The conventional grass seemed a suitable pattern for the plinth, and such a purely ornamental design as a festoon not inappropriate to the shaped top. I have mentioned before that great variety can be obtained by combining portions of different stencils. The plinth D, Fig. 1, of chiffonier, for instance, is a combination of two, the flowers being from one and the grass itself from another. The butterfly and sprig running border, Fig. 1, in second article, I have shown in variation, and the border in corner cupboard, A, Fig. 1, is made by taking the sprig portion only and putting the root in between each impression. When you want only a portion of a stencil cover over the rest with paper, so that you do not get an impression of a part you do _not_ require. Some colours are very fugitive such as indigo, crimson lake, yellow lake, etc.; but the colours I have mentioned may be relied upon for permanency. When the stencilling is thoroughly dry it will preserve the work to give it a coat of white hard varnish. Apply this freely with a flat hog brush (or regular varnish brush), seeing that you miss no portion of the surface. Keep it from the dust until dry and you will have a pretty and useful article of furniture. Of course you may have some other article to do up than the chiffonier I have sketched, which I took simply because it was to my hand, but you can easily apply these hints to your own necessities. When your stencils are done with you wash them thoroughly in turpentine, both back and front, and dry them and put them away, keeping them flat. While you are using your stencils wipe the back after each impression, so that if any colour has worked there you can remove it. Have an old board and some newspaper to lay the stencil on when you clean it. With the batch of stencils given with these articles endless variations and combinations are possible. Many of the patterns too could be easily adapted for needlework; in fact, you have only to lightly stencil your material in water colour and work over the impressions. Use Chinese white if a dark textile, and lamp black and Chinese white if a light one. Though I have advised white paint for these two articles of furniture, there is no reason why you shouldn’t try dark ones. Stencilling is very effective on dark paint, and a cabinet or cupboard painted a dark brownish green would look well with stencilling in shades of old gold. To get a rich colour the final coat must have very little white with it. For a brownish green use burnt sienna, black, deep chrome, and touch of Prussian blue, with only enough white to make it light enough. FRED MILLER. VARIETIES. HOW TO GET ON. When Lord Esher took leave of the Bench and Bar recently, he made a noteworthy utterance, which has an interest for all young people, even though they are not lawyers or ever likely to be.