As the different processes of sculpture are but little known, it may not be out of place here to throw some light upon them. The artist himself models the figure, bust, or group, whatever it may be, in clay, spending all his skill, time, and labor on this first stage. When complete--and many months, sometimes even years of unwearied study are given to the task--a plaster cast is taken from the clay figure, from which cast the workmen put the subject into marble, the artist superintending it, and reserving to himself the more delicate task of finishing. Thorwaldsen, speaking of these processes, says, “that the clay model may be called creation, the plaster cast death, and the marble resurrection.” Certain it is that the clay model and the marble statue, when each has received the finishing stroke, are more closely allied, more nearly identical, one with the other, than either is with the plaster cast. So alive are sculptors to the fact of the injury done to their works by being seen in plaster casts, that they bestow great pains in working them over by hand to restore something of the fineness and sharpness which the process of modeling has destroyed. So impressed with this is Powers, the American sculptor, that, with the ingenuity and inventive skill of his country, he has succeeded in making a plaster hard almost as marble, and which bears with equal impunity the file, chisel, and polisher. There are in Rome workmen devoted to the production of certain portions of the figure, draped or undraped; for instance, one man is distinguished for his ability in working the hair, and confines himself to this specialty; while another is famous for his method of rendering the quality of flesh, and a third is unequaled in drapery. Very rarely does it happen that the artist is lucky enough to find all these qualities combined in one man, but it does occasionally happen; and Mr. Gibson is himself fortunate in the possession of a workman whose skill and manipulative power, in all departments, are of the highest order. A Roman by birth, the handsome and highly organized Camillo, with his slight figure, and delicate, almost effeminate hands, is a master of the mallet and chisel, and, from the head to the foot, renders and interprets his model with artistic power and feeling. The man loves his work, and the work repays his love, as when does it not, from the sublime labors of genius to the humblest vocation of street or alley?