THERE was an extremely artistic and beautiful model of the west front of Exeter Cathedral placed in one of the courts of the Great Exhibition of 1851 which attracted much notice and was universally admired. It had the effect of a fine ivory carving, every detail of the architecture being executed with such minute fidelity that it was difficult to believe that, instead of ivory, it had been formed entirely in pith, but of what description I could never find out.

Models of Indian temples are made by the natives from the pith of a plant called Taccada, and our own elder-tree yields a material with which architectural details may be exactly imitated. Since, however, these two kinds of pith are not easy of attainment, I would direct attention to a source of supply which is easily accessible to those who live in the country. I refer to the common round-stemmed rush (Juncus conglomeratus) which grows in most places on waste lands and commons.

This plant, when the outer green skin is peeled off, furnishes a delicate white pith with which really beautiful models of Irish crosses, Gothic fonts, and other small designs may be formed. It will only peel easily when freshly gathered, so it is best to prepare a supply of the material when the rush is in perfection, about July and August, and, as the pith keeps in good condition for any length of time, it can be laid aside when quite dry, and reserved till required.

The green rind comes off most readily by beginning at the thick end of the rush and stripping it off piece by piece over the thumb-nail until all is removed. This is pleasant work to do when sitting out upon some heathy common enjoying the fresh air, and a party of young people, who generally like the occupation, will soon prepare a basketful ready for artistic work on long winter evenings.

For the help of those who would like to essay some very simple modelling I will endeavour to describe how an Irish cross, for instance, can be made which will be, when finished, a really beautiful drawing-room ornament.

The materials required are very simple and easy of attainment, viz., a quarter of a hundredweight of white modelling clay^[8] and two or three wooden tools such as sculptors use.

One must have a good drawing of an Irish cross to copy from, and, if not easily attainable, a visit to the Crystal Palace will enable those within reach of London to make sketches of the crosses which are to be seen there near the entrance to the aquarium. It is well to place the lump of clay upon a dinner-plate for the convenience of moving the work when required.

The clay will shrink a good deal when dry, therefore it is well to make the model about a third larger than it is intended to be when finished.

We will suppose the cross is to be twelve inches in height. A sufficient amount of clay should be placed on the plate and gradually moulded with the fingers until it grows like the pattern drawing, the base, stem, and upper part, each to be of proportionate size.

It is best to form the whole thing somewhat roughly at first, taking pieces of clay off here and adding there, until we are satisfied that the proportion of each part is correct, and then the shaping can be more carefully done until a plain cross, smooth on all sides and perfectly upright, is the result. The model must be set aside to become quite dry, which will take a week or two, or perhaps less if it is kept in a warm room.

Some strong white flour paste or the Phaste-bynde paste and a small stiff brush will be needed, also a small pointed piece of wood to assist one’s fingers in placing the pith upon the model will be required for the next stage of the work.

Dipping the brush in the paste, place some along the edges of the upper part of the cross, and then, selecting one of the largest pieces of pith, place it firmly on the edge of the upper part of the cross, pressing it gently to make it adhere, which it readily will if the paste is properly adhesive; in this way a line of pith should mark out all the edges of the model. If there are panels in the pattern of the stem or arms, then the pith should be used as a moulding to keep each design distinct, and within the panels the smaller-sized pieces of pith are used to imitate arabesques or figures according to the pattern, the pointed stick being used to twist and place the material.

These are all the directions needed for a cross of simple style, like those to be found in Cornwall. The more elaborate Irish crosses with figures in relief may perhaps be rudely imitated in rush pith, but when delicate work is needed, elder pith cut with a sharp penknife would be required to make an accurate copy.

The work must be allowed to become perfectly dry, and whilst drying it should be protected from dust settling upon it.

Finally, the model should have a glass shade and will then last for years, and have the effect of carved ivory.