4. Basin of water and towel for washing and drying the hands.
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.
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.
When leaving unfinished work cover it with a damp cloth to keep it moist. If you are working on a head, and the features have been commenced, stick a small wooden tool in the head just above the forehead to hold the cloth away from the face, for it is liable to soften the nose and push it out of shape if it rests upon it.
A frame made of laths (Fig. 163) covered with oil-cloth or rubber (an old gossamer water-proof will be just the thing), placed over the modelling, will keep it better than the cloth, as it excludes the air and prevents its drying (Fig. 164). When using the frame, sprinkle your work by dipping a clean whisk-broom into water and shaking it over the clay. Remember, the clay must always be kept moist and pliable and never allowed to dry. If it does become dry and hard there is nothing to do but to put it back into the jar, and go through the process of damping it again.
Keep your tools clean, and do not allow the metal ones to become rusty, as they will if carelessly left on the modelling-stand when not in use. To avoid trouble of this kind it is best to put your tools in a box where they will be perfectly dry. Unless you wish to go through one of the writer’s first experiences, when she was obliged to let her tools lie in a pan of kerosene oil for two days, and then clean them with knife-brick.