The other variety is a true brush, of a more ordinary shape, like a flat paint brush, but also made of the very softest and finest, most velvety hairs imaginable, laid extremely close together, and compressed tightly between the two halves of the handle. These can be obtained occasionally from the dealers at reasonable prices, and are delightful to work with. Only, being meant for the soft, light touches of their native workmen, they do not last long when rubbed down on the cloth as is our practise. Their life is considerably increased by pouring some molten beeswax into the back of both goods and brushes with a batik pot, or Tjanting, which prevents the fine hairs from pulling out until the brush is all worn to pieces. _The Care of Stencils._—A word may here be said about taking care of stencils, after they have been cut or purchased. They should always be used on one side, and carefully wiped off with a damp cloth, directly after using. They should always be kept flat, never folded. And, when using them, it must always be remembered that the ties or bridges are the weak spots, and that breaking or tearing them, as a rule, will spoil the stencil. It is, of course, possible to mend them by sewing, or sometimes by patching with tape. But this is always troublesome, and with well paraffined stencils is rarely satisfactory. _The Different Methods of Using Stencils._—In this country, so far as can be ascertained, the common way in which stencils have been used is by brushing through them, on to the cloth, oil paints thinned with turpentine or gasoline. As previously explained, in the chapter on feather dyeing, this is not very satisfactory. For when paint is sufficiently thick to adhere well to the cloth, it is apt to look stiff and shiny. And when it is applied so thin that the structure of the cloth shows through, it is, as a rule, not fast to washing or even to rubbing. Various varnishes are on the market which help considerably to make the paint fast, but even then the results are not nearly so durable as when the proper dyestuffs are used. The Japanese practice is exclusively with dyes, and they have worked out processes which are perfectly satisfactory, so that their simple, cheap, stencilled towels can stand washing indefinitely without loss of color. And by the use of modern dyestuffs there is no insuperable obstacle to our doing just as well as they. The use of stencils gives an excellent opportunity to illustrate the three general methods of coloring fabrics, which, as mentioned in the last chapter, consist of: Direct application of color. Resist, and Discharge. The last two of these will be reserved for the next chapter. [Illustration: FIG. 18—JAPANESE STENCILS, EXACT SIZE, SHOWING USE OF BOTH STOPS AND NET]