The carving was continued from Lukeman’s master model, with several important changes made by Hancock. He stopped the monument below the riders’ knees, creating an illusion that the horsemen were just emerging from the rough stone. This saved months of carving that would have produced no more than a view of horses’ legs and hooves. The army that Lukeman planned to have following behind was left off entirely, making the three leaders the entire monument. The sculptor lowered the head and neck of General Lee’s horse so that more of President Davis and his horse could be seen, and he gave Davis a civilian hat instead of the campaign hat Lukeman modeled. And, Hancock modeled a new head of Stonewall Jackson to make him look more like the photographs taken just before the General’s death. Looking at the finished work, it seems amazing that a man could get his first lesson in carving on the world’s biggest monument, and go on to complete it. In explaining how he carved, Faulkner said that mostly he measured. If he was to start a new feature, like the knuckle of General Lee’s first finger, he measured the distance to it from his center line on the master model. Then he checked to get the distance to the knuckle from Lee’s ear, his nose, Davis’ eye, the ear tips of the horses, and other spots. Interpolating inches on the model to feet for the mountainside, he measured from corresponding points on the carving. When all the measurements came out at the same place, he drilled a hole there to the exact depth corresponding to the distance from the knuckle to the plumb line at the front of the model. To insure against cutting away too much of the adjoining stone, he measured and drilled depth holes for all of the features nearby. After making certain that all the measurements were correct, he fired up the large torch and cut down to within half an inch of the bottom of the holes, then switched to the smaller torch to carve the rest of the way. He said he always tried to keep in mind the first fundamental of sculpture—never cut too deep nor in the wrong place. He thoroughly understood that carvers cannot erase mistakes nor paint over them nor sew them up. The only way is not to make them. [Illustration: Stonewall Jackson’s cap.] [Illustration: Carving Jackson’s arm.] [Illustration: An interesting portrait of Sculptor Walker Kirtland Hancock.] [Illustration: Roy Faulkner’s torch sends out slabs of hot granite like flying saucers.] [Illustration: Ray Faulkner’s torch.] [Illustration: Sculptor Hancock lowering head of Lee’s horse on the master model.] The jet flames glazed the surface of the remaining stone, leaving a grayish glassy effect. This was removed and the whiteness of the live granite restored by going over it lightly with a surfacing machine, a vibrating tool driving a four-point tip.