Modelling and Sculpting Animals

DOVER BOOKS ON ART INSTRUCTION

THE ARTIS’S GUIDE TO HUMAN ANATOMY, Gottfried Bammes. (0–486-43641-1)

PRACTICAL GUIDE TO ETCHING AND OTHER INTAGLIO PRINTMAKING TECHNIQUES, Manly Banister. (0-486-25165-9)

ILLUSTRATING NATURE: HOW TO PAINT AND DRAW PLANTS AND ANIMALS, Dorothea Barlowe and Sy Barlowe. (0-486-29921-X)

ACRYLIC PAINTING: A COMPLETE GUIDE, Wendon Blake. (0-486-29589-3)

ACRYLIC WATERCOLOR PAINTING, Wendon Blake. (0-486-29912-0)

FIGURE DRAWING STEP BY STEP, Wendon Blake. (0-486-40200-2)

LANDSCAPE DRAWING STEP BY STEP, Wendon Blake. (0-486-40201-0)

OIL PORTRAITS STEP BY STEP, Wendon Blake. (0-486-40279-7)

WATERCOLOR LANDSCAPES STEP BY STEP, Wendon Blake. (0-486-40280-0)

PEN AND PENCIL DRAWING TECHNIQUES, Harry Borgman. (0-486-41801-4)

BRIDGMAN’S LIFE DRAWING, George B. Bridgman. (0-486-22710-3)

CONSTRUCTIVE ANATOMY, George B. Bridgman. (0-486-21104-5)

DRAWING THE DRAPED FIGURE, George B. Bridgman. (0-486-41802-2)

ANIMAL SKETCHING, Alexander Calder. (0-486-20129-5)

CHINESE PAINTING TECHNIQUES, Alison Stilwell Cameron. (0-486-40708-X)

CARLSON’S GUIDE TO LANDSCAPE PAINTING, John F. Carlson. (0-486-22927-0)

THE ARTISTIC ANATOMY OF TREES, Rex Vicat Cole. (0-486-21475-3)

PERSPECTIVE FOR ARTISTS, Rex Vicat Cole. (0-486-22487-2)

METHODS AND MATERIALS OF PAINTING OF THE GREAT SCHOOLS AND MASTERS, Sir Charles Lock Eastlake. (0-486-41726-3)

CHINESE BRUSH PAINTING: A COMPLETE COURSE IN TRADITIONAL AND MODERN TECHNIQUES, Jane Evans. (0-486-43658-6)

ART STUDENTS’ ANATOMY, Edmond J. Farris. (0-486-20749-7)

ABSTRACT DESIGN AND How TO CREATE IT, Amor Fenn. (0-486-27673-2)

PAINTING MATERIALS: A SHORT ENCYCLOPEDIA, Rutherford J. Gettens and George L. Stout. (0-486-21597-0)

FIGURE PAINTING IN OIL, Douglas R. Graves. (0-486-29322-X)

LIFE DRAWING IN CHARCOAL, Douglas R. Graves. (0-486-28268-6)

ABSTRACTION IN ART AND NATURE, Nathan Cabot Hale. (0-486-27482-9)

CREATING WELDED SCULPTURE, Nathan Cabot Hale. (0-486-28135-3)

HAWTHORNE ON PAINTING, Charles W. Hawthorne. (0-486-20653-X)

GEOMETRIC PATTERNS AND HOW TO CREATE THEM, Clarence P. Hornung. (0-486-41733-6)

THE ART OF ANIMAL DRAWING: CONSTRUCTION, ACTION ANALYSIS, CARICATURE, Ken Hultgren. (0-486-27426-8)

FIGURES AND FACES: A SKETCHER’S HANDBOOK, Hugh Laidman. (0-486-43761-2)

MODELLING AND SCULPTING THE HUMAN FIGURE, Edouard Lanteri. (0-486-25006-7)

MODELLING AND SCULPTING ANIMALS, Edouard Lanteri. (0-486-25007-5)

THE PAINTER’S METHODS AND MATERIALS, A. P. Laurie. (0-486-21868-6)

Bibliographical Note

This Dover edition, first published in 1985, is an unabridged republication of Volume III of the three-volume work originally published by Chapman & Hall, Ltd., London, under the title Modelling, in 1911. (Volumes I and II of the original set appear together in a Dover reprint edition under the title Modelling and Sculpting the Human Figure, 25006–7.)

Library of Congress Cataloging in Publication Data

Lanteri, Edouard.

Modelling and sculpting animals.

Originally published as v. 3 of Modelling: London: Chapman & Hall, 1911.

1. Animals in art. 2. Modeling. 3. Sculpture–Technique. I. Title.

NB1940.L36 1985 731’.832 85–10379

International Standard Book Number

9780486138299

Manufactured in the United States by Courier Corporation

25007509

www.doverpublications.com

FOR this last volume I owe much to the intelligent and devoted help of my friend and pupil A. E. Smith, and I wish here to thank him most sincerely.

I also wish to record with gratitude my indebtedness to Dr. Louis Vintras’ experience for the entire supervision of the translation and of the general arrangement of the book

E. LANTERI.

Au Professeur Edouard Lanteri.

182, RUE DE L’UNIVERSITÉ, PARIS,

Août, 1910.

MON CHER MAÎTRE–MON CHER AMI,

Aucun n’a eu l’amour de ses élèves autant que vous. Après avoir été sculpteur d‘action, vous avez été un professeur et tous deux ensemble ;–c’est a dire un professeur complètement organisé pour que vos paroles d’enseignement aient été constamment d’accord avec l’expérience. C’est ainsi que vous avez été, avec aussi votre bonté élégante et naturelle, un homme précieux pour vos nombreux élèves, pour le grand et noble pays d’Angleterre, qui aime le mérite, pour tous vos amis auxquels vous êtes dévoué. Vos amis Dalou, Boehm, Legros et moi, qui ai été si charmé de nos relations, vous ont toujours été fidèles. Ces artistes si travailleurs ont aimé le grand travailleur que vous êtes et qui publie sa science des formes anatomiques aujourd’hui, une de vos études–votre sollicitude continuelle.

Souffrez, cher ami, que je me joigne particulièrement à notre grand ami le peintre Legros, l‘illustre maître, qui vous a toujours aimé! Comme vous aussi, j’ai eu l‘honneur de son affection; j’ai eu la joie de parler en toute liberté avec ce très grand artiste, qui a professé comme vous, qui a fécondé des generations d’artistes de même que vous.

Hommes de bienfaits, de génial dévouement, je vous salue, avec tous ceux qui, soulagés de leur ignorance et admirateurs enthousiastes, vous seront toujours reconnaissants.

AUG. RODIN.

To Professor Edouard Lanteri.

182, RUE DE L’UNIVERSITÉ,

August, 1910.

MY DEAR MASTER–MY DEAR FRIEND,

None more than you has gained the affection of his pupils. You are at one and the same time a sculptor and a teacher of sculpture, that is to say, so equipped that your teaching has ever been in accordance with experience. It is thus that you have been, with your added natural and elegant kindness, an invaluable man to the numerous students, to England’s great and noble country, which loves merit, and also to your friends to whom you have constantly proved your attachment. Your friends Dalou, Boehm, Legros, and myself, to whom our intercourse has been so charming, have ever been faithful to you. These artists and workers have ever loved the great worker in you, who to–day give to the public your science of anatomical form, one of your studies–your constant care.

Allow me, dear friend, to link myself here with our great friend, the painter Legros, the illustrious master, in the friendship he has ever had for you! Like you also, I have been honoured by his affection; I have had the joy of communing freely with that very great artist, who like you has been a teacher, and like you trained generations of artists.

Gifted men of genial devotion, I greet you, joining with all those who, freed from ignorance and now enthusiastic admirers, will ever be grateful to you.

AUG. RODIN.

Table of Contents

DOVER BOOKS ON ART INSTRUCTION

Title Page

Copyright Page

Dedication

CHAPTER I - INTRODUCTORY REMARKS

CHAPTER II - THE HORSE

CHAPTER III - THE FIRST STAGES IN THE MAKING OF A SMALL MODEL OF A HORSE

CHAPTER IV - COMPARATIVE MEASUREMENTS

CHAPTER V - FURTHER STAGES OF THE WORK

CHAPTER VI - SOME SPECIAL POINTS

CHAPTER VII - GENERAL PRINCIPLES

CHAPTER VIII. - THE CONSTRUCTION OF THE TWO CHASSIS.

CHAPTER IX - FIXING THE TWO CHASSIS

CHAPTER X - CONSTRUCTION OF THE LARGE ARMATURE

CHAPTER XI - COVERING THE ARMATURE WITH CLAY

CHAPTER XII - THE POINTING

CHAPTER XIII - POINTING A RELIEF

CHAPTER XIV - ON THE SCULPTURAL PRESENTMENT OF ANIMALS IN GENERAL

CHAPTER XV - THE LION

CHAPTER XVI - ARMATURE FOR A LION; MOVEMENT AND CONSTRUCTION

CHAPTER XVII - THE BULL

CHAPTER XVIII - ARMATURE FOR THE BULL–CONSTRUCTION–MEASUREMENTS.

CASTING IN PLASTER

A FINAL WORD

CHAPTER I

INTRODUCTORY REMARKS

SYMBOLISM is the striking and general interest embodied in the representation of animals in the early epochs of sculpture. Their forms were for the artist the means by which certain ideas received material expression: the lion, for example, was symbolical of courage; the cat, of mysterious prudence and treachery; the hawk, of avidity; the cow was the sacred image of beneficent fecundity ; the serpent, the owl, were the emblems of watchfulness; the soaring bird signified the upward flight of the soul.

Each country had its favourite animals, according to the symbolism attaching to them, or to the uses they could be put to. The Hindus, who had come to live with the elephant on terms of familiarity, were fond of representing it in their architecture, carrying the architrave of their temples, and typifying the power of inert and massive resistance. The Assyrians studied the lion, which they had every occasion to observe in the royal menageries.

On the friezes of their temples the Egyptians represented all kinds of animals: the cat, the monkey, the vulture, etc. When they made isolated figures of animals, they chose in preference the lion, the bull, and the ram, but in the treatment of these subjects they did not strictly adhere to the copy of natural forms. Inspired by their priests, who delighted to surround the highest truths with mystery, and whose language was always figurative, this people’s mind conceived monstrous beings, odd medleys of forms, strangers one to the other, but fraught with an obscure and dreadful meaning. Species of the utmost difference were associated in these chimerical images; the ram assumed the claws and the tail of the lion; the latter, in turn, assumed the head of a man or a woman, and became that figure which was to stand later as the emblem of every enigma–the Sphinx. In Egyptian sculpture, animals being only symbols, one must not be astonished that the imitation of nature, by the Egyptians, should have been limited to its bearing upon the idea, and have been seen from the larger point of view, that is to say, by insisting only on the characteristic points, on the more expressive and decided features.

When the sculptor is making one of these colosses, lion, bull, or elephant, as a part of some monumental scheme, his aim is not to perpetrate the exact portrait of any one individual of the species, but to present to the eye from afar a strong and fine idea; it is thus that the Egyptians understood it, and after them the Greeks of the first period.

It is necessary to distinguish between wild animals, whose forms are less familiar to us and those animals, the ordinary companions of man, such as the horse and the dog, which, better known to us, claim to be represented in such a way that it shall be possible to name even the particular variety to which they belong. The more the animal is mixed up with the everyday life of man, the more carefully must the sculptor present those features of its life which we are accustomed to notice, but such features can only be found in nature, so that an intimate study of their details becomes a necessity.

Without being an authority on the matter or a profound connoisseur of horsemanship, it is easy to understand that Grecian art, in the time of Pericles, had attained to the highest perfection in the sculptural representation of horses. To endow the ideal with life, to give to sublime beauty a simple and natural appearance, such was the problem, which the school of Phidias successfully dealt with. One comes across certain observations which appear almost trivial, but which are there to tone down the sublime, to prevent that it should be too tense and superhuman. Thus in the midst of the marvellous cavalry of the frieze of the Parthenon we find a horse lowering and stretching its neck to drive away a fly that is irritating it. Here we have one of those ingenious details which are meant to perplex us and to make us believe that Grecian art is nothing more than nature in all its simplicity, while in reality it is the very essence of nature.

CHAPTER II

THE HORSE

BELONGING to the genus mammalia, the horse is the type of the solidungulate ¹ family, and is distinguished essentially by the existence of a single digit encased in a single undivided hoof for each foot. The metacarpal or metatarsal bone of this digit is very long and forms what is known as the cannon–bone, and is accompanied on the