Directions.—­We will suppose the object selected for imitation to be a Chinese vase.  After providing yourself with a plain glass vase, of the proper shape, you take your sheets of coloured prints on which are depicted subjects characteristic of that peculiar style.  From these sheets you can select a great variety of designs, of the most varied character, on the arrangement and grouping of which you can exercise your own taste.  After you have fully decided upon the arrangement of your drawings, cut them out accurately with a pair of scissors, then apply some liquid gum carefully over the coloured side of the drawings, and stick them on the inside of the vase, according to your own previous arrangement—­pressing them down till they adhere closely, without any bubbles of air appearing between the glass and the drawings.  When the drawings have had sufficient time to dry, take a fine brush and cover every part of them (without touching the glass) with a coat of parchment size or liquid gum, which prevents the oil colour (which is next applied) from sinking into or becoming absorbed by the paper.  When the interior of the vase is perfectly dry, and any particles of gum size that may have been left on the glass have been removed, your vase is ready for the final and most important process.  You have now to tint the whole of the vase with a proper colour to give it the appearance of porcelain; for up to this time, you will recollect, it is but a glass vase, with a few coloured prints stuck thereon.  Select from your stock of prepared colours, in bottles, the tint most appropriate to the kind of china you are imitating, (as we are now supposed to be making a Chinese vase, it will be of a greenish hue,) mix fully sufficient colour in a glass vessel, then pour the whole into the vase.  Take now your vase in both hands, and turn it round continually in the same direction, until the colour is equally spread over the whole of the interior:  when this is satisfactorily accomplished, pour back the remainder.  If the prepared colour is too thick, add a little varnish to the mixture before applying it.  If preferred, the colour may be laid on with a soft brush.  Should the vase be intended to hold water, the interior must be well varnished after the above operations, or lined with zinc or tin foil.  If the potichomanist wishes to decorate the mouth of his vase with a gold border, he can do so by mixing some gold powder in a few drops of the essence of lavender and some varnish, applying it on the vase with a fine brush; or he can purchase gold bands, already prepared for application, in varied sheets, suitable to the potichomanie designs.  Potichomanists have found the art capable of greater results than the mere imitation of porcelain vases, by the introduction of glass panels (previously decorated with beautiful flowers on a white ground) into drawing-room doors, and also into walls which, being panel papered, offer opportunities of introducing centre pieces of the same character as the doors; elegant chess and work-tables, folding and cheval-screens, panels for cabinets, chiffoniers and book-cases, slabs for pier and console-tables, glove-boxes, covers for books, music, albums, &c.  The most common cause of failure is, that the drawings inside are not thoroughly pressed down.