There was a boom in model coffins of all sizes, and a constantly flickering or raging discussion on details of tassels, cords, handles, and other funereal ornaments. Private Copple again displayed his originality of thought by blacking a specially fine specimen of his handiwork with boot polish, with nails and name-plate (duly inscribed with his own name and regimental number) picked out in the white clay. He was so pleased with this that he posted it home, and, on receiving warm words of praise from his mother in Mile End, and the information that the coffin was installed for ever as a household ornament and an object of interest and admiration to all neighbours, a steady export trade in clay coffins was established from the Oughth London to friends and relatives at home. The Art School was still flourishing when the unit was moved up from its peaceful and prolonged rest to take a turn up behind the firing-line. The removal from their clay supply might have closed down the artistic activities, but, fortunately, the Oughth had hardly settled in to their new quarters when it was found that the whole ground was one vast bed of chalk, chalk which was easily obtainable in any shaped and sized lumps and which proved most delightfully easy to manipulate with a jack or pen-knife. The new modelling material, in fact, gave a fillip of novelty to the art, and the coffins and crosses proved, when completed, to have a most desirable quality of solidity and of lasting and retaining their shape and form far better than the similar objects in clay. Better still, the chalk could be carried about on the person as no clay could, and worked at anywhere in odd moments. Bulging side-pockets became a marked feature of inspection parades, until one day when the C.O. went round, and noticing a craggy projection under the pocket of Private Copple, demanded to know what the private was loading himself with, and told him abruptly to show the contents of his pocket. On Copple producing with difficulty a lump of partially carved chalk, the C.O. stared at it and then at the sheepish face of the private in blank amazement. “What’s this?” he demanded. “What is it?” “It—it’s a elephant, sir,” said Copple. “An elephant,” said the C.O. dazedly. “An _elephant_?” “Yessir—leastways, it will be a elephant when it’s finished,” said Copple bashfully. “Elephant—will be——” spluttered the C.O., turning to the officer who accompanied him. “Is the man mad?” “I think, sir,” said the junior, “he is trying to carve an elephant out of a lump of chalk.” “That’s it, sir,” said Copple, and with a dignified touch of resentment at the “trying,” “I _am_ carving out a elephant.” The C.O. turned over the block of chalk with four rudimentary legs beginning to sprout from it, and then handed it back. “Take it away,” he said. “Fall out, and take the thing away. And when you come on parade next time leave—ah—your elephants in your billet.”