We feel assured that a long introduction is neither requisite to the
reader or publisher of a Work like the present, and shall, therefore,
merely say, that the great success our former little Works have met
with, has induced us to send forth this edition, in which will be found
every particular connected with this very useful source of amusement and
fashionable department of _practical art_. The illustrations are
furnished by a late pupil of the School of Design, who obtained the
highest prize for Flower Painting, assisted by a student of the ROYAL
ACADEMY OF ARTS. Every example given has been practically tested, and,
in most instances, the drawings have been copied from the models
executed in leather, and will be found to combine durability with beauty
of design. In order to make the leather modelling as durable as
possible, we have not departed from nature in the finished form, but in
the mode of construction; for example, we make several portions of a
flower in one piece of leather. The Narcissus and the beautiful White
Lily have each six petals; in both instances, we make the entire corolla
of the flowers in one piece; thereby, while losing none of the beauty of
the natural form of the flowers, we gain strength and solidity; as, were
the petals of the Lily or Narcissus to be composed of six pieces, one,
if imperfectly cemented, might fall off and detract from the beauty of
the entire piece of work. By our method of proceeding, it is impossible
to do so: we mention this, as, in our description of Making and
Modelling Flowers in Leather, we differ from the literally botanic
construction, while, at the same time, we arrive at perfectly correct
and artistic formation.
In some flowers, as in the Hop, Dahlia, &c., we have found it
impracticable to combine many petals in one piece of leather; where this
is the case, especial care must be taken to have good liquid glue, and
fasten each petal securely.
All leather to be used in Modelling Leaves, Flowers, &c., must be first
wetted, and modelled while wet; and as this is a general rule, the
student will understand that mention of the necessity of this operation
will not in every instance be repeated.
Amongst the many uses to which Leather Work is applied, that of
ornamenting Pulpits will be found a capital field for the display of
this art, as it is capable of being moulded into any form, and nothing
can possibly have a more substantial and beautiful appearance.
Glasses of varied form, as jelly glasses and old-fashioned goblets, as
well as many of modern manufacture, can be covered on the outside with
Leather Work. Lilies of the Valley, and other such flowers, being
trailed round a groundwork of leaves, and being either gilded or
stained, look exceedingly well; and as they are capable of holding
water, become really useful as well as ornamental articles for bouquets
of flowers.
Fire-screens and scroll work are executed exactly in the same manner, as
described in the following pages, for frames. Fire-screens are generally
filled with Berlin wool, or some other fancy work. Those who would
prefer to have an entire piece of Leather Work, can paint landscapes or
flowers upon white leather, using the same medium which is used at the
School of Design for body colour painting, mixed with finely powdered
colours.
Gold Leather Work looks remarkably well upon a blue or crimson velvet
ground, and makes very rich frames, fire screens, &c. When tastefully
arranged, the flowers and leaves upon these grounds have a very
magnificent appearance.
Amongst the numerous articles which admit of being ornamented with
leather, may be enumerated frames, brackets, vases, pole and hand
screens, card plates and racks, music and watch stands.
[Decoration]
[Decoration]
Revell’s Complete Guide to Ornamental Leather Work.