The clay will shrink a good deal when dry, therefore it is well to make the model about a third larger than it is intended to be when finished.
We will suppose the cross is to be twelve inches in height. A sufficient amount of clay should be placed on the plate and gradually moulded with the fingers until it grows like the pattern drawing, the base, stem, and upper part, each to be of proportionate size.
It is best to form the whole thing somewhat roughly at first, taking pieces of clay off here and adding there, until we are satisfied that the proportion of each part is correct, and then the shaping can be more carefully done until a plain cross, smooth on all sides and perfectly upright, is the result. The model must be set aside to become quite dry, which will take a week or two, or perhaps less if it is kept in a warm room.
Some strong white flour paste or the Phaste-bynde paste and a small stiff brush will be needed, also a small pointed piece of wood to assist one’s fingers in placing the pith upon the model will be required for the next stage of the work.
Dipping the brush in the paste, place some along the edges of the upper part of the cross, and then, selecting one of the largest pieces of pith, place it firmly on the edge of the upper part of the cross, pressing it gently to make it adhere, which it readily will if the paste is properly adhesive; in this way a line of pith should mark out all the edges of the model. If there are panels in the pattern of the stem or arms, then the pith should be used as a moulding to keep each design distinct, and within the panels the smaller-sized pieces of pith are used to imitate arabesques or figures according to the pattern, the pointed stick being used to twist and place the material.
These are all the directions needed for a cross of simple style, like those to be found in Cornwall. The more elaborate Irish crosses with figures in relief may perhaps be rudely imitated in rush pith, but when delicate work is needed, elder pith cut with a sharp penknife would be required to make an accurate copy.
The work must be allowed to become perfectly dry, and whilst drying it should be protected from dust settling upon it.
Finally, the model should have a glass shade and will then last for years, and have the effect of carved ivory.
The Gresham Press,
UNWIN BROTHERS,