of which the surface is composed. The effect of the efflorescence of the carbonates on the surface of a silicious painting may be seen in the famous picture of the meeting of Wellington and Blucher, in the House of Lords, painted by the late Mr. Maclise, R.A. When, however, the solution of aluminate and silicate of potash is used with the pigments on a properly prepared ground, there is no fear of this efflorescence taking place, and paintings executed with it have stood for many years, without giving any signs whatever of decay. To those interested in this subject, it is desirable that they should perform a series of experiments themselves, and ascertain the best methods of practically applying this vehicle in the execution of large mural paintings. They will find that, although at first they may meet with some difficulties, yet after a while these difficulties will vanish, and they will have a material to work with, which will meet all their requirements. In an article so brief as the present, it is impossible to enter fully into all the details of the manipulation of this particular process of painting; it is, however, most desirable to give a short account of the method of preparing the ground and of applying the colours, leaving the rest to be learned from practical experience. Angular fresh-water river sand, well washed, should be mixed with sufficient lime to cause it to adhere to the wall on which it is placed, and this in all cases should be freshly plastered in the ordinary way. No plaster of Paris (which is sulphate of lime) should be used in the preparation of the groundwork. The coating of fine sand and lime is laid on to a depth of about an eighth of an inch, and when dry, an application of dilute silicate of potash should be made, in order to bond together the particles of sand which, owing to the employment of so small a quantity of lime, can be readily brushed off. As soon as these particles are well fixed together and do not come off when the hand is passed over the surface of the wall, the ground is in a fit state for the commencement of the painting. The colour should be used with zinc white, and not with lead white, and, of course, they must be in the state of fine powder, and not ground up with oil or any such material. The artist can use his mixture of silicate of alumina and aluminate of potash of the strength already described; he may, when desirable, dilute it to a certain extent with water, but he should not do so too much. He can then paint with it just as he would with water in water-colour painting; and if he finds that any portion of his colours, after they are dry, are not sufficiently fixed upon the wall, he can then with a brush pass over them a coating of the clear liquid, used a little stronger. When the whole work is finished, it will perhaps be desirable to give it one or two coats of a very dilute solution of silicate of alumina and aluminate of potash. After