The patterns of ornament are executed either by means of stencils cut in oiled paper, according to the method which will be next described, or else by pounces, which are the full-sized drawings pricked along all the lines with a needle upon a flat cushion; powdered charcoal, tied up in a cotton bag, is then dabbed upon the paper which has been set up on the wall, or else the back is rubbed over with drawing-charcoal and brushed well with a flat brush, like a stove brush. In both cases the result is that the dust passes on to the walls through the pricked holes, and forms are thus sufficiently indicated to the painter. Stencilling is a process by which colour is applied through interstices cut in a prepared paper, by dabbing with a brush. The design to be stencilled is drawn upon paper which has been soaked with linseed oil and well dried. The pattern is then cut out with a sharp knife upon a sheet of glass, care being taken to leave such connections as will keep the stencil together. The next tint is then to be laid on in the same manner, and so on till the darkest tint is done, each tint being allowed to dry before a second is applied. I do not purpose dwelling in detail on the preparation, or "bringing forward," as it is called, of surfaces to receive oil-colour; since, for such mechanical work, it will be always well to employ a good house-painter. I may observe, however, that the first operation, where the surface is absorbent, is to stop the suction, either by a plentiful application of boiled oil alone, boiled oil and red lead, or size. Several successive coats of paint should then be applied, and in order to obtain smoothness, the surface of each should be well rubbed down. The last coat should be mixed with turpentine, and no oil, in order to kill the gloss, or, as it is termed, to "flat" the surface. For most decoration and illumination, the work should be brought forward in white, as, by shining partially through most of the pigments ultimately applied, it will greatly add to their brilliancy. Zinc white will stand much better than white lead. Messrs. Roberson, of Long Acre, prepare an excellent wax medium, which dries with a perfectly dead encaustic surface, and answers admirably for mural-painting of all kinds. I caused it to be employed for all the decoration executed under my direction at the Sydenham Crystal Palace. Miller's glass medium will also be found very useful to artists and amateurs. In laying on all ground tints, great care should be taken to keep them flat; and the less, as a general rule, tints are mixed, worked over and over, and messed about, the brighter they will be. The principal colours having dried, the setting out of the lettering, &c., may be proceeded with; the following directions being duly attended to. _The Setting-out of Letters._[120]