_Cloth._—The cloth used for this Batik process is strong common calico, but, before beginning to wax it, they give it a careful treatment, to improve both its texture and its ground color. For a period of several days they alternately soak it in castor oil, wring it out, boil out the oil with soda lye, and expose it to the blazing sun; until finally it becomes soft and smooth, and has a pleasant tan color which goes excellently with the brown, blue, and black dyes. The peculiarity of all these Batik goods, whether from the East or made at home or in Europe, is the characteristic “crackle” effect, due to the breaking of the wax upon the cloth in the process of dyeing, thereby admitting the color to the protected cloth in fine lines and streaks. This distinguishes the wax resist work from the previously described paste resist, which if desired will leave a smooth, clean, white background, or if applied more lightly will give backgrounds shaded more uniformly and without so many irregular lines of color. This crackle effect, so generally admired in the West, is often by the Javanese considered a defect, and a sign of poor workmanship. It can be largely, if not wholly, avoided by adding a large proportion of rosin to the wax, by batiking the cloth on both sides, and by dyeing the goods with as little crumpling as possible. MODERN BATIK The application of the artificial dyestuffs to this ancient process has simplified it greatly, and has brought it within the scope of craftsmen in general. =Apparatus—Brushes.=—You will soon find that for a good deal of the work, such as covering large surfaces with wax, or filling in large and bold designs, a small-sized paint brush is all that is necessary. The wax is melted in a cup or casserole, and painted on the cloth wherever the design calls for it. It will be found, however, no easy matter to get sharp and clear outlines in this way, and intricate or delicate patterns cannot be worked out by the brush only. When the wax is hot, it is hard to prevent it from spreading and running too far over the cloth, and, on the other hand, it cools so rapidly on the brush that, unless applied at once, it is hard to spread it at all, and the wax is liable not to stick to the cloth. Much is saved both in time and in accuracy and clearness of outline, by using the brush in combination with the tjanting, drawing the outlines with the latter, and filling in with the brush. When large surfaces have been covered with the wax, and the characteristic “crackle” effect is desired, it is often well to cool the goods, by placing them in the ice box or out of doors for a few minutes, and then to crumple them in the hands, before dyeing them. The composition of the wax, also, has much to do with this part of the work, as will be explained later.