If the lines of the writing fixed upon are fine and delicate, they will look best, and work most freely with Indian ink; but if they are bold and solid, involving some extent of black surface, they will present a better appearance if wrought in lampblack; the principal difference between the two being that Indian ink is finer, and, if good, always retains a slight gloss, while lampblack gives a fuller tint, and dries off quite mat, or with a dead surface, corresponding with that of most other body-colour tints used in illuminating. Great care must be taken to keep the writing evenly spaced, upright, and perfectly neat, as it is almost impossible to erase without spoiling the vellum, and as no beauty of ornament will redeem an untidy text. If a portion of the writing is to be in red, it should be in pure vermilion; and if in gold, it should be highly burnished, as will be hereafter directed. The writing being satisfactorily completed, the artist may proceed to lay in his ground tints, generally mixing them with more or less white to give them body and solidity. Colours prepared with water are best adapted for illumination on vellum; and those known as _moist_ colours are to be preferred for this work, as they give out a greater volume of colour, and possess more tenacity or power of adhering to the surface of the material on which they are used than the dry colours. Of moist colours there are two descriptions, viz., solid and liquid; and of these I give the preference to the former, as some colours, such as lemon yellow and smalt, will not keep well in tubes; added to which, there is waste in using them in this form where only small quantities are required, as the colour cannot be replaced in the tube when once squeezed out. The tube colours possess, however, the valuable property of being always clean when a bit of pure colour is required. The solid moist colours are apt to get dirtied in rapid working, and occasionally mislead an eye which is not quick at detecting a lowered tint. Mr. Barbe's body-colours, which are of very good quality, are prepared in powder, combined with a glutinous substance, on moistening which with water, the tints are fit for application. Messrs. Winsor & Newton's body-colours are also very excellent. Flatness of tint is best secured by using the first colour well mixed with body, and put on boldly; this forms the brightest tint; then shade with pure transparent colour, and finish off with the high lights.