Art-Jottings In Art-Studios.

These blocks Avere usually of pear or poplar-Avood , and extended the whole ividth of the paper ; as many blocks being required as there were shades , just as Avas the case AA'ith the older-fashioned p lates . The paper being laid on a table , a lever brought one of the blocks , Avhich had been previously coated from the colour-tub , to bear upon it ; it Avas then shifted along and the process repeated until the ivhole length was covered Avith that single portion of

design . The piece Avas then taken to the drying-room until it Avas ready to pass under a second block , Avhich printed another portion of the design in its own particular shade of colour upon it ; which operation was repeated until the whole design ivas complete . The same improvements that haA'e been introduced into the printing of textile fabrics havehoweverfound their Avay into paper-printing , aod the Avork is now

, , usually done by means of the cylinder-machine . In this machine the different portions of the design are engraved on a series of copper cylinders Avhich are constantly supplied with colour . By this mode , in Avhich each cylinder puts its part of the work in at the proper time and p lace , the piece only passes through the machine once , and is thus finished in a few seconds .

Wall-papers are susceptible of many descriptions of finish . Thus , " glazed" or polished papers haA'e the ground prepared AA'ith gypsum or Plaster of Paris , and the smface is dusted over AAath steatite , or French chalk ; when dry this is rubbed hard Avith a hurnishing-brush until an even polish is obtained . "Flock" papers have the portions of the design intended to be raised printed in " encaustic " instead of colour , and the " flock , " being then eA'enly scattered OA'er the surface , it adheres to the portions

rendered adhesive . This " encaustic " consists of linseed-oil , boiled with litharge , and ground up Avith Avhite lead ; AA'hilst the " flock " is made of the shearings of Avoollen from the cloth-mills . These are AA'ashed and dyed Avith various colours , then stoA'e-dried and ground in a mill which breaks them short , and they are next sifted to the various degrees of fineness required . Where " gold " is used ,, it simply takes the place of the "flock " in the last-mentioned process , and AA'hen the " leaf" is properly fixed , the surplus is

brushed aAvay AA'ith a hare ' s-foot or other soft brush . ¦ In some of the finest French papers the designs are hand-painted , Avhen the decoration becomes at the same time more beautiful and more expensive . There are some two or three other processes , Avhich space precludes our entering into UOAV , but AA'hich Ave propose to touch upon in our next paper , AA'hich will conclude this branch of the subject and allow us once more to get back to the domains of painting as an art pure an simple .

Good-Bye.

GOOD-BYE .

MAJOK WHXTB-MULVILLB ' " Good-bye" appears almost prophetic , as Ave read it noAv . We quote the last two stanzas : — Hiish ! a voice from the far-away ! . "Listen and learn , " it seems to say , "All the to-inorroAVS shall be as to-day . " The cord is frayed—the cruse is dry ,

The link must break , and tlie lamp must die . Good-bye , Hope ! Good-bye ! Good-bye ! What are Ave waiting for ! Oh ! my heart ! Kiss me strai g ht on the broAvs ! And part ! Again ! again!—my heart ! my heart ! What are Ave Avaiting for , you and I ? A pleading look—a stilled cry . Good-bye , for ever ! Good-bye ! Good-byo !