accurate representations of the human form,—of statues,—or of rare fossils,—to which latter purpose it has lately been applied with great advantage. In all casting, the first process is to make the mould; and plaster is the substance which is almost always employed for the purpose. The property which it possesses of remaining for a short time in a state of fluidity, renders it admirably adapted to this object, and adhesion, even to an original of plaster, is effectually prevented by oiling the surface on which it is poured. The mould formed round the subject which is copied, removed in separate pieces and then reunited, is that in which the copy is cast. This process gives additional utility and value to the finest works of art. The students of the Academy at Venice are thus enabled to admire the sculptured figures of Egina, preserved in the gallery at Munich; as well as the marbles of the Parthenon, the pride of our own Museum. Casts in plaster of the Elgin marbles adorn many of the academies of the Continent; and the liberal employment of such presents affords us an inexpensive and permanent source of popularity.
(111.) Casting in Wax.—This mode of copying, aided by proper colouring, offers the most successful imitations of many objects of natural history, and gives an air of reality to them which might deceive even the most instructed. Numerous figures of remarkable persons, having the face and hands formed in wax, have been exhibited at various times; and the resemblances have, in some instances been most striking. But whoever would see the art of copying in wax carried to the highest perfection,
