ter amount of "hand cunning" than does painting, and is in that
sense akin to wood carving, to which delightful craft it is, indeed,
almost indispensable, and, I might add, part of the necessary training
one has to undergo to become a carver in wood. And as on another
occasion I am going to write a few hints on wood carving, the present
article may be taken as a prelude to the one on that subject.

The materials necessary to try one's hand at modelling are very
inexpensive. The clay is the most essential thing, and this can be
purchased at one or two artists' colourmen, or, better still, at any
pottery. I have had clay sent me from the potteries in Staffordshire,
and those of my readers who live near a pottery would have no difficulty
in supplying themselves with clay. The clay used for flower-pots does
for coarse work, but is not sufficiently carefully prepared for fine
work. It burns a rich red colour, and is, of course, terra-cotta. The
clay used in making the terra-cotta plaques and vases is what you
require for fine work. There are two or three firms who supply London
shops with terra-cotta vases, etc., and I have no doubt that clay might
be purchased of them.

The clay used in making tiles does for modelling, but perhaps the best
is that which burns a cream colour. It is a dull grey colour, rather
dark before it is fired, and it should be noticed that it is difficult
to tell the colour clay will burn by its appearance when unbaked. Thus a
grey clay may burn a rich red or pale cream. The qualities necessary in
clay for modelling are plasticity, which enables it to be worked without
falling to pieces, and fineness--a perfect freedom from grit, small
stones, and other impurities. It should be quite soft to the touch, and
when pressed and kneaded should feel smooth and silky. Old clay is more
plastic as well as being tougher than new, and in potteries clay is
often kept a considerable time before it is used. The clay should not be
allowed to dry when it is not in use, and to prevent this it must be
wrapped in wet flannel. Should it dry quite hard, there is nothing to do
but to put it into a vessel and pour water on it, allowing it to stand
until the clay becomes soft. Some of the moisture must then be allowed
to evaporate, otherwise it is too soft for use. This is another point to
be observed in clay used for modelling. It must not be too damp. If it
sticks to the fingers it is too wet, and if it resists the pressure