is
being done, give the paper a thin and even coating of glue, which
must be quite hot and laid on as quickly as possible. Lay on a
second layer of paper as carefully as before, then another coat of
glue, and so on until there are five or six coats of glue and
paper. When this is dry it will be strong enough for all
ornamental purposes. The ragged edges of the paper are trimmed off
with a sharp knife and the whole surface smoothed with fine
sandpaper. Then carefully glue on sections of tinfoil to give the
armor the appearance of steel. The armor is now removed from the
model.

A mitten gauntlet of the fifteenth century is shown in Fig. 2.
This can be made in one piece, with the exception of the thumb
shield, which is separate. The thumb shield is attached to the
thumb of an old glove which is fastened with round headed nails on
the inside of the gauntlet.

[Illustration: Corrugated Breastplate and Former]

The part covering the wrist is a circular piece, but the back is
not necessary, as it would not be seen when the gauntlet is
hanging in its place.

In Fig. 3 is shown a gauntlet of the seventeenth century with
separately articulated fingers. This gauntlet may be molded in one
piece, except the thumb and fingers, which must be made separately
and fastened with the thumb shield to the leather glove that is
attached to the inside of the gauntlet, the same as in Fig. 2.

A breastplate and tassets of the sixteenth century are shown in
Fig. 4. The tassets are separate and attached to the front plate
with straps and buckles, as shown in the sketch. There is a belt
around the waist which helps to hold the back plate on. Attached
to the back of the plate would be two short straps at the
shoulder. These are passed through the buckles shown at the top
right and left-hand corners of the front plate. For decorative
purposes the back plate need not be made, and therefore it is not
described. The method of making armor is the same as of making
helmets, but as larger pieces are formed it is well to use less
clay owing to the bulk and weight.

An arrangement is shown in Fig. 5 to reduce the amount of clay
used. This triangular-shaped support, which can be made in any
size, is placed on the modeling board or bench and covered with
clay. This will make the model light and easy to move around, and
will require less clay. It is not necessary to have smooth boards;
the rougher the better, as the surface will hold the clay. The
c