Set on the palette, at intervals of about an inch, some ivory yellow, yellow brown, flesh No. 1, flesh No. 2, light grey, brown 108, blue-green, and the other colors.

The drawing having been traced with chalk, you proceed to sketch it in,which should always be done in the same color as the object. For the flesh take some flesh No. 1 at the tip of your brush, and indicate very lightly the outline of the eyes, the nostrils, the corners of the mouth, and the ears; but above all, take care not to make a line all round the face, as the effect produced in the firing would be exceedingly bad. Paint likewise the face, the neck, and inside the fingers, but especially not on the side of the light, which must detach itself by the local tint only.

With the ivory knife mix one-third flesh No. 1 with two-thirds ivory yellow; this forms the flesh color for the local tint. Prepare also a little yellow brown for the reflected lights. These two tints are to be applied almost simultaneously, one next to the other. Commence always from the top of the head, and only when the sketched outline is dry, otherwise the local tint will remove it. This tint must be laid on very thin; apply it quickly with precision and without deviation of the brush, that is, without discontinuation of tint; look at the china sideways, and if the color is deficient in any place remedy that at once. Finally, the tints are made even by dabbing, and the flesh color is gently blended with the yellow brown by means of a very small fitch brush.

For faces high in color, yellow browns should be used with the reds, and some violet of iron.

While the first tint is still wet, and before dabbling, the flesh color should be strengthened with some flesh No. 1 beneath the arch of the eyebrows, the cheeks, and the lower part of the chin.

Cast shadows are commenced with yellow brown, and retouched with brown 108. Strong shadows are made of violet of iron, and the edges of blue-green and light grey.

Paint the lips with flesh No. 1, retouch with No. 2, but above all, let there be no outline either to the upper or to the lower lip, nothing but a soft, flat, pale tint, strengthened a bit for the shadow.

Blue eyes are made with sky-blue and a minimum of blue-green, retouched with blue-grey. Brown eyes, with yellow brown retouched with sepia or bitumen. The pupil, raven black. The sparkle is left white, or is laid on with a dab of permanent white.

Fair hair is begun with ivory yellow. The shadows are made with yellow brown, and brown 108 graduated, and they terminate with grey and bitumen.

Colored draperies are begun like the draperies in monochromes a fiat general tint touched up again at once with the same tint to give strength to the shadows. There is nothing prettier than pink drapery shaded with blue, and yellow shaded with pink or capucine red. White drapery is begun with an extremely light grey, mixed with green. Whites are reserved, that is, the greatest possible part of the china is left bare without paint to form the lights.

The beginner will do well if she paints a subject with several figures in it, to ascertain which colors throw back, and which bring forward. In the foreground, light colors; white, pink, light blue, lilac. In the middle ground, blue, green, purple and red are used. For the background there are dark blue, brown and dark green.

The ground is made with ivory yellow (for the lights), bitumen, grey, and a little violet of iron. Trunks of trees are begun with yellow-grey, greenish-grey, and bitumen.

The palette, set complete for figure subjects, includes the following colors: Chinese white, sky-blue, light sky-blue, dark blue, deep ultramarine Victoria blue, blue No. 29, (special for porcelain scales on earthenware), brown No. 3, bitumen, brown No. 4 or 17, yellow-brown, deep red-brown, sepia, light carmine A, carmine No. 2, deep carmine No. 3, light grey No. l,grey No. 2, neutral grey, russet or warm grey, silver yellow, permanent yellow, ivory yellow, (47 of Sevres), yellow for mixing, (41 of Sevres), crimson lake, raven black, iridium black, yellow ochre, purple No. 2, crimson purple, deep purple, capucine red, flesh No. 1, flesh No. 2, deep flesh, orange red, grass green No. 5, brown-green No. 6, dark green No. 7, deep blue-green, deep chrome green, apple green, sap green, violet of iron, light violet of gold.

Painting The Head In Colors On Porcelain 61