I need not say much as to modelled work or vases.  You must have some shapes sent up from the potteries in the “green” state, for it is almost impossible for amateurs to “throw” their own vases on a wheel.  Space forbids me to describe the potter’s wheel, but visitors to the Health Exhibition two years ago had the opportunity of seeing a potter at work, which is much better than reading about one.  Those adventurous spirits who wish to try “throwing” vases, should get a small wheel from the potteries (it will cost, including carriage, about L8), and have a few lessons from a practical potter.  In the meantime, get some firm to procure for you a few unbaked vases, and when you receive them it will be necessary to wrap them up in damp flannel for a day or two, so that the modelled work will stick on the vase.  Let the shape of the vases be very plain and simple, with a good broad surface to receive the modelled decoration.  I have chosen as the illustration (fig. 3) the blackberry, as it is a very ornamental plant and one familiar to all readers.  Throw on your stalk first of all, letting it wrap round the vase, and so place it that the leaves, flowers, and fruit can spring from it so as to be seen to the best advantage.  The stalks might be placed in such a way as to form handles.  Get a certain quaintness into the modelling, and don’t be too intent upon imitating nature, for, do what you will, you will find it impossible to accomplish this.  Therefore, be content to decorate your vase with a graceful spray of bramble, with all essential characteristics of the plant indicated, and the general “swing” of the plant expressed in your work.  Model each part separately, either by pressing the leaves into clay and marking them round, or by modelling pure and simple, and then fasten the various parts on to the vase with diluted clay.  Don’t let any part of the work stand out too prominently; for not only will the shape of the vase be destroyed, but there is always much more liability to damage if the design be very prominent than when it just lies, as it were, closely to the surface of the vase.  And yet it is not necessary to put everything perfectly flat on the vase.  The stems, for instance, can be raised in places, so that there is a space between the stem and vase; and so with leaves, flowers, and other details.

It will be seen that I make the stems form an ornamental rim round the vase and also round the neck.  Dry the vase very slowly, and in sending it to be fired, wrap plenty of cotton wool around it so that no pressure can be exerted upon any portion of the modelling.  This applies with equal force to all modelled work.  Red terra-cotta vases decorated with modelling, and merely baked, are most effective.  Terra-cotta vases should not be too small; the larger they are the more effective is appearance in a room.  I have some more than two feet high, and when filled with dried rushes, etc., they fill up a corner charmingly.