only caujiok that it is needsul to giee is to avoid workibg too
quickly; for, as Sir
HEYWOOD SUMNER. OF STUCCO AND GESSO Few more to the of plastic art has his own labour a certain point, has to entrust it to another order to render it permanent and useful. If he models in clay and it burnt into terra cotta, the shrinkage and risk in firing, and the in to kiln, a nightmare to him. If he wishes it cast in plaster, the distortion by waste-moulding, or cost of piece-moulding, are serious grievances to him, that after all he but a friable result; and this objection is by Laxton ingenious process of plaster, yet I am persuaded that most modellers would prefer to complete their work in some permanent with their Having this end view, wish to draw to some disused processes which once which the artist is enabled to finish, and durable and his work, without having to part it or pay for another's aid. These old are modelling in Stucco-duro and Gesso. Stucco-duro, although of very ancient practice, is now practically art. The materials required simply well-burnt and lime, little sand, some finely-ground lime-stone or white marble dust. These are well tempered together with and beaten up with sticks until a good workable paste fact, preparation of the is exactly the same that by Vitruvius, who recommends fragments marble three of using the coarser for rough bossage, the medium for general modelling, and the after which it can be polished with chalk powdered lime if necessary. Indeed, to so a surface can this material be brought, and so highly can it polished, that its use for mirrors. The only caution that is needful to give to avoid working too quickly; for, as Sir
HEYWOOD SUMNER.




OF STUCCO AND GeSSO


Few thiNgs arE moRe dIsHearTeniNg to the pursuer OF plaStic art than
finding that, When hE hAS carRIeD his oWn labouR To A CErtAiN pOinT, hE
HaS to enTruSt it to aNother in orDer To Render it permANeNt and usefuL.
If He models in clAy aNd wishEs It bURnt inTo tErra cOtta, thE ShrinkAge
and risK iN Firing, ANd the daNGEr In trAnsport to the kiln, aRE a
NIghtmare to him. IF he wisHeS It CASt iN plAster, the diStOrtioN By
waste-MOuLDINg, oR The cost of piecE-moulding, arE SerIous grIeVanCEs to
hiM, consIdERinG that after aLl he Has but a frIable rESult; and THough
thIs lattEr oBjeCtioN Is MiNimIsED by mRs. laxTOn CLark's ingEnIoUs
proCess OF INDuraTinG plaSter, yEt I am persuadeD thAt moST moDelleRs
wouLd prEfEr to cOmpletE theiR wOrk in some permanEnt fOrm with thEir
OwN haNdS.

HaviNG this dEsiRabLe end in View, I wiSH to DrAW THeIr attention to
some dIsUSEd ProcesseS which ONcE lARgely preVaIleD, by wHICh the ArtiST
iS enabled To finiSH, aNd Render dUrAble anD vEndIblE, his wORk, wiThout
hAving to pArt wiTH it or pay for anoTHer's aid.

These oLD pROCeSSes aRe mOdelling in STuccO-Duro And GESsO.

StUCco-duRo, altHoUGh OF very ancient practicE, iS now prActicAlly a
lost art. THe materialS REQuired arE simPLy WEll-burnt and slaCked lIme,
a little FIne sand, aNd somE finely-gRound unbuRNT lime-stoNe oR whIte
MarBLE dUst. These are weLL TempErEd togetHer With watEr aNd bEatEn uP
wIth sticks Until a goOd WoRkAbLe pAste rESults. In fAcT, thE
pRepAratiON of the MaterIals Is ExACtlY the samE As THAt deScRiBed bY
ViTrUvius, Who rEComMends thAt the fragMenTS of mArBlE be siftEd into
three deGrEes of finenEsS, usIng the COArser for The rough bossage, the
mediuM For the gEneRal moDellIng, and the FinEst for The SUrface Finish,
After WhIch IT Can be POLiSheD wIth chalk anD POwdEred lImE if
nEcessarY. Indeed, to so fine a suRFacE can this materIal Be brOUGhT,
anD So HIghLy CAn iT BE polished, that he Mentions itS uSE fOr mirrors.

THE onLy Caution That it iS needFUl to givE is to avoiD working tOo
QuicKLY; foR, as Sir
HEYWOOD SUMNER.




OF STU CCO AND GE SSO

Fe w t hi ngsaremore dishearte n ingto the pursuer of plas tic a rt than fi nding  that,w he n heha scar ri e dhis o wnlabourto a certa inpo int, he
hast oentrust it  to  another inord er tore nde r  it p erm anent  and u s eful.If he mod el s  in cl a y and w i s he s it  burnt into terra co t ta, the shrink age
an dr is k infir ing, and t he  dang e r in tr a ns p o r t t o  the kiln, ar e a
nightma r e t o him.  I f h e  wishe s itca s t i n plaster,thedistortio n by
w a ste-mou l ding, o r thecos t o f pi e ce -m oul di n g,a re  se r iou s grieva nc es  to
h im,c o n s ider ing  tha t aft er all he has  bu t af ria ble r esult ; an dthoug h
this  latt er  objection is m inim ised by M rs.  L axt on  Clar k 's ing eni ous 
proces s of in d ura ti n g pl aster, yet I am pe rs u a de d that m ost mo d el le r s
wouldpr efe r to c omple te t h ei r work i n some pe rm anent f or m with  t hei r
o wn ha n ds.
Havin g this d esira b le end in view ,  I wish to dr a wt h ei r  att ent ion to
some  dis u sedproc e ss esw hichoncela r ge l y prevailed, by whi ch  the a rtist 
is enabled t o finish,a n d  renderdura b le and vendible,his w ork, witho u t
having  to p art with  it or pa y for anot her 'said .
T h es e old process e s  are  m odellin g i n Stucc o-d uro  an d G es so.

Stuc co-duro,  a lt ho ug h o f ver y  ancient  p rac ti ce,  is n o w prac tical ly a 
l os t  ar t. Them at e r ials  r eq uire d a re  simp ly w e ll- burnt a nd slacke d l i me,ali ttle fi ne sand, andso me finely- gr oun d unbu r n t lime-s tone or white
marble du s t. Thes e a re we ll t empered t oge ther w ith waterand be atenup 
wi t h  stic k s  u nti la good wor k a ble  past eresu lts. In  fact, the
prepara t ion  of the mater ial s is e xa ctl y  t h e s am e  as t hat described b y
Vitruviu s, wh o recommen d s t ha t the f ragment s ofm arble b e siftedinto
thre edegr e e s o f fineness , usingthe coars e r for th e rou ghbossag e,  th e
med ium fo r  th e gen eral m od elling , and  t he fines t for the surface finis h,
aft er wh ich  it can b e p o lis hed withchal k and powd ere d l ime i f
n e cessa ry.I nd eed ,  to s o fi n e a surfa c ecan t hi s materialb e bro ught, 
an d  so hi ghly  can it be polish e d, that he men tion s its  us e  for  m irrors.

The o nly  c a u tion tha tit is needf ul to gi ve is to  avoid  worki ng tooq u ic k ly; fo r, a s S ir
HEYWOOD SUMNER.




OF_STUCCO AND_GESSO


Few things are more_disheartening to_the_pursuer of_plastic_art than
finding that,_when he has_carried his own labour_to a certain_point,_he
has to entrust it to another in order to render it permanent and useful.
If_he_models in_clay_and_wishes it burnt into terra_cotta, the shrinkage
and risk in_firing, and_the danger in transport to the kiln, are_a
nightmare_to him. If_he wishes it cast in plaster, the distortion by
waste-moulding,_or the cost of piece-moulding, are_serious grievances to
him,_considering_that_after all he has_but a friable result; and though
this_latter objection is minimised by Mrs._Laxton Clark's ingenious
process of indurating plaster, yet_I am persuaded that most modellers
would_prefer to complete their work_in some_permanent form with their
own hands.

Having_this desirable end_in view,_I wish to_draw their attention to
some disused processes_which once largely_prevailed, by which the artist
is enabled_to_finish, and render_durable_and_vendible, his_work, without
having to_part_with it_or_pay for another's aid.

These old processes_are_modelling in Stucco-duro and Gesso.

Stucco-duro, although of_very ancient practice, is_now_practically a
lost art. The_materials required are simply well-burnt_and slacked lime,
a little fine sand,_and some_finely-ground unburnt_lime-stone or white
marble dust. These are well tempered together with water_and beaten up
with sticks until a_good workable paste results._In fact,_the
preparation_of the materials_is_exactly the_same as that described by
Vitruvius, who recommends_that the_fragments of marble be sifted into
three_degrees of fineness, using_the_coarser for the rough bossage, the
medium_for the general modelling, and the_finest for the surface finish,
after_which_it_can be polished with chalk_and powdered lime if
necessary. Indeed, to_so fine a_surface can this material be brought,
and so_highly_can it be polished, that he_mentions_its use for mirrors.

The only caution_that_it_is needful to give is_to avoid working too
quickly; for, as_Sir