4 
THE YOUNG SCIENTIST. 
to take the ear measurements, without injuring 
the fullness on either side, place the points of 
them at A A, Fig. 3, where it need not be full, 
and run them back, then up, in the direction 
the dotted line takes. 
Now, if you look at the sitter, you will see 
that the knobs at the entrance of the ears are 
not on a line with the end of the nose : they 
will doubtless be a trifle higher ; stick a pin in 
the clay on both sides, just where the knobs 
should be, and you have your points to measure 
from in every direction, as shown in Fig. 4. 
Fig. 4. 
You have already the distance from the end 
of the nose to the ear ; you next want to find 
the height from the end of the nose to the hair 
on the forehead with the dividers; mark the 
clay to keep the measurement, then with the 
calipers find the distance from the same point 
on the forehead to the ear, and work away the 
Buperfluous clay with tool No. 1, until you can 
make both measurements to a nicety. 
Next measure the length of the nose with 
the dividers, then the distance from the top of 
the nose to the ear, with the calipers. While 
working away the clay for these measurements, 
you must look at the sitter's profile occasional- 
ly, to get the correct outline. 
Now find the length of the upper lip, then 
its distance from the ear, and after working 
out those measurements, find the distance from' 
the nose to the chin, then from the chin to the 
ear ; and so on, as shown by the dotted lines ; 
being very sure that you measure correctly, as 
the eighth of an inch, only, makes a difference 
in a likeness. 
Put all the pieces of clay you cut off in a box 
by themselves, and water them occasionally; 
they will have to be used by and by. The 
same clay can be worked over and over for 
years, if kept free from dirt. 
The clay you are modelling will need wet- 
ting by this time. If you have a syringe such 
as gardeners use to sprinkle plants with, you 
will have just the right thing to go over it 
with ; if not, pour water slowly over it ; it must 
be kept moist all the time or you can do noth- 
ing with it. At night, or when not working 
upon it, always keep it covered with a wet 
cloth, or, what is better, cover with oiled silk 
a frame that will just slide over the clay with- 
out touching it. That will keep the air from 
it, and does not disturb the clay as the wet 
cloth is apt to. 
The modelling-stand must be in a good light ; 
directly opposite a high north window is the 
very best. 
To be continued. 
Wood-Carving, m. 
DIAPER-CAKVING. 
THE simplest of all kinds of carving is that 
known as "diaper-carving." The tools are 
simple and cheap, and the work easily learned. 
One of the most suitable objects for this kind 
of carving is a book cover. In olden times 
books were generally bound with wooden cov- 
ers, and hence the use of the word " board " as 
applied to the cover of a book. The books most 
suitable for this kind of binding are albums, 
scrap-books and books for dried plants or sea- 
weeds. The carved covers give them an antique 
appearance, and hence the kind of wood that is 
chosen should have a flavor of antiquity about 
it. Black walnut and oak are good ; avoid 
mahogany, rosewood and that class. Having 
procured a piece about a quarter of an inch 
thick that has a nice grain, solid and firm tex- 
ture, and is dry and well-seasoned, cut out the 
pieces intended for the sides to exactly the size 
that is wanted Bevel off the edges and have 
the entire surface, except that intended for the 
inside, finely French polished. This you may 
be able to do yourself, but if not, any cabinet- 
maker will do it for you for a trifle. If you are 
easily pleased, you may rest content with a 
finely varnished surface, but the effect of French 
polish is so much superior in contrast with the 
rough diaper work, that you should secure it if 
possible. 
The piece is now to be fastened to a good- 
