156 
TIIE LADIES' FLORAE CABINET. 
lay on the colors. Paint the lips first with a stroke of 
carmine or vermilion. Be very careful in this part of 
the work, as an unskillful stroke may give the subject 
a wry mouth. Following is a list of the paints to be 
used on the other features: 
The Eyes .—For blue eyes: Chinese blue or ultramarine 
blue with perhaps a small quantity of ivory black. 
Brown eyes: "Vandyke brown. Black eyes : ivory black. 
Grey eyes: Vandyke brown and silver white, mixed to 
the right tint. After painting the iris, color the rest of 
the eyes with white, faintly tinged with yellow. 
The Complexion .—Mix silver white, yellow ochre and 
a little red; or vermilion, silver white and Naples yellow 
in proper proportions to give the tinge you desire. In 
children’s faces put in a little vermilion. For dark com¬ 
plexions, shade with Vandyke brown. 
The Hair. —Blonde: Chrome yellow and blunt senna: 
or Vandyke brown and yellow ochre. Brown: Vandyke 
brown and Naples yellow. Black: ivory black, tinted 
with silver white and ultramarine blue, according to 
shade wanted. Grey : silver white, Naples yellow, ivory 
black and ultramarine blue. 
Paint very carefully and do not allow the colors to 
run into one another. If you make a false stroke you 
can remove the paint with a rag dipped in turpentine. 
The brushes may also be cleaned with the same. 
For gold jewelry use yellow ochre. For pearls and 
silver, silver white; for ribbons, flowers, backgrounds, 
etc., use your own taste. 
After the paint is dry, cut a piece of pasteboard to fit 
the back and fasten it on as the glasses were fastened 
together. Pictures of this kind look best in those oval 
velvet frames. 
For painting a landscape, a group of houses, you will 
of course proceed in the same manner, varying the 
colors to suit circumstances. 
To make a transparency for hanging in the window, 
choose your picture, make it transparent and place the 
second glass on the back according to directions. Then 
bind the edges with the thin paper and afterwards paste 
over this some handsome material; strips of bookbinders’ 
cloth look very well. When you put this on, paste 
along the sides a piece of narrow ribbon or tape, allow¬ 
ing it to project out over the two upper corners in the 
form of two short loops through which a cord can be 
passed to hang it up by. Of course you cannot color a 
transparency, but you can select a colored picture, if 
you choose. 
Some do most of the painting directly on the back of 
the picture itself after it is made transparent, but if 
bright colors are used a softer effect is given by the 
paints being on the back of the second glass. When you 
are beginning the art, use pieces of common window 
glass and pictures that are of no value, to practice upon. 
If you should desire to color a steel engraving that you 
value, first try the corners to see whether the paper will 
become transparent and if not you have not spoiled your 
picture. I have not, of course suggested all the forms 
of decoration to which this may be applied; you will 
discover them yourself as you proceed with the work. 
I will close by giving a list of paints that will do the 
work described and a table for mixing the tints. 
The Colors. —English vermilion, Chinese blue, emerald 
green, ivory black, silver white, Vandyke brown, yellow 
ochre, chrome yellow, rose pink. It is better also to 
have three or four sable brushes. 
Table for Mixing Tints. —Buff: white, yellow and 
red. Chestnut: red, black and yellow. Dove : white, 
vermilion, blue and yellow. Drab : white, yellow, red 
and black. Fawn: white, red and yellow. Peach: 
white and vermilion. Purple : vermilion and blue. 
Pink: white and vermilion. Violet: red, blue and 
white. Rose : white and lake. \v\r a 
WHAT WE SHALL WEAR. 
Faille has completely regained its former popularity 
So pliable and soft, it chapes gracefully and adapts itself 
to every style cf trimming. 
It is believed by the best authorities, that many of the 
new costumes this Fall will be made of single fabrics, 
combinations only appearing as trimming for rich 
materials. 
For mourning dr-esses nun’s veiling is a very satisfac¬ 
tory fabric. Tarnise cloth of fine quality is also used, 
and is very serviceable. It really ic a species of Henri¬ 
etta cloth, the material being silk and wool; it is not 
twilled, however, but has a smooth surface that sheds 
the dust well; it is thirty-six inches wide and sells for 
$1.50 a yard. Imperial serge or French bombazine is 
used for heavier dresses. 
These suits are made up with the pleated skirt and 
polonaise with slight drapery, or a half-long round 
basque. Crape trimming is getting less and less in favor 
every year, except in mourning for the nearest relatives; 
bands, folds and pleatings of the dress material are 
used instead. Black crepe lisse is more worn for neck¬ 
wear than English crape, by the few who still wear 
black about the neck. A writer in Harper's Bazar, says 
that “the puff of tarletan known as the widow’s ruche 
is fast being abandoned, not only for the neck and 
wrists,but also for a face trimming to bonnets. It has 
long been objectionable, because it simply marks the 
wearer as a widow in the same way as the large white 
bow at the neck formerly did, and for the front of a 
widow’s bonnet a roll of crape takes its place.” 
The new est veils are of English crape one yard square, 
and finished with a hem twice the depth for the lower 
end as the hem at the top, and pinned on the bonnet 
with bar pins covered with crape. Neckerchiefs are of 
organdy, with wide hems, hem-stitched, and some blocks 
of black lawn hem-stitched on at intervals. Others have 
a row of large black dots above the hem, or else a wide 
black border. 
A stylish suit worn at the sea-side not long since, was 
made of a finely-checked woolen fabric, a sort of green¬ 
ish-gold, trimmed on the skirt with a double box-pleated 
flounce half a yard deep, above which was an extremely 
long-pointed apron tunic, caught up on either side quite 
to the hips, and held by loops and long floating ends of 
satin ribbon ; the drapery in the back falling in straight 
folds. With tins was worn a navy-blue jacket made 
very short and cut up to the belt in square blocks, bound 
with silk braid : finished down the front with tiny but¬ 
tons of sage-green gold and blue enamel. The Gypsy 
hat was of straw of the same greenish-gray lint, lined 
with navy-blue silk, and trimmed with surah a darker 
shade than the hat, and pale-gold plumes. 
