the design. The leaves should
not be put on the plaque flatly, but should be bent and twisted as is
necessary to suggest the growth of nature. The flower will present the
greatest difficulty, as the serrated edges of the petals must be
carefully done.

[Illustration: FIG. 3.--A VASE.]

In the case of flowers like chrysanthemums, it is necessary to build up
the most prominent flower solidly in clay, putting on the outer petals
separately. The back flower can have the near petals modelled, while the
distant ones can be just indicated on plaque with incised lines. Don't
attempt to copy every petal in clay, which is an impossibility, but try
and get the general effect of the flower in your modelling. Take the
prominent petals first, and put them on in their proper positions, and
the less important petals can then be filled in in the intervening
spaces. This is the plan to adopt in all intricate work. Put down your
principal forms first of all, and you will have little difficulty in
getting in the less important ones, for the principal forms act as
measuring points to the rest of the work, and enable you to preserve
that proportion between the various parts of the design which is
essential in all good designs. It is necessary in modelling to simplify
nature somewhat, for we cannot imitate nature in clay. What we have to
do is to seize upon the principal points, the curves of the stems, the
position, form, and characteristics of the flowers and leaves, and put
them down intelligently and in as telling a manner as possible. Let the
work dry carefully before having it fired, and you can either finish it
up in colours, and have it glazed, or let it remain as it is. I often
used to use my Barbotine colours (see articles on "Barbotine Painting,"
in Nos. 440 and 584, vol. iv., of the G.O.P.) for colouring modelled
work and glazed it with my soft glaze. I have also sent some work to the
potteries, and had a coloured glaze put over the whole work. I may here
say that much may be learnt by studying good modelled work, and even
copying some stone or wood carving in clay. The pottery of Della Robbia
and Palissy should be studied whenever the student has the opportunity
of so doing.

I need not say much as to modelled work or vases. You must have some
shapes sent up from the potteries in the "green" state, for it is almost
impossible for amateurs to "throw" their own vases on a wheel. Space
forbids me to describe the potter's wheel, b