a piece of clean rag, or bit of chamois leather, so as to present a smooth surface about the size of a silver dollar or a little larger. The part where it is tied will form a convenient handle. Use the wide brush mentioned in the list of materials, and paint over the surface to be grounded, keeping your strokes as even as possible, and working quickly. The grounding tint will necessarily cover the design also. As a general thing, by the time the paint is all on, the part done first is sufficiently dry to blend properly. Nothing but experience will teach you just how dry it should be. Holding your dabber in the right hand, begin where you began to paint, and dabble the surface with it, striking it perpendicularly with quick but very gentle strokes. Go in this manner over the entire surface, repeating the process until the tint is perfectly even. If the paint is a little thicker in some places than in others, you will find that a little practice will enable you, by an intelligent use of the dabber, to spread an even tint over the whole surface. When you have done, there should be an even coat of color, without the slightest sign of a brush-mark. If, when the paint is dry, the tint is not even, wipe it all off and try again. Don't be discouraged at repeated failures. Never try to remedy a defect. The only way is to take the whole coat of paint off. Never work where it is dusty. If hairs fall from the brush take them carefully off with the point of a needle, as otherwise they will leave a mark when the firing is done.
When you are satisfied with the ground, put your tile away where it can dry without danger of becoming dusty. When thoroughly dry, clear the design of paint with a knife, or if your hand is steady, with a brush dipped in turpentine, and wiped almost dry. Keep the brush clear of color with turpentine. This latter mode, though more expeditious, is rather dangerous, as a drop of turpentine falling on your ground would entirely spoil it. Then
