The brush can also be employed for painting molten wax on to the goods through a stencil, in resist stencil work. This, however, is not satisfactory, even with metallic stencils, and fails completely with paper stencils, because the wax, on cooling, fastens stencil and cloth together so that they cannot be separated without injury. It is much better practice, where a stencil design is to be worked with wax resist, to make an outline of the design on the goods with a sharp pencil, and then, removing the stencil, to fill in the pattern with tjanting and brush. This same practice of drawing the outline on the goods with pencil, or tracing paper, or by transferring from a charcoal drawing, by rubbing, is always to be recommended: except for those craftsmen who are such thoroughly trained draughtsmen that they can draw their designs free-hand, with the tjanting, without danger of slip or mistake. A pencil or crayon line, if not quite true, can be erased without spoiling the whole design, but it is quite a troublesome matter to correct a mistake made in molten wax. =Tjantings.=—The real interest in this Batik process lies in the use of some form of pouring instrument by which the molten wax can be applied to the material in a fine stream, with much the same freedom that a drawing can be made with soft pencil or crayon. This practice has been developed in Java to its fullest extent, and a fine sarong, containing two or three yards of calico, will be completely covered, from one end to the other, with wonderfully intricate and elaborate designs in two or three colors, all produced, perfectly free-hand, by curious little tjantings, in the light fingers of the little Javanese women. [Illustration: FIG. 20—“TEAPOT” MODEL OF TJANTING] [Illustration: FIG. 21—WALTHER GLASS TJANTING] [Illustration: FIG. 22—“WAX PENCIL” MODEL OF TJANTING] _Teapots._—When we began experimenting with Batik, in our laboratory, we had no model of the Javanese tools to work with, and, from the drawings, we could not see how they could be used without constant dripping. So we designed a little brass apparatus, which we and our friends nicknamed a “teapot,” which, with some modification, is shown in Fig. 20, in which the molten wax remains in the cup until it is poured out. This, with practice, works fairly well, and some very interesting work has been done with it. It is hard, however, to draw with it on a horizontal surface, such as we are accustomed to work on. And to follow Javanese practice, and have the cloth hanging over a frame, and to press it out with the left hand while the wax is applied with the instrument in the right, is oftentimes a nuisance.