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ITALIAN OR DIAPHANIC PAINTING ON 
GLASS. 
I have always been passionately fond of paint¬ 
ings. Pictures of landscapes, flowers, and forms have 
always been my delight. But very unfortunately I 
had never been able to draw even a straight line. 
It was always with much jealous longing, and much 
sighing for impossible things, that I have watched my 
friends’ tasteful pencil sketches, and the more talented 
ones painting bright bits of scenery 
on canvas. But finally my wish was, 
in a measure, gratified. A few years 
ago a lady and gentleman called at 
our house, and offered to give me in¬ 
structions in the art of painting on 
glass. I demurred at first, knowing 
my incapacity for such things; but 
they quickly informed me that all the 
talent required was taste exercised in 
blending the colors harmoniously, and 
judgment in mixing the paints. I 
finally consented, with many misgiv¬ 
ings, to take lessons from them, and 
have never had reason to regret it. 
The pictures, of course, are not to be 
compared with fine oil-paintings, but, 
executed with taste and skill, are an 
ornament to an}’ room, and awaken 
universal admiration. Thinking some 
of the readers of the Floral Cabi¬ 
net might have the same longing de¬ 
sire, without the means of gratifying 
it, I have concluded to send such 
directions as, if correctly followed, 
cannot fail to give pleasure. 
First, after having selected and 
thoroughly cleansed a glass of proper 
size for the picture you wish to paint, 
cut off the margin to the size of your 
glass. Then lay your picture in clean 
cold water until it sinks, after which 
remove it and lay it between dry 
papers to dry the surface. Then var¬ 
nish your glass on the crowning side 
with a coat of Demar varnish very 
evenly, and let dry until, it is just 
tackey, then lay your glass with var 
nish on your picture, in the position 
you wish it to appear on the glass; 
then turn it over and lay on dry papers, and with a 
cloth rub thoroughly from the centre each way; then 
turn the face of your picture up and hold to a front light, 
still keeping the wet paper covered with the dry, and 
rub till that sweaty look disappears, then set it away 
to dry from twelve to twenty-four hours ; then by 
thoroughly wetting the paper you can roll it off 
quite clean, and when dried varnish again with a 
coat of Demar varnish diluted about one-fourth with 
spirits of turpentine, and if the paper is off clean 
enough it will become quite clear. It is then ready 
to paint. 
FOR A LANDSCAPE. 
Paint your foliage first; for this take light chrome 
yellow; add Prussian blue enough to produce the 
shade of green desired; then for earth take white and 
add raw sienna enough to produce a yellowish brown 
color; for distant mountains still lighter, and for 
rocks and trunks of trees a shade darker by ad¬ 
ding a little Vandyke brown ; for water take white 
and a very little blue; for sky take white and 
add a little scarlet lake and paint across the 
lower part of the horizon; as you go up add 
more white, then add very blue to the white; as 
you near the top a little deeper blue and finish to 
or crimson lake, and add very little blue and white; 
for gold yellow use Italian pink or yellow lake, and 
lay foil at the back; also lay foil at the back of crim¬ 
son lake whenever used clear; for hair take white 
and add raw sienna and Vandyke brown; make light¬ 
er or darker with more or less of the brown ; paint 
eyebrows the same as the hair ; for eyes, first touch 
the spot on the sight with white, then add the least 
touch of blue to the white and paint the white of 
the eye ; then the part indicating the color of the 
eye to your fancy ; for lips use scarlet and white; 
for flesh-color take white and add a little scarlet lake 
and Naples yellow', flush with the scarlet, and blend 
with the finger. Mix all your colors 
with the diluted Demar varnish, the 
same as you varnish your picture with 
the last time, and cover thoroughly 
each part with its appropriate colors, 
and it will be finished. 
LIST OF COLORS NEEDED. 
The paints come in tubes, with 
the exception of white, and consist of 
the following colors: ivory black, 
Prussian blue, burnt umber, Van¬ 
dyke brown, emerald green, Naples 
yellow, light chrome yellow, chrome 
orange, Italian pink or yellow lake, 
raw sienna, burnt sienna, scarlet 
lake, and crimson lake. 
The pictures to be painted, un- 
colored wood-cuts, and should have 
no glaze on them. 
Emma A. Refsnydkr. 
TO WASH FLANNELS. 
Life’s Morning and Evening—Sunshine and Shadow, 
the top ; then cloud with ivory black and blend with 
the finger. 
EOR FIGURES. 
Paint all drapery and surroundings first. For 
drapery green use emerald green; for buff use 
Naples yellow; for bright yellow use light chrome 
yellow; for orange use chrome orange ; for bright 
red use scarlet lake; for pink take either scarlet lake 
or crimson lake; add white in proportion to the 
depth of color desired, the same with blue, which 
never use clear; for brown take burnt umber and 
add Naples yellow'; for purple take either scarlet 
A CORRESPONDENT of tile Boston 
Journal of Chemistry says : “ I will 
give a little of my experience in wash¬ 
ing flannels. I was taught to wash 
flannels in hot water, but it is a great 
mistake. In Italy my flannels came 
home from the wash soft and white. 
I learned that the Italian women 
washed them in cold water. Many 
a, time I have watched them kneel¬ 
ing in a box, which had one end 
taken out, to keep them out of 
the mud, by the banks of a stream, 
washing in the running water, and 
drying on the bank or gravel with¬ 
out boiling; and I never had wash¬ 
ing- done better, and flannels never half so well. 
I have tried it since, and find the secret of 
nice, soft flannels to be the washing of them 
in cold or luke-warm water, and plenty of 
stretching before hanging out. Many recipes say, 
Don’t rub soap on flannels; but you can rub 
soap 
on to the advantage of the flannels, if 
you will rinse it out afterwards and use no hot 
w r ater about them—not forgetting to stretch the 
threads in both directions before drying. Flannels 
so cared for wall never become stiff, shrunken, or 
yellow. 
