Green. The most brilliant is of course Emerald Green, but as it is extremely difficult to lay and easily works up it is much feared and avoided. It is very useful in combination with greens of lower tone mixed with white to lighten them. Green oxide of chromium (not chrome green) is excellent in this way and possesses good body. The white will be Chinese White, made from oxide of zinc, which does not change colour as the lead whites do. The latter, however, are extremely useful for temporary work, such as for design that is to be carried out in other materials, when the drawing is no longer of consequence after it has served its purpose. The difficult colours Cobalt and Emerald Green can nevertheless be laid satisfactorily by means of patient trial, the result depending on that skill of manipulation which can only come by much practice as well as on the exact degree of moisture with which the colours are used. Indeed, it may be well to point out, especially for the benefit of those who are familiar with water-colour sketching, how comparatively dry all the colours are worked in illumination. Tints, even, are best put on with a sparely filled brush in a manner that approaches a scumble much more nearly than a wash. This will be found most troublesome in tints that are painted on the vellum itself, as in white mantling, for instance, or in objects that are “proper,” and anything like a wash with a full brush being impossible, a certain amount of stippling will probably become inevitable. The work is certainly somewhat difficult, and too much disappointment, therefore, should not be felt at the failure of first efforts. Shortly, the effort should be directed to getting the colour on with as little moisture as will suffice, so that the surface of the vellum may not become wet and disturbed. The principal masses of colour being in, such dividing or other strong lines as occur will be drawn with black. A drawing pen will probably be used for straight ones and in this also care must be taken that the black, lamp black or ivory black, is not too diluted, or it will probably spread, especially when in contact with colours that contain glycerine or waxy constituents. This done, the next stage of the work, if it is to have the elaboration of the real illuminated MSS. rather than of the diagrammatic Rolls of Arms, will be to model up the forms with shadow colour, using carmine or crimson lake to shade vermilion with the addition of a little sepia when stronger colour is required. Blue will be shaded with French blue to the required tone, and green with darker green. The lights may then be put in with light tones of their respective colours. Gold is shaded with a low tone of yellow as a general shadow colour and with umber, and is sometimes high lighted with Naples yellow and white. In accessory decoration gold may be shaded with green and finished with a darker tint of the same colour.