of common writing-paper (not too highly glazed), rub it over slightly and briskly with a piece of white wax (in two or three strokes), lay it on a leaf of gold which will adhere to the paper.[9] With a large, sharp pair of scissors, cut both paper and gold-leaf into a piece rather larger than the surface to be gilded, and the size being just sticky, lay the gold down upon it, keeping the paper still in its place; press it very gently and smoothly all over with a ball of cotton-wool, as if you were pasting it down: breathe on the paper, then remove it, and let the gold remain undisturbed about half an hour, or longer. Then, with a large, dry brush, in light, sharp touches, brush away the superfluous gold, and the work is completed.

There are other methods of applying gold-leaf, but this is given as the simplest. A gilder's tip (a flat brush) is generally used, but requires skill in handling, which remark applies also to the gilder's palette and knife.

Any corners to which the gold has not adhered may be retouched with the size, and gilded as before. Be careful not to touch the gold with the fingers, or it will be quite spoilt. If the leaf curls up upon the paper, it can be blown down with a gentle breath.

There is an "Illuminating Raising Preparation" at 1s. 6d. per bottle, which may be found useful, and may be painted over with Bessemer's, or water-gold; it would, however, add to the difficulty of applying gold-leaf, unless the hand were previously well practised.

Silver is sold in shells; a water-colour, but it quickly tarnishes.

Aluminium is sold in shells (a water-colour), and is a good substitute for silver; although not equal in beauty, it is said not to tarnish. Being a recent discovery, it has not yet had the test of long experience. Aluminium is used in touches upon white flowers, or the emblem of the dove, previously softly shaded with neutral tint. These shell metals cost about 6d. and upwards.

Saucers, 2 inches in diameter, should be procured for the red and blue powder colours. A smaller saucer, 1 inch in diameter, for Bessemer's gold, will prevent much waste, and another for Chinese white would be useful. Price 1d. each, or less.

In proceeding to illuminate the scroll, place a little vermilion-powder, and quite twice as much carmine, in a saucer, with a drop or two of thick gum-water; mix it well with a brush, adding water as required.[10] Stir the paint up now and then during use, as the vermilion has a tendency to sink.

German blue, as already mentioned, must be mixed with a good proportion of gum-water, stirred well into the powder: it is best to mix a little at a time, say half a teaspoonful of the powder, as it hardens, and becomes more troublesome to use. This blue, prepared as a moist colour, would be most valuable for illuminating, if it did not lose its opacity.

Paint all the black in the scroll first, the red next, and, if German blue, blue last, as, with every precaution, it is apt to rub—in which case, remove the blemishes with crumbs of bread. If the text should consist of two lines, finish the upper one first (all but the gold), to prevent injury to the lower one by rubbing. Fresh water should be provided for each colour, in order to preserve its brightness.

Bessemer's gold paint may be applied last of all, but leaf-gold should be laid on before any colour.

The following remarks on the subject of ancient illuminations are valuable, having been made by Mr. Ruskin at a meeting of the Society of Antiquaries, held on the 6th of June, 1861. He observed that the best designs were contrived so as to give the greatest effect to arrangements of pure and beautiful colour. He explained the excellence of the best specimens as arising from simplicity of design and colour—the latter being left wholly unclouded by shade. He did not deny the high excellence of the naturalistic treatments in the illuminations of the 15th and 16th centuries and later—but he viewed illumination in this condition as fallen into decay, and by the introduction of shading was effected the final destruction of what had constituted its essential principles and glory in the 13th century.

Scrolls can be very suitably mounted in frames of plain oak—"Oxford frames"—which cost 3s. 6d. each, glass included, the size being about 22 by 6 or 7 inches.

For transmission by railway, &c. cardboard scrolls must be protected either by a thin piece of wood of the same size, or by two pieces of stout millboard, well wrapped round with paper. Even a dozen large scrolls packed together have been ruined for want of these precautions.

Illuminating in Oil-Colours on Zinc for Churches.

To beautify the place of My Sanctuary.

The following materials are required:—

Zinc, in strips, average price 10d. per square foot.

Oil-paints, in tubes.
Vermilion, 6d. }
Crimson lake, 4d. } these may be mixed.
French ultramarine, 1s.
Blue black, 4d.
Emerald green, 4d.
Ivory white, 4d. This cream-coloured white has the richest and best effect.
1 Bottle of pale drying oil, 6d.
1 Bottle of spirits of turpentine, 6d.

Brushes—Red sable, various sizes, from 4d. to 1s. 2d. each.

A wooden palette, 1s. 6d.
A palette-knife, 1s. 6d.
Tailor's chalk, or "pipe-clay," 2d.
A carpenter's 2-foot rule, 1s. or 1s. 6d.

In churches where the walls are damp, or otherwise unsuited for receiving colour, it is found that zinc is an excellent material for illuminating texts from Holy Scripture, to be fixed to the wall when completed. This method is much less expensive than painting in fresco.

Zinc can be procured of any ordinary plumber, at an average price of 10d. per square foot; it requires no particular preparation for illuminating, excepting a foundation-colour (or ground), which can be laid on by any house-painter far better than by the amateur. This should be done at the workshop, as the smell of so large a body of paint would be very injurious to those unaccustomed to it.

The foundation-colour should either match the tint of the wall to which the scroll will be affixed, or present a decided contrast. Care must be taken in matching the colour of a plastered wall, that the paint should be lighter in tint, as it has a tendency to darken, while the plaster is