Fig. 35.—Paint the upper half of O a light olive green, and the lower half a darker tone of the same colour; T to be lake, lighted with vermilion above the division made by the letter S, no high lighting to be used on the bottom portion of the stem; S to be painted red brown, lighted with orange; or the colours may be laid on in gold leaf, and the above colours glazed over it. [Illustration: Fig. 36.—V. A. T.] Fig. 36.—This combination forms a pleasing variety, and will afford good practice in the use of the pencil. Lay in the letters as indicated by the shading, the letter V to be darker than A, and T deeper in tone than either V or A. The letters may all be laid on with gold leaf, and afterwards glazed with colours to suit the painter’s taste. The vine at the base may be a delicate green tinged with carmine. [Illustration: Fig. 37.—A. R. T.] Fig. 37.—This is of French design. The letters furnish an odd yet attractive style. It will be noticed that the stem of the letter T covers the centre perpendicularly, and that the outer lower portions of A and R are drawn to touch on the same line. The main stems of these letters terminate in twin forms, arranged so as to cross each other at the centre of the monogram and balance each other on either side. In the matter of its colouring, it may be mentioned that the letters in a monogram are very often painted all in one colour, and separated at the edges by a streak of white or high light. Monograms painted in this manner should be drawn so that the design will not be confused by ornamentation; that is, the main outlines of each letter should be distinctly defined, and the spaces must be so arranged as not to confuse the outlines. The pattern here given may be coloured carmine, and the edges separated by straw colour or blue, and the letters be defined by canary colour, or a lighter tint of blue than the bodies of the letters are painted. [Illustration: Fig. 38.—T. O. M.] Fig. 38.—If the ground colour of the panels is claret or purple the letters may be painted with the same colour, lightened up with vermilion and white, forming three distinct tints; on brown, coat the letters with lighter shades of brown; and so on with other colours. INITIAL LETTERS. A well painted initial letter is certainly quite equal to a monogram; but then it must be well painted, because, as it stands alone, it has only itself to rely upon for any effect, whereas, in a monogram, the component letters mutually assist each other. [Illustration: Fig. 39.—D.] Fig. 39.—This letter possesses all the grace of outline that could be desired in a single letter. Paint the letter in gold, shaded with asphaltum and lighted with white. If a colour be used, have one that agrees in tone with the striping on the carriage part; that is to say, if blue be used in striping, then use the same kind of blue for the letter, and so on with other colours.