denotes a thing endowed with a formative power, or a faculty of forming or fashioning a mass of matter after the likeness of a living being; such a virtue, as some of the ancient Epicureans, and perhaps the Peripatetics too, imagined to reside in the earth, or at least to have anciently resided therein, by means whereof, and without any extraordinary intervention of a Creator, it put forth plants, &c. Some of them seem to have been of opinion that animals, and even man himself, were the effects of this plastic power.

Plastic Art, the art of representing all sorts of figures by the means of moulds. This term is derived from the Greek word πλαστικός, which signifies the "art of forming, modelling, or casting in a mould." A mould, in general, is a body that is made hollow for that purpose. The artist makes use of them to form figures in bronze, lead, gold, silver, or any other metal, or fusible substance. The mould is made of clay, stucco, or other composition, and is hollowed into the form of the figure that is to be produced; they then apply the jet, which is a sort of funnel, through which the metal is poured that is to form the figures, and that is called running the metal into the mould.

It is in this manner, but with much practice and attention, that the artist forms, 1. Equestrian and pedestrian statues of every kind; 2. Groups; 3. Pedestals; 4. Bases reliefs; 5. Medallions; 6. Cautionary mortars, and other pieces of artillery; 7. Ornaments of architecture, as capitals, bases, &c.; 8. Various sorts of furniture, as lustres, branches, &c. in every kind of metal; and in the same manner figures are cast in stucco, plaster, or any other fusible matter. Wax being a substance that is very easily put in fusion, plastics makes much use of it. There are impressions which are highly pleasing in coloured wax, of medallions, baso and alto relievo, and of detached figures; which however are somewhat brittle. But this matter has been carried too far: they have not only formed moulds to represent the likenesses and the bust of a living person, by applying the plaster to the face itself, and afterward casting melted wax into the mould; but they have also painted that waxen bust with the natural colours of the face, and have then applied glass eyes and natural hair; to which they have joined a stuffed body and limbs, with hands of wax; and have, lastly, dressed their figure in a real habit; and by these means have produced an object the most shocking and detestable that it is possible to conceive. It is not a statue, a bust, a natural resemblance that they form; but a dead body, a lifeless countenance, a mere carcass. The stiff air, the inflexible muscles, the haggard eyes of glass, all contribute to produce an object that is hideous and disgusting to every man of taste. Figures like these offend by affording too exact an imitation of nature. In no one of the polite arts ought imitation ever to approach so near the truth as to be taken for nature herself. Illusion must have its bounds; without which it becomes ridiculous.

There is another invention, far more ingenious and pleasing, which is that wherein M. Lippart, antiquary and artist at Dresden, now excels. He has found the means of resembling, by indefatigable labour, great expense, and infinite taste, that immense number of stones, engraved and in cameo, which are to be seen in the most celebrated cabinets. He has made choice of those that are the most beautiful; and, with a paste of his own invention, he takes from these stones an impression that is surprisingly accurate, and which afterward become as hard as marble; these impressions he calls pasti. He then gives them a proper colour, and isolates each with a gold rim; and, by ranging them in a judicious order, forms of them an admirable system. They are fixed on pasteboards, which form so many drawers, and are then inclosed in cases, which represent folio volumes, and have titles wrote on their backs; so that these fictitious books may conveniently occupy a place in a library. Nothing can be more ingenious than this invention; and, by this method, persons of moderate fortune are enabled to make a complete collection of all antiquity has left that is excellent of this kind; and these copies are very little inferior to the originals.

There is also another method of taking the impressions of cameos, medals, and coins, which is as follows: They wash or properly clean the piece whose impression is to be taken, and surround it with a border of wax. They then dissolve the glass in water, and make a decoction of it, mixing with it some vermilion to give it an agreeable red colour. They pour this paste, when hot, on the stone or medal, to the thickness of about the tenth part of an inch; they then leave it exposed to the sun, in a place free from dust. After a few days this paste becomes hard, and offers to the eye the most admirable and faithful representation of the medal that it is possible to conceive: they are then carefully placed in drawers; and thousands of these impressions, which comprehend many ages, may be included in a small compass.

The proficient in plastics have likewise invented the art of casting, in a mould, papier mâché or dissolved paper, and forming it into figures in imitation of sculpture, of ornaments and decorations for ceilings, furniture, &c. and which they afterwards paint or gild. There are, however, some inconveniences attending this art; as, for example, the imperfections in the moulds, which render the contours of the figures inelegant, and give them a heavy air: these ornaments, moreover, are not so durable as those of bronze or wood, seeing that in a few years they are preyed on by the worm.

The figures that are given to porcelain, delph ware, &c. belong also to plastics; for they are formed by moulds, as well as by the art of the sculptor and turner; and by all these arts united, are made vases of every kind, figures, groups, and other designs, either for use or ornament.

From this general article the reader is referred to Foundery, Casting, Glass, China Ware, Papier-Mâché, Pottery.