We will imagine that the reader desires to model the features of 6ome friend, and as there is some difficulty in the matter, on account of the person operated upon having a natural tendency to distort the features when the liquid plaster is poured upon the face, and some danger of suffocation if the matter is not well managed, we will proceed at once to describe the various stages of operating: -

1963. Mix the plaster of Paris with warm water, and have it about as thick as cream, but do not mix it until all is ready. Lay the friend upon his back, and having raised the head to the natural position when walking, by means of a pillow of bran or sand, cover the the parts intended to be cast with oil of almonds or olives, applied by means of a feather, brush, or lump of cotton; plug the ears with cotton or wool, and insert two quills into the nostrils, and plug the space between each quill and the nostril very carefully with cotton.

1964. Cover the face with the plaster, beginning at the upper part of the forehead, and spread it downwards, over the eyes, which should be kept firmly closed, but in such a manner as not to produce any distortion by too violent compression - and continue the plaster as far as the lower border of the chin; cover that part of the chest and arms that is to be represented, and carry the plaster upwards, so as to join the cast of the face; then carefully remove each, and season for casting, by soaking or brushing with linseed oil boiled with sugar of lead or litharge. Some persons boil the moulds in the oil; and many, instead of casting the face in one piece, and the chest in another, lay threads across the face and up and down it, leaving the ends out. As the plaster sets, or is nearly set, the threads are pulled through, so as to divide the cast into four, five, or more pieces.

1965. The back part of the head is moulded by having an oval trencher-sort of vessel, deeper than half the head, and generally made of plaster, and boiled in oil. The back of the head being oiled, and this trencher partially filled with liquid plaster of Paris, the head is lowered into it, and the cast taken. The back of the neck is cast with the person turned over on bis face.

1966. Each part of the mould is marked, so as to admit of its corresponding; sometimes with an X or ||, which passing over the junction of two pieces, serves to distinguish them.

1967. To model the face, join the several pieces, and tie them together with twine; then wrap some rag round the joints to prevent the plaster oozing out, and pour in the plaster made tolerably fluid, taking care to oil the inside of the mould very carefully first. When the outer part of the model is nearly set, scoop out the centre with a spoon, and let the whole dry; then remove the strings, etc, and smooth off the edges of the joints upon the model with a sharp penknife, and carve out the eyes from the mass, otherwise they will appear as if closed.

1968. Wax models may be made from the moulds used for the plaster; but when the wax sets at the outside to about one-eighth of an inch, the rest should be poured out of the mould; or, a smaller portion being poured in, it may be shaken about the inside of the mould until it is coated. The pieces are removed, and the seams trimmed up, as in the plaster cast.

1969. If a cast be made in gutta percha from the model in plaster - or, what is still better, in fusible metal, then by pressing basil leather, moistened with water, into the mould, and strengthening the back and centre with chips of wood, affixed by liquid glue, a very nice model may be obtained in Leather; which, when varnished, will look like oak carving - the more especially if it be stained with Stephens' Oak Stain.

1970. Ruins should be constructed of cork, according to the directions we have given, and when it is necessary to represent the mouldering walls covered with moss or ivy, a little green baize flock, or moss chippings, should be attached by mucilage to the part; and oftentimes a brush of raw sienna, combined with varnish, requires to be laid underneath the moss or flock, in order to improve the effect. Prostrate columns and huge blocks are effectively represented in cork, and should be neatly cut out with a sharp knife, and the various parts supposed to be destroyed by age, picked away with a pin or blunt knife afterwards.

1971. Rustic Work, Seats, etc , may be constructed of wire twisted to the proper shape and size, and then covered with gutta percha, rendered soft by being lipped in hot water. The gutta percha should be twisted round the wire previously warmed, and gently heated over a spirit lamp, or dipped again into hot water, so as to allow the various parts to be covered with it. When the model is finished, it should he touched up here and there with oil colours - green, yellow, sienna, and Venetian red - according to fancy, and the effect produced will be very good.