The writer has lately been initiated into the mysteries of this art, and since, as they say, the person just graduated from a primary department is best fitted to teach in that department, perhaps the hints given here may be better suited to the understanding of beginners than if they were written by a great sculptor, who might forget that everyone does not know, as well as he does himself, the preliminary steps necessary even in accomplishing the grandest results. Instead of entering into the later and more artistically finished processes we will confine ourselves to the prelude or introduction to modelling; and then, girls, with the object before you, your only guide and instructor, you must work out the rest for yourselves. The first thing to do is to provide your =Materials,= and here is a list of all you will need: 1. Clay, such as is used by potters, perfectly free from grit. 2. Modelling-tools. These can be bought at any artists’ material store, and the simplest ones might be made at home of hard wood. Only a few tools are necessary for a beginner; Fig. 162 shows those most useful. The fingers and thumbs are the best of all tools, and a great deal can be done with them, though for fine, delicate modelling tools must be used. [Illustration: Modelling Tools] 3. Modelling-stand. A regular modelling-stand with rotary platform will cost from eight to twelve dollars and the expense may be an objection; but the writer has found that an ordinary high office-stool with revolving seat makes a good substitute. If the stool is not high enough it can be raised by placing on the seat a drawing- or pastry-board, and on top of that a square wooden box about one foot high and broad enough to allow sufficient room for a good-sized head and bust. 4. Basin of water and towel for washing and drying the hands. =How to Manage Clay.= Clay costs, near New York, from one to three cents per pound, and about fifty pounds will be required. If possible buy it moist, but if dry, put it into an earthenware jar, or anything that will hold water, and cover with clear water. Let it remain until thoroughly moistened; then with a stick stir the clay around as, when a small girl, you did the mud while making mud-pies, until it is free from lumps and is perfectly smooth; clear away from the sides of the jar and pile it up in the centre. When it is dry enough not to be muddy and is still pliable, it is in a fit condition to work with. It is necessary to keep your hands perfectly clean and conveniences for washing them should be handy. Do not use muddy water or a dusty towel. Use any tools that will produce the result desired with the greatest ease; a little experience will soon determine what they are, but as a rule the largest are best.