No matter what the subject of the painting may be the palette is always "set" in much the same manner

After having sketched in the subject to be painted with charcoal, and laid in the outline and shadows with burnt sienna, black, and turpentine as already described, clean off the palette with a rag, and then put out the colors in regular order, according to the diagram and previous directions.

No matter what the subject of the painting may be the palette is always "set" in much the same manner, though additional colors are added in special cases when necessary. Select the brushes for the day's work according to the size of the subject to be treated, and let the paint-box lie on a chair or table conveniently near. The palette is held in the left hand while working, the thumb being thrust through the hole made for that purpose. The sheaf or bunch of brushes which are to be used are placed so that their handles are held by the other fingers of the left hand, thus resting against the palette in the groove which is cut near the thumb hole; the tops of the brushes are seen above the level of the palette and arrange themselves conveniently so that the painter can select the Yom" is wishes to use from time to time. It is not necessary to hold many brushes in the hand; five or six are plenty, and even less, perhaps, for the box is at hand to resort to, and too many at once are awkward to manage.

For those who have never been taught how to manage the palette, a hint is given. Do not hold it upside down ; this mis- take may be easily made, though to those who know, it would seem almost impos- sible. It will be noticed that the thumb-hole is not placed exactly in the middle, but nearer to one edge than the other.  Hold the palette so that the narrowest space between the hole and the edge comes nearest to the body, leaving the wider space on the other side for the setting of the colors. In the first painting, turpentine is generally used to mix with the paints, as it dries them very quickly.