6 Ruined Bui/dings or sculptures which from palpable reasons must be carried out expeditiously. In every class of " piece moulding " the method of covering the carved surface with a number of inelastic moulds capable of being individually removed with ease is theoretically the same. The perfection of the plaster piece moulding depends on the skill of the moulder in the disposition of the moulds, so as to have the fewest possible joints when the piece moulds fitted together completely cover the carving. Such a process is evidently not suitable, in respect of rapidity, to Indian sculptures, which are mostly of a very elaborate character — partaking largely of what is technically termed an "undercut" quality — and native moulders cannot be trusted to execute any such work alone, as it requires unbroken supervision on the part of some qualified person. A demand was thus created for a process which woidd be not only more easy and quick, but to a great extent would obviate the necessity of manipulating the casts when they issue from the mould. A process of moulding with gelatine was adopted, and it meets the requirements above stated to a very considerable extent. It is applicable in the reproduction of big objects by reason of the large area which a single mould can cover. As the gelatine is elastic, a great extent of "under-cut" in the carving may be embraced in one mould, thus rendering unnecessary the making of a number of joints. In withdrawing the elastic mould from the object under treatment, the gelatine stretches itself in order to become released from the " undercut," but it regains its shape almost immediately without destroying any of the extreme accuracy with which the gelatine is able to repeat every mark and grain on the surface reproduced. This gelatine process is more mechanical in its nature than piece moulding, therefore it is easily acquired b}- natives, who, with ordinary- care and under supervision, execute it rapidly and well. The method of preparing an elastic mould is briefly as follows : — The backing or wall to hold the mould i^ tin- primary work : the carved surface is thoroughly cleaned with hard brushes and soft soap, and all vegetable incrustations carefully removed. Rolls of clay are then applied, sheets of paper or coarse cloth intervening to keep the sculpture clean; the outer surface of the clay is moistened and smoothed, and a wall of plaster. strengthened with iron bars, built up against it. This wall, when set, is removed, and the clay taken awav. The inner surface is scraped, cleaned, and oiled. When replaced, an interval of the exact thickness of the clay formerly applied will exist, and into this interval
