, or stays of wood, fastened at one end to the horns by wires
or cords, and at the other end by nails to the table, will effect
this. The chin should be propped up a little from the surface of the
table, by means of a pad of clay which has been previously prepared;
next cut more slices of clay from the mass, and build in the front and
sides of the face in a straight line, to just under the nostrils, but
above the line of the mouth; smooth the clay--which should extend
outwards some two or three inches from the head--with water and a
broad knife. The lower half of the head is now hidden, mouth and all,
up to just above the upper lip.

Next fill in the nostrils and the lachrymal sinuses (the orifices
below the eyes) with clay, but in a careful manner, so that, although
they shall be filled up sufficiently to prevent the plaster from
running in to make "undercuts," they shall still preserve a certain
shallow imprint of their original form. Now mix your soft soap with a
brush until it becomes a stiff lather, and paint it all over the face
and hair of the head; build up a wall of thin board around the
clay--in the manner described in Chapter VIII. on Fish Casting--and
when practicable tie a thin board just in front of the horns, so that
the model may end there.

If, however, the back of the head down to the neck is required--which
it seldom is, for reasons explained hereafter--it must be managed by
"piece-casting." (See Chapter XII.) The head being nicely soaped, lay
a thin piece of string or strong hemp along the top of the face and
head, exactly in the centre, and extending from the clay under the
nostrils up to the back of the head in a straight line. Be sure that
the string is perfectly straight, and that it presses closely to the
nose before coming on to the clay.

Next mix the plaster, not in the usual manner, by adding water to it,
but by half filling a vessel with water, to which the plaster is
added, a little at a time, until enough is mixed to serve the purpose,
i.e, in sufficient quantity to cover the head with a layer some inches
thick. After it is well worked up and moderately thick, carefully pour
it over the specimen, taking it up as it runs down, and piling it up a
little thicker in the centre, to give stability to the mass. Just as
the plaster is setting--which a very little experience will
teach--lift the ends of the string upward through the plaster, which
has the effect of cutting it in two, but these