_The Walther Glass Tjanting._—It is evident that we were not alone in our fear of the Javanese models with spouts at the bottom, because, in Germany, Dr. C. Walther of Crefeld has designed and introduced a glass tjanting, shown in Fig. 21, which also delivers only on tipping the instrument forward. This we have experimented with but without much success. For we have found it difficult and awkward to draw with it on a horizontal surface, and also, being made of glass, while it is cheaper than the metal models, it is at the same time more fragile. _Wax Pencil._—An entirely new idea has recently been applied to the art of Batik by the introduction of a (patented) “wax pencil” (see Fig. 22), made on the principle of the early stylographic pens. This tool is made of heavy brass, with a removable wooden holder, and the wax, in cylinders, is shoved into it from the top after removing a cap. To melt the wax the wooden holder is slipped off, and the pencil is heated over a flame or on a hot electric plate, while the liquid wax is prevented from flowing out by a “needle valve” held in place by a small spiral spring. To use the tool, the holder is slipped over the pencil, taking care not to burn the fingers in so doing, and the pattern is traced in just the same way that it would be in ink, pressure on the projecting needle, by raising the valve, permitting a greater or lesser flow of wax. These instruments are certainly more convenient to draw with than any of the forms previously mentioned, and, on hard smooth surfaces, such as leather, wood, bone, metal, etc., are satisfactory enough. But it is no easy matter to make them so that they will work well. For the valve which regulates the flow of wax works with a spiral spring. Now, if this spring is, or becomes, lax, the wax drips incessantly. If on the other hand it is too stiff, it is quite troublesome to press down the pin, at the tip, just hard enough to deliver a fine stream, without opening it too wide. In our experience these instruments, which are quite expensive, do not work well with cloth and, especially, with rough weaves of cloth, like crash, scrim, pongee, coarse calico, and the like. For the pin is liable to catch and jump on the threads, and then it delivers the wax very unevenly. [Illustration: FIG. 23—JAVANESE TJANTINGS] [Illustration: FIG. 24—AMERICAN MODIFICATION OF JAVANESE TJANTING] _The Javanese Tjanting._—After much experimenting one of our friends finally brought us, from Holland, a real tjanting copied directly from the Javanese, and five minutes’ practice with it satisfied us that it was superior to any of the “improved” models that we had been working with. Since then we have seen, and studied, several different styles of Javanese tjantings, and have learned how they must be used to get the best results. The secret of these instruments is two-fold. First, the size of the delivery tube, and second, the temperature of the wax.