It is somewhat difficult, indeed, almost impossible, to give a correct idea of the palettes to be used in this kind of painting. If colors could be procured, already prepared for use, as oil paints are, and these colors had the same appearance after firing as before, it would be comparatively an easy task. As it is, the colors must be mixed with clays in certain proportions, and, on account of the change produced by firing, the proportions necessary to produce the intensity of color desired, can only be determined from experience. The result, after the work is finished, differs from its appearance before firing to a greater extent than in any other kind of decoration upon pottery. As a rule, it may be said that the colors are intensified by firing. This is also true of other kinds of under-glaze painting, but not in so great a degree as in the case in question. The harmonies and contrasts of color can be kept only in the mind of the artist, and every part of the work must be done with a view to the result when finished, which, as has been said, will differ materially from its appearance during the progress of the painting. Experience only, can give an accurate idea of these changes. This, however, is not an insurmountable difficulty; care and patience added to the requisite artistic ability, will soon lead to satisfactory results. Before describing the method of painting, it may be well to consider the kind of clay of which the body of the ware should be made, and the state in which the painting should be applied. As to the clay forming the body of the ware, it must be of such a nature as to adapt itself to a glaze sufficiently soft to preserve the colors. As the clay used in the painting must, of necessity, in most cases, be white, in order that the purity and beauty of the colors may not be affected by admixture with it, a body of the same, or very nearly resembling it, would, in some respects, be the best, one reason for this being that the applied clay would be more certain to adhere firmly to the body, both having the same qualities. The proper glaze for such a body would, however, require too great a degree of heat in the firing, and none but the strongest colors could bear it without injury. In order, therefore, that the glaze may be perfectly adapted to the body of the ware, and yet require no greater degree of heat than the colors used in the painting will bear, it is best to use a body formed from materials which do not need to be fired at a very high temperature. This desired quality is found in some of the natural colored clays. A mixture partaking of the qualities of both yellow and red clay, without the unpleasant color of the former, and possessing greater strength than the latter, has been found to be the best. THE STATE OF THE WARE IN WHICH THE PAINTING SHOULD BE APPLIED.