In the case of the large butterfly, Fig. 1A, it will be noticed that a pattern is stencilled on the wings, and to do this it is necessary to have a second stencil, Fig. 1B. I give impressions of these two stencils, Figs. 1A and 1B, so that you may see what is cut out in each plate and how the two fit together. You cut some one or two details out of both plates as a guide in placing them when in use, see Figs. 2, which requires the two Plates A and B to produce it. [Illustration: 5 _Flying bird in stencil, after the Japanese._] [Illustration: 6 _Flying bird in stencil, after the Japanese._] In cases of stencils which repeat so that spaces of any length may be covered, it is necessary to cut a small portion of the next impression out of the stencil and put this in, so that when you shift the stencil on to take the next impression, the left side of your stencil is placed over the right-hand side of the impression first taken. In the butterfly referred to in Fig. 1, the tip of the left wing is cut on the right-hand side of stencil, which is a guide for placing the stencil when we shift it for our next impression. In Fig. 4 it will be noticed that the nose of the fish is stencilled on the right-hand side to show you, when you shift the stencil along, exactly where to place it. In stencils requiring two plates to produce them, you draw out the design and then arrange in your mind the portions you will cut out of the first plate. When you have cut them stencil them on to the piece of paper to form the second plate, and having drawn or transferred the rest of the design to this second piece of paper you cut out the rest of the pattern. By stencilling the first plate on to the second plate you see how far to cut, for it is obvious that the two plates should fit together like a puzzle and form one design. The object of having two plates is that you can obtain an impression in two or more colours. Thus in the butterfly design having stencilled the insects in the first colour you can put on the markings and web-background in much lighter colours. If the sprig is to be put in and you want it against the web-background, you stencil this latter in first, and when dry the sprigs upon it. By cutting a design out of two plates you can get a much more elaborate design and scheme of colour. The water in the arrow-head and fish frieze, Fig. 4, is a case in point, for the water lines and flowers can be in light tones of colour, while the fish and foliage are in darker ones, and by this means relief is obtained. Were the water lines cut out of the same plate as the foliage, it would be impossible to keep them in a distinct colour and the design would look confused. The stencil too would be very weak, as the "ties" would have to be so numerous. This is a practical disadvantage, for if a stencil is very weak it is apt to break all up while you are using it. By the use of the two plates, Figs. 4A and 4B, we get two fairly strong stencils. (_To be continued._)