Each modeller has a predilection for certain tools, and it will take my readers very little time to find out which tools give the best results. I often shape those I buy myself to fit them for particular work. In addition to these wooden tools, it is necessary to have a fine steel one to work the clay when it is dry. Modelling tools are very inexpensive. You really require no other tools but these wooden ones and a steel one, but it is necessary to have a few boards to work your clay upon. They should be strong, with battens at the back to prevent them warping, which they are liable to do owing to the dampness of the clay. We will start our work with a very simple design, for our aim should be to overcome the difficulties by degrees. The design I have chosen (fig. 1) was modelled as a tile about eight inches square, and the first thing to be done is to roll out a piece of clay about half an inch thick, and fairly flat all over. It is as well to work the clay up in one's hands, damping it occasionally if too dry. If clay be allowed to remain untouched for any length of time it gets set, and does not work easily; therefore, thoroughly work it up with the hands. It may be made into a ball, and can be rolled out flat with a thick ruler or rolling pin. The clay has a tendency to curl up round the rolling pin, and care must be taken to prevent this. If the rolling pin be covered with leather, this is to a great extent prevented. The design can be made on tracing paper, and by marking over the tracing paper placed over the clay with a hard point, an impression sufficiently distinct will be left to guide one in doing the actual modelling. The first thing is to build up the oranges, which can be done by sticking little pellets of clay on to the slab, pressing them down with the fingers, and rounding the oranges roughly into shape. [Illustration: FIG. 1.--A TILE. _Our First Experiment._] Don't be too particular about this part of the work; be content to get some approximation to the shape, leaving the finishing to be done with the tools. Build up the stem in like manner, or you might roll out a thin piece of clay and stick this on to the slab. In sticking clay on to clay, it is always advisable to wet both the clay and the slab to ensure thorough adhesion, and in working the design into shape it is even a good plan to dip the fingers into water, as the extra moisture makes it easier to press the clay into the requisite shape.