carmine. Be careful to make the stems of the snow drop distinct. To do this, it may be necessary to give them a third painting. The deep color of the crocus can be worked down to the light color of the tube with a dry brush as described above.
Shade leaf, etc., of the hepaticas with the respective colors in which they are painted. Shade lower part of the butterfly's wings with just a touch of black, blending it into the yellow as described above. It will be well to practice the veinings on the wings and the fine markings round the edges on a separate piece of china. A tracer is the best brush to use for these, and it is wise to always try the point after filling the brush with paint. Make the pistil of the hepatica of light green, shading it round the edge with gray. The stamens are mere dots of mixing yellow. Avoid a regular appearance in putting them on. Scratch away places for the stamens of the crocus and put them in with a mixture of orange yellow and capucine red.
If you have carefully followed the directions thus far given you will have learned more of the difficulties in your way and how to overcome them, than a long list of general rules and directions. The immortal Squeer's principle of teaching—"He goes and does it"— applies most forcibly in china painting. Never be afraid to wipe out your work.
A few hints on the use of colors may prove useful. Shade capucine red with red brown or a little black, yellow with brown green, pink flowers with a mixture of carmine and apple green. Blue may be shaded with black or black gray. Some blue flowers, such as the periwinkle or myrtle, may require the addition of a little carmine. Dark purple flowers can be painted with deep purple and deep blue, adding more or less of the blue as the color desired is more purple or crimson. They should be shaded with the same color. When a different color
