Use the utmost care in marking out your pattern with the wheel. If there are corners too sharp to turn with the wheel, mark them with a thin penknife. In fact, if you can not obtain a wheel, the whole may be done with a penknife. The wheel simply makes a more even, continuous line, and is more convenient to use. When the partial division of the pieces is effected, paint the pattern with the dyes made for wood. Care should be taken to apply these very thinly indeed, in small quantity, to let them dry thoroughly, and then to renew them. [Illustration: AN EASY PATTERN.] Warping may be prevented by carefully dampening the back of the panel, by screwing down the wood, or by keeping it pressed down by a weight while drying. Perhaps the best way in most cases is to fasten strips across the back. Great pains must be taken to prevent the dyes from spreading beyond the outlines. The only difference between this Venetian work and sawed-out inlaying lies in this, that the pieces of wood are not quite cut through. That is all. If they were, it would be real inlaid marquetry. As dyes were very extensively used to color much of the finest old work, it will be admitted that the chief difference between this method and that in which all the pieces are fret-sawn, is that this is by far the easier. Fret-sawing of two or three veneers is, for a young amateur, much more difficult than marking out and dyeing a pattern. And it is a very important consideration that this beautiful art or method may be employed where a variety of woods and tools are not available. There are few places where two or three cheap dyes for wood, a piece of white wood, and a thin penknife can not be obtained. Thus, even common ink thinned with water will make a slate-colored dye, while several coats will stain wood jet-black. (When the dyed surface is very dry, rub it off carefully with soft paper, renew the ink, let it dry, rub off the surface again, and then oil it.) Umber in coffee will make a brown dye. But best of all are the dyes sold for the purpose. The channels, or fine lines cut by the knife, may be carefully closed with any kind of filler. A good one may be made by very thoroughly mixing fine varnish and flour, or by rubbing up size with umber or any other coloring matter. A great defect in much of the old marquetry was the same fault that the Englishman found in the autumnal landscape in America, when he said, "It is very pretty, to be sure, but don't you think it's a trifle gaudy?" The old artists in wood used as many colors as they could get together; and amateurs and beginners greatly incline to this. But an artist in decorative work can produce the best and most vigorous effects with few colors and large easy patterns. [Illustration: AN EASY DESIGN FOR A BORDER.]