vases, and ornaments in endless variety, may be made of a description
of leather called basil. The art consists in simply cutting out this
material in imitation of natural objects, and in impressing upon it by
simple tools, either with or without the aid of heat, such marks and
characteristics as are necessary to the imitation. The rules given
with regard to the imitation of leaves and flowers apply to ornamental
leather work. Begin with a simple object, and proceed by degrees to
those that are more complicated.
Cut out an ivy or an oak leaf, and impress the veins upon it; then
arrange these in groups, and affix them to frames, or otherwise. The
tools required are ivory or steel points of various sizes, punches,
and tin shapes, such as are used for confectionery. The points may be
made out of the handles of old tooth-brushes. Before cutting out the
leaves the leather should be well soaked in water, until it is quite
pliable. When dry, it will retain the artistic shape. Leaves and stems
are fastened together by means of liquid glue, and varnished with any
of the drying varnishes, or with sealing-wax dissolved to a suitable
consistency in spirits of wine. Wire, cork, gutta-percha, bits of
stems of trees, &c., may severally be used to aid in the formation of
groups of buds, flowers, seed-vessels, &c.
2508. Black Paper Patterns.
Mix some lamp-black with sweet oil. With a piece of flannel cover
sheets of writing-paper with the mixture; dab the paper dry with a bit
of fine linen. When using, put the black side on another sheet of
paper, and fasten the corners together with small pins. Lay on the
back of the black paper the pattern to be drawn, and go over it with
the point of a steel drawing pencil: the black will then leave the
impression of the pattern on the undersheet, on which you may draw it
with ink.
2509. Patterns on Cloth or Muslin.
Patterns on cloth or muslin are drawn with a pen dipped in stone blue,
a bit of sugar and a little water; wet to the consistence wanted.
2510. Feather Flowers: Materials.
Procure the best white swan or goose feathers; have them plucked off
the fowl with care not to break the web; free them from down, except a
small quantity on the shaft of the feather. Get also a little fine
wire, different sizes; a few skeins of fine floss silks, some good
cotton wool or wadding, a reel of No. 4 Moravian cotton, a skein of
Indian silk, some starch and gum for pastes, and a pair of small sharp
scissors, a few sheets of coloured silk paper, and some water colours.
[EATING AND DRINKING SHOULDN'T KEEP US FROM THINKING.]
2511. Patterns for Petals.
Having procured two good specimens of the flower you wish to imitate,
carefully pull off the petals of one, and, with a piece of tissue
paper, cut out the shape of each, taking care to leave the shaft of
the feather at least half an inch longer than the petal of the flower.
Carefully bend the feather with the thumb and finger to the proper
shape; mind not to break the web.
2512. Stem and Heart of a Flower.
Take a piece of wire six inches long; across the top lay a small piece
of cotton wool, turn the wire over it, and wind it round until it is
the size of the heart or centre of the flower you are going to
imitate. If a single flower, cover it with paste or velvet of the
proper colour, and round it must be arranged the stamens; these are
made of fine Indian silk, or feathers may be used for this purpose.
After the petals have been attached, the silk or feather is dipped
into gum, and then into the farina. Place the petals round, one at
time, and wind them on with Moravian cotton, No. 4. Arrange them as
nearly like the flower you have for a copy as possible. Cut the stems
of the feathers even, and then make the calyx of feathers, cut like
the pattern or natural flower. For the small flowers the calyx is made
with paste. Cover the stems with paper or silk the same as the
flowers; the paper must be cut in narrow strips, about a quarter of an
inch wide.
2513. Pastes of Calyx, Hearts, and Buds of Flowers.
Take common white starch and mix it with gum water until it is the
substance of thick treacle; colour it with the dyes used for the
feathers, and keep it from the air.
2514. To make the Farina.
Use common ground rice, mixed into a stiff paste with any dye; dry it
before the fire, and when quite hard, pound it to a fine powder. The
buds, berries, and hearts of some double flowers are made with cotton
wool, wound around wire, moulded to the shape with thumb and finger.
Smooth it over with gum water, and when dry, cover the buds, berries,
or calyx with the proper coloured pastes; they will require one or two
coats, and may be shaded with a little paint, and then gummed and left
to dry.
2515. Flowers of Two or More Shades.
Flowers of two or more shades are variegated with water colours, mixed
with lemon juice, ultramarine and chrome for blue; and to produce
other effects, gold may also be used in powder, mixed with lemon juice
and gum water.
2516. To Dye Feathers Blue.
Into two pennyworth of oil of vitriol mix two pennyworth of the best
indigo in powder; let it stand a day or two; when wanted shake it
well, and into a quart of boiling water put one tablespoonful of the
liquid. Stir it well, put the feathers in, and let them simmer a few
minutes.
2517. Yellow.
Put a tablespoonful of the best turmeric into a quart of boiling
water; when well mixed put in the feathers. More or less of the
turmeric will give them different shades, and a very small quantity of
soda will give them an orange hue.
2518. Green.
Mix the indigo liquid with turmeric, and pour boiling water over it;
let the feathers simmer in the dye until they have acquired the shade
you want them.
2519. Pink.
Three good pink saucers in a quart of boiling water, with a small
quantity of cream of tartar. If a deep colour is required, use four
saucers. Let the feathers remain in the dye several hours.
2520. Red.
In a quart of boiling water dissolve a teaspoonful of cream of tartar;
put in one tablespoonful of prepared cochineal, and then a few drops
of muriate of tin. This dye is expensive, and scarlet flowers are best
made with the plumage of the red ibis, which can generally be had of a
bird-fancier or bird-stuffer, who will give directions how it should
be applied.
[WE SELDOM REPENT OF HAVING EATEN TOO LITTLE.]
2521. Lilac.
About two teaspoonfuls of cudbear into about a quart of boiling water;
let it simmer a few minutes before you put in the feathers. A small
quantity of cream of tartar turns the colour from lilac to amethyst.
2522. Black; Crimson.
_See Instructions upon Dyeing, par._ 2682, _et seq_.
2523. Preparation of Feathers for Dyeing.
The feathers must be put into hot water, and allowed to drain before
they are put into the dyes. After they are taken out of the dye, rinse
them two or three times in clear cold water (except the red, which
must only be done once), then lay them on a tray, over which a cloth
has been spread, before a good fire; when they begin to dry and
unfold, draw each feather gently between your thumb and finger, until
it regains its proper shape.
2524. Leaves of the Flowers.
These are made of green feathers, cut like those of the natural
flower, and serrated at the edge with a very small pair of scissors.
For the calyx of a moss-rose the down is left on the feather, and is a
very good representation of the moss on the natural flower.
2525. Waxen Flowers and Fruit.
There is no art more easily acquired, nor more encouraging in its
immediate results, than that of modelling flowers and fruit in wax.
The art, however, is attended by this draw-back--that the materials
required are somewhat expensive.
2526. Materials for Wax Flowers.
The appliances required for commencing the making of waxen flowers
will cost from 20s. to 30s., and may be obtained at most fancy
repositories in large towns. Persons wishing to commence the art would
do well to inquire for particulars, and see specimens of materials;
because in this, as in every other pursuit, there are novelties and
improvements being introduced, which no book can give an idea of.
2527. Petals and Leaves of Wax Flowers.
Petals and leaves of wax flowers are made of sheets of coloured wax,
which may be purchased in packets of assorted colours.
2528. Stems.
The stems are made of wire of suitable thicknesses, covered with silk,
and overlaid with wax; and the leaves are frequently made by thin
sheets of wax pressed upon leaves of embossed calico. Leaves of
various descriptions are to be obtained of the persons who sell the
materials for wax flower making.
2529. Models for Wax Flowers.
Ladies will often find among their discarded artificial flowers,
leaves and buds that will serve as the base of their wax models.
2530. Natural Models for Wax Flowers.
The best guide to the construction of a flower--far better than
printed diagrams or patterns--is to take a flower, say a _tulip_, a
_rose_, or a _camellia_. If possible, procure _two_ flowers, nearly
alike; and carefully pick one of them to pieces; lay the petals down
in the order in which they are taken from the flower, and then cut
paper patterns from them, and number them fron the centre of the
flower, that you may know their relative positions.
2531. Putting Petals Together.
The perfect flower will guide you in getting the wax petals together,
and will enable you to give, not only to each petal but to the
_contour_ of the flower, the characteristics which are natural to it.
In most cases, they are merely pressed together and held in their
places by the adhesiveness of the wax. From the paper patterns the wax
petals or other portions of the flowers may be cut. They should be
cut singly, and the scissors should be frequently dipped into water,
to prevent the wax adhering to the blades.
2532. Utilisation of Scraps of Wax.
The scraps of wax that fall from the cutting will be found useful for
making seed vessels, and other parts of the flowers.
[HE WHO SERVES WELL NEED NOT BE AFRAID TO ASK HIS WAGES.]
2533. Leaves of Flowers.
Where the manufactured foundations cannot be obtained, patterns of
them should be cut in paper; the venous appearance may be imparted to
the wax by pressing the leaf upon it.
2534. Sprigs of Plants.
In the construction of sprigs, it is most important to be guided by
sprigs of the natural plant, as various kinds of plants have many
different characteristics in the grouping of their flowers, leaves and
branches.
2535. Selection of Sheets of Wax.
When about to copy a flower, take care in the selection of good sheets
of wax, and see that their colours are precisely those of the flower
you desire to imitate.
2536. Imitation of Tints, Stripes, Spots, &c.
For the tints, stripes, and spots of variegated flowers, you will be
supplied with colours among the other materials; and the application
of them is precisely upon the principle of water-colour painting.
2537. Fruit, &c., in Wax.
For the imitating of fruit in wax, very different rules are to be
observed. The following directions may, however, be generally
followed:
The material of which moulds for waxen fruit should be composed is the
_best_ plaster of Paris, such as is used for plaster casts, &c. If
this cannot be procured, the inferior plaster, from the oil-shop, may
be substituted, if it can be obtained _quite fresh_. If, however, the
plaster is faulty, the results of the modelling will of course be more
or less faulty also. It is the property of plaster of Paris to form a
chemical union with water, and to form a pasto winch rapidly "sets" or
hardens into a substance of the density of firm chalk. The mould must
therefore be formed by impression from the object to be imitated, made
upon the plaster before it sets.
2538. Causes of Want of Accuracy.
The use of an elastic fruit in early experiments leads to a want of
accuracy in the first, steps of the operation, which causes very
annoying difficulties afterwards; and therefore a solid, inelastic
body--an egg boiled hard--is recommended as the first object to be
imitated.
2539. Making the Moulds--First Half.
Having filled a small pudding basin about three-quarters full of damp
sand (the finer the better), lay the egg lengthways in the sand, so
that half of it is above, and half below, the level of the sand, which
should be perfectly smooth around it. Then prepare the plaster in
another basin, which should be half full of water. Sprinkle the
plaster in quickly till it comes to the top of the water, and then,
having stirred it for a moment with a spoon, pour the whole upon the
egg in the other basin.
2540. Making the Moulds--Second Half.
While the half mould thus made is hardening thoroughly, carefully
remove every particle of plaster from the basin in which it was mixed,
and also from the spoon which has been used. This must be done by
placing them both in water and wiping them perfectly clean. This is
highly important, since a small quantity of plaster which has set will
destroy the quality of a second mixing if it is incorporated
therewith. In about five minutes the half mould will be fit to
remove, which may be done by turning the basin up with the right hand
(taking care not to lose the sand), so that the mould falls into the
left hand.
The egg should then be gently allowed to fall back on the sand out of
the mould; if, however, it adheres, lightly scrape the plaster from
the edge of the mould, and then shake it out into the hollow of the
hand. If, however, the exact half of the egg has been immersed in the
sand, no such difficulty will arise; this shows how important is
exactness in the first position of the object from which a tasting is
to be taken.
The egg being removed and laid aside, the moulder casting must be
"trimmed;" that is, the sand must be brushed from the flat surface of
the mould with a nail-brush very slightly, without touching the
extreme and sharp edges where the hollow of the mould commences. Then
upon the broad edge from which the sand has been brushed, make four
equi-distant hollows (with the round end of a table-knife), like the
deep impression of a thimble's-end. These are to guide hereafter in
the fixing of the second half of the mould. The egg should now be
replaced in the casting, and the edge of the cast, with the holes,
thoroughly lubricated with sweet oil, laid on with a feather, or what
is better, a large camel-hair brush.
[FATHER AND MOTHER ARE KIND, BUT GOD IS KINDER.]
2541. Casting Second Half of Mould.
Into the small pudding basin from which the sand has been emptied,
place with the egg upper-most the half mould, which, if the operation
has been managed properly, should _fit_ close at the edges to the side
of the vessel; then prepare some more liquid plaster as before, and
pour it upon the egg and mould, and while it is hardening, round it
with the spoon as with the first half.
2542. Completion of Mould.
In due time remove the whole from the basin; the halves will be found
readily separable, and the egg being removed, the mould is ready to
cast in, after it has been set aside for an hour or two, so as to
completely harden. This is the simplest form of mould, and all are
made upon the same principle.
2543. Casting Egg in Wax.
The casting of an egg is not merely interesting as the first step in a
series of lessons, but as supplying a means of imitating peculiarly
charming objects, which the student of natural history tries almost in
vain to preserve. We shall proceed, then, with the directions for the
casting of an egg in the mould.
2544. Materials required.
For the first experiments, common yellow wax may be used as the
material, or the ends of half-burnt wax candles. The materials of the
hard (not tallow) composition mould candles will also answer.
2545. Large Castings made Hollow.
Every large object to be imitated in wax should be cast _hollow_; and
therefore, though the transparent lightness required in the imitation
of fruits is not requisite in an artificial egg, the egg may be cast
upon the same principle as a piece of fruit, in the following manner.
Firstly. The two pieces of the plaster of Paris mould must be soaked
in hot water for ten minutes.
Secondly. The wax should in the meantime be very slowly melted in a
small tin saucepan, with a spout to it, care being taken not to allow
it to boil, or it will be discoloured. As to the quantity of wax to be
melted, the following is a general rule:--If a lump, the size of the
object to be imitated, be placed in the saucepan, it should be
sufficient for casting twice, at least.
Thirdly. As soon as the wax is melted thoroughly, place the saucepan
on the hob of the grate, and taking the parts of the mould from the
hot water, remove the moisture from their surfaces by pressing them
gently with a handkerchief or soft cloth. It is necessary to use what
is called in some of the arts "a very light hand" in this operation,
especially in drying moulds of fruits whose aspect possesses
characteristic irregularities--such as those on the orange, the lemon,
or the cucumber. The mould must not be _wiped_, but only _pressed_. If
the _water_ has not been hot enough, or if the drying is not performed
quickly, the mould will be too cold, and the wax will congeal too
rapidly, and settle in ridges and streaks; on the other hand, if the
wax has been made too hot, it will adhere to the mould, and refuse to
come out entire.
Fourthly. Having laid the two halves of the mould so that there can be
no mistake in fitting the one in its exact place quickly on the other,
pour from the saucepan into _one_ of the half moulds nearly as much
wax as will fill the hollow made by the model (egg), quickly fit the
other half on the top of it, squeeze the two pieces tightly together
in the hand, and still holding them thus, turn them over in every
possible position, so that the wax which is slowly congealing in the
internal hollow of the mould may be of equal thickness in all parts.
Having continued this process at least two minutes, the hands (still
holding and turning the mould) may be immersed in cold water to
accelerate the cooling process. The perfect congealment of the wax may
be known after a little experience by the absence of the sound of
fluid on shaking the mould.
Fifthly. As soon as the mould is completely cooled, the halves may be
separated carefully, the upper being lifted straight up from the
under, and if the operation has been properly managed, a waxen egg
will be turned out of the mould.
Lastly. The egg will only require _trimming_, that is, removing the
ridge which marks the line at which the halves of the mould joined,
and polishing out the scratches or inequalities left by the knife with
a piece of soft rag, wet with spirits of turpentine or spirits of
wine.
It is always desirable to make several castings of the same object, as
the moulds are apt to get chipped when laid by in a cupboard; and for
this reason, as well as for the sake of practice, we recommend our
pupils to make at least a dozen waxen eggs before they proceed to any
other object. If they succeed in this _completely_, they may rest
assured that every difficulty which is likely to meet them in any
future operation will be easily overcome.
[HE DOETH WELL WHO DOETH GOOD.]
2546. Colouring the Wax.
While the wax is yet on the hob, and in a fluid state, stir into it a
little _flake white_, in powder, and continue to stir the mixture
while it is being poured into the half mould. It will be found that
unless the fixing and shaking of the moulds is managed quickly, the
colouring matter will settle on the side of the half into which the
mixture is poured; a little care in manipulation is therefore again
requisite. The colouring of the wax is a matter which comes easily
enough by experiment. Oranges, lemons, large gooseberries, small
cucumbers, &c.,&c., are excellent objects for practice.
2547. Close Imitation of the Surface.
It will be noted by the accurate observer that the shell of the common
hen's egg has a number of minute holes, which destroy the perfect
smoothness of its appearance. This peculiarity is imitated in the
following simple manner:--In the first place, very slightly prick with
a fine needle the surface of your waxen egg, and then, having smeared
it with spirits of turpentine, rub the surface all over. So as
_nearly_ to obliterate the marks of the needle point.
2548. Diaphanie.
This is a beautiful, useful, and inexpensive art easily acquired, and
producing imitations of the richest and rarest stained glass; and also
of making blinds, screens, skylights, Chinese lanterns, &c., in every
variety of colour and design.
2549. Imitation of Coloured Glass.
In decorating his house an Englishman spends as much money as he can
conveniently spare; the elegances and refinements of modern taste
demand something more than mere comfort; yet though his walls are hung
with pictures, his drawing-rooms filled with bijouterie, how is it
that the windows of his hall, his library, his staircase, are
neglected? The reason is obvious. The magnificent historical old
stained glass might be envied, but could not be brought within the
compass of ordinary means.
Recent improvements in printing in colours led the way to this
beautiful invention, by which economy is combined with the most
perfect results. A peculiar kind of paper is rendered perfectly
transparent, upon which designs are printed in glass colours (_vitre
de couleurs_), which will not change with the light. The paper is
applied to the glass with a clear white varnish, and when dry, a
preparation is finally applied, which increases the transparency, and
adds tenfold brilliancy to the effect.
2550. Imitation of Half-Light.
There is another design, printed in imitation of the half-light
(_abat-jour_); this is used principally for a ground, covering the
whole surface of the glass, within which (the necessary spaces having
been previously cut out before it is stuck on the glass) are placed
medallion centres of Watteau figures, perfectly transparent, which
derive increased brilliancy from the semi-transparency of the
surrounding ground. This is by far the cheapest method, though
involving extra trouble, as the plain grounds printed in sheets are
only a fourth the price of the sheets which contain the medallion
Watteau centres or other small designs suitable for the purpose.
2551. Sheets of Designs.
The transparent sheets measure 20-1/2 in. by 16-1/2, and are ready for
immediate use. The other articles required are some clear white
varnish, some liqueur diaphane, brushes, metal palettes, and ivory
sticks. These are all the appliances required.
2552. Calculation of Quantities.
To ascertain the quantity of designs required, measure your glass
carefully, and then calculate how many sheets it will take (the sheets
being 20-1/2 in. by 16-1/2 in. as given above). The sheets are
arranged so that they can be joined together continuously, or cut to
any size or shape.
2553. Practical Instructions.
Choose a fine day for the operation, as the glass should be perfectly
dry, and unaffected by the humidity of the atmosphere. Of course, if
you have a choice, it is more _convenient_ to work on your glass
before it is fixed in the frame. If you are working on a piece of
unattached glass, lay it on a _flat_ table (a marble slab is
preferable), over which you must previously lay a piece of baize or
cloth to keep the glass steady.
The glass being thus fixed, clean and polish the side on which you
intend to operate (in windows this is the inner side), then with your
brush lay on it very equably a good coat of the prepared varnish; let
this dry for _an hour_, more or less, according to the dryness of the
atmosphere and the thickness of the coat of varnish; meantime cut and
trim your designs carefully to fit the glass (if it is one entire
transparent sheet you will find little trouble); then lay them on a
piece of paper, face downwards, and damp the back of them with a
sponge, applied several times, to equalize the moisture.
In ths operation arrange your time so that your designs may now be
finally left to dry for fifteen minutes before application to the
glass, the varnish on which has now become tacky or sticky, and in a
proper state to receive them. Apply the printed side next to the glass
without pressure; endeavour to let your sheet fall perfectly level and
smooth on your glass, so that you may avoid leaving creases, which
would be fatal.