APRLICOTS.
I   T tJST here repeat the recommendation I gave in the first
instance, namely, to observe wheim you have sketchel( in the whole
of your drawing, whether it has the spirit of the pattern ; look
larticlllarly to the main stem and. time general p)osition of the
dllerent parts, that they (lo not vary too much, and that the leaves
join the stems freely ; you may then proceed to colour, observing
what I directed before respecting the leaves, to sketch in the ribs
correctly: you, will not then be so liable to make any mistake in
putting in the green tints for the shadows.  It is very immaterial
whether you put in the leaves or fiuit first  the same method
directed for the other leaves wvill be p)roper to proceedl in with
these.
  In colouring the fruit, begin the twvo back Apricots first, by
laying a light thin tint of ganmboge and raw  terra de siena,
and (arken it ten(lerly w'ith terra (le siena and a tincre of timber;
then, to strengthen the shadows of the upper back one, take a little
burnt terra de siena ; this will olarkeim them and grive a warmth ;
but be very careful to put in time (larker tints in a (dappling
manner, which is a method peculiamly adapted to almost all sorts
of fruit.
  Begin the front Apmicots with laying a tint of red lead andl
gamboge, as near to your pattern as )ou can : when you hlave put
in the first tints, stretigthen the red pjarts with a stronger red lead
tint, and then (larken time shadows of the under parts, and work thenm
up till you have brought them to your pattern, which you must
en(leavour to (lo iii a speckling or dappling manner. Now examine
the gendral appearance of the whole, and see if you have g-ot the
effect and the general tone of colour of your pattern: if so, you may