Art-Jottings In Art-Studios.

We have next to notice a A'ery beautiful form of this branch of tho art , and one that is becoming more practised every clay , and deservedly so , as it is that by means of which true artistic work can be introduced into homes to which no such princely adjunct as a sculpture-gallery can by any possibility be annexed' —Ave refer to sculpture in its miniature form of the " statuette . " Iu this bijou shape may be found work quite as true to Art , coupled with as exquisite beauty of design , as in the largest group that can leaA'e the sculptor ' s hand . Another reason for the general favour in AA'hich statuettes

are held is their adaptability for the introduction of portraiture . By the kind courtesy of an artist Avho has successfully devoted much of his time to the development of this branch of his art ( Mr . ROAVC , of Buckingham Palace Road ) ' — as is abundantly testified by the exhibition , by Her Majesty ' s command , of a beautiful little statuette of the eldest daughter of our Royal Grand Master in this year ' s Academy —Ave are enabled to say a feAV words about its manipulation .

A piece of " modelling-clay" of the required size , being placed upon a convenient stand , has first of all imparted to it the outline of the intended bust , figure , or group . This " modelling-clay " consists of potter ' s-clay mixed AA'ith a proportion of finely pulverized sandstone so that it may Avork freely . The sculptor then , by means of small tools , gradually assimilates the features and form to the likeness of his sitter ; adding any details of surroundings , etc ., that may , to his artist ' s eye , make the grouping perfect .

Thus in the statuette to which Ave have referred just aboA'e , the little princess is standing in a childishly negligent attitude by a rustic garden-seat ; in another exquisite little portrait group by the same artist , a boy is throwing a ball to a dog Avhich is lying at his feet . From the model , Avhen complete , a mould is taken ; the subject is then cast in " terra-cotta , " unless the group ivas to have been directly sculptured in marble . This " terra-cotta " ( Italian for baked clay ) has been usually taken to mean any manufacture

of brick-earth used for ornamental purposes , especially those of an architectural character ; it Avas thus much used in Great Britain about the beginning of the eighteenth century , but during the reigns of the Georges its use was discontinued until it Avas revived some quarter of a century ago ; it is almost unnecessary to add that the "terracotta " used for the casting of these statuettes is of the finest description . After the group or figure leaves the mould the joints haA'e to be smoothed off , and it is then carefully "fired" or "burnt , " Avhen the process is complete .

With one other instance of work " in the round " Ave must close this present paper ; Ave refer to statues in metal , for Avood-sculpture can be more appropriately treated under its special head of "Carving ! " Avhilst in diminuth'e sculptures many materials are employed—ivory , gold , sih'er , and the like ; but as these , too , come more properly under this same head of " Carving , " Ave Ai'ill defer the consideration of them for a future opportunity . The metal usually employed for statue-casting is bronze- —a reddish-yelloAv alloy of

fine grain of copper and tin in proportions varying according to the use to AA'hich it is to be put : when Avell made , bronze is , AA'ith the exception of the precious metals , the most durable metallic material Avith Avhich Ave are acquainted . For a bronze , or other metallic casting , a mould is prepared and the metal cast in it ; on its removal the figure passes under the finishing hand of the master in the same way that the statue of stone or marble OAVUS his last artistic touch .