Pao-ch'ai gave a sarcastic smile. "I do maintain," she cried, "that you are a perfectly useless creature! That snow-white, wavy paper is good for pictures consisting of characters and for outline drawings. Or else, those who have the knack of making landscapes, use it for depicting scenery of the southern Sung era, as it resists ink and is strong enough to bear coarse painting. But were you to employ this sort of paper to make a picture of this garden on, it will neither stand the colours, nor will it be easy to dry the painting by the fire. So not only won't it be suitable, but it will be a pity too to waste the paper. I'll tell you a way how to get out of this. When this garden was first laid out, some detailed plan was used, which although executed by a mere house-decorator, was perfect with regard to sites and bearings. You'd better therefore ask for it of your worthy mother, and apply as well to lady Feng for a piece of thick glazed lustring of the size of that paper, and hand them to the gentlemen outside, and request them to prepare a rough copy for you, with any alterations or additions as might be necessary to make so as to accord with the style of these grounds. All that will remain to be done will be to introduce a few human beings; no more. Then when you have to match the azure and green pigments as well as the ground gold and ground silver, you can get those people again to do so for you. But you'll also have to bring an extra portable stove, so as to have it handy for melting the glue, and for washing your pencils, after you've taken the glue off. You further require a large table, painted white and covered with a cloth. That lot of small dishes you have aren't sufficient; your pencils too are not enough. It will be well consequently for you to purchase a new set of each."
"Do I own such a lot of painting materials!" Hsi Ch'un exclaimed. "Why, I simply use any pencil that first comes under my hand to paint with; that's all. And as for pigments, I've only got four kinds, ochrey stone, 'Kuang' flower paint, rattan yellow and rouge. Besides these, all I have amount to a couple of pencils for applying colours; no more."
"Why didn't you say so earlier?" Pao-ch'ai remarked. "I've still got some of these things remaining. But you don't need them, so were I to give you any, they'd lie uselessly about. I'll put them away for you now for a time, and, when you want them, I'll let you have some. You should, however, keep them for the exclusive purpose of painting fans; for were you to paint such big things with them it would be a pity! I'll draw out a list for you to-day to enable you to go and apply to our worthy senior for the items; as it isn't likely that you people can possibly know all that's required. I'll dictate them, and cousin Pao can write them down!"
Pao-yü had already got a pencil and inkslab ready, for, fearing lest he might not remember clearly the various necessaries, he had made up his mind to write a memorandum of them; so the moment he heard Pao-ch'ai's suggestion, he cheerfully took up his pencil, and listened quietly.
"Four pencils of the largest size," Pao-ch'ai commenced, "four of the third size; four of the second size; four pencils for applying colours on big ground; four on medium ground; four for small ground; ten claws of large southern crabs; ten claws of small crabs; ten pencils for painting side-hair and eyebrows; twenty for laying heavy colours; twenty for light colours; ten for painting faces; twenty willow-twigs; four ounces of 'arrow head' pearls; four ounces of southern ochre; four ounces of stone yellow; four ounces of dark green; four ounces of malachite; four ounces of tube-yellow; eight ounces of 'kuang' flower; four boxes of lead powder; ten sheets of rouge; two hundred sheets of thin red-gold leaves; two hundred sheets of lead; four ounces of smooth glue, from the two Kuang; and four ounces of pure alum. The glue and alum for sizing the lustring are not included, so don't bother yourselves about them, but just take the lustring and give it to them outside to size it with alum for you. You and I can scour and clarify all these pigments, and thus amuse ourselves, and prepare them for use as well. I feel sure you'll have an ample supply to last you a whole lifetime. But you must also get ready four sieves of fine lustring; a pair of coarse ones; four brush-pencils; four bowls, some large, some small; twenty large, coarse saucers; ten five-inch plates; twenty three-inch coarse, white plates; two stoves; four large and small earthenware pans; two new porcelain jars; four new water buckets; four one-foot-long bags, made of white cloth; two catties of light charcoal; one or two catties of willow-wood charcoal; a wooden box with three drawers; a yard of thick gauze, two ounces of fresh ginger; half a catty of soy;…"
"An iron kettle and an iron shovel," hastily chimed in Tai-yü with a smile full of irony.
"To do what with them?" Pao-ch'ai inquired.
"You ask for fresh ginger, soy and all these condiments, so I indent for an iron kettle for you to cook the paints and eat them." Tai-yü answered, to the intense merriment of one and all, who gave way to laughter.
"What do you, P'in Erh, know about these things?" Pao-ch'ai laughed. "I am not certain in my mind that you won't put those coarse coloured plates straightway on the fire. But unless you take the precaution beforehand of rubbing the bottom with ginger juice, mixed with soy, and of warming them dry, they're bound to crack, the moment they experience the least heat."
"It's really so," they exclaimed with one voice, after this explanation.