in just one colour is apt to give. Then, too, when you have knocked out one impression before lifting off the stencil, you can take one of the hog hair brushes or the smallest stencil brush and put in the body and the portion of the wings around it of the butterflies B in the corner cupboard, Fig. 1, in a little darker colour, say more raw umber or sienna. It is very little more trouble and greatly adds to the general effect to give these accents. The idea is to make the butterflies come off the web, so keep the web lighter and the insects darker. In the border B, Fig. 1, in first article the flowers might be touched in to bring them off the lines of the background. The pattern on the spaces surrounding the door A, Fig. 1, can still be in the same tones, varied as I have suggested, but the panels of the doors being themselves more naturalesque, might be a little more positive in colouring, _i.e._, the leaves and grass can be put in, in quiet, soft tones of green, while the flowers could be in lemon chrome and white or bluish purple made of rose madder and French blue or Indian red and Prussian blue lightened with white, but don’t make the colouring too bright, so that it is in too strong contrast to the stiles. Greens made of blue and chrome are much cruder than if you use yellow ochre or raw sienna. Going back now to the colouring of the chiffonier Fig. 1 (p. 13) in first article. The plinth or bottom D can be in low-toned greens, not too dark but darker than the leaves in the panels, while the daisies can be in grey made of white, raw umber, and a touch of blue, with centres in yellow. Stencil the flowers first and then with a small brush put in the yellow centres. A slight touch of pink at the edges of the daisies might look well, effected by using a small hog brush and a little rose madder. The leaves around the column keep in the quiet greens used in plinth D. The back of the upper part of chiffonier, Fig. 2, with its shelf can be treated like the panels in colouring, and the festoon above the shelf can have the flowers in the grey and the leaves in russet not too dark, and the ribbon in pale blue. As you have a white surface to decorate, be careful not to get your colouring too strong. Use plenty of white with all your colours, for you will find that delicate tones are much pleasanter to live with than heavy ones. A little of the pure colours from the tubes will tint a lot of white, so the colours will not be a great expense. Buy the flake white in half-pound tubes for cheapness. In arranging stencils act somewhat on the plan I have observed, which is to keep the more naturalesque stencils for such places as panels or other flat, broad surfaces, and as a framing to them the more ornamental patterns, to contrast with the natural ones. The butterfly border on the stiles of the corner cupboard B, Fig. 1, is a good foil to the iris panel, just as the border B, Fig. 1, is a good foil to the daisy panel in the chiffonier.