objects in proportion. Those in the first distance from six to ten inches generally; but those in the fore ground, which are nearest, are frequently painted as large as the walls will admit. The colours also for distant objects, houses, ships, &c., must be varied, being mixed with more or less sky blue, according to the distance of the object. By these means the view will apparently recede from the eye, and will have a very striking effect. 33. TO PAINT IN FIGURES FOR CARPETS OR BORDERS.--Take a sheet of pasteboard or strong paper, and paint thereon with a pencil, any flower or figure that would be elegant for a border or carpet figure; then with small gouges and chisels, or a sharp pen knife, cut out the figure completely, that it be represented by apertures cut through the paper. Lay this pattern on the ground intended to receive the figure, whether a floor or painted cloth, and with a stiff smooth brush, paint with a quick vibrative motion over the whole figure.--Then take up the paper and you will have an entire figure on the ground. _Note._--If a floor is to be thus painted, in imitation of a carpet, the pattern must be perfectly square, and the figure so designed, that when several of them come together, they may completely match each other; and when different colours are used in the same figure, they must be kept a little separate from each other, and wrought with different brushes. 34. TO PAINT IN IMITATION OF MAHOGANY AND MAPLE.--First give the work one or two coats of straw coloured paint, composed of white lead and yellow ochre, ground in linseed oil, to which may be added a little fine litharge, that the paint may the sooner dry; when this is dry, rub it smooth with sand-paper. Then if mahogany is to be imitated, stain the work over with boiled linseed oil, coloured a little with venetian red and burnt terra-de-sienna, equal quantities. This should be applied with a short stiff brush, and spread very thin that it may not run, or drip off. Then with terra-de-sienna, ground very thick in oil, form the dark shades of the graining according to your design, with a small flat brush. For this purpose a common sash-brush may be made flat, by having a small piece of wire, or wood, bound on each side near the handle. Some of the darker shades may be drawn with burnt umber and black, ground together, which may be applied with a camel hair pencil. If any part is to be made very light, the staining may be wiped off carefully with a ball of cotton. Light stripes, or lines may be produced by drawing a piece of cork or soft wood over the work, thus taking off or removing the dark colours, that the original ground may appear.--To imitate maple, the work must be stained with yellow ochre, and burnt umber, ground together in boiled oil. Instead of burnt umber, terra-de-sienna (unburnt) is sometimes used, but as different kinds, or parcels of it, vary in colour, from yellow to brown, it may not be depended on uniformly. The birds' eyes and curls