mony with the flowers. Always let the latter be prominent, they being the most interesting feature in the composition. A little burnt sienna on a faded leaf improves it; mix with a little white to soften the edges. Knots of ribbons can be easily introduced on plaques, and look well in binding together, and finishing off a group. Butterflies also are useful for filling up open spaces. Dog-roses are delicate, and very easy. Use vermilion and white, a little chrome, and a tiny streak of crimson lake occasionally. In sunflowers, middle chrome, flake white, and burnt sienna form the principal colors. The work is most inexpensive, for, as mentioned before, two or three ounces of the material will form a group, and the above-named colors are all that are necessary. Common pots or jars are recommended, and plaques in terra-cotta are especially successful; the backgrounds on them are carried out in the same way as on the jars, beginning with white, and shading the colors towards the bottom; be mindful that this is done after the group is attached to the plaque, and the first wash of color has been laid on.
As in all painting, some knowledge of drawing is necessary, and those who have studied nature carefully, cannot fail to succeed. The object we have in view is to make our work resemble china as much as possible, at the same time to give the groupings all the fresh look of nature. This is obtained by careful modelling, and also by laying on the color in thin washes, allowing every wash to become perfectly dry before attempting finish. Many unhappy bits of work are produced by neglect of this rule, and beginners often fail at the outset by hurrying on, their only object being to obtain an effect; this is fatal to progress or success.
Particular attention to the above simple rules will produce work almost equal to the original barbotine china, and if persevered in will ensure success. Neat fingers
