well-contrasted flowers, such as a small white lily, some scarlet
geranium, a few heaths, with maidenhair fern, and a little piece of
arbor-vitæ, or box, to form a dark background, may be tied together, and
firmly affixed by string or wire to a piece of stone.
The other articles required are a soup plate, a glass shade, and a tub
full of freshly drawn spring water. The shade should be about fourteen
inches high, and wide enough to take in the bouquet we have made. The
tub must be sufficiently large to allow the shade to be held upright
under the water.
When all is ready, place the flowers and stone in the glass shade, held
horizontally, and gradually sink it under water till the shade is quite
full, place the soup plate at the open end, where the stone is, and
slowly raise the glass until it is upright, and then it can be lifted
out and placed on a table in a window where the sun or bright light will
reach it. The bubbles of oxygen will begin to form in a few hours, and
the jewelled effect of the bouquet will be very curious and lovely.
It will only last two days; after that time the water becomes cloudy,
and decay begins. The flowers and greenery should be perfectly dry, and
the water fresh and clear, and then, with a little dexterity, the
experiment cannot fail. The remarkable beauty of a water bouquet, with
its empearled leaves and flowers, surprises all who see it for the first
time.
The fleeting flower of the night-blowing Cereus, which opens in the
evening and usually closes in ten or twelve hours, can be preserved for
double that time by placing it in water under a glass shade as I have
described. Any flowers may be used for the purpose, but the best effect
is obtained when only a few blossoms are grouped together, and plenty of
space is left around them.
ARTISTIC PITHWORK.
ARTISTIC PITHWORK.
THERE was an extremely artistic and beautiful model of the west front of
Exeter Cathedral placed in one of the courts of the Great Exhibition of
1851 which attracted much notice and was universally admired. It had the
effect of a fine ivory carving, every detail of the architecture being
executed with such minute fidelity that it was difficult to believe
that, instead of ivory, it had been formed entirely in pith, but of what
description I could never find out.
Models of Indian temples are made by the natives from the pith of a
plant called Taccada, and our own elder-tree yields a material with
which architectural details may be exactly imitated. Since, however,
these two kinds of pith are not easy of attainment, I would direct
attention to a source of supply which is easily accessible to those who
live in the country. I refer to the common round-stemmed rush (_Juncus
conglomeratus_) which grows in most places on waste lands and commons.
This plant, when the outer green skin is peeled off, furnishes a
delicate white pith with which really beautiful models of Irish crosses,
Gothic fonts, and other small designs may be formed. It will only peel
easily when freshly gathered, so it is best to prepare a supply of the
material when the rush is in perfection, about July and August, and, as
the pith keeps in good condition for any length of time, it can be laid
aside when quite dry, and reserved till required.
The green rind comes off most readily by beginning at the thick end of
the rush and stripping it off piece by piece over the thumb-nail until
all is removed. This is pleasant work to do when sitting out upon some
heathy common enjoying the fresh air, and a party of young people, who
generally like the occupation, will soon prepare a basketful ready for
artistic work on long winter evenings.
For the help of those who would like to essay some very simple modelling
I will endeavour to describe how an Irish cross, for instance, can be
made which will be, when finished, a really beautiful drawing-room
ornament.
The materials required are very simple and easy of attainment, viz., a
quarter of a hundredweight of white modelling clay[8] and two or three
wooden tools such as sculptors use.
One must have a good drawing of an Irish cross to copy from, and, if not
easily attainable, a visit to the Crystal Palace will enable those
within reach of London to make sketches of the crosses which are to be
seen there near the entrance to the aquarium. It is well to place the
lump of clay upon a dinner-plate for the convenience of moving the work
when required.
The clay will shrink a good deal when dry, therefore it is well to make
the model about a third larger than it is intended to be when finished.
We will suppose the cross is to be twelve inches in height. A sufficient
amount of clay should be placed on the plate and gradually moulded with
the fingers until it grows like the pattern drawing, the base, stem, and
upper part, each to be of proportionate size.
It is best to form the whole thing somewhat roughly at first, taking
pieces of clay off here and adding there, until we are satisfied that
the proportion of each part is correct, and then the shaping can be more
carefully done until a plain cross, smooth on all sides and perfectly
upright, is the result. The model must be set aside to become quite dry,
which will take a week or two, or perhaps less if it is kept in a warm
room.
Some strong white flour paste or the Phaste-bynde paste and a small
stiff brush will be needed, also a small pointed piece of wood to assist
one’s fingers in placing the pith upon the model will be required for
the next stage of the work.
Dipping the brush in the paste, place some along the edges of the upper
part of the cross, and then, selecting one of the largest pieces of
pith, place it firmly on the edge of the upper part of the cross,
pressing it gently to make it adhere, which it readily will if the paste
is properly adhesive; in this way a line of pith should mark out all the
edges of the model. If there are panels in the pattern of the stem or
arms, then the pith should be used as a moulding to keep each design
distinct, and within the panels the smaller-sized pieces of pith are
used to imitate arabesques or figures according to the pattern, the
pointed stick being used to twist and place the material.
These are all the directions needed for a cross of simple style, like
those to be found in Cornwall. The more elaborate Irish crosses with
figures in relief may perhaps be rudely imitated in rush pith, but when
delicate work is needed, elder pith cut with a sharp penknife would be
required to make an accurate copy.
The work must be allowed to become perfectly dry, and whilst drying it
should be protected from dust settling upon it.
Finally, the model should have a glass shade and will then last for
years, and have the effect of carved ivory.
The Gresham Press,
UNWIN BROTHERS,
CHILWORTH AND LONDON.
Footnote 1:
My pet mongoose.
Footnote 2:
“Extermination of Birds,” by Edith Carrington. Wm. Reeves.
Footnote 3:
By the Rev. C. A. Johns. S.P.C.K.
Footnote 4:
This kind of roller and the ink can be obtained at any stores.
Footnote 5:
To this day great quantities of these husks are imported into England
for the purpose of feeding cattle.
Footnote 6:
“And forth on floating gauze, no jewelled queen
So rich, the green-eyed dragon-flies would break,
And hover on the flowers—aerial things,
With little rainbows flickering on their wings.”
JEAN INGELOW.
Footnote 7:
It would be a wise precaution to paste a piece of paper over the
keyholes of drawers in which furs are kept during the summer, the moth
could not then find access to their contents if the drawers are
close-fitting.
Footnote 8:
To be obtained from any plaster figure maker’s for about half a crown.
End of Project Gutenberg's Inmates of my House and Garden, by Mrs. Brightwen