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 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;