It is not difficult to model a

All you need for the work is a lump of soft clay, a hat-pin, your fingers, and determination to succeed. Take a piece of clay (Fig. 330) and roll it between your hands until it resembles Fig. 331. Push the two ends together, causing the roll to hump up slightly near the centre, lay it down on a board or any hard, flat surface, and with the fingers carefully pat, squeeze, and push it into the form of Fig. 332. Gently smooth out all roughness; then nip off little pieces of clay from the big lump for the nose and two eyes; stick them on as in Fig. 333. Again smooth the rough edges until the clay looks like Fig. 334. With a little careful modelling you can make the head exactly like Fig. 335. Mark the eyes, mouth, and nose with the flat point of the pin. If portions of the head become too thick, take off some of the clay, and if at any time the head is worked down too thin fill in the hollow spots with clay. In modelling one can always pinch off pieces here and there when necessary; or add little bits, smooth it all down, and the places altered will never show the marks of the change.

When the head is finished cover it with a wet cloth to keep the clay moist, and begin to make

Mould another piece of clay like Fig. 336. Run the ball of your thumb along the sides, making the body the form of Fig. 337, broader and thicker through the centre than at the two ends. For the tail pull from the large lump a smaller amount of clay, roll it and model it like Fig. 338, larger at one end than at the other. The last portion (Fig. 339), like the others, is flat on the bottom, and with the exception of a small triangle at the heavy end of the tail the two sides meet at the top, forming a sharp ridge which decreases in height as it tapers down to a point at the extreme end. As each part is finished keep it moist with a wet cloth, and when the four sections are made place them in a row (Fig. 340), then join them together, rounding all the edges slightly. Fig. 341 shows how to mark the back of the alligator.

Live alligators, you know, are encased in a natural

Roll a small piece of clay (Fig. 342), break off a part (Fig. 343) and turn back the broken end (Fig. 344). Add another piece to it (Fig. 345), smooth the edges together, forming a bend like an elbow (Fig. 346), and press the end of the leg out flat (Fig. 346). Roll five small pieces (Fig. 347) and fasten them on the flattened portion of the leg in the positions shown by Fig. 348. The foot suggests a human hand, the toes taking the places of thumb and fingers. Rub the toes into the foot and spread out the extended, flattened part of the leg, making it appear web-like between the toes (Fig. 349). The foot of the real animal has nails or claws on three of the toes (Fig. 350), but you need not attempt this detail. If the foot is correct in form and proportion you have made it well. Fig. 350 is given merely to show how the natural foot looks.

Model two front and two hind legs and feet; see that the hind feet and legs are larger and differently formed from the front ones. The hind feet have only four toes (Fig. 351). The line A (Fig. 340) designates the place where the front legs should be joined to the body, and the line B (Fig. 340) shows where to fasten on the hind legs. That you may have a thorough understanding of the manner and direction in which the joints of the legs bend, we will suppose that you rest on the floor on your knees and elbows. You will then find that your knees bend forward and your elbows backward, with your arms corresponding to the front legs and your legs to the hind legs. Now, when you draw or model hereafter, you will not make any mistake in regard to it. Look again at Fig. 349. The foot, V, corresponds to or rudely resembles your hand; T, your wrist; P, your elbow; O, your shoulder. Examine Fig. 329. On the hind leg are the foot, ankle, knee and hip joint. While the alligator is in a plastic state make him open his mouth, by cutting a slit in the head from the front along the waved line up back beyond the eye; carefully pull apart the jaws (Fig. 352). Have your alligator measure at least fourteen inches from tip to tip, for it will be more difficult to model a smaller one. Once having made the little creature, you will find it easy to model similar animals; select something else in the same line and try to make it.

Most fruits are readily reproduced in clay.

The "Father of His Country" always commands admiration, and everything pertaining to him is interesting.

Be sure to have the head of correct proportions before beginning the features; then take away a little of the clay where the nose joins the forehead and cut away more clay under the nose straight down to the chin, according to the dotted lines which appear in Fig. 357. Hollow out places for the eyes and indicate the mouth with a straight line. Add more clay for the hair, forming it into a queue at the back.

Be careful to study well the character of Washington's face before going on with the work. Notice that it is strong, the chin firm and square, the lips tightly closed and the mouth almost a straight line, the nose not perfectly straight but inclined to be aquiline, the eyes rather heavy-lidded; and the hair, following the line of the head on the top, is puffed out on the sides, covering both ears. Fig. 358 gives the front view, Fig. 359 the profile, and Fig. 360 the back view of the head. Make the neck full and large. You can keep the clay moist with a wet cloth and work on the head a little each day. Persevere until you make so good a likeness of George Washington that it will be recognized at a glance, and ever afterward you will enjoy and appreciate much more all portraits of him.