features, and even of some other details, for the original drawings are likely to be more suggestive than specific. To a limited extent, therefore, the modeler does creative work. Indeed, the higher class modelers regard themselves as artists rather than craftsmen. The heads of the firm make annual trips to Europe to brush up their artistic ideas and they are very particular about those from whom they accept orders. Some of them will tell you that there are only about fifteen architects in New York for whom they care to work. One architect with a big contract on his hands wanted some scale models made, but when the firm to which he applied had seen his plans he was invited to go elsewhere as the modelers did not care to do that grade of work.

After the clay study has been approved by the architect it is treated to a coat of shellac, then to a light coat of grease. It is then encased in a rough plaster form so that a melted preparation of gelatine, or "glue" as the modelers call it, may be poured upon the face. When cold this glue is as elastic as rubber, so that it may be pulled from the irregular face of the model without injury. After being face-hardened with alum this glue impression serves as a mold into which plaster of Paris mixed to a thin paste is poured. Burlap or jute fiber is scattered over the wet plaster to hold the brittle stuff together, after which another coating of plaster is poured on. In making scale models wires or strips of metal may be used as reenforcement. Whenever a detail, such as a column, or a capital or a window or a decorative detail is repeated the modeler makes a mold for a single unit and then casts as many pieces as are required. These are then assembled and cemented in place with fresh

THIS MODEL IS DISPLAYED IN A WINDOW AS A BUSI-
NESS FIRM'S WAY OF ADVERTISING ITS
NEW STRUCTURE.

plaster. The sections are then assembled and the model is finished by "pointing up," or dressing down the rough parts and filling up imperfections.

Architectural model-makers are among the highest paid of craftsmen for they get $50 or $60 a week. They have things pretty much their own way, for there are barely two hundred of them in America, nearly all being in New York City.

In the art of making marine models we are as far ahead of England as that nation is ahead of us in building full-grown ships. In mere quantity of output, to be sure, England is as far in the lead as in turning out real ships. One reason is that marine model-making has become such an extensive industry over there that some concerns make a specialty of

pic, now on exhibition in New York. This, the largest model ever built, is eighteen feet six inches long and cost $12,500 in England. The foremost American maker of marine models offered to build a model of the same ship of the same size for three-fourths of this sum. Some idea of the character of such an undertaking may be gathered from the American's estimate that it

would take twenty men six months to build a miniature Olympic.

Lest anyone should underestimate the importance of the marine model it should be explained that they perform many useful services. For one thing marine models have played an important part in making England mistress of the seas. Marine museums, the principal features of which are models of ships, are nu

merous in England. Landlubbers there have abundant opportunities to become familiar with the appearance of vessels of all kinds before they ever smell salt water, and this familiarity inspires a determination to follow the sea for a livelihood. America, on the other hand, has no marine museums. The nearest we ever came to having one was three years ago when Senator Heyburn introduced a bill to present a model of each ship in the United States navy named after a city or a state to such cities and states. But the bill was quietly smothered in committee and our first marine museum is yet to be established. American boys who might grow up into seafaring men and do their share in rehabilitating our merchant marine are thus cheated out of their careers, since they never have an opportunity of seeing what a ship looks like. Still, we can boast that the finest collection of marine models in the world, that of the New

York Yacht Club, is to be found on American soil, even if it isn't open to the public.

Models are also often useful to the man who has decided to build a ship or a yacht but is not sure about the details. To the unpracticed eye the blue prints of the naval architect convey but little meaning. In such a case the modelmaker is called in to construct the vessel in miniature from the architect's drawings. Then the prospective owner can see his future craft just as it would look if viewed through a reducing glass. With the concrete object before his eyes he can have changes made to suit his ideas, thus making sure that he will not be disappointed in the vessel itself.

Models, too, play an important part in admiralty suits sometimes, though this happens oftener in England than in America. Models of the splendid new trans-Atlantic liners also do effective work in drumming up trade for the

steamship companies. The White Star Line and the Cunard Line have each more than a hundred thousand dollars invested in models of their crack ships, which are kept going the rounds of the more important cities. They wear out in the course of their dry land voyages and have to go into dry dock just like their full-grown counterparts, particularly if they happen to be English built.

Lastly, marine models make attractive collections for those in search of novelty. Henry A. Morss, a Boston yachtsman, has recognized the opportunity by gathering a fine private collection.

A marine model may be of any dimensions required. from life-size down. Visitors at the Chicago World's Fair in 1893 will recall the life-sized model of the battleship Illinois, done in wood and staff, in one of the lagoons in Jackson Park. At the St. Louis

World's Fair in 1904, a life-
sized model of the forward third
of a typical cruiser was con-
structed in the Government
building. This full-sized
model was surrounded by a
most interesting collection.
of warship models of con-
ventional size from the
Navy Department, that is,
a quarter of an inch to the
foot. The entire collec-
tion, including the full-
sized model, was the work
of H. E. Boucher, of New
York, the world's foremost
marine model-maker.

Mr. Boucher was employed as a naval architect at the Brooklyn Navy Yard for a number of years. Barnum and Bailey, the circus men who had secured permission from the Government to make models of eleven warships for exhibition, engaged Mr. Boucher to superintend the construction of the models after hours. models were so fine that they won the admiration of Naval Constructor Bowles, who secured the transfer of Mr. Boucher to the Navy Department's model shop at Washington: Boucher reorganized the

The

shop, put it on an efficient basis and reduced the cost of model-making onethird.

When the time came he was assigned to the task of building the big model at the St. Louis Exposition. At the Seattle Exposition in 1909, he built for the War Department a model to show harbor defense by submarine mines. In a little bay filled with real water and commanded by fortifications complete in every detail, were a number of submarine mines so disposed as to protect the entrance. A tiny ship steaming about the harbor came in contact with one of the mines at regular intervals, causing a light to glow in the mine to attract the spectators' attention. At the same instant there was an explosion accompanied by a puff of property smoke. Then the unfortunate ship sailed on to meet her doom again.

One notable piece of work by Mr.

MODEL OF AN ANCIENT CHINESE MUSIC BARGE.

Boucher was to epitomize the history of the United States Navy in a series of twenty half models for the New York Yacht Club. The series began with Paul Jones' ship, the famous Bonhomme Richard, and included the Constitution, the Powhattan, the first sidewheel man of war, the corvette Kearsarge, the Maine and the Oregon, and concluded Iwith the Connecticut. As all were on the same scale the increase in size as well as progress in other features could be comprehended at a glance. The collection was regarded as so important that the maker was requested to duplicate it for the Navy Department. Six years ago Mr. Boucher resigned from the Navy Department and set up business for himself as a model-maker in a little shop in Maiden Lane, New York, with two assistants. Soon he was obliged to move to larger quarters. Now he employs. thirty-two expert mechanics and is looking for still larger shop space.

Some of the most interesting marine models turned out by Mr. Boucher are