THE COMMENCEMENT AND FINISH OF A MODEL.
Assuming that the student has now procured the various instruments and
materials for his work, and that he has also determined upon the design
he intends in paper, the next thing necessary is to give him as far as
it is possible by a book copiously illustrated, an exact description of
the method of proceeding. We will therefore imagine a design which is to
be modelled (see frontispiece), a Villa, in the domestic Italian style,
for example; and taking it to pieces bit by bit, endeavour to raise it
up again in renewed beauty and effect.
Having the four elevations, together with the ground and roof plans, the
latter being essential to show the position of the chimneys, skylights,
&c., we take a common drawing-board, about the size of the intended
model, and upon it strain as for a drawing that size, a piece of drawing
cartridge, say an inch and a half wider all round than the intended
model is to be. Upon this, when dry, draw an _outline plan_ of the
intended building, not putting in any internal walls, for these will not
be required as this is only to form lines whereon to erect the intended
building. To make it more readily to be understood we have given a
sketch of the outline plan on page 45.
[Illustration:
ELEVATIONS OF VILLA.
ELEVATION OF ENTRANCE.
]
[Illustration:
SIDE ELEVATION.
]
This being completed, we have now the edifice, as it were, set out. The
next matter for consideration is the thickness of the walls; that is,
the requisite thickness of paper we shall require. Suppose we take, as
in the plan given, the outside reveal or recess back of the window
frame, at four inches and a half; this would require four sheets of
paper, but as it is always better to exaggerate slightly in modelling
both projections and recesses, place six or even seven sheets together;
paste them together in twos, putting them as pasted under the press, and
afterwards, when nearly dry, paste them the full thickness required and
subject them once more to the action of the press. The most convenient
size of paper to work at for an ordinary-sized model will be made by
doubling a sheet of the paper as first procured into four. On the paper
becoming perfectly dry, the student must carefully draw each elevation
of the building the full height from the ground line to the top of the
blocking, being particular that every line both perpendicular and
horizontal is perfectly true and square, and marking along faintly the
lines for the cornice, strings, &c., &c., that may occur. This being
done and the whole drawn in, of course not drawing in the window frames
but merely the outline of the square of the window, the side will
present the appearance shown in the accompanying elevation, and which is
merely sketched and not drawn to any scale.
[Illustration:
A Lines for cornice. B Lines of upper string. C Ditto lower
cornice. D Ditto Plinth.
]
[Illustration:
PLANS OF VILLA.
GROUND PLAN.
OUTLINE PLAN.
]
The four or more elevations having been drawn, proceed to cut out all
windows, doors, and other openings cleanly and accurately. The windows
and their frames must now be made and gummed at the back of the several
openings; where panels occur paper of the same tint must be used,
sometimes the pieces cut from the windows will form very good backing
for such parts. For the window frames take some large-sized cream laid
paper, and colour it to the tint you wish your frames to be. Should a
representation of oak be preferred, it may be imitated successfully
thus: First paint your paper yellow, gamboge and a little burnt sienna
will do, and then prepare a thick colour with Chinese white and burnt
sienna; when the first colour is dry lay this last-mentioned on, and
before _it_ has time to dry grain it by means of a fine comb; a small
tooth comb will answer best for this purpose, and if skilfully performed
a most admirable imitation will be the result. Three or four thicknesses
of paper (cream laid or other white paper) must then be pasted together,
with the oak-coloured one upon the top, and submitted to the action of
the press.
This paper being ready for use, take one of the pieces cut from the
windows, and mark by it the size of the window-opening, then lightly
draw the frames in and cut them out, if the white paper of the under
sheets should show where cut through sectionally, touch it along with a
little burnt sienna or brown colour. You must now tint another sheet of
the same description of paper blue or neutral, not in an even tint, but
carelessly and artistically leaving bright lights; this when pasted as
for the oak-paper two or three thicknesses, will form the backing to the
frames. Then place the frames face down, on them gummed a sheet of mica;
on that again the blue backing; the whole then to be put in the press,
care being taken not exhibit too much pressure, otherwise you will have
the backing bulge out. It may, perhaps, be thought that these
thicknesses of paper for the frames and backing are unnecessary, and
that one might serve as well; but from experience I can assert, that
unless this method be adopted, that flatness the work should have, will
not be obtained. It may also be as well here to caution the reader
against pressing with too great a degree upon the cardboard when it is
under the action of the press. If too great a pressure is given, the
cardboard will become so hard as to resist all efforts of the knife to
cut through it. The paper usually presses to a little less than an inch,
to a scale of one-eighth of an inch to the foot; so that six thicknesses
or sheets of paper will answer for four and a half of brickwork or
stonework. The doors will be formed first from two thicknesses[1] and
backed with the same. This is for plainest description, but if mouldings
are inserted in the panels, adopt the following:—
Footnote 1:
One thickness, two thicknesses, three thicknesses, and so forth, will
be used throughout, to express the number of sheets to be pasted
together.
[Illustration:
DETAILS No. 1.
ELEVATION OF ENTRANCE DOOR.
]
[Illustration:
PLAN OF ENTRANCE DOOR.
]
First draw the door with the extreme size of the opening of each panel,
on a two-thickness sheet; on another two-thickness sheet, draw the same
panels a size smaller; on a third two-thickness sheet, draw them a size
smaller still; these being cut out and placed behind one another, and
finally the backing; will admirably represent mouldings: by producing
three separate lines round the inside of each panel. For work to ⅛ scale
no further trouble will be necessary; but if larger, the mouldings must
be formed before the door is gummed together, as hereafter described for
the formation of mouldings in general. The doors, windows, and backs to
all openings are now ready, but cannot be yet fixed till all the
necessary mitreing is completed, which mitres will be wherever an
outside angle occurs thus, fig. 1. (See page 53, figs. 1 and 2.)
[Illustration:
Fig. 1.
OUTSIDE ANGLE.
]
[Illustration:
Fig. 2.
INSIDE ANGLE.
]
In the inner angle (see fig. 2) no mitre is required; the end of one
piece being cut square, they may be made to overlap one another. Lay the
piece, whatever it may be you wish to mitre, face down upon the
cutting-board; and then at a distance (equal to the whole thickness of
the cardboard) from the edge draw a line; and at a short distance back
from this line sufficient to let the point of the knife touch it when
held slanting to the required angle, fix the adjusting straight-edge
previously described; screw firmly upon it, and cut through the paper at
an angle of 45°, which will, of course, be by cutting from the line on
the top side of the paper, A, to the extreme edge of the underside, B
(see illustration page 55), which represents the side of a building, and
the piece may be seen curling up as cut from the mitre. Great steadiness
of hand, and a few trials on waste cardboard are necessary before the
operator will perform this skilfully. The straight-edge holding the
paper firmly, it may be cut through at two or three strokes, observing
to hold the knife always at the same angle. All mitreing work finished,
affix the windows at the back, placing the whole under a slight
pressure.[2] Then the model must be blocked up. First cut a number of
squares, all sizes, from waste or other cardboard; let them be perfectly
square; cut these diagonally, and they will form the blocks to hold the
work together at the angles. Now take any two sides that are to be
joined at the mitred angle, and fix them accurately together with gum
pretty thick, so that it may dry while you hold each side in its place.
When set, lay them down and work the others in a similar manner. Take
now the outline plan, and having previously numbered the sides to
correspond with the plan, fix them (by touching slightly their under
edge with gum) to it, and when all are in their places fix, at a
distance apart of an inch and half or so, above one another the
previously described blocking pieces with gum not so thick in
consistency. To make our meaning perfectly plain, we annex an engraving
of the appearance of an internal angle when at this stage of the
proceedings. A piece of wood (deal) about ½ inch thick, should now be
attached to the model from one side to the other (see page 57). This is
for the purpose of fastening the model, when completed, to its stand; it
may be blocked with waste pieces, such as the cuttings from doors,
windows, &c., and gummed firmly. Pieces or strips of cardboard should
also be gummed along in the inside, at the level of the intended gutters
of the house, to rest the roof upon. All portions of the work completed,
we will now assume, are fitted together and in their places. The student
will now be able to form some idea of the general effect his work will
have when finished; but there is yet more—much more—to be done, and work
requiring a still further amount of skill, practice, and patience.
Footnote 2:
As there are many little matters during the progress of a model
requiring a slight pressure, a pressure sufficient to hold the pieces
in their several places till dry, I have found weights answer very
well. I have pieces of square lead from one pound upwards covered with
paper; and by covering, the humble brick may be usefully pressed into
this service.
[Illustration]
[Illustration:
SKETCH SHOWING THE WAY THE BLOCKING PIECES ARE INSERTED IN AN INTERNAL
ANGLE.
]
[Illustration:
METHOD OF INSERTING THE WOOD STAY.
A A Cardboard angle stays. B B B B B Wood stay by which the model
is affixed to its stand by a screw passing through at C C.
D E F G Sides of model.
]
The two principal elevations are given to the same scale as the plan
(page 41); but in order to insure our being understood, the principal
portions of the details are given to a larger scale.
The cornice next demands our attention, a detail of which is given on
page 61, fig. 1, and in order to model which we proceed thus, the
numbers indicating the various pieces of which it is composed. No. 2 is
a piece worked of the required thickness demanded by the depth of the
cornice from A to B, and the necessary projection, in a sufficient
series of lengths to go entirely round the building. Now, as this is to
be cut through the several thicknesses of paper required, a method must
be found out to hide the different layers that would consequently be
exposed to view; this is by cutting from one or two thicknesses a piece
the whole length of the cornice, forming a facia, 8, and coming slightly
below the depth of the other under piece to 4; thus, while at the same
time it hides the layers of paper, it forms the bed of the cornice.
The next members, Nos. 1, 3, 5, and 7, are formed, first by preparing
the size and length on the square; secondly, by cutting off at any angle
necessary to get as near to the mould as possible; and, lastly, forming
the mould itself.
The manner of moulding being applicable to every description of either
Italian or Gothic pattern, we proceed to describe it.
Procure from the comb-manufacturers some pieces of _ivory_ of various
sizes, and with different files, some round, some square, &c., file on
one end of a square piece the _reverse_ of the mould you require; smooth
it well; and for greater power and convenience, fix it in a handle of
wood.
[Illustration:
DETAILS No. 2.
1 Elevation and section of main cornice. 2 Elevation of window.
2_a_ A detail of section through window. 3 Architrave
mould. 5 Elevation of small window. 5_a_ Section of small
window. 6 Elevation of quoins. 7 Section and elevation of
tower cornice.
]
[Illustration:
MOULDING TOOLS.
A, Handle with socket to secure the moulding tool (1). B,
Thumb-screw. 1, 2, 3, Moulding tools.
]
Nos. 1, 2, 3, &c., &c., will be found generally available and useful in
the formation of all kinds of mouldings, besides numbers of other shapes
that will occur to the artist. The method of using the instrument is by
indenting the pattern along the edge of the cardboard, guided by means
of the straight-edge. The sharp arris left from the file upon the edge
of the ivory mould, had better be slightly taken off, to prevent the
paper being torn in its passage.
The circular pediment over windows (fig. 2, page 61) must be modelled on
the flat, and the moulding returned at the ends. When each member is
finished, they must be gummed up and bent to the required curve, over a
circle of cardboard or a cylinder of wood, separately. The panels that
occur form thus: Cut as before directed for doors, the extreme size of
the opening, and at the back place the successive sizes and thicknesses
to form the mouldings, indented into hollows or worked to rounds, &c.,
&c., by means of one or more of the moulding tools; to be backed last of
all.
Commence the preparation of the quoins (fig. 6, p. 61) by cutting pieces
the required thickness and width of both long and short quoins, and in
long strips, with the _height_ of each one marked up its length
previously by the dividers.[3] Cut first the requisite splay at the edge
of the quoin, along the whole length both sides. Cut where marked for
height, and splay top and bottom. They are then finished, and may be at
once fastened to the work.
Footnote 3:
The small hair dividers, with the adjusting screw, will be found
extremely useful in modelling work.
[Illustration:
CIRCULAR ARCHITRAVES.
K Keystone. R Radius. H L Horizontal line.
]
The circular architraves must be formed by cutting, with the little
instrument previously described as a knife-compass (page 36), circles of
different diameters and thicknesses of paper suited to the mould to be
represented; gum together while in the circle, as shown below, the
horizontal divisional line being marked, and the radiating lines for the
insertion of the keystones. When dry cut off by the divisional line, and
then the segments, by the lines at each side of the keystone. The key
must be of paper sufficiently thick to allow of the highest mould of the
architrave abutting against it, and either left plain, cut diamond-wise,
or carved, or any other way the fancy may suggest or the design demand.
The cantalivers in tower (fig. 7, page 61) and main cornices (fig. 1,
page 61) to be worked by preparing paper the required thickness; then
procuring a piece of very thin copper or lead, mark on it with
considerable accuracy the design of the cantaliver, and cut it out; you
will thus have prepared a mould or templet, which you can place upon the
cardboard, and by running a hard pencil round it, mark each one
precisely the same in size.
Any portions of the dressings, &c., having curves in them, had better be
cut with knife No. 3[4]; in fact, this is the only shape of blade which
will leave the edge of a curved line after cutting, what is technically
called “sweet.”
Footnote 4:
In using this knife, care must be taken to hold it perfectly upright,
nor lean it either to right or left.
The positions the cantalivers have to occupy along the cornice, must be
checked along and regularly divided. Care must also be taken in gumming
them in their places, as one out of place or leaning would immediately
be detected by a correct eye, and mar completely the effect of the
whole.
The architrave mould (fig. 3, page 61) next demands our attention. It
will from our former description be readily understood that all
mouldings are formed by representing in paper of various thicknesses
their several component parts. Thus, in the mould last named, we have
first the groundwork of or thickness from A to B; another thickness,
forming the sinking, from C to D; and finally, the mould, E to F. Square
first, the required slant next cut from the edge, and lastly, the slant
hollowed by means of one of the ivory moulding tools. The keystones and
the blocks under the window sills are cut from paper the thickness
required, then splayed down each way from the centre to the sides at
_one_ cut, and with a sharp knife. This operation must be performed with
some dexterity, as it is important that the edges should be sharp and
free from woolliness. This effect can only be obtained by giving one cut
or slice in the direction required: for this purpose use knife No. 1,
which will be found the best for this description of work. Some
modellers use for this purpose a thin chisel with a keen edge; and of
course all means in art are legitimate that produce the desired end; but
we would recommend the use of the knife only, wherever possible, the
modeller’s object being to work with as few tools as possible, and to
trust much to his knife alone.
[Illustration:
DETAILS OF WINDOWS. No. 3.
MORNING ROOM.
]
[Illustration:
KITCHEN.
]
We have, in describing the method of working several important details
connected with the building, and illustrated on page 61, been, we fear,
somewhat premature, and have not sufficiently urged upon the student the
necessity of preparing his groundwork for these details in a perfectly
accurate manner. For, as it is well known, no colouring, however fine,
will in a picture make up for bad and incorrect drawing, so in a model,
walls out of square or windows and other apertures ill-cut will not
present the wished-for appearance, though all the details be most
skilfully and beautifully modelled. Draw in all doors, windows, &c.,
&c., with a very hard pencil, in order that the lines may be as fine as
possible, and cut them out with knife No. 1, or No. 2, whichever may be
considered most suitable to the size of opening it is required to cut;
the knife No. 3, as before observed, being used exclusively for curved
and circular work. In cutting out the windows, hold your knife perfectly
upright; and, as you arrive at the end of the cut, let the _edge_ of the
blade be perpendicular, thus avoiding cutting past the line. In cutting
through thick, or indeed even through one thickness of paper, do not be
too anxious to sever the piece with one cut, as this way of proceeding
is almost sure to cause unevenness of line. But commence by _drawing_ a
line, as it were, in the required direction; that the rule may guide it
accurately, press but slightly at first; and as the track of the knife
gets deeper, exert more pressure. Simple as this direction may appear,
it is nevertheless of the utmost practical utility, as will readily be
found upon trial, as it is only by these means that the paper will be
left at the edge clean, sharp, and even.
[Illustration:
DETAILS OF GREENHOUSE. No. 1.
]
The next object we would call attention to is the Greenhouse, page 73,
and state that there are two ways of modelling this very general
appendage to a modern mansion. The first and the simplest method is to
form the backing of blue paper behind the mica. The other, by doing away
with the blue backing, and allowing the mica to remain transparent. The
former method saves some amount of labour; but the latter being in our
opinion the best and most artistic method, we shall proceed to describe
it: First form the pilasters (you will require double the number than
for the opaque backing), and cut them in their length from A to B (see
elevation, page 73), from the commencement of the base mouldings to the
underside of those of the cap. The way of proceeding in modelling cap
and base will be readily understood from the accompanying sketch, where
it will at once be seen better than we can describe. The best way to cut
them is as if they were a window or opening, cutting the piece out of
the centre at A, after having moulded the edge all round. Then dividing
them into two along the line D L as below, fix them in their respective
places. The angle ones must be double, to avoid having to mitre them. A
piece of mica or thin glass cut to the size of the one side is now
taken, and the pilasters and other portions, divisional bars, &c., are
gummed to it, on both sides; and when with the end it is finished, let
it occupy its intended position on the outline plan.
[Illustration:
D L Divisional line.
]
Now proceed to the roof, to be constructed really of iron and glass, to
be modelled of paper and mica: First, bend round a paper or other
cylinder the piece of mica for the roof, and proceed to cut a number of
strips of cardboard for the ribs, which may be coloured any suitable
tint.
[Illustration:
DETAILS OF GREENHOUSE. No. 2.
PART ELEVATION.
Scale ¼ inch one foot.
]
These are then to be affixed in their places, as shown upon the drawing,
some in thicker, others in thinner paper. A ledge of cardboard must be
left at the back of the blocking, and also on the same level against the
side of the house; this will be for the purpose of resting the roof
upon.[5] The cornice will be constructed in the manner described for the
others; the pieces on the frieze C, C, C (page 73) will be placed on the
required thickness for the return, but the return of the cornice must be
cut in it. The plinth must now be moulded, cut, and fixed; and the whole
is complete.
Footnote 5:
This description is for a circular roof; that, however, in the
engraving represents a flat hipped roof. The method of proceeding is
the same, except that for the latter no cylinder is required.
Chimneys, those great ornaments to a house, at least they should be
rendered so, but, alas! for the taste of some of our modern architects,
are far more frequently the reverse, and what in able hands and with
judicious treatment would prove a crowning feature and a material
assistance to the design, becomes a glaring error and ruins the whole.
So much for the architect: but should he fortunately possess the ability
and taste to produce those necessaries to our comfort, with equal credit
to himself and benefit to the design, how often do we see his work
marred by the introduction of Messrs. Somebody’s patent never-failing
revolving smoke preventer; a hideous monster of some seven feet high,
whirling and screeching upon the slightest appearance of wind. As our
little Handbook has its mission to instruct in the Art of Modelling an
architect’s production, and as smoke-jacks are but little indebted to
him for their uneasy existence, we beg to apologise for this digression,
and resume our original topic. Details of the chimneys will be found
upon page 81 and 83; for the body of the chimney use two thicknesses,
and it will not be found necessary to mitre the join; for, if even
ordinary care be taken, the union will be scarcely perceptible, while
the labour will be considerably diminished. Form any strings, cornices,
&c., &c., that occur, by cutting the piece flat, and then cutting the
square out of the middle to admit of the shaft, slip it over the shaft
or body of the chimney, till it arrives at the position required by the
design, where it is at once to be secured in its place. Perhaps our
meaning may be rendered clearer by the accompanying illustration. A
represents the cornice prepared in the manner described, and only
requiring to be fixed in its place. B, the shaft or body of the chimney
over which the cornice is to be slipped till it arrives at the dotted
lines; the chimneys may be fixed to the roof (shortly to be described)
in the following manner: Should the chimney come on the roof lower down
than the ridge, the bottom of the shaft will have to be cut to the angle
required by the rake of the roof only; but should the chimney be cut
into by the ridge, then the angle will follow that of the roof on both
sides, diverging from the apex. For illustration of this we give the
annexed sketches, page 83.
[Illustration:
DETAILS OF CHIMNEYS.
]
[Illustration:
DETAILS OF CHIMNEYS.
]
A represents a chimney, the base of which is cut simply _one way_, to
suit the slope of the roof. B, a chimney into which the ridge cuts, and
the angle cut both ways from the apex. It will, as a general rule, be
found better to put chimneys together with thin paper, even in the
smallest models, a squareness being thus produced not to be obtained
otherwise. The base to be formed out of thickness equal to the
projection, and treated in (as regards fitting it to the roof) a similar
manner to the shaft, so that if the rake of shaft had chanced not to
have been truly cut, there is no need to throw it away, as it could
easily be blocked under with small pieces till straight, the base hiding
all defects underneath. The method of working the strings, cornices,
&c., has already been fully described in those for the tower and main
building. Figs. 1 and 7, page 61.
Our model now draws near to its completion. We had arrived at a stage
ready for the roof, but stopped for the preparation of the chimneys, in
order that when the roof was completed, they might be at once fixed in
their respective places. The roof may be either scored, or gauged with
paper strips overlapped. The groundwork for either method will be
prepared in the same manner. First cut, as if for a lid or top to fit
the inside of the model, a strong piece of cardboard; let it be just so
that it will slip into its place between the walls, but be prevented
slipping down by the strips or ledge on the level of the gutter, as
described for Greenhouse, page 73.
[Illustration:
DETAILS No. 4.
Fig. 1.
]
[Illustration:
Fig. 2.
B Bottom piece. C Cornice. L Ledge. S S S Slates.
T Top piece. W Wall.
The cross hatching shows the number of separate pieces the cornice is
composed of.
]
[Illustration:
Fig. 3.
ROOF PLAN.
]
Sections must now be taken in various parts, through the roof, to
ascertain the length of the respective sides. Thus if the angle A B C
(see fig. 1, page 85) represents the rake of the roof, the length of the
side will be found from A to B and B to C. The sides thus formed must be
splayed to fit at the valleys, apex, &c., and at the base splayed and
fixed to the top piece on which the roof plan has been drawn, observing
to leave space enough all round for the gutter. If the pieces on which
the sections have been drawn are cut out, they will answer for internal
stays to the roof.
The roof plan is given upon page 85, fig. 3, as also an outline section
for the finishing of the roof, fig. 2, page 85; it will explain itself.
The lead flat will be formed by the bottom piece, but it must be covered
by a paper resembling in tint that of the lead itself. When the
groundwork of the roof is completed, it must be covered in imitation of
slates by one or other of the previously-mentioned methods. We will,
however, describe both, leaving the reader to use his own judgment as to
which he may adopt, our preference being for the strips of overlapping
paper. In the simple scoring, proceed to cut out of the slate tinted
paper pieces accurately fitting to the groundwork of the roof, then with
the knife handle score these sides along, as you would ink in the roof
lines in a drawing, closer at the ridge, becoming wider at the base, and
parallel to each other. The latter by cutting layers of paper, gauged
decreasing in size as before directed, fixing them to the groundwork of
the roof beginning at the base, and overlapping them about 1/16th of an
inch; after all, submitting to the press. The roof assumed to be
finished, affix the chimneys, generally make good all imperfections,
&c., and the model is ready for removal to its final destination; cut
therefore the paper it was built upon from the board, and also tear from
the bottom edges the paper that may have adhered to it, holding it by
the wood stay.
Prepare a piece of dry wood about two or three inches wider all round
than the building itself, cover it with cloth or velvet, the latter
preferable, the best colour green, and cut a small groove out of the
upper edge; this is to receive the glass shade, which construct thus:
procure five pieces of glass, the sizes rendered necessary by your stand
to form a square or oblong shade, and fasten all together by means of
strips of thin paper and gum (the dull gold paper to be procured in
sheets at any of the artists’ repositories will look best) at their
edges. The model must now be secured to the stand, for which purpose the
piece of wood mentioned at page 56 was inserted, a hole is drilled
through the bottom of the stand, and a screw passed through it into the
wood stay. Do not screw the model down too tightly upon the stand, or
you may force away the stay from its fastenings and destroy your work.
We have now described all the necessary materials and manipulations to
complete in every respect a model similar to the mansion given in the
illustrations, and which, though containing the general detail of a
building of that description, was wanting in numerous varieties of
detail that will occur in many other buildings of the same class more
ornate and considerably more elaborate in design than our example.
While all our attention is being turned towards Italian architecture,
Gothic must not be forgotten, and though the general method of procedure
is the same for both, yet there are numerous things which exist only in
the latter style, and in consequence demand separate instructions. In
order, therefore, that nothing shall escape being described in the
various styles, that the student may have nothing to retard his
operations, we append the methods of working the various details in the
form of an illustrated glossary, the alphabetical arrangement of which
will, we think, enable the student more readily and quickly to find the
particular information he may require.