THE yOUNa SCIENTIST. 
25 
your finger to advantage in smoolliing it off, 
after you have got it the correct shape. 
Next take all the measurements of the 
Skull, without regarding the hair, and work 
away the clay for them, so that your hust will 
appear bald-lieaded all over." Take the 
measurements for the nock also, but you need 
not finish it off nicely until you are done with 
the next in order, which is the Uair. 
Wet some of the pieces of clay and work 
them together until they form a mass that is 
almost thin enough to run through your fin- 
gers ; take some of this in your hand, and 
throw it carelessly upon the skull, twirling 
and twisting it with the fingers until it takes 
the form of the sitter's hair ; repeat the opera- 
tion of adding, twirling and twisting the soft 
clay upon the bust until it has as fine a head 
of hair as the sitter has. Do only half the 
head at a time, that you may keep the parting 
clean, and be careful to have it come just as it 
should over the forehead. The quicker and 
more carelessly the hair is "thrown on," the 
better it will look, if it is done gracefully. It 
must not be touched again until the wet clay 
is as dry as the other, then with the small end 
of tool No. 4, go over it lightly, letting the 
tool always take the same course the hair 
takes. 
Next come the Neck and Shoulders, which 
must be measured and modelled as near like 
the sitter's as possible, then nicely finished. 
In order to make the Drapery, if the bust is 
to be draped, you must manufacture something 
that resembles a neck and shoulders, to throw 
the cloth over for a model. A piece of cloth, 
cut and sewed, so that it would fit over the 
sitter's shoulders and neck, then stuffed with 
straw or cotton, while a lath, nailed to a bench, 
as in Fig. 6 run up through the centre of it to 
keep it in position, would answer the purpose. 
Throw the cloth you intend to copy, in 
graceful folds over that, and do not let the 
position get disturbed after you have it ad- 
justed to suit you. 
Some artists dampen the cloth, before arrang- 
ing it ; they say it makes better folds when 
damp, and remains in place better ; while 
others say the folds when damp, are not 
natural. 
Do not try to make the folds in the cloth 
unless you want them to appear stiff : throw 
it carelessly over the shoulders, and let it take 
its own position ; if you do not like it, throw 
it again and again, until you are suited. 1 
Now take strips of clay as nearly the size of 
the folds as possible, and place them over the 
shoulders of your bust, until you have as many 
on it, and in the same position, as in the cloth 
model. After you have them all roughly re- 
produced, go over them with tool No. 1, and 
copy the cloth as closely as you can. Unless 
you are careful to note all the rises and de- 
pressions, and reproduce them in the clay, 
your drapery will not be a success. 
After that you can spend as much time as 
you want to, doing " nice work," or putting on 
the finishing touches. Compare the face once 
again with that of the sitter, to see if the like- 
ness cannot be improved, and when you are 
perfectly satisfied with it, if you ever can he 
that, you can make your preparations for 
Casting the Bust in Plaster, 
To he continued. 
Lessons in Magic. IV. 
TTOW shall we have the particular card 
drawn from the pack, which we wish to 
have, arise ? That is what I promised, in my 
last article, to explain, and that promise I 
shall now try to fulfill. 
The best way to do this is by all odds by 
forcing, but as that requires more practice 
than most amateur magicians care to devote to 
it, we shall describe another, but more clumsy 
method. This is by means of what is known 
as 2i, forcing pack. It is a pack made up of six 
or seven kinds only, say eight of the ten of 
clubs, eight of the Jack of spades, eight of the 
three of hearts, eight, seven of diamonds, eight 
queen of spades, and eight deuce of diamonds. 
Of these cards all of a kind are gathered to 
