We may here mention that all this kind of painting is done on the last rubbing coat of varnish, so that the letters receive a coat of varnish when the finishing coat is given. [Illustration: Fig. 40.—S.] Fig. 40.—The natural form of this letter is graceful, being composed of curves bearing in opposite directions, and which blend into each other, forming a continuous but varied line. The ornamentation also falls into the shape of the letter naturally. The upper and lower ends of the letter terminate in three stems, covered by three-lobed leafing, and the main stem of the letter is preserved in shape by appearing to grow out naturally from its outer and inner edges. Lay in the letter with gold, on which work out the design with transparent colours. If colours only be employed the panel colour may be taken as part of the colouring of the letter; for instance, if the panel be dark brown, lake, blue, or green, mix up lighter tints of whichever colour it may be, and considering the panel colour as the darkest shade, lighten up from it. [Illustration: Fig. 41.—V.] Fig. 41.—This letter will please by the novelty of its ornamentation. The body of the letter retains its natural outline almost wholly. From the upper part of the thin stem springs a scroll, which curves downward, reaching to the middle of the letter, and from this grows out a second scroll, serving to ornament the lower portions. Lay in the colour in harmony with the striping colour, deepening the tone of the colour on the stem of the letter, as shown by the shade lines. The leafing should be made out with light, medium, and dark tints, blended into each other so as to avoid the scratchy appearance which an opposite method produces. CRESTS AND HERALDIC BEARINGS. It would be impossible to give anything like a comprehensive series of these in this, or indeed in a very much larger work, as their number and variety are so great. The examples subjoined are given as exercises in colouring; and, if the student desires to extend his studies in this direction, most stationers will supply him with sheets of them at a trifling cost, and to them he may apply the principles enumerated below. [Illustration: Fig. 42.] Fig. 42.—This is a small ornament, but it will disclose to the painter whether he has got hold of the method of handling the “cutting-up pencil.” If, in attempting the circular part, the hand becomes inclined to be unsteady in its motion, and create a lack of confidence, the painter should practise until assured that the hand will obey the will.