fingers the better, as the use of the fingers tends towards boldness of
design and vigour of execution. People, in starting a new employment,
are very apt to be finiking owing to timidity, and this must be overcome
from the outset--this tendency to pettiness--and in the case of
modelling, the best way to overcome it is to do all the preliminary work
with the fingers. Build up the design boldly and freely, studying only
the principal masses and most important forms. When this is
accomplished, let the clay stand a little time uncovered, as the use of
water will have made it very sticky, and the modelling tools cannot be
used as efficiently when the clay is in this state as when it is drier.

The modelling tools will enable you to begin to finish up the design,
for at present the design exists only in its rough state. Pick the clay
out of the interstices of the design, and begin to refine the different
forms by putting in the more delicate curves. It very much depends upon
the nature of the design as to how far in the direction of finish you
carry the work, but as your modelled tile will not be exposed to rough
usage, you may under-cut it, as modellers say. Under-cutting is the
taking of the clay away from the back of the various forms. In the
leaves, for instance, instead of leaving a solid mass of clay at the
back, this should be carefully cut away underneath, or under-cut, so as
to give lightness and delicacy to the work. Of course, it is necessary
to leave some clay here and there to attach the various forms to the
slab. The under-cutting may be carried to such a pitch as to make the
design look weak, and as though it would fall to pieces with a puff of
wind. When this is the case, I reckon the finishing has been carried too
far. Clay should always look strong enough to hold together, and I may
say I never thought much of that fancy china one sees which is covered
with flowers and foliage modelled as delicately as though wrought in
some precious metal. Sooner or later the edges get chipped off, and the