The proficiency he attained in the art of clay modeling is evidenced by many of the examples illustrated in this volume. They not only indicate an astonishing versatility, but they reveal his very characteristic method of working--a characteristic based on his constant desire to adapt the best things he found abroad to the conditions of his own country. The same characteristic appears also in most of his literary work, and in it there is no servile imitation; it is careful and studied selection, adaptation and combination. For example, the composition of a steel engraving in a French art journal suggested his model in clay of a Philippine wild boar; the head of the subject in a painting in the Luxembourg Gallery and the rest of a figure in an engraving in a newspaper are combined in a statuette he modeled in Brussels and sent, in May, 1890, to Valentina Ventura in place of a letter; a clipping from a newspaper cut is also adapted for his model of "The Vengeance of the Harem"; and as evidence of his facility of expressing himself in this medium, his clay modeling of a Dapitan woman may be cited. One day while in exile he saw a native woman clearing up the street in front of her home preparatory to a festival; the movements and the attitudes of the figure were so thoroughly typical and so impressed themselves on his mind that he worked out this statuette from memory. In a literary way Rizal's first pretentious effort was a melodrama in one act and in verse, entitled "Junta al Pasig" (Beside the Pasig), a play in honor of the Virgin, which was given in the Ateneo to the great edification of a considerable audience, who were enthusiastic in their praise and hearty in their applause, but the young author neither saw the play nor paid any attention to the manner of its reception, for he was downstairs, intent on his own diversions and heedless of what was going on above. Thursday was the school holiday in those days, and Rizal usually spent the time at the Convent of La Concordia, where his youngest sister, Soledad, was a boarder. He was a great friend of the little one and a welcome visitor in the Convent; he used to draw pictures for her edification, sometimes teasing her by making her own portrait, to which he gave exaggerated ears to indicate her curiosity. Then he wrote short satirical skits, such as the following, which in English doggerel quite matches its Spanish original: "The girls of Concordia College Go dressed in the latest of styles-- Bangs high on their foreheads for knowledge-- But hungry their grins and their smiles!" Some of these girls made an impression upon Jose, and one of his diary entries of this time tells of his rude awakening when a girl, some years his elder, who had laughingly accepted his boyish adoration, informed him that she was to marry a relative of his, and he speaks of the heart-pang with which he watched the carromata that carried her from his sight to her wedding.