pale amber enamel, using a hog-hair brush. Cover it so as to loose the color of the gutta-percha, and paint a smoothly as possible in one direction, from base to edge of petals. While that is drying begin the background, holding the vase upon the hand, and, having fully charged the brush with color (say black), mixed with enamel, begin from the top; about midway use a little yellow (middle chrome), and blend it in with white towards the bottom. Wipe the brush after every color and keep the colors separate upon the palette, as in real china painting. Mixing them gives a dull effect. Pay particular attention to keeping them pure. The brush must be fully charged with color, so as to blend the tints, and to prevent Hard lines; but the paint must not run down, or it will dry in ridges and cause unpleasant breaks on the surface. Continual practice will alone provent this.
For second and third painting of flowers a short sable brush is necessary. Blend on the colors smoothly and separately, mixing enamel with all of them. For instance, if poppies are chosen, use vermilion, dark chrome, flake white, and a small touch of crimson lake. These colors are opaque (with one exception), and therefore require careful treatment; if they do not vary sufficiently, the flowers lose their freshness and get tin-like in appearance. No shadow color is required. By introducing a certain proportion of white, sufficient light and shade is obtained, and the enamel adds to its transparency and brightness.
We will here mention that single flowers are preferable for this work—sunflowers, poppies, wild roses, convolvuli, garden anemones, and single dahlias are most successful. Double flowers are difficult to manipulate, and are not artistic. In painting stems and leaves, apply the color as before described, avoiding too vivid greens; use plenty of white with these, and keep them in har-
