Fig. 46.—Outline the garter with gold; the buckle and slide to be gold also. Fill in the garter with light and dark tints of blue, and put in the high lights with canary colour. Paint the floral gorgons in brown shades, and light with orange and clear yellow. A small portion of lake added to these browns will cause them to bear out richly when varnished. Let the medium lights and shades predominate, and the high lights added, first carefully considering their true positions, and then touching them in with sharp strokes of the pencil, which will give life and “go” to the details. The pendent stems with leaves and berries may be coloured olive green, and shaded with russet. When the painting of this ornament is dry it will be considerably improved by glazing. Fig. 47.—The central pattern is _Caduceus_, a Roman emblem. On the rod or centre staff the wings are represented “displayed,” and the two serpents turning round it signify _power_, the wings _fleetness_, and the serpents _wisdom_. This pattern would look well in gold, with the dark parts shaded with black to the depths shown on the sketch; the lighter tones being greys, warm in tone. The serpents may be put in with carmine, as also the wings and head, and the rod carmine deepened with black. [Illustration: Fig. 47.] Various treatments of colouring may be applied to this pattern, and thinking out some of these will be very good exercise for the ingenuity of the painter. [Illustration: Fig. 48.] Fig. 48.—Put the pattern in in gold, separating the parts where necessary with shadow lines, and produce the effect of interlacing by a judicious use of high light lines and deep black lines. The best pencil suited to this class of ornament is a “cutting-up” pencil an inch long. Having traced the pattern on the panel, commence by painting the crest, and next the main upper left-hand division of the scroll part, paying no attention to the leafing or minor details. It will be noticed that the centre line of the heavy leafing is a part of the scroll line, which passes from the wreath or ribbon at the top, and is completed at the base; so that to secure easy curves this line should be laid in through its whole length, and the leafing or any minor dividing lines be governed by it. Next lay in the other half of the pattern in the same manner, and having secured these main curves the subordinate details may be added. Where two fine lines cross each other, the effect of one line passing underneath the other may be produced by simply lighting one of the lines across the intersection, which by contrast will make the gold or colour of the other line appear darker, and as though the lighted line passed over it and cast a shadow. Paint the wreath blue and white, the crest to be merely lighted with the colour used for high lighting the other parts. [Illustration: Fig. 49.]