Fig. 49.—This consists of a species of dragon, having the head, neck, and wings of a bird, and the body of a wild beast. He supports a Norman shield, the “fess” or centre part displaying a Maltese cross. In painting this ornament, first get a correct outline of the whole; then mix up two or three tints of the colour you design painting it, having a pencil for each, and a clean pencil for blending the edges, so that no hard lines may appear at the junction of the different colours. Lay on the shaded portions first, then the half lights, keeping them subdued in tone, so as to allow for the finishing touches showing clear and distinct. On a claret-colour panel the whole may be painted in different hues of purple and red. On a dark blue panel, varying shades of blue lighter than the groundwork, and so with other colours. The shaded portion must be distinct, and gradually connected with the lighter portions by light tints of the shading colour. Or the dragon may be painted grey, the high lights with the same colour warmed up with yellow; the outline of the shield in gold; the upper division, a light cobalt blue; the lower division, a pale orange; the cross, brown, shaded with asphaltum; the wreath, blue and white; and the flying ribbon and leafing in gold. CHAPTER XIII. LINING AND TRIMMING. This is a department which requires great taste as well as skill. The interior of a carriage should be lined with cloth and silk, or cloth and morocco, with laces specially manufactured for the purpose. The colours should correspond to or harmonise with the painting. Light drab, or fawn colour, used to be a very general colour for the linings of close carriages, such as broughams, because they at once afforded relief to and harmonised with any dark colour that might have been selected for the painting. But a severe simplicity of taste has prevailed of late years in this country, and the linings of the carriages have been made mostly dark in colour to correspond to the colour of the painting. This is often carried to such an extreme as to present an appearance of sameness and tastelessness. It is no uncommon thing, for instance, to see a brougham painted dark green, striped with black lines, and lined with dark green cloth and morocco, with plain laces to correspond. This to us appears to be only one degree removed from a mourning coach, and it will be a great pity if such a taste prevails. On the other hand, violent contrasts outrage all principles of good taste. Morocco and cloth, or silk and cloth, of the same colour as the paint may be used for the linings, but, as the painting should be relieved by lines that harmonise with it, so should the linings be relieved by the laces and tufts, which are intended to give life and character to it. _Landau Back, Quarter, and Fall._ [Illustration: Fig. 50.]