of
the fingers, too dry. The state between stickiness and stubbornness is
what is wanted.

Now as to the tools. Wooden modelling tools can be purchased at some
artists' colourmen, and also at some tool shops. You must choose those
tools you think look handiest. A little practice will soon show you
which are the best to have.

Each modeller has a predilection for certain tools, and it will take my
readers very little time to find out which tools give the best results.
I often shape those I buy myself to fit them for particular work. In
addition to these wooden tools, it is necessary to have a fine steel one
to work the clay when it is dry. Modelling tools are very inexpensive.
You really require no other tools but these wooden ones and a steel one,
but it is necessary to have a few boards to work your clay upon. They
should be strong, with battens at the back to prevent them warping,
which they are liable to do owing to the dampness of the clay.

We will start our work with a very simple design, for our aim should be
to overcome the difficulties by degrees. The design I have chosen (fig.
1) was modelled as a tile about eight inches square, and the first thing
to be done is to roll out a piece of clay about half an inch thick, and
fairly flat all over. It is as well to work the clay up in one's hands,
damping it occasionally if too dry. If clay be allowed to remain
untouched for any length of time it gets set, and does not work easily;
therefore, thoroughly work it up with the hands. It may be made into a
ball, and can be rolled out flat with a thick ruler or rolling pin. The
clay has a tendency to curl up round the rolling pin, and care must be
taken to prevent this. If the rolling pin be covered with leather, this
is to a great extent prevented. The design can be made on tracing paper,
and by marking over the tracing paper placed over the clay with a hard
point, an impression sufficiently distinct will be left to guide one in
doing the actual modelling. The first thing is to build up the oranges,
which can be done by sticking little pellets of clay on to the slab,
pressing them down with the fingers, and rounding the oranges roughly
into shape.

[Illustration: FIG. 1.--A TILE.

_Our First Experiment._]

Don't be too particular about this part of the work; be content to get
some approximation to the shape, leaving the finishing to be done with
the tools. Build up the stem in like manner, or you might roll out a
t