be used for "stopping," the painting being done in opaque colors, often with only a few metallic touches. After the surface in metallic colors described above has been obtained, take the opaque powder color, treating it in the same way as the metallic color, and the first painting being dry, deepen all the shadows with their proper colors, using a clean brush and rubbing them well in. Use rose red tints above the gold, the white, etc., above the silver, and white and black above the green metallics.
Do not attempt any fine gradations of shade, but trust to the effect of broad masses of color well combined, Omit stamens and other very fine lines. The two things to be chiefly attended to in lustra painting are, the rubbing the colors perfectly smooth, and working them up until not a trace of the material remains.
PAINTING IN GOLD.
Very pretty decorative effects are produced by painting on crash, linen, etc., in gold, and afterwards outlining the design in silks. A bold conventional design must be used for this purpose. When the design has been clearly stamped on the material (even such coarse stuff as sacking or burlaps can be used), paint it carefully with oil paint.
A good tint is made by mixing chrome yellow, raw sienna, and a very little Prussian blue. This will give a greenish tinge to the gold. When this coat is thoroughly dry, paint it over with gold paint. Care should be taken to get a good article, as poor gold, silver, or bronze paints, tarnish very quickly.
The painting done, outline the design with silk matching the paint or a shade darker. Twisted chain stitch would be very effective for this purpose. Both gold and silver paint might be used in the same design. Very charming door panels could be painted in this way.
