To such there will simply be the difficulty of learning to work with a new material. If this knowledge does not exist, it will be no easier to succeed in accomplishing any thing, worth the doing, in this, than in other kinds of art work. With regard to the colors to be used, it is enough to say that a sufficient number can be obtained to produce by admixture, in various degrees, tints for the production of any subject required. It is only necessary to remember, as said before, that in these mixtures the stronger colors must not be in such proportion as to overpower the weaker. A list of useful colors has been given in a previous chapter. In regard to the mixtures of these colors a few words may be of use. Black is a very useful color for shadows, making, in its admixture with white clay, numerous pleasing tints of grey, which may be varied by the addition of any other color which may be desired. As black is one of the strongest colors, however, it must be very sparingly used where a light tint is needed. In the mixture of blue and green, the former must exist in a much smaller proportion than the latter, if the mixture is to have a greenish tint. Experience alone can give success, but enough has been said to prevent the beginner from making very disastrous mistakes. The painting must, of course, be executed while the clay is wet, and should be finished in one sitting. If this is not possible, it may be kept wet in the way described for keeping the ware before painting. In describing the method of painting a vase, we have taken for our model, one decorated with flowers. Decorations can, however, be as varied in regard to subjects as paintings on canvas. Floral decorations seem to be the best adapted to vases, or other objects having rounded surfaces. Plaques and vases, such as pilgrim jars, which afford flat surfaces, may also be decorated with landscapes or figures. For these subjects somewhat different treatment may be adopted, but enough has been said to indicate the requirements of the material, and each artist will find a manner suited to himself. Decorations of a similar character can be produced upon ware of different colors, leaving the color of the clay for a ground. This has a very good effect when done upon cream-tinted clay in suitable colors. As this kind of ware should be fired at a higher temperature than the deeper tinted and coarser clays, the colors are liable to fade in the firing. This is not undesirable, however, as the faded tints harmonize with the light ground much better than darker colors. Some beautiful effects can be produced by decoration of this kind, which can be supplemented by carving and gilding. The same method can be used on a ground of dark red clay by the selection of colors which will harmonize with the ground. Yellow flowers look well upon a ground of this character, and the yellow color can be produced, as we have said before, by the use of yellow clay, either alone or as an adjunct to the color.