One of the most beautiful examples of feeling in the hand is illustrated in the modeling of a vase. The potter stands before a “wheel,” or table, the top of which revolves. There is a spike in it that holds in place the lump of clay. But while we watch, it has ceased to be a lump. It has grown up under the potter’s hands and is a hollow vessel, every moment changing its shape slightly, as with his fingers or the palm of his hand he brings it nearer and nearer to the design that is in his brain. He stops for a moment, and we think that he has finished. But, no, he is only criticising it. It is not yet quite as he feels it should be; and again the wheel revolves and the hand,--oh! so tenderly--coaxes the clay to receive exactly the line of beauty that he feels.