'BELLING
 
 LESSONS 
 
 FLOWER AND FRUIT 
 MODELLING IN WAX,
 
 PLATE I.
 
 LESSONS 
 
 FLOWER AND FRUIT 
 
 MODELLING 
 
 IN WAX. 
 
 BY 
 
 J. H. MINTORN, 
 
 MODELLER OF FLOWERS IN WAX TO THE QUEEN. 
 
 Illustrations. 
 
 LONDON : 
 GEORGE ROUTLEDGE AND SONS, 
 
 THE BROADWAY, LUDGATE. 
 NEW YORK : 416, BROOME STREET.
 
 SAVILL, EDWARDS 
 
 COVENT GARDEN.
 
 PREFACE. 
 
 THE conviction that a more practicable and 
 explanatory guide to modelling flowers and 
 fruit in wax than any hitherto obtainable 
 would be acceptable to my pupils and others 
 who practise this interesting branch of the 
 Plastic Arts, and the feeling that I could 
 supply the want, have prompted me to pub- 
 lish the following " Lessons." 
 
 I have as much as possible avoided the 
 use of technical terms, so that the reader 
 may better understand and more easily prac- 
 tise what I attempt to teach. 
 
 Careful attention to my " Course of Les- 
 sons " and study of the various diagrams
 
 vi Preface. 
 
 accompanying many of them, will, I think, 
 enable any who have a taste for such imita- 
 tive arts to model with truthfulness and 
 pleasure, and to produce such lifelike por- 
 traits of their garden favourites as must be 
 alike interesting and pleasing. 
 
 I shall be well satisfied if these Lessons be 
 the means of inducing a larger number to 
 study this most pleasing art, destined I hope 
 ere long to be more generally appreciated, 
 because better understood. I think it will 
 be readily conceded by those who have had 
 opportunity of seeing some of the best 
 specimens of the Art, that by no other means 
 can such truthful and pleasing imitations of 
 nature be so easily produced. 
 
 The uses to which it may be applied are 
 manifold, as objects of art, studies for 
 museums, as aids to the sculptor, the painter, 
 and designer, and for ,all interior decorative 
 purposes they are admirably adapted and
 
 Preface. vii 
 
 will, when their uses are better known, be 
 more extensively used. 
 
 Modelling in wax is an art of great an- 
 tiquity, and though much has lately been 
 done to advance it to its ancient place as one 
 of the fine arts, much has doubtless to be 
 learned before the true method of modelling 
 and colouring is regained. The art is at 
 once sculpture and painting combined, two 
 difficult operations, but rendered compara- 
 tively easy by the very plastic nature of the 
 material employed, which, under proper 
 management, so readily yields to the will of 
 the modeller, who is thus enabled to give 
 that appearance of reality or life which con- 
 stitutes the true poetry of art. 
 
 I would, in conclusion, urge on my readers 
 to commence this study with the flowers in 
 the order in which the Lessons are arranged. 
 Then to begin the study of the natural 
 flower, selecting at first one of simple con-
 
 viii Preface. 
 
 struction and little colouring, and to advance 
 by degrees to the more complicated in form, 
 and more highly coloured studies. Remem- 
 ber to faithfully imitate, and thus achieve 
 success. 
 
 The taste of the modeller will find 
 scope enough in selecting the most effective 
 flowers to study from, and in their arrange- 
 ment or combination. It is not possible to 
 add to the grace or beauty of any of Na- 
 ture's works. Want of truthfulness indi- 
 cates the absence of artistic taste ; remember 
 to faithfully imitate, and thus deserve and 
 achieve success.
 
 CONTENTS. 
 
 PAGES 
 
 GENERAL INSTRUCTIONS II 24 
 
 LESSON I. WHITE CAMELLIA .... 25 32 
 2. ROSE GLOIRE DE DIJON . . 33 40 
 3. FUCHSIA DUCHESS OF LAN- 
 CASTER 41 45 
 
 4. PASSION FLOWER .... 46 5$ 
 
 5. LILY OF THE VALLEY . . . 59 62 
 
 6. GERANIUM 63 68 
 
 7. FORGET-ME-NOT 69 73 
 
 8. CLOVE CARNATION .... 74 78 
 
 9. STEPHANOTUS FLORIBUNDA . 79 82 
 
 10. WHITE WATER-LILY .... 83 88 
 
 II. LEAF-MODELLING .... 89 IOO 
 
 12. FRUIT-MODELLING .... IOI IIO 
 
 LIST OF MATERIALS Ill 115
 
 Flower and Fruit Modelling 
 in Wax. 
 
 GENERAL INSTRUCTIONS. 
 
 THE proper form and size of the various 
 petals, calyx, stamens, &c., of the flower 
 proposed to be copied may be obtained in 
 the following manner, taking as an example 
 or illustration a double white camellia. Gently 
 remove one of each size petals, beginning 
 with the smallest ; these may generally be 
 removed by pulling with the ringer. Should 
 they be too firmly fixed they must be cut 
 from the base or seed vessel with a pen- 
 knife, taking care to cut out the whole of 
 the petal. Place this on a sheet of stiff 
 white writing paper, and then with a tinting
 
 j 2 Genera I Instructions. 
 
 brush and using a light shade of crimson 
 lake, paint over the petals and on to the 
 paper, so that on lifting up the petal its 
 form will be left blank ; another method is 
 to paint the petal, and whilst wet press it 
 on the paper so as to print its form on it. 
 The former method I consider the best for 
 all such cupped or much curled petals as rose 
 or dahlia. 
 
 For single flowers, such as jasmine or 
 fuchsia, one petal only need be taken, and 
 care must be used to preserve the form of 
 the flower so as not to destroy the model. 
 Some flowers will be best imitated by cutting 
 all the petals in one piece, as, for example,, 
 stephanotus or forget-me-not, the neck or 
 tube afterwards fitted to it. A little prac- 
 tice from the natural flower will soon give 
 the student the idea of the best way of ob- 
 taining the pattern in each particular case. 
 
 A sheet of white tissue paper is best to
 
 General Instructions. 13 
 
 work on. Place this on the table before 
 you, and now the proper colour and thick- 
 ness of wax must be selected, and from this 
 cut with a pair of scissors the number of 
 petals and calyx required. 
 
 The wax should be held in the left hand, 
 its dull side upwards ; and on this place the 
 paper pattern, taking care that this is placed 
 with the grain of the wax, which will be 
 noticed runs with the length. 
 
 The scissors must be frequently dipped 
 in water to prevent their adhering to the 
 wax. Should they become clogged, remove 
 the wax which may have accumulated on 
 their blades with a piece of cloth, dip again 
 into the water, and commence again. Be- 
 ginners will find new scissors rather trouble- 
 some on first using. 
 
 Letting the scissors stand in warm water 
 for some minutes before using them I have 
 found to have a good effect, as it induces the
 
 1 -J Genera I Instructions. 
 
 cold water to lay on more evenly, and it is 
 the want of the even coating of moisture 
 which causes the wax to adhere. 
 
 In cutting out a round petal as rose, the 
 lower part of the scissors blades should be 
 used, not the points ; these should never 
 meet except in cutting the finer parts, as 
 the stamens, &c., for such flowers as the, 
 myrtle or forget-me not. 
 
 The modelling tools will also require a 
 certain moisture to prevent their adhering 
 to the wax, and to give them this they may 
 be dipped in water, shaking them before 
 using so as not to convey a drop of water to 
 the work. Pressing the modelling-pin on a 
 damp sponge is a good plan. Should it be 
 required to use the modelling-pin on a 
 coloured surface no moisture is required, the 
 colour having taken away the adhesiveness 
 of the wax. 
 
 The modelling tools must be held in the
 
 General Institutions. 15 
 
 right hand, the stem being allowed freely to 
 revolve. The petal to be modelled should 
 be placed on the fleshy part of the left hand, 
 which should be extended so as to make an 
 elastic cushion for it. It will be found neces- 
 sary sometimes to use the soft part of the 
 finger to place the petal on, more particu- 
 larly when the steel stem of the modelling- 
 pin is to be used. Care must be taken not 
 to crush through the wax ; the pressure 
 used should be gentle but steady, and the 
 wax quite soft. Any attempt to operate on 
 the wax in a hard state will only end in 
 failure ; as a rule, the warmth of the hand 
 is quite sufficient to soften it, but in very 
 cold weather it should be placed near the 
 fire until it becomes quite soft and plastic. 
 
 The wax is so thoroughly adhesive as 
 only to require warmth and pressure to make 
 the petals and the other parts of a flower 
 join together. The greatest care must be
 
 16 General Instructions. 
 
 taken to prevent any foreign substance, such 
 as colour or moisture, coming between the 
 parts to be united, so that in painting the 
 petals the end to be united to the seed 
 vessel or foundation must be left unco- 
 loured. 
 
 I will conclude the general remarks by 
 urging the student to pay particular atten- 
 tion to the necessity of obtaining the thin 
 soft edge of the petals ; this is mostly done 
 by using the head of a small modelling tool. 
 The proper roundness of the other portion 
 of the petals cannot be produced if this is 
 neglected. The basin-like shape of a rose 
 petal is obtained by pressing with the finger 
 or thumb and finishing with the ivory mo- 
 delling-pin,, but this will be all labour lost if 
 my directions to have the edge thinned is 
 neglected. 
 
 It will be observed that many flowers 
 have a light transparent and very glossy
 
 General Instructions. 1 7 
 
 texture, and to produce such I paint the 
 petals after they are formed with the moist 
 colour, using a sable brush. The sepals of 
 the red fuchsia will require this treatment. 
 Some petals will be found to be so glossy 
 as to require varnish, for this I use gum 
 arabic and water, making a very thin solu- 
 tion, and applying it with a soft camel-hair 
 brush. 
 
 In some cases I use the powdered colours 
 dry and mixed with arrowroot, as for white 
 camellia or white water lily, about one part 
 of flake white to two parts of arrowroot 
 well mixed together ; this is to be done by 
 using the palette knife. Thus prepared it 
 must be rubbed on with the ringer. 
 
 For the paler colours this plan of rubbing 
 on the colour dry succeeds very well, but 
 for the richer colours, such as carmine, I find 
 it succeeds better mixed with water. 
 
 Having treated of form and colour, I
 
 i8 General Instructions. 
 
 must now say a few words as to a most im- 
 portant part I allude to the texture of the 
 various flowers, leaves, &c. Some will be 
 found to be smooth and waxy, as seen more 
 prominently in many of the orchids or air 
 plants ; some, on the contrary, have an ex- 
 ceeding velvety texture, as pansy, and others 
 are conspicuous for a crisp sparkling ap- 
 pearance, as a double white camellia, a mag- 
 nolia grandiflora having a soft creamy look. 
 All these various characteristics require care- 
 ful study, and the various effects I have 
 mentioned are to be produced by the colour- 
 ing and its various modes of application. 
 
 A FEW INSTRUCTIONS FOR 
 MIXING COLOURS. 
 
 Blue, such as seen in Nemophila insignis, 
 will be produced by using French ultra- 
 marine and a small portion of flake white : a
 
 PLATE II.
 
 General Instructions. 19 
 
 slight pink shade is sometimes observable in 
 this flower, and this will be produced by 
 adding a very small portion of crimson lake. 
 
 Turquoise colour, such as forget-me not, 
 use cobalt and flake white. 
 
 Crimson carmine, such as is seen in ver- 
 bena, roses, camellias, &c., carmine, the 
 shade being altered by the addition (for in- 
 creased depth of shade) of violet ; or, on the 
 contrary, should it be of ascarlet shade, then 
 add extract of vermilion. A light shade will 
 be produced by using a small portion of flake 
 white. This shade of colour will be much 
 influenced by the wax on which it is to be 
 used ; thus, for the pale scarlet passion 
 flower (Passiflora Princeps), use carmine 
 and white on pale yellow wax : scarlet ge- 
 ranium painted on yellow wax, with car- 
 mine and extract of vermilion. 
 
 Primrose, use lemon yellow. 
 
 Laburnum colour, use chrome No. i. 
 B a
 
 20 General Instructions. 
 
 Amber, use chrome No. 2. 
 
 Orange crocus, use chrome No. 3. 
 
 Maize colour, azalea, mix chromes Nos. i 
 and 2, and flake white. Deep maize, mix 
 chrome No. 3 and flake white. Cream colour, 
 such as magnolia grandiflora, chrome No. 
 i and flake white. Pink for roses, azaleas, 
 &c., pink madder: this may be slightly 
 deepened by adding crimson lake or car- 
 mine, the latter only in very small propor- 
 tions. A bright geranium pink, carmine 
 and flake white pink such as seen in the 
 monthly rose, crimson lake and flake white. 
 A pale blush shade, pink madder and white. 
 Pale lilac, such as Wistaria sinensis, is pro- 
 duced by using flake white and carmine 
 with French ultramarine. 
 
 A deep purple, such as seen in dahlias 
 and fuchsias, carmine and violet-carmine. 
 Maroon, such as clove, carmine and violet- 
 carmine, the carmine of course preponderat-
 
 General Instructions. 2 1 
 
 ing. Burnt sienna will be found one of 
 the most useful browns, and it may be 
 rendered deeper by adding sepia, or paler 
 by using chrome No. i or 2 with it. 
 
 Green is produced by mixing one of the 
 three chromes with Prussian blue. A pale 
 pea-green, chrome No. i ; a warmer green 
 by adding chrome No. 2 ; and a deep olive 
 green, chrome No. 3. The deep green 
 observable in some camellia and other dark 
 leaves, is produced by mixing P. blue and 
 burnt sienna. The whitish green seen in 
 the sepals of carnation calyx is obtained by 
 using chrome No. i and P. blue, adding 
 a rather large portion of flake white. And 
 here I will observe that the colour must 
 dry on the wax before any decision as to its 
 correctness of tint can be pronounced, and 
 in the case of the colour of a camellia leaf, it 
 must be polished also after it is dry before 
 the proper shade will be seen.
 
 22 General Instructions. 
 
 I have now finished as far as the com- 
 bination of the various colours used ; they 
 are mostly applied mixed with water, some- 
 times though rarely, rubbed on dry, and at 
 times in combination with arrowroot, as for 
 camellia and lily of the valley, and used 
 mostly with the tinting-brush excepting for 
 such flowers as forget-me-not, where the 
 painting being done after the flower is 
 formed, a sable brush is used. 
 
 I will now give some instructions as to 
 the use of the moist or transparent colours. 
 They are always used mixed with water 
 and with a sable brush ; and after a proper 
 ground or body tint has been laid on by 
 using some of the before-mentioned colours. 
 
 The moist colours will be mostly used 
 for such flowers as geraniums, piccotees, 
 passion flowers, &c. The great difficulty 
 is the tendency they have to mix with the 
 ground tint, as, for instance, the violet-car-
 
 General Instructions. 23 
 
 mine used to imitate the rich velvety ap- 
 pearance on a pink geranium petal. The 
 effect will be lost if the two colours become 
 mixed. To insure that perfect distinctness 
 no second touch must be given to any part 
 of the work previously coloured until it is 
 perfectly dry, and the brush must not be 
 dragged on the part, but when possible 
 stippled on. I have found it necessary 
 sometimes to use the moist colour on the 
 wax without any body colour. As for 
 some of the white geraniums in this case, 
 breathing on the petal for an instant will 
 remove that repellant property which the 
 wax has to any substance mixed with water, 
 and which the sable brush has not sufficient 
 power to overcome. 
 
 I will conclude by warning the pupil 
 against using spirit in any shape with the 
 colours, as it completely destroys the tex- 
 ture and strength of the wax.
 
 24 General Instructions. 
 
 The sable brush must be kept clean and 
 put by with a point to it. 
 
 The tinting brushes kept to each colour, 
 and must not be washed.
 
 LESSON I. 
 WHITE CAMELLIA. 
 
 THIS being a thick fleshy petalled flower, 
 must be modelled from medium and thick 
 white wax. 
 
 Cut the required number of petals from 
 the pattern, fig. i, plate 3, the number of each 
 required being marked on each, using the 
 medium thickness for the first or smaller 
 sizes, and the thick for the largest. 
 
 Place the small petals (first five sizes) on 
 a sheet of tissue paper, having their glossy 
 side upwards. 
 
 Mix some of the palest chrome on the 
 palette, and with a small tinting brush give 
 the yellow tint observable at the base of the
 
 26 White Camellia. 
 
 petals, remembering all the directions given 
 for colouring in the preceding pages. This 
 yellow shade becomes paler as the petals 
 increase in size. The colour must be al- 
 lowed to dry, and then mixing one part 
 flake white and two parts arrowroot, reduced 
 as before directed to a fine powder, rub this 
 over both sides of each petal ; this gives that 
 crisp whiteness so characteristic of the tex- 
 ture of the flower. 
 
 The proper form must now be given to 
 the petals ; this modelling will be found to 
 be the most difficult part of the art. Begin 
 with the smallest, placing it on the palm of 
 the left hand, and holding the modelling-pin 
 firmly in the right hand ; guide the small 
 head gently round the edge, using gentle 
 but firm and even pressure until it is seen 
 that the edge is both thin and soft ; then 
 place the petal across the first finger of the 
 left hand, and using the stem of a modelling-
 
 IV kite Camellia. 27 
 
 pin, press gently down the centre so as to 
 produce the indented vein required. 
 
 The petal must now be removed to the 
 palm of the hand, its point downwards, and 
 with the head of a modelling-pin give the 
 roundness observable at the base. The 
 four following sizes will be treated in a 
 similar manner, only giving to each as they 
 increase in size more roundness. 
 
 Up to this point all the work has been 
 done on the glossy side of the petal. 
 
 For the larger the treatment is the same, 
 with the exception that the stem of the pin 
 is used on the dull side of the petal and the 
 roundness at the base given on the same 
 side ; and it must be borne in mind that as 
 the large petals are of greater substance, so 
 they will require more modelling with the 
 pin, first to reduce the thickness of the 
 edge, and also to give greater roundness. 
 Pressure with the fingers may be used in
 
 28 White Camellia. 
 
 addition to that with the head of the model- 
 ling-pin on all parts of the work large 
 enough, as by this means greater softness 
 is obtained. 
 
 The stem of a camellia is of a hard woody 
 nature, and wire No. 10 will be found the 
 best, about eight inches long, the end 
 being doubled over, as shown fig. 3, plate 3, 
 and the foundation formed by rolling a strip 
 of white wax round it and modelling it with 
 the fingers and thumb until the form shown 
 in fig. 2 is obtained. 
 
 Holding this in the left hand, take in the 
 right hand one of the three smallest petals, 
 and placing its point just above the point 
 of this foundation, and its lower end touch- 
 ing the base or wire, gently press it so as to 
 cause it to adhere firmly. The two re- 
 maining petals of this size arranged so as to 
 cover this before-described foundation, the 
 other petals to follow as shown in fig. 4.
 
 White Camellia. 29 
 
 Taking care that the petals in the second 
 row are placed in the spaces between the 
 petals of the first row, it will be observed 
 that all the smaller sizes are placed on in 
 sets of three, giving them a triangular ap- 
 pearance ; but as the flower opens this 
 disposition must be exchanged for a rounder 
 arrangement ; the two largest sizes are 
 placed on in rows of five. 
 
 The right hand only should be used to 
 place the petals in their proper position, the 
 pressure necessary for fixing being given by 
 the finger and thumb of the left hand. 
 
 The sepals of the calyx, fig. 5, cut from 
 moderately thick cream-coloured wax ; these 
 will require painting with a light shade of 
 green (chrome No. i and Prussian blue), 
 using a small tinting brush. Begin in the 
 centre of each, and soften the colour to- 
 wards the edges, so that they may be quite 
 pale. The proper form must be given, and
 
 30 White Camellia. 
 
 then a small quantity of arrowroot or down 
 dusted on with a soft camel-hair brush ; the 
 brown or decayed appearance of the edges 
 may be given with a sable brush, using 
 burnt sienna and crimson lake. 
 
 It will now be found more convenient to 
 hold the flower downwards by the stem 
 during the fixing of the sepals of the calyx, 
 the three largest being the nearest to the 
 back of the flower, and the others to follow 
 in the same order as the petals. 
 
 The stem, a most important part of the 
 work, must now be finished ; this is done 
 by cutting a strip of light green wax, about 
 a quarter of an inch broad and as long as 
 the stem to be covered ; place the wire stem 
 in the middle of the strip, and then fold the 
 two edges together, so as to have the wire 
 between, and then roll with the finger and 
 thumb so as to give it the proper round, 
 smooth appearance. This rolling of the
 
 White Camellia. 31 
 
 stem must be all one way, or, in other 
 words, it must not be unrolled ; and, to 
 avoid this, roll with the thumb on the finger 
 as far as it will go, then stop, bring the 
 stem back, and then roll forwards again : 
 this repeated until the stem is perfectly 
 round and smooth. 
 
 The point of a large modelling-pin must 
 be used to finish that part of the stem which 
 joins the calyx. The leaves to be made as 
 described in Lesson No. 1 1, and then joined 
 to the stem in the order indicated in the 
 drawing ; each leafstalk must be properly 
 covered with wax and then tied with very 
 fine wire to its place, and then so much of 
 the stem as lies between the first and second 
 leaf must be covered with a coating of green 
 wax. 
 
 Many parts of the work will now require 
 colouring ; for this purpose use a sable 
 brush. The stem has a brown shade, and
 
 32 White Camellia. 
 
 many touches may with advantage be given 
 to the calyx. 
 
 The modeller should have a small flower- 
 glass in which to stand the flower during 
 its construction, so as to avoid putting it 
 down on its side or on its face, which would 
 be likely to injure its form. 
 
 Of camellias there is an almost endless 
 variety. The old double white, some of 
 the pink-and-white, and many of the crim- 
 son or red, are very effective when modelled 
 in wax.
 
 LESSON II. 
 THE ROSE. 
 
 (Gloire de Dijon.} 
 
 THE colour of this splendid rose is best 
 imitated by using pale cream-coloured wax, 
 quite thin for the small but thicker for 
 the larger petals ; the last ten or outer re- 
 quire the thickest " extra wax." Careful 
 attention must be given to the instructions 
 for colouring, to preserve the purity of each 
 shade of colour used. Mix on the palette 
 a rather large quantity of flake white and a 
 small portion of chrome No. i. Mix this 
 well together, and having spread out the 
 petals on a sheet of white paper (beginning 
 with the smallest, the other sizes following in 
 their order), and having the glossy side 
 -upwards, paint with a large tinting brush.
 
 34 The Rose. 
 
 Spread the colour evenly on, working from 
 the edges of the petals towards the centre, 
 so that the colour may be thinner and paler 
 at the edge, and richer in the centre. 
 
 The twenty largest petals will require a 
 pink shade on the middle of each. This 
 must be blended with the first colour, but 
 not to extend to the edge, as shown fig. 8, 
 plate 5. Pink madder, used in a small tint- 
 ing brush, will be the best for this purpose. 
 
 The other sizes will all require shading 
 with orange chrome No. 3 ; this must be 
 nicely blended with the first colour, and the 
 three smallest sizes again painted with a 
 deeper shade of orange at the base (chrome 
 No. 3 and carmine) ; this second or third 
 shading is more easily done when the first 
 described colour is damp. 
 
 The petals having been allowed to dry, 
 turn them over so as to be able to paint the 
 dull or right side. This is done by using
 
 PLATE III.
 
 The Rose. 35 
 
 the first described colour (chrome No. i 
 and white), the ten outer petals being paler 
 in shade. 
 
 The foundation, fig. 2, is composed of 
 pale green wax, and must be quite firmly 
 moulded on strong wire (No. 10). 
 
 All the petals will now require modelling 
 with head of a small modelling-pin No. 2 on 
 the edge of the glossy side, so as to render 
 it soft and thin ; then the whole of the petal 
 to be worked over with the head of a model- 
 ling-pin, rolling from the edge towards the 
 centre of each, so as to produce some of the 
 roundness or convexity required. All should 
 be thus treated before proceeding to arrange 
 or otherwise form any of the petals, and the 
 reason for this is that the colour will to a 
 slight extent rub off on the hand, and the 
 student will perceive that by adopting this 
 plan only one shade of colour has been 
 brought in contact with the hand. The 
 c 2
 
 36 The Rose. 
 
 shaded side having been towards the mo- 
 deller, the proper purity of colour cannot 
 be obtained if this caution is neglected. 
 
 Take on the hand one of the smallest 
 petals, having its glossy side upwards, and 
 deeply indent with the head of a small mo- 
 delling-pin, rolling it from the top of petal 
 to the point, so that it seems to curl up or 
 follow the head of the pin ; six or seven of 
 these petals will be required to cover the 
 before-described foundation, as shown fig. 2. 
 
 The five following sizes of petals require 
 arranging in nests or bunches, as shown 
 in fig. 3, composed of one of each size, 
 the largest first, then the others in proper 
 order, having the smallest last or in front, 
 and then placing this nest of petals on the 
 palm of the hand, press them firmly toge- 
 ther at the base, and using a larger model- 
 ling-pin, roll gently from the top of the 
 smallest petal to about its centre, increasing
 
 The Rose. 37 
 
 the pressure as the lower portion is ap- 
 proached. Now fold or arrange with the 
 ringers the cluster of petals as shown in 
 fig. 3, plate 5, giving the proper curved 
 lines, so that they may stand well up round 
 the centre cluster or coronet of petals ; these 
 groups of petals should rather lean on each 
 other to the right or left, and this inclination 
 or bias should be observed throughout, so 
 as to avoid anything like confusion. A 
 slight shading of the deep orange colour 
 may now be applied to the outside of each 
 nest or bunch of petals, taking care it is not 
 seen from the point or face of the flower ; 
 only the shade or reflection of the colour is 
 to be visible. 
 
 The two next sizes will be placed on singly, 
 so forming each as to blend in with those 
 already placed, gradually elevating them, 
 and having the lower part of each petal more 
 rounded, so as to give the proper globular
 
 38 The Rose. 
 
 form. These and the largest petals must be 
 well worked over with the large ivory mo- 
 delling-pin on the light side of each, still 
 keeping the edge turned over the outside 
 petals should exhibit a greater freedom and 
 boldness of form. Much of this must be ob- 
 tained by the use of the best of modelling 
 tools the ringers, they impart a softness not 
 to be obtained by the modelling tool. A 
 soft roundness is one of the characteristics of 
 this queen of flowers. 
 
 The greatest care is necessary to prevent 
 any accumulation of wax below the original 
 foundation ; should any be found it must be 
 removed with a small knife; anything like a 
 point must be avoided ; and to prevent this 
 and to give the proper roundness to the 
 back of the flower will be found one of the 
 most difficult operations connected with 
 the Art. 
 
 The five sepals of calyx, fig. 4. Cut 
 from light-green wax double, and having
 
 The Rose. 39 
 
 some very fine muslin inserted between and 
 on one side of this place a sheet of the same 
 coloured wax as used for the flower, so as 
 to make a light lining for the calyx. 
 
 These sepals must be carefully moulded 
 with the head of a small pin on the light 
 side, so as to give the proper thin sharp 
 edge to them, and then paint this light or 
 inner side with pale cream colour. 
 
 Place them in their proper position on the 
 flower, which should be held downwards by 
 the wire, and then taking a roll of the same 
 coloured green wax form the seed vessel 
 some distance down the wire stem, and when 
 it is finished push it down to the proper 
 position. It would be most difficult to give 
 it its proper form when close to the petals 
 of the flower. The stem, round and 
 smooth, joins the seed cup. Buds and leaves 
 to be added as seen in the illustration, the 
 former of the same colour as the flower, 
 the outer or guard petals requiring a light
 
 40 The Rose. 
 
 shade of green at the base and painting with 
 crimson lake to imitate the weather stains : 
 this must be done with a small sable brush. 
 
 The rich dark-coloured and very waxy 
 leaves may be easily imitated, the younger 
 leaves having a beautiful crimson tint to- 
 wards the edge, in some of the younger ex- 
 tending all over the leaf. 
 
 I will now mention some of the roses that 
 I have been most successful in imitating : 
 
 Celina Forester Pale yellow. 
 
 La Marque Creamy white. 
 
 Marshal Neil Brilliant yellow. 
 
 Cloth of Gold 
 
 Pink Cabbage. 
 
 Pink Moss. 
 
 Beauty of Waltham Crimson carmine. 
 
 Amy Vebert White. 
 
 White Province ,, 
 
 Safrano Apricot. 
 
 Madame Falcot 
 
 Mr. Rivers Flesh.
 
 LESSON III. 
 
 FUCHSIA. 
 
 (Duchess of Lancaster.} 
 
 THE pale ivory coloured sepals of the calyx 
 (fig. 13, plate 5) of this delicate coloured 
 flower, cut from wax prepared thus : 
 
 One sheet of pale cream wax between two 
 sheets of white ; a narrow strip of very fine 
 muslin may be inserted, as shown in large 
 petal of geraniums ; this will add much to 
 the strength and in no way diminish its na- 
 tural appearance. 
 
 The four petals of the corolla, fig. 6, cut 
 from rather thick white wax. 
 
 The Pistil, fig. i : Construct on finest 
 white wire, covering it as for a stem, only 
 using white wax ; the round end is made
 
 42 Fuchsia. 
 
 after by adding a fine roll of the same wax. 
 It will be seen to be rather deeply indented. 
 This do with the point of a modelling-pin. 
 
 The eight stamens, fig. 5, cut from 
 double white wax rather thick, and roll 
 them so as to give the proper smooth round- 
 ness to each ; the anther at the end of sta- 
 mens is made by doubling over the end once 
 or twice. 
 
 For the stem of flower take white wire, 
 No. 30, to this attach the pistil. At the 
 proper distance from the end of this place a 
 small roll of white wax, as shown fig. 7, 
 and round this arrange the eight stamens, 
 the pistil and stamens will require colouring 
 with pink (pink madder and white), and 
 the anthers painted with a darkish shade of 
 crimson lake. The round end of pistil is 
 a pale green. Now give the proper round- 
 ness to the four petals ; this is done with a 
 medium sized modelling-pin, No. 3, and then
 
 Fuchsia. 43 
 
 colour them on both sides with pink madder, 
 on the outside add a deeper shade of colour at 
 the edges. This made of carmine, magenta, 
 and a very small portion of flake white, these 
 may now be placed on so as just to cover 
 the round formation on which the stamens 
 are placed, and then taking a strip of the 
 same wax as the sepals are cut from, of about 
 half an inch in width, roll it round the wire 
 above these petals until the form (fig. 10) is 
 obtained ; this part of the work must be 
 well finished by rolling it over with the steel 
 stem of a modelling-pin. 
 
 The four sepals of calyx must be 
 thoroughly well pressed and moulded on 
 either side with the head of a medium sized 
 modelling-pin, observing that they have a 
 clear waxy appearance, fig. n. These will 
 require a .slight shade of pink madder on 
 the inside, and on the outside a small quan- 
 tity of arrowroot is to be used, taking care
 
 44 Fuchsia. 
 
 that neither colour nor arrowroot extend to 
 that part of the sepal which will be used to 
 cover that portion of the work (fig. 10). 
 Place on one of the sepals and another op- 
 posite, and with the steel stem of a large mo- 
 delling-pin, No. 6, roll down the edges and 
 then place the two remaining sepals between 
 the two first, and again use the pin to give 
 the requisite smoothness to this part of the 
 flower. The small green seed vessel, fig. 9, 
 to be made of pale green wax and the stem 
 covered with a pale shade of the same colour. 
 
 The bud, fig. 12, is made on the same 
 wire as the flower, white wax being rolled 
 round until the proper size is obtained, the 
 form being given with the figures and 
 finished as described for flower. Two sepals 
 may be added. When the buds are more 
 fully developed they have a delicate shade of 
 green at the points. 
 
 For the arrangement of the buds, flowers,
 
 Fitchsia. 45 
 
 and leaves (see plate 6) take a piece of 
 white wire, No. 26, and to the end of this 
 attach the two smallest buds and the two 
 smallest leaves, and then cover with pale 
 green wax so much of the stem as intervenes 
 between the junction of the two first buds 
 and the next joint, and then adding two buds 
 and two leaves as before, again covering the 
 stem as far as to the next joint. Previous to 
 covering the stem, as before described, with 
 wax I sometimes (with a view to make the 
 work more secure) tie the buds, flower, and 
 leaves with the finest silk. I may here re- 
 mark that this plan of fitting up a spray 
 or raceme of flowers is that I adopt in all 
 cases where it is possible. The stem of 
 the fuchsia described is of a pale delicate 
 transparent green, so that much judgment 
 and delicacy of handling will be required to 
 conceal the wire on which it is constructed, 
 and on which its strength depends.
 
 LESSON IV. 
 
 PASSION FLOWER. 
 
 (Passiflora Palmata) 
 
 THIS most graceful of climbers or trailing 
 flowers will tax the skill of the modeller 
 to the utmost. Frequent reference to the 
 diagrams will be necessary to understand 
 the instructions for its imitation. 
 
 The pistil, fig. i, plate 7, must be con- 
 structed on white wire. No. 26, pale green 
 wax being used to form the oval head, as 
 shown in diagram : pass through (in the 
 direction of the stem) the point of a small 
 modelling-pin from the top to the base. 
 
 The three anthers of the pistil, fig. 2, 
 model on fine white wire, No. 33, each being 
 made separately from white wax. They must 
 be moulded into the proper form with the
 
 Passion Flower. 47 
 
 fingers and the work finished with a small 
 modelling-pin. They must be united by the 
 thin ends, the three wires twisted so as to- 
 make one stem, and this passed through the 
 aperture in the pistil, so that they will now 
 have the form as shown in the drawing. 
 
 The stem of pistil now cover with pale 
 green wax to a depth of about half an inch. 
 
 The five anthers, fig. 5, are made thus : 
 Cut a strip of green wax double about two 
 inches long and rather more than a quarter 
 broad ; on this place five pieces of fine white 
 wire, No. 35, at equal distances apart, and 
 so as to leave the ends projecting beyond 
 the wax about half an inch; and now place a 
 similar piece of wax to the first over these 
 wires, and having pressed the two pieces 
 firmly together, so as to prevent the wires 
 slipping, cut the fine stems of the anthers, 
 as fig. 10, so that the wire shall be in the 
 centre of each. Gently press the steel part of
 
 48 Passion Flower. 
 
 a modelling-pin on one side, so as to give 
 them a slight roundness. 
 
 The Anthers, fig. 1 1 : Cut from pale 
 cream-coloured wax three times folded. 
 These must be deeply indented with the 
 modelling-pin from end to end, and the pin 
 pressed against the centre of each end, so as 
 to give the notched appearance required. 
 
 Pierce with fine pin, No. i, in the centre, 
 so as to allow the wire of the green stem 
 before described being passed through it ; 
 thus firmly uniting the two parts. The wire 
 must be bent back on the green stem and 
 fixed in this position with a small portion of 
 green wax. 
 
 The anthers finished, take them to their 
 place at the base of the head of pistil, and 
 this part of the work cover with pale green 
 wax so as completely to cover all the wires. 
 
 To produce the round form, fig. 4 : 
 Cut a strip of thick white wax, a quarter
 
 Passion Flower. 49 
 
 of an inch broad, the length of the sheet, 
 and roll this round firmly until the size and 
 form are obtained. 
 
 This must be perfectly round and quite 
 flat on the top and under surface. 
 
 Cut three strips of fringe, as fig. 1 2, from 
 white wax, the smallest, as drawn ; the others 
 a trifle deeper. 
 
 The scissors will require frequent dipping 
 in the water to prevent them adhering to 
 the fine points and breaking them. These 
 strips of fringe colour with a reddish violet 
 (carmine and violet-carmine), using the 
 colour rather wet, and laid on with a 
 medium-sized tinting brush, remembering 
 to leave enough of the strip uncoloured to 
 fix it by. The outer row will require a 
 deeper or more purple shade. To do this 
 add to the violet and diminish the quantity 
 of carmine. 
 
 The smallest of the three strips, placed
 
 50 Passion Flower. 
 
 on first, and the fine points bent over so as 
 to hide the foundation (fig. 4), the next strip 
 to stand up, and the last or largest to bend 
 backwards, as shown figs. A, B, C. The fine 
 points of the fringe will require arranging 
 with the point of a small modelling-pin. 
 
 As much of the work as is finished may 
 now be coloured, and for this use a small 
 sable brush. Lightly shade with pale green 
 the ends of the anthers at their junction 
 with the pistil, and then with a pale shade of 
 lilac (flake white, carmine, and French ultra- 
 marine) paint over these anthers excepting 
 the parts painted green and the underneath 
 side of the broad end. Allow this shade 
 to dry, and then taking some moist violet 
 carmine paint on the spots. These will di- 
 minish in size and depth of shade as the 
 anthers become thinner and nearer the 
 points of junction, and here a few small 
 spots of carmine may be added.
 
 PLATE IV.
 
 Passion Flower. 51 
 
 The pollen on the anthers of stamens 
 will be best imitated by using a mixture of 
 chrome No. 2 and white ; this must be quite 
 thick in substance, and rather scraped on the 
 edges than painted on, so as to produce the 
 rough powdery appearance necessary. 
 
 The rays, or glory as it is called, must 
 now be formed, and it is here that any 
 want of care in modelling will be most 
 apparent. 
 
 Cut a piece of white wax (fig. 13, A), 
 and then place another smaller piece, B, and 
 so on until there are at the base six folds of 
 wax. Cut this down, as shown in fig. 9, 
 and then breaking off each point as it is 
 wanted, roll between the fingers and thumb 
 so as to make each perfectly round and 
 smooth. The hands must be warm and 
 the wax soft to do this easily ; about 120 
 of these points will be required. 
 
 Cut a strip of pale lemon-coloured wax 
 D 2
 
 52 Passion Flower. 
 
 about two inches long and a quarter broad, 
 and on this place the rays, as shown fig. 9. 
 
 Two of these rows will be necessary ; 
 paint over this part of the work with a 
 thin coating of flake white, but only so far 
 down as the top edge of the lemon-coloured 
 wax on which the rays are placed. 
 
 This colour must be allowed to become 
 quite dry, and on no account must it be 
 thick or rough. 
 
 Take a small portion of moist violet and 
 using a fine sable brush, paint with great 
 care the two lines shown (figs. 14 and 15), 
 and with the same colour shade from the 
 top line towards the points, which will re- 
 quire a small portion of the lilac colour 
 before used for the anthers ; and now again 
 taking the moist violet carmine paint from 
 the lower line 15 to the junction of the rays 
 with the lemon-coloured wax. 
 
 It must be borne in mind that these
 
 Passion Flower. 53 
 
 colourings are only preparatory to, and not 
 finished coatings, and so the colour must be 
 used thin. 
 
 Gently bend back the rays, as shown 
 fig. 1 6, slightly twisting the points ; and 
 now firmly bind on one of the rows only as 
 much as will cover the round formation 
 (fig. 4), and any over must be taken away, 
 or the proper roundness will be lost. 
 
 Any touches of colour required may now 
 be given with a sable brush so as to attain 
 the proper depth and transparency of 
 colour. 
 
 Much care is necessary to prevent any 
 of the violet-carmine, which is so much used 
 in this part of the flower, from becoming 
 mixed with the first coating of white, this 
 will quite spoil the richness and give a dull 
 heavy cast to the colour. 
 
 The second row of the rays may now be 
 added, taking the precaution of colouring
 
 54 Passion Flower. 
 
 before placing them on. It will be quite 
 necessary to see that the first row is firmly- 
 fixed before adding the second, so that 
 when the petals have to be added the pres- 
 sure necessary to fix them may not disturb 
 any of these rays. 
 
 See that the wire stem is quite straight, 
 and holding by it turn the pistil towards 
 you, and with the point of a fine modelling- 
 pin proceed to separate and arrange in their 
 places the points of the front row. These 
 must radiate in straight lines from the centre 
 of the flower. These finished, turn the flower 
 downwards and repeat this operation of 
 separating and arranging for the outer row : 
 these also must radiate from the centre, so 
 that they may be in perfect harmony with 
 those in front. 
 
 The petals must now be prepared, and 
 as they are of a thick waxy texture, advan- 
 tage may be taken of this. Fine book
 
 Passion Flower. 55 
 
 muslin may be placed between two sheets 
 of thin white wax for the five petals, fig. 17, 
 and for the five outer or greenish petals, fig. 
 21, add to this one sheet of pale lemon- 
 coloured wax. 
 
 The first five described petals colour with 
 a tinting brush with a light shade of the 
 lilac colour as used on the horns, being 
 rather deeper in the centre of the petal, 
 shading very pale towards the edges. The 
 five outer will require shading in the same 
 way, only on the outside or back with pale 
 green. On the right or front side of each 
 petal rub on a small portion of arrowroot, 
 and now give to each its proper form, using 
 the head of a small modelling-pin, making the 
 edges quite thin and soft, and then bending 
 them backwards, so that they may readily 
 fit themselves to their place on the seed 
 vessel and quite close under the rays. The 
 five purple petals placed on first, so as to
 
 5 6 Passion Flower. 
 
 form a perfect star, and the five green or 
 shorter petals between. 
 
 The three sepals of calyx (fig. 20) may 
 now be cut from pale green wax, and must 
 be moulded with the head of a modelling- 
 pin so as to obtain the required roundness. 
 Cover the stem with some green coloured 
 wax. 
 
 The bud is simple. Make a foundation, 
 as shown fig. 19, and on this place five of 
 the green outer petals No. 21. Only in- 
 stead of bending them backwards, as for the 
 flower, gently press them on the inner side 
 with the fingers, so as to make them fit to 
 the foundation before described, the points 
 meeting together. The calyx as for flower. 
 
 This and many other climbing plants are 
 provided with tendrils most graceful in ap- 
 pearance. These are easily imitated by cover- 
 ing finest white wire with pale green wax, 
 and then for those which are twisted gently
 
 Passion Flower. 57 
 
 but evenly coil round the stick of one of the 
 sable brushes. It will be observed that the 
 tendrils do not all curl, some being simply 
 curved. 
 
 Six or seven leaves of the proper size 
 should now be prepared, see Leaf Modelling; 
 and taking a rather long piece of white 
 wire, No. 26, commence with the smallest 
 or leading leaf, and from the point of junc- 
 tion of the leafstalk and longer branch 
 stem will start the smallest tendril ; and now 
 cover with pale green wax that portion of 
 the stem which lies between the leaf just 
 described and the next or following leaf, 
 which add with its accompanying tendril 
 and again proceed as before. At about the 
 fourth leaf insert instead of tendril the bud, 
 and at the next joint the flower, observing 
 that the space between the leaves increases 
 as you near the flower. One or two leaves 
 may be added or a second flower. As many
 
 58 Passion Flower. 
 
 as fifteen or twenty flowers and buds may 
 be seen on one raceme or bunch. 
 
 Frequent reference must be made to the 
 drawing to thoroughly understand the effect 
 of all the instructions given. 
 
 I have selected for my Lesson one of the 
 most effective of the passion flower tribe. 
 All are beautiful. 
 
 The common blue passiflora casrulea, or 
 the graceful scarlet passiflora princeps, or 
 the more magnificent crimson quadran- 
 gularis grandi flora, with its large waxy and 
 lustrous leaves.
 
 LESSON V. 
 LILY OF THE VALLEY. 
 
 THIS graceful little favourite is best imi- 
 tated by using liquid or melted white wax ; 
 prepare this as described for Leaf Model- 
 ling. The wax being quite melted, the 
 vessel containing it must be removed from 
 the water, so as to allow it to cool a little. 
 Three small wooden moulds, of the proper 
 size, must be used ; these to be placed in 
 cold water for some minutes before using 
 to prevent the wax adhering to them. Take 
 by the handle one of these moulds, and 
 holding it quite perpendicular, quickly dip 
 the other end in the wax, withdrawing it as 
 quickly as possible. Should the wax left 
 on the mould be thin, it is because the wax
 
 60 Lily of the Valley. 
 
 was warmer than it should be ; if too cool, 
 it will be thicker than is desirable : the right 
 heat is only to be found by practice. When 
 too cold it should be put back again into 
 the boiling water. This coating of wax is 
 now to be removed from the wooden mould. 
 Cut down to the proper length, and the six 
 points cut with the scissors. 
 
 Now replace the flower on the wooden 
 mould, and rub on a small quantity of 
 arrowroot, and again removing it from the 
 mould. Curl with the head of a small pin 
 on the inside, so as to give it the proper 
 roundness, and now replace on the mould. 
 Mark with head of a small modelling-pin six 
 small lines. From the junction of the points 
 to about the centre of the bell, give the 
 proper curved form to the points ; this may 
 be done by using the head of a small mo- 
 delling-pin and the fingers. Make a very 
 small hole at the top of the bell through
 
 Lily of the Valley. 61 
 
 which to pass the stem ; this to be made of 
 the finest white wire, on the top of which 
 fix the pistil and stamens ; these form from 
 pale lemon-coloured wax. All these parts 
 are very small, and great care must be 
 taken to preserve the purity of colour. 
 Paint the pistil and stamens with chrome 
 No. 2 and white, to imitate the pollen ; pass 
 the wire through the top of the bell-like 
 petals ; draw it tight to the top ; cover the 
 stem with palest green wax. The buds 
 formed in the same manner as the flowers, 
 only the points bend inwards to give it the 
 round or closed appearance ; these will now 
 require arranging on a long stalk, one of 
 the smallest buds at the top, the rest fol- 
 lowing on either side, imitating, of course, 
 the arrangement observable in the natural 
 flower. The little scale or bract observed 
 at the base or junction of each flower with 
 the main stalk, is made of pale lemon-
 
 63 Lily of the Valley. 
 
 coloured wax ; the buds will be seen to have 
 a pale green tint on the points, and the stem 
 will require to be shaded darker at the lower 
 end. The modeller will notice that two 
 leaves grow facing each other, at the back 
 of one of them springs the flowerstalk, and 
 then another leaf must be added. The 
 foliage of this flower is best imitated by 
 making a plaster mould and casting the leaf 
 from pale green wax.
 
 LESSON VI. 
 
 GERANIUM. 
 
 THIS is a single flower, and the end of the 
 petal which joins the seed vessel is, as will 
 be seen, very slight in form. In this and 
 similar cases I employ some strengthening 
 material, such as wire, muslin, or paper. 
 In the flower under notice, the finest India 
 muslin I prefer. Cut five small pointed 
 pieces, the broadest end to be only as wide 
 as the narrowest portion of the petal, and 
 long enough to reach to about the centre. 
 Place this piece of muslin between two 
 sheets of thin white wax, press all together, 
 and so arrange the pattern on the wax as to 
 bring the strip of muslin into the position 
 shown in fig. 6, plate 3.
 
 64 Geranium. 
 
 Cutout the proper number of petals, giving 
 to each the required form. Model the edge 
 of each with the head of a small modelling- 
 pin to give the soft look, and then turning 
 the petal over and placing it on the finger, 
 and using the point of a modelling-pin, give 
 the crimped and veined appearance neces- 
 sary. It will have been noticed that in this 
 case the form is given before the colouring 
 is proceeded with, and for this reason the 
 colours are apt to rub off and lose their 
 distinctness, were the modelling done after 
 the various tints had been applied. 
 
 I now come to the most difficult part of 
 such a flower as geranium. Study of the 
 diagrams will much help the student to un- 
 derstand my instructions. The three lower 
 or smaller petals paint on both sides with a 
 very thin coating of flake white, resting the 
 petal on the fingers so as not to disturb its 
 form, and whilst this is damp apply the
 
 Geranittm. 65 
 
 pink shade (carmine and white), leaving the 
 lower part of each petal white, and the form 
 of the pale pink colour, as shown in fig. 6. 
 The large petals paint in the same manner, 
 only the pink shade rather darker, and Jess 
 of the petals left white. Now take in a 
 small tinting-brush carmine, and cover that 
 part of the petal within the first dotted line, 
 fig. 15, a. Blend the carmine with the 
 pink. Now use a thicker portion of car- 
 mine, and again colour within the second 
 dotted line, b ; this will give richness and 
 depth of colour. This and the first shading 
 of carmine to be effected by holding the 
 brush at a right angle, and dapping rather 
 than drawing the brush over the parts, so 
 as to produce a spotted velvety appearance. 
 Having mixed a small portion of moist 
 violet-carmine and carmine, the latter pre- 
 dominating, give the dark eye to petal, c, 
 observing the same method of applying the
 
 66 Geranium. 
 
 colour, and then quite in the centre, d, a 
 dark spot of violet alone. Now prepare to 
 give the veining to the petals, using a fine 
 sable brush and a thin solution of the violet, 
 first drawing the darker lines from the 
 centre, and softening them with the finer 
 lines seen in fig. 13, taking care not to go a 
 second time over the same line whilst the 
 first is damp. One of the greatest difficul- 
 ties is to keep the violet, which is a trans- 
 parent colour, from mixing with the body 
 colour (that is, any of the colours with 
 which white has been mixed) ; all its bril- 
 liancy is lost when mixed with flake white. 
 The back of the petals will require a slight 
 shading of violet and carmine. On exa- 
 mining the natural petals, it will look as 
 though the dark, rich shades of the face are 
 reflected or show through. The stamens 
 and pistil formed from white wax, as 
 fig. 1 1 ; the anthers are sometimes covered
 
 PLATE V.
 
 Geranium* '67 
 
 with a thick coating of orange chrome, 
 applied with a sable brush, using the colour 
 very thick ; the pistil paint purple (violet- 
 carmine), and the seed vessels, or foundation, 
 formed of pale green wax. Place on the 
 three lower petals first, and then add the 
 two top or large petals, shaping them with 
 the fingers as you proceed. The calyx 
 (fig. 7) cut from pale green wax ; it will 
 be of great advantage to have this strong, 
 so I have adopted this plan: Take two 
 very thin sheets of pale green wax, place 
 between some very thin tarlatan or muslin, 
 press well together, and cut out the sepals 
 of calyx ; this will give great strength and 
 support to the petals. Three to five 
 flowers will be required to form a truss, 
 and, of course, they should all be repre- 
 sented in different stages of development, 
 some more open than others. The wire 
 used for the stems should be No. 26, and 
 
 E 2
 
 68 Geran^^i'^n. 
 
 these should all join together on the main 
 stem, which should be of No. 10. The calyx 
 and stems will be found to be covered with 
 fine hairs, or a downy substance. For this I 
 use a preparation distinguished as down; and 
 to apply this, take a thin solution of gum 
 water, and using a small sable brush, paint or 
 varnish with this substance the part on which 
 this appearance is observable ; and then 
 taking a good pinch of the "down," gently let 
 it drop on the gummed part, blowing away 
 all that does not adhere. This, if properly 
 done, will be found to give a good repre- 
 sentation of the appearance described. 
 Leaves may be added ; but the flower is 
 more commonly used in masses of colour, 
 and is more effective without the leaves for 
 grouping, &c.
 
 LESSON VII. 
 FORGET-ME-NOT. 
 
 THIS elegant little flower will be found 
 rather difficult to imitate by reason of its 
 small size, and will require the utmost 
 nicety of touch ; and on account of its soft, 
 delicate blue colour, be found of great 
 usefulness in almost any arrangement of 
 flowers. 
 
 White wax of a medium thickness is to 
 be used, the five petals being cut in one 
 piece, a very small-headed modelling tool 
 used to give the proper thinness to the 
 edge of each. This must be used on the 
 glossy side. On examining the natural 
 flower, five small raised lines will be ob- 
 served separating the petals ; this appear-
 
 yo Forget-me-Not'. 
 
 ance must be given by the use of a very 
 small, flat-headed pin, made for such work, 
 and this must be rolled from the centre of 
 the star-shaped petal to the part where the 
 petals separate. This part of the work 
 must be done on the glossy side also. The 
 petals now turned on the finger so as to 
 bring the dull side upwards, and the head 
 of the small modelling-pin passed gently 
 round the edge so as to turn it upwards. 
 
 Five very small stamens to be cut from 
 white wax, each being moulded with the 
 fingers to give the round form required, and 
 then placed on the end of a small piece of 
 the finest white wire, so as to form a very 
 small star. Pass the point of the smallest 
 pin through the centre of the petal, and 
 through this run the wire on which the 
 stamens are formed ; draw this through 
 until the top of it is only slightly raised 
 above the centre of petal. Cut the calyx
 
 Forget-me-Not. 71 
 
 from pale green wax ; place it round at the 
 junction of petal with the stem so that the 
 five points just touch the underside of the 
 five indented lines before mentioned ; the 
 stem to be covered with pale green wax. 
 
 The flower must first be painted on the 
 glossy side with flake white, using a small 
 sable brush ; this must dry, and then, mix- 
 ing some cobalt and flake white, and adding 
 a very small portion of gum water, paint 
 over the part of the petal requiring this 
 colour, taking care to leave white the five 
 little indented lines before described. 
 
 Now proceed to paint the front or face 
 of the flower with the same colour, the five 
 raised lines to be left white and the stamens 
 also uncoloured. As soon as this colour 
 is perfectly dry, prepare a small quantity of 
 deep yellow colour use chrome i and 2 ; 
 of the latter a smaller proportion, mixing 
 with this, as with the blue, a small portion
 
 73 Forget-me-Not. 
 
 of gum water ; the stamens to be painted 
 with this, using of course a very small sable 
 brush. 
 
 Five or seven flowers will be wanted, to 
 which must be added some buds. These will 
 be formed from white wax, rolling or form- 
 ing them with the finger and thumb. They 
 are round on the top and taper to a fine 
 point ; the buds must be placed on a small 
 length of fine white wire, the smallest bud 
 at the end, and on either side of this in two 
 rows place the remainder, studying the 
 graceful curve of the stem. They should 
 now be painted with pale green, the same 
 shade as the calyx of the flowers, so as to 
 represent the calyx of the buds, the round 
 part of each being left white ; this colour 
 to be allowed to dry, and then the white 
 part to be coloured with the same shade as 
 the flower, only adding to it a small por- 
 tion of crimson lake, so as to give the
 
 Forget-me-Not. 73 
 
 natural pink shade to it. The blossoms 
 now to be added in the same order as the 
 buds, only the spaces between each widen- 
 ing as they extend down the stem. The 
 calyx will be found to have a downy or 
 hairy appearance : to produce this take a 
 very thin solution of gum water, and with 
 a small sable brush paint over with it all 
 those parts which require to have this ap- 
 pearance, and then taking a pinch of fine 
 white down gently drop it over, and then 
 shake the flower so that it will only remain 
 on the parts gummed ; three or four leaves 
 may be added some distance down the 
 stem. Though rather tedious to make, 
 this little flower will well repay the modeller 
 for the time bestowed on it, and will be a 
 good introduction to other smaller and 
 more intricate flowers.
 
 LESSON VIII. 
 DARK CLOVE CARNATION. 
 
 THIS dark rich-coloured flower may be 
 easily imitated, and is most effective in 
 contrast with other more delicate-tinted 
 flowers. 
 
 Cut the petals from thin white wax two 
 sheets folded together, as described for 
 geranium, introducing into each petal a thin 
 strip of muslin, as directed for that flower. 
 A rather ragged or serrated edge must be 
 given with the scissors, and this may be 
 more prominently brought out with the point 
 of the modelling-pin. The proper form 
 to each must be given before proceeding* to 
 colour. They have rather a crisp look, 
 the centre of each petal being raised ; and
 
 Dark Clove Carnation. 75 
 
 to do this, place the petal on the fingers, 
 and with the stem of a large modelling-pin 
 roll on either side of the centre, rather 
 rolling towards but not to this part of 
 the petal. Additional sharpness may be 
 given to this ridge by pinching with the 
 fingers. 
 
 The painting is managed thus : 
 Paint over each side of the petals with a 
 tolerably rich coating of carmine only the 
 round part to be painted and now, using 
 another brush, add to the carmine a small 
 portion of violet-carmine, and paint each 
 petal so as to give it a striped or flaked ap- 
 pearance. Almost any shade, from scarlet to 
 deep purple, is found in these flowers, and 
 all may be, with a little care, easily pro- 
 duced. The richness of the natural colour 
 its velvety appearance will be more 
 completely imitated by putting on the 
 second shade of colour whilst the first is
 
 7 6 Dark Clove Carnation. 
 
 wet or damp, so as to cause them to blend 
 more softly. 
 
 The Foundation. Construct on mo- 
 derately strong wire (No. 10). On this 
 place the two anthers or horns cut from 
 white wax, and round this group the small 
 petals, the larger to follow ; these bend 
 backwards, avoiding anything approaching 
 to stiffness in the arrangement. 
 
 After the petals are placed on, make the 
 seed-cup : it should be just large enough 
 for the calyx to cover. This must be cut 
 from pale green wax moderately thick, or 
 two thin sheets doubled together. The 
 smooth, sharp appearance will be obtained 
 by using the stem of the modelling-pin as 
 a roller over all the parts of calyx. They 
 will all require painting a bluish whity- 
 green P. blue chrome No. i and flake 
 white the points being the lightest. The 
 various parts of the calyx being arranged in
 
 Dark Clove Carnation. 77 
 
 their proper position, the painting may be 
 finished with a fine sable brush, using 
 Prussian blue and a very small portion of 
 gum water, so as to obtain the required 
 transparency ; and with this paint the fine 
 dark lines seen in the natural flower. 
 When all the painting is done, a little 
 white or arrowroot may be dusted on with 
 a soft sable brush. The bud is of the same 
 shape as the seed-cup of the flower, only 
 the points of the calyx bend over it, or a 
 few small petals may be put on so as just 
 to show themselves between the points of 
 the calyx. The leaves are easily made by 
 placing some very thin muslin between two 
 sheets of light green wax. Cut this into 
 the proper form, the deeply indented 
 vein down the centre being given by using 
 the stem of a strong modelling-pin ; they 
 are of the same shade of colour as the 
 calyx.
 
 78 Dark Clove Carnation. 
 
 Carnations, picotees, and pinks are all 
 beautiful subjects for the modeller ; they 
 are charming for colour and variety, and 
 their light elegant growth and foliage make 
 them most useful in arranging bouquets, &c.
 
 LESSON IX. 
 STEPHANOTUS FLORIBUNDA. 
 
 THIS elegant climber will be a good illus- 
 tration of the method to be observed in 
 imitating flowers the petals of which are cut 
 in one piece, and which have a neck or 
 tube, as Thunbergia and primrose. 
 
 Cut the star-shaped petal from thick 
 white wax doubled, and then having rather 
 deeply indented them at the edge, on the 
 underside pass the point of the pin through 
 the centre, and then make the neck or 
 tube by which they are joined to the seed 
 vessel. 
 
 A small white wooden mould must be 
 used for this purpose, which must be made 
 quite damp by allowing it to remain in cold
 
 8o Stephanotus Floribimda. 
 
 water for ten minutes, and then wiped with 
 a piece of linen. 
 
 A strip of thick white wax must be 
 wrapped round this wooden mould, so as 
 just to cover it, and a small portion to wrap 
 over, so as to allow the edges to join, and 
 then repeat this operation, by this means 
 giving thickness and strength to the tube ; 
 the wax must be held firmly on so as to 
 prevent it slipping off ; take a small pen- 
 knife and gently scrape this so as to give it 
 the glossy, waxy look required. Cut this 
 tube to its proper length with the knife 
 before removing the mould. 
 
 This tube must now be placed standing 
 on its widest end on the finger, and on the 
 top or thinner end place the petals so that 
 the small aperture in the centre will be ex- 
 actly in the centre of the tube ; and now, 
 taking a mould of a smaller size and treated 
 just the same as the other, push the point
 
 Stephanotus Floribunda. 81 
 
 gently through the small hole, pressing it 
 in till the opening is large enough, that is 
 to say, until the tube is nearly bursting, and 
 then reversing the position of the mould by 
 holding it in the same hand as that on which 
 the tube stood, and taking a strong model- 
 ling-pin, press round the junction of the 
 petal and tube so as firmly to unite them. 
 It will be observed that on pressing down 
 the wooden mould through the petals, that 
 .a small collar or rim of wax has been made 
 to fit into the tube, and it is to this that the 
 tube is fixed. The stem formed from white 
 wire, No. 26, on which place a small portion 
 of white wax. 
 
 The stamens and pistil are now added, 
 and then at the base a sufficient quantity of 
 white wax as will make its circumference 
 equal to the size of the aperture at the broad 
 end of the tube now open. The foundation 
 just described is to be pushed in far enough
 
 82 Stephanotus Floribunda. 
 
 to admit of the edge of the tube being 
 turned over it so as to make it smooth and 
 round. The calyx cut as the petals, in one 
 piece from pale green wax, the short flower- 
 stalk of the same colour ; six or seven 
 flowers will be required to form a bunch or 
 truss, and the contrast of the waxy white- 
 ness of the flowers with the dark lustrous 
 green leaves has a very pleasing effect, and 
 is easily imitated in wax. The buds are 
 best imitated by preparing a mould of 
 plaster of Paris as for fruit, and casting 
 them, white wax being used. The calyx is 
 of course the same as for flowers, only re- 
 ducing the sizes in proportion.
 
 PLATE VI.
 
 LESSON X. 
 WHITE WATER-LILY. 
 
 THIS charming flower is one of a group 
 of many, all beautiful in form and colour, 
 and all of which may be imitated with great 
 exactness. The common lily of our rivers 
 and ponds I shall choose for this Lesson as 
 being that best known, and of which a 
 natural specimen may be easily obtained at 
 the proper season. 
 
 Extra thick white wax must be used 
 for all the petals, and for the five outer this 
 must be doubled. The calyx should be cut 
 from extra thick cream-coloured wax 
 doubled, taking the precaution of putting 
 thin muslin between ; this, if well pressed 
 (so as to prevent separation), will give great 
 F a
 
 4 White Water-lily. 
 
 strength to the sepals of calyx, and thus to 
 all the parts of the flower. The stamens of 
 the beautiful yellow centre must be cut 
 from extra thick cream-coloured wax, and 
 as for the calyx, doubled, thick, strong wire 
 must be used for the stem ; and on this 
 mould the foundation also of cream-coloured 
 wax about the size of a small cherry, indent 
 this on the top in the centre with the head 
 of the smallest modelling-pin, and then 
 placing the point of a larger modelling-pin 
 in the centre of the small cup, divide the 
 foundation or seed vessel into four equal 
 parts, and these divide again, pressing 
 somewhat deeply. Give the proper form 
 with a small modelling-pin to the stamens, 
 bending them as may be desired with the 
 fingers. 
 
 These will now require colouring, the 
 lower parts with a mixture of chrome, No. 
 i and 2, and the points with a creamy colour
 
 White Water-lily. 85 
 
 chrome No. i. and flake white ; the last 
 described colour being rather dapped on and 
 thick, so as to give them a rough or pollen- 
 like appearance. The top of the seed 
 vessels or foundation may be coloured with 
 the darker colour before mentioned ; place 
 round the rows of stamens, beginning with 
 the smallest, which should bend over the 
 centre, and each following row to spread 
 out a little, so that the last or largest may 
 be rather bent backwards, each row being 
 raised a little above the preceding. All 
 the petals require to be coated over with 
 flake white and arrowroot, mixed and rubbed 
 on dry. This gives that sparkling white- 
 ness which is one of the chief characteristics 
 of this flower. The petals will need much 
 care in modelling to give the proper soft, 
 thin appearance to the edge ; then with the 
 head of a large modelling-pin give the natural 
 curved roundness to each. The smaller petals,
 
 86 White Water-lily. 
 
 in shape between the stamens and petals, 
 must be painted as the stamens, with a light 
 shade of cream at the tips. These place a 
 little higher than the last row of stamens ; 
 the petals follow in their proper order in 
 rows of five, beginning with the small. The 
 painting of the calyx will try the artistic 
 skill of the pupil ; they are of a beautiful 
 dark olive green at the points, shading to a 
 pale yellowish green towards the stem. 
 
 Begin by painting the lightest colour, 
 then the second shade, and so on to the 
 darkest shade, using the colour rather dry 
 and mixing a very small portion of gum 
 water in it; this will prevent the colour 
 rubbing off in the process of modelling. 
 They are of the same shape as the petals. 
 After they are formed, paint the inside with 
 a thin coating of cream colour almost white. 
 The stem, which is very thick, should be 
 formed of cream-coloured wax, and before
 
 White Water-lily. 87 
 
 placing on the calyx see to have the proper 
 squareness given to that part of the stem 
 from which the four sepals of the calyx 
 spring. This done, fix them in their proper 
 position ; they should just cover this square 
 formation, touching the stem, and all the 
 work should be gently worked over with 
 the ivory modelling-pin, so as to give it 
 the requisite smoothness. 
 
 The stem and calyx will be seen to have 
 a slight gloss on them ; this is given by a 
 coating of thin gum water put on with a 
 large camel-hair brush. 
 
 The bud is formed on a foundation 
 similar to the flower but without the sta- 
 mens, but having a few petals just to show 
 through the four sepals of calyx, observing 
 all the instructions as given for the flower, 
 stem, calyx, &c. 
 
 Instructions for modelling the leaf will 
 be found under Cf Leaf Modelling." Lilies
 
 88 White Water-lily. 
 
 and other aquatic plants are most effective 
 when grouped together. 
 
 Forget-me-not is a charming contrast in 
 colour and form to the lily described. 
 
 The blue water-lily (Nymphaea casrulea) y 
 the splendid Nymphaea rubrum, Nelumbium 
 speciosa, or still larger Victoria Regia, are all 
 well adapted for modelling in wax ; but the 
 great size of flowers and foliage of the two 
 last mentioned render them less useful from 
 the difficulty and expense of covering them 
 with shades or cases ; but as specimens for 
 museums, as models for drawing from, and 
 such like purposes, I have frequently de- 
 rived much pleasure in modelling all the 
 various specimens of this most interesting 
 group of plants.
 
 LESSON XL 
 LEAF MODELLING. 
 
 I HAVE no hesitation in saying that it is by 
 the badly-imitated foliage that most studies 
 of flowers I have seen are spoilt, and that 
 there is no good reason for this, the 
 modeller having some assistance in repro- 
 ducing the leaf, which cannot be used in 
 imitating the petals. 
 
 The leaf to be imitated must be quite 
 clean, and made damp by breathing on it, 
 or a strong leaf may be washed with water, 
 using a camel-hair brush for this purpose. 
 
 I now proceed to make ready my mate- 
 rial for a mould, which can be made in two 
 ways ; and, first, I will treat of the easiest, 
 and for most leaves the best plan.
 
 9 Leaf Modelling. 
 
 I have a small spirit-lamp, with a bath to 
 hold water on the top, and another smaller 
 vessel to hold wax. Having rilled the large 
 vessel with water and the smaller with 
 scrap wax, the lamp may" be lighted ; this 
 will soon boil the water and cause the wax 
 to melt ; it should be perfectly dissolved. 
 
 Holding the leaf by its stem, gently dip 
 it in the melted wax and quickly withdraw 
 it, still keeping it suspended by the stem 
 until the wax with which it is now coated is 
 dry or set ; repeat this by dipping two or 
 three times ; by this means a good stiff 
 coating of wax will be deposited on each 
 side of the natural leaf. This must now 
 be allowed to harden for a few moments, 
 and then holding it in the left hand with 
 the face of the leaf towards you, pour over 
 this side with a spoon a small quantity of 
 the melted wax, and this operation to be 
 repeated until there is a thickness of at
 
 L eaf Modelling. 9 1 
 
 least a quarter of an inch ; this is more 
 quickly obtained by allowing the wax to 
 cool, and to do this it is only necessary 
 to remove the vessel containing the wax 
 from the hot water. To harden this leaf 
 mould, place it for ten minutes in cold 
 water. 
 
 It will now be observed that the leaf has 
 on the under side a thin coating of wax, 
 and on its face or top side a thick substance 
 of wax. 
 
 Turn the side with the thin coating to- 
 wards you, and using a small penknife, cut 
 round the edge so as just to expose the 
 natural leaf, and then taking hold of its 
 stem, remove it with the thin coating of 
 wax from the thick portion, which will be 
 the mould. 
 
 The knife may now be used to remove 
 any rough edges. My reason for dipping 
 the leaf and coating both sides, is to pre-
 
 92 L eaf Modelling. 
 
 vent the leaf from twisting or losing its 
 natural form, which would be the case were 
 only one side covered with wax. 
 
 Moulds thus produced will harden fit for 
 use in a few hours by placing them in cold 
 water ; but they are more durable if allowed 
 a few days to harden. 
 
 And now for another method of obtain- 
 ing a mould. 
 
 Cover the surface of the natural leaf with 
 olive oil, painting it on with a camel-hair 
 brush ; place the leaf on a sheet of paper, 
 having its face upwards. Such a leaf as 
 camellia, for example, will require support- 
 ing in the centre (fig. 20, plate 8), so as just to 
 raise its point and stem from the paper, the 
 great difficulty being to put on the plaster 
 (which is heavy) without destroying the 
 curled form of the leaf. 
 
 Cotton wool or wadding is best for this 
 purpose.
 
 L eaf Modelling. 93 
 
 Now take of finest plaster of Paris a 
 small quantity in a teacup, and to this add 
 cold water. Gently stir this so as to have 
 it about the substance of thin cream, and 
 with this paint on with a large camel-hair 
 brush the leaf described, taking care not to 
 disturb its position. The object is to put 
 on a light, thin coating of plaster on the 
 leaf, so as to render it strong enough to bear 
 the thick, heavy coating of plaster which will 
 be necessary to strengthen it. 
 
 The cup in which the plaster has been 
 mixed must be washed out before the 
 plaster is hardened, or set, as it is 
 termed. 
 
 Allow the thin coating of plaster on the 
 leaf to harden, and then mixing a thicker 
 portion of plaster of Paris, with this give 
 another coating to the leaf. This must set, 
 and then another thicker coating of the 
 same material must be given, so as to give
 
 94 L eaf 'Modelling. 
 
 the required substance to the mould. This 
 must be allowed to set or harden, for which 
 a few minutes will be necessary. 
 
 And now, taking it in the left hand and 
 turning it, the back of the natural leaf will 
 be seen ; taking this by the stem, remove 
 it from the mould. Should the plaster 
 have run over the edges, which it very 
 frequently will do, it must be pared down 
 with a penknife before attempting to re- 
 move the natural leaf. 
 
 These plaster moulds require some days 
 to harden, and will be found most useful 
 for such leaves as water-lily, lily of the 
 valley, &c. ; the former on account of its 
 size, and in the latter because the crisp, 
 rough surface of the leaf is best imitated 
 by using liquid or melted wax, and this 
 cannot be used on the wax mould. 
 
 Having shown how to obtain the moulds 
 for the leaves, I will now describe the
 
 Leaf Modelling. 95 
 
 method of using them ; and of the wax 
 mould first. 
 
 The face of the mould must always be 
 made damp before using : a small piece of 
 sponge dipped in cold water will do this 
 best. Do not rub the mould, as this would 
 quickly destroy the delicate veins. And 
 selecting a sheet of green wax, similar in 
 colour to the lightest part of the natural 
 leaf, and a paler shade for the back, and 
 having cut with the scissors a piece of the 
 first-described wax, place it on the mould ; 
 holding this in the left hand, the dull side 
 of the wax must be towards the mould, 
 and it should be rendered soft by holding 
 between the hands or near the fire ; 
 holding this firmly on the mould, and then 
 pressing all over so as to obtain its impres- 
 sion and form. Care must be taken not to 
 let this slip, or there will be a want of 
 clearness in the impression taken.
 
 96 Leaf Modelling. 
 
 Having prepared a stem of fine white 
 wire, No. 32, and covering it with a fine 
 strip of green wax tapering to a point, so 
 as to imitate the centre rib at the back of 
 the leaf, this is laid on up the centre of the 
 mould over the wax just pressed on. This 
 stem must be on the ridge, not on one side. 
 Now take the lighter sheet of wax and press 
 it over all, taking great care not to disturb 
 the position of the wax already on the 
 mould or of the stem just described. 
 Gentle but firm and continued pressure 
 must be applied to the last coating of wax 
 to insure its perfect adhesion to the first 
 or front side of the leaf. Now taking hold 
 of it by the stem and lifting from the 
 mould, it will be found to be a perfect re- 
 presentation in form of the leaf desired. 
 With a pair of scissors now cut away all 
 the wax that is not necessary, and if the 
 edge is serrated, as a rose or camellia leaf,
 
 Leaf Modelling. 97 
 
 the notches or points must be given with 
 the scissors ; after using which the edge of 
 the leaf will sometimes require slight 
 moulding with the head of a small modelling- 
 pin to take away the hard sharp lines made 
 by the scissors. The leaf will then require 
 painting. For this use Prussian blue, 
 chrome, and burnt sienna ; apply with a 
 tinting-brush as for petals. Should a more 
 glossy appearance be required, as for a 
 camellia, then, after it is dry, polish with 
 .a soft brush, in form something like a 
 plate-brush. A brighter polish may be 
 obtained by using the brush more freely. 
 In some cases I have varnished it with 
 .a solution of gum water, but this is apt 
 to peel off ; and a spirit varnish, which will 
 not do so, is so destructive to the sub- 
 stance of the wax that I would not recom- 
 mend its use on such thin substances as 
 leaves. Some leaves, as geranium, require 
 
 G
 
 98 Leaf Modelling. 
 
 a covering of fine down or arrowroot after 
 the colouring/ 
 
 I shall best illustrate the use of a plaster 
 mould by describing the process of making 
 a leaf for a water-lily a leaf much too 
 large in size to be made from the ordinary 
 sheet- wax. 
 
 The mould should be immersed in warm 
 water for some ten or fifteen minutes ; then 
 take it out of the water and gently wipe it. 
 Some green wax must be melted as de- 
 scribed for the mould-making, and coloured 
 to the proper shade by using (ground 
 in oil) chrome No. a, P. blue, and burnt 
 sienna. This colour must be mixed in a 
 spoon with a little of the melted wax, and 
 this well mixed into the body of the wax ; 
 and having it quite melted or liquid I pro- 
 ceed thus : Holding in the left hand the 
 mould, and having removed the vessel con- 
 taining the wax from the hot water, place
 
 PLATE VII.
 
 L eaf Modelling. 99 
 
 the mould so that one end of it rests over 
 the centre of the vessel containing the wax ; 
 and then, taking a large tablespoon filled 
 with this, pour it over the whole surface of 
 the mould. This will require repeating 
 several times to insure its being completely 
 covered. Should the wax crack it will in- 
 dicate that the wax is too hot or the mould 
 too cold. To decrease the warmth of the 
 wax allow it to stand a few moments ; by 
 this time the wax will be cooler and the 
 operation more successful. The mould 
 must be quite warm, or the seams, showing 
 where all the streams of the liquid wax meet 
 on it, will be visible. 
 
 It is a rare thing to get a good impres- 
 sion the first time. Small moulds may be 
 dipped into the wax, but with larger leaves 
 it would require a large vessel and so much 
 wax as to make it scarcely worth while. 
 
 I would observe, by way of introduction 
 c 2
 
 ico L eaf Modelling, 
 
 to my Lesson on Fruit Modelling, that one 
 reason why it has found so little favour 
 with the public is, that it has been repre- 
 sented as seen in the market or on the table, 
 so losing the advantage of its beautiful ac- 
 cessories, leaves, stems, &c. 
 
 I should recommend for a study a small 
 branch of peaches or cherries, a cluster of 
 our beautiful filberts, or the charming little 
 wood nut, Scarlet Barbary. They are 
 all charming in colour, beautiful in form, 
 and elegant in growth, both in fruits and 
 flowers. Nature has been lavish in be- 
 stowing beauties to charm the sight, while 
 she ministers to our sense of taste and 
 smell ; and it is by the faithful portraiture 
 of Nature that the art of imitating is en- 
 nobled, and by this means only can the 
 result be pleasing to a well-cultivated 
 mind.
 
 LESSON XII. 
 FRUIT MODELLING. 
 
 A MOULD of the fruit desired to be imitated 
 must first be made in plaster of Paris. And 
 to do this, prepare a paper mould an inch 
 at least larger than the fruit to be modelled, 
 as shown in fig. i, plate 8, so as to hold suf- 
 ficient plaster to allow the fruit to be half 
 buried in it. Now gently cover the fruit with 
 olive oil ; this is done with a camel-hair 
 brush, and then proceed to mix with water, 
 in a small basin or breakfast cup, as much 
 plaster of Paris as may be thought neces- 
 sary : this must be moderately thick so that 
 the fruit may not sink too deep. Pour 
 this into the paper mould, and then place 
 the fruit in the centre so as to leave a
 
 JDS Fruit Modelling. 
 
 margin of plaster all round, as shown in 
 fig. 3, plate 8. 
 
 The plaster should just reach to the 
 centre line of the fruit, or, in other words, 
 to leave just one-half out or uncovered by 
 the plaster mould. 
 
 The edge of the mould must be per- 
 fectly smooth ; should it be otherwise it 
 must be scraped with a small knife, but 
 this must be done after the plaster is set 
 or hardened, and to do this more easily 
 remove the paper. Now, with a modelling 
 tool make the three small cup-like holes, 
 fig. 21, A, A, A. All the chips must be 
 brushed away so as to leave the fruit and 
 mould perfectly clean. Leave this part of 
 the work for half an hour to harden. 
 
 The other half. of the mould make thus: 
 Oil over the fruit and the edges of the mould, 
 replace the paper rim; and then mixing some 
 plaster as before, gently pour on the fruit
 
 Fruit Modelling. 103 
 
 so as to quite cover it and extending out 
 to the paper form. This must be allowed to 
 set or get firm. Then taking off the paper, 
 the mould will separate. Gently take out 
 the fruit, and the mould is complete. Dif- 
 ferent forms of fruit will require different 
 treatment ; as, for instance, an apple is best 
 moulded by placing it as shown in fig. 2 1 ; 
 a lemon as shown in fig, 3 ; a melon will 
 require to be formed of three or four pieces, 
 making one at a time, as shown in fig. 4, 
 Great care must be taken to construct the 
 mould so as to allow of the natural fruit 
 being easily taken out ; as, for instance, 
 should a pear be so placed as shown in fig. 5, 
 it is evident it could not be removed from 
 the mould, nor would the wax casting come 
 away without breaking. 
 
 A well-constructed mould is easily used, 
 but a badly formed one it is almost impos- 
 sible to cast from. A day or two should
 
 104 Fruit Modelling. 
 
 elapse before the mould is used, to allow it 
 to harden ; and now, taking as our Lesson 
 in casting a peach, proceed thus : Melt in 
 the way described for leaf modelling a small 
 quantity of white wax, adding to it a light 
 shade of chrome No. i, ground in oil, and 
 mixing this with the wax. It will then be 
 ready for use. 
 
 The mould must be placed in moderately 
 warm water for a few minutes before using, 
 so as to prevent the wax adhering to it. 
 The wax must not be too hot, but quite 
 liquid ; the mould to be wiped with a cloth ; 
 and then taking one-half in the left hand, 
 pour in the melted wax so as nearly to fill 
 the cavity, and then quickly place over the 
 other portion of the mould, taking care it 
 is fitted on quite evenly the three pro- 
 jecting round knobs fitting into the three 
 cavities of the opposite united. Hold the 
 two parts firmly together, and then proceed
 
 Fruit Modelling. 105 
 
 to turn the mould in the hand. This must 
 be done gently, so that as the wax sets in- 
 side, it may be deposited evenly over the 
 inner surface of the mould. The wax will 
 soon cease to move or rattle ; and as soon 
 as this is the case, place it as it is in the 
 warm water. Let it remain in two or three 
 minutes ; then take it out and gently open 
 the plaster mould and take out the wax 
 fruit, handling it gently, as it will be soft 
 and easily crushed. 
 
 Cherries, strawberries, and other small 
 fruits, are more easily cast by making a 
 small aperture in the mould at that part- 
 where the stem joins the fruit ; then put- 
 ting the two pieces together, pour in the 
 melted wax until it is full : allow it to 
 stand a few seconds, and then pour out 
 all that remains liquid. By this means the 
 casting will still be hollow, less weighty, and 
 material will be economized. The stems
 
 io6 Fruit Modelling. 
 
 should be inserted while the wax is warm 
 and soft. 
 
 The next operation is to pare away, with 
 a modelling knife or tool, any roughness, 
 especially at that part where the two pieces 
 of the mould joined ; and then taking a small 
 piece of cloth or flannel dipped in turpentine, 
 wash over the whole surface, rubbing down 
 any roughness still remaining. The colour 
 is given by using a small quantity of 
 carmine applied dry, using a stiff tinting- 
 brush, or it may be mixed with a small 
 quantity of turpentine and then painted on, 
 so as to give the rich red cheeks to the 
 fruit. This is rather dapped on. When dry, 
 the bloom or down observable may be 
 given. For this, arrowroot is to be used 
 tied up in a bag of muslin, or fine white 
 down may be put in the hand and the wax 
 fruit rolled in it. The wax will be suffi- 
 ciently adhesive to hold either preparation.
 
 Fruit Modelling. 107 
 
 Cherries will require a stem to be inserted; 
 then painted with carmine or a deeper 
 shade ; such as May Duke will be imitated 
 by adding violet. This colour to be mixed 
 with turpentine and applied with a soft 
 camel-hair brush. Cherries will require 
 varnishing ; for this use white hard 
 varnish. They will require a day or two 
 to dry. 
 
 Nearly all the other colours found in 
 fruit can be obtained in the same way as 
 the same tints in flowers. Substitute oil 
 for water, or in some cases turpentine and 
 oil. 
 
 Grapes and currants are made by using 
 small glass moulds. These require stems to 
 be added to them, or they can be purchased 
 ready stemmed : white or black, as light or 
 dark grapes are to be imitated. 
 
 Melt a small portion of pale green wax, 
 and then bending the stem of one of the
 
 ]o8 Fruit Modelling. 
 
 glass moulds so that you can dip it in the 
 melted wax, and withdraw it having the 
 stem and the part of grape to which it is 
 attached underneath. The reason for this is 
 that the wax in cooling on the glass is apt 
 to form a thick drop on the lower surface, 
 and this, if allowed to form on the face of 
 the fruit, would spoil its appearance. 
 
 A sufficient number having been pre- 
 pared, group them as desired, and then 
 taking a small quantity of violet powder or 
 starch give the proper bloom to the bunch. 
 
 Black grapes will require purple wax, 
 and the bloom will be imitated by adding a 
 small portion of cobalt. 
 
 Oranges and some other fruits have only 
 a slight gloss on them : this is given by 
 rubbing with a piece of cloth. 
 
 The leaves to be copied as for flowers. 
 
 Many flowers, such as passion flower, 
 arbutus, orange, &c., produce their flowers
 
 Fruit Modelling. 109 
 
 and fruit together : they all make pleasing 
 studies. 
 
 Should the student be desirous to prepare 
 the wax for fruit or leaf modelling, in- 
 stead of purchasing it ready made, or being 
 in a country where it is not easily pro- 
 cured, I will add some instructions for pre- 
 paring it. 
 
 Procure some of the purest bees-wax, or 
 bleached wax, such as is sold by chemists or 
 wax bleachers; and this having been melted 
 in the lamp before described, mix in 3 oz. 
 of Venice turpentine to every pound of 
 wax, or 3 oz. of spermaceti will do ; the 
 object being to soften the wax, which is 
 hard, and without this would be apt to 
 crack in the mould. Any colour may be 
 given to it by adding oil colour (colour 
 mixed with olive oil). Rub up a small por- 
 tion of colour with a portion of wax in a 
 spoon, until it gets hard by the wax cooling
 
 no Fruit Modelling. 
 
 or settling, and then stir this in the melted 
 wax ; and then straining through fine muslin 
 to remove any impurities, it will be ready 
 for use.
 
 LIST OF MATERIALS. 
 
 WAX in sheets, in shades of green, yellow, 
 and pink. Other shades may be obtained 
 as scarlet, blue, violet, crimson, Sec. ; but 
 they are seldom required. 
 
 White and cream-coloured wax, of a 
 medium thickness ; and also 
 
 A thicker quality, known as " Extra 
 Thick:" this also in white and cream colour. 
 
 The great desideratum is strength ; and 
 and next to this, purity of colour. Avoid 
 purchasing wax which has been prepared 
 with any mixture of a fatty nature ; this 
 being frequently added on account of its 
 cheapness, and because it, for a time, ren- 
 ders it soft ; it greatly diminishes its strength,
 
 1 12, List of Materials, &c. 
 
 makes it difficult to colour, and renders the 
 work produced from it liable to the com- 
 plaint so often heard, that the flowers droop 
 or fall to pieces. Properly prepared wax 
 will require no paper between the sheets ; 
 it is only added because, from having the 
 above deleterious ingredient in it, they would 
 stick together if this precaution were ne- 
 glected. Good wax, in short, will stand 
 the heat of the East or West Indies, or 
 the coldest climates : it may harden with 
 cold, and will become soft under the in- 
 fluence of heat, but it will lose none of its 
 strength, being perfectly impervious to any 
 decay. 
 
 The modelling-pins, made of steel, having 
 enamelled heads, from three to nine sizes 
 are required. It is very important to have 
 them with good stems and round heads, so 
 that they may revolve smoothly on the 
 work.
 
 List of Materials, &c. 1 13 
 
 Two ivory pins will be required for larger 
 work. 
 
 A pair of scissors, moderately large, thin 
 in the blade, and easy in the rivets. 
 
 Brushes for painting, three sizes. These 
 must be smooth and even on the face, so as 
 to enable the modeller to place the colour 
 evenly over a large surface. 
 
 Sable pencils for painting such flowers as 
 geranium, picotee, &c. 
 
 A polishing brush for the leaves. 
 
 Moulds, for lily of the valley, heaths, 
 and other tubular or bell-shaped flowers. 
 
 Wires, covered with silk for the finer 
 work ; Nos. 40, 35, 30, 28, and 26 ; No. 40 
 being the finest. The larger and stronger 
 wire I use covered with cotton, and the 
 Nos. 10 and 6. 
 
 Palette and palette-knife. 
 
 Gum water, arrowroot.
 
 ii4 List of Materials, &c. 
 
 Colours in Powder. 
 
 Carmine Mauve 
 
 Violet-carmine Chromes, Nos. T,, 2, 
 Magenta and 3 
 
 Flake White Pink Madder 
 
 Lemon Yellow Prussian Blue 
 
 Crimson Lake French Ultramarine 
 Extract of Vermi- Cobalt 
 
 lion Burnt Sienna. 
 
 Moist Colours in Pans. 
 
 Carmine Burnt Sienna 
 
 Violet-carmine Lampblack 
 
 Indian Yellow Sepia 
 
 Crimson Lake Chinese White. 
 
 Down for calyx, &c., white and green. 
 
 A lamp for melting the wax for leaves 
 and fruit.
 
 PLATE VIII.
 
 List of Materials, &c. 115 
 
 Materials for Fruit. 
 
 Plaster of Paris Olive oil 
 
 Wax Varnish 
 
 Turpentine Modelling tool. 
 
 Knife for trimming. 
 Brush for varnish. 
 Colours as for flowers. 
 Brushes for ditto. 
 Violet-powder for bloom. 
 
 H 2
 
 LIST OF PRICES 
 
 Of Materials, &c. , for Modelling Flowers 
 in Wax, Manufactured 
 
 By J. H. MINTORN. 
 
 Per Gross. 
 
 Wax in sheets, assorted colours . . 6s. 
 Do., medium thickness, do. . . .8^. 
 
 Do., extra thick, do 12.?. 
 
 Do., very thick and large for Mag- 
 nolia, &c. &c i$s. 
 
 Colour in Powder, \s. per bottle. 
 
 Carmine 
 
 Crimson Lake 
 
 Violet-carmine 
 
 Cobalt 
 
 French Ultramarine 
 
 Prussian Blue 
 
 Mauve 
 
 Magenta 
 
 Pink Madder 
 Chrome Nos. i, 
 
 and 3 
 
 Lemon Yellow 
 Burnt Sienna 
 Green 
 
 Flake White 
 Extract Vermilion
 
 L ist of Prices, &c. 117 
 
 Moist Colours in Pans. 
 
 s. d. 
 
 Violet-carmine . i 6 
 Carmine. . .20 
 
 s. d. 
 
 Sepia . . .10 
 Flake White . o 8 
 
 Crimson Lake . i o 
 
 Indian Yellow . i o 
 
 Burnt Sienna . o 8 
 
 Gamboge . .06 
 
 Each. 
 
 Camel Hair Pencils . . . id. and id. 
 
 Sable do. . 6d., gd., is., is. 6d., and is. 
 
 Tinting Brushes 6d. 
 
 Wires, Nos. 40, 35, 30, and 26 . ^d. 
 Do., stronger, 10 and 6 .... 6d. 
 Modelling Pins, Nos. i to 10 . . id. 
 
 Ivory do., do <^d. and is. 
 
 Moulds for Heaths, Lily of the 
 
 Valley, &c id. 
 
 Moulds for Leaves . <)d. y is., and is. 6d. 
 
 Tin Cutters qd. 
 
 Patterns in Paper ^d. 
 
 Palette Knives ... is. and is. 6d. 
 Palettes from 6d. to s.
 
 u8 List of Prices, &c. 
 
 Gum Water . . . . 6d. per bottle. 
 
 Scissors is. 6d. per pair, 
 
 Wax in pots for Lilies .... is. 
 Prepared Wax in Cake for Leaves 
 
 and Fruit 4?. 6d. per Ib. 
 
 Wax Leaves per Dozen. 
 
 
 
 i. 
 
 d. 
 
 
 s. 
 
 J. 
 
 Camellia . 
 
 . 
 
 3 
 
 6 
 
 Magnolia . . 
 
 10 
 
 C 
 
 Geranium . 
 
 
 3 
 
 6 
 
 Lily of the 
 
 
 
 Passion Flower 
 
 3 
 
 6 
 
 Valley . . 
 
 3 
 
 6 
 
 Rhododendron 
 
 3 
 
 6 ! Roses . . . 
 
 4 
 
 6 
 
 Fuchsia 
 
 . 
 
 2 
 
 o 
 
 Stephanotus . 
 
 3 
 
 6 
 
 Pyrus . . 
 
 . 
 
 2 
 
 o 
 
 Nemophila 
 
 2 
 
 c 
 
 Orange 
 
 . 
 
 2 
 
 o 
 
 Convolvulus . 
 
 2 
 
 c 
 
 Water Lily 
 
 . 
 
 10 
 
 
 
 Azalea . . . 
 
 2 
 
 c 
 
 Small Mahogany Material Boxes, fitted 
 complete 21 o 
 
 Larger ditto, Stoppered Bottles, a 
 good useful Box 42 o
 
 List of Prices, &c. 119 
 
 5. d. 
 
 Largest Mahogany Material Boxes, 
 Caddy lid, extra colours, a very 
 complete box 63 o 
 
 Spirit Lamp for melting the wax for 
 Leaves and Fruit 46 
 
 Plaster of Paris, Moulds, Varnish, and 
 other requisites for Fruit Modelling.
 
 LIST OF PRICES 
 
 Of Materials, &c., for Paper Flowers, 
 Imported and Manufactured 
 
 By J. H. MINTORN. 
 
 French Papers per Sheet. 
 
 Carmine ^d. 
 
 Pinks from \d. to d. 
 
 Cherry 4d. 
 
 Shaded for Roses i\d. 
 
 Or by the doz. assorted . . . . is. 
 
 Stem Paper \d. and id. 
 
 White Tissue id. 
 
 Groseille 4</. 
 
 Blue z\d. 
 
 Damask $d. 
 
 Pomegranate 4^.
 
 List of Prices, &c. 
 
 T21 
 
 Scissors , 
 Moulders 
 
 *. d. 
 
 i 6 
 o 6 
 
 Pincers 6d. and i 3 
 
 Wires . $d. to o 6 
 Gum Water 
 
 o 6 
 o 6 
 
 Leaves. 
 
 Orange . . .04 
 Fuchsia . . .04 
 Rhododendron o 6 
 Nemophila . o 4 
 Pyrus 
 
 . o 4 
 
 Rose . ..06 
 to 2s. 6d. per doz. 
 Jasmine . . .05 
 Camellia . .06 
 May . . . .04 
 Geranium . . o 6 j 
 
 Others in proportion 
 
 Hearts . . . from id. to i,y. per doz. 
 Buds .... id. to is. 
 Calyx Rose . . 6d. 
 
 A large variety of Buds, Calyx, 
 Hearts, &c.
 
 122 
 
 List of Prices, &c. 
 Petals, Stamped out, per Box. 
 
 s. d. 
 
 Rhododendron, o 9 
 China Aster . o 9 
 
 Nemophila . 
 Geranium . 
 
 i. d. 
 . o 8 
 
 . I O 
 
 Convolvulus . 2 6 
 Carnation . .14 
 
 Daisy . . 
 Clove . . 
 
 . o 8 
 
 . 2 6 
 
 A large assortment of Ferns, common 
 and Exotic, including Maidenhair.
 
 LIST OF PRICES 
 
 Of Materials, &c., for Modelling in 
 Leather. 
 
 Skins of prepared Leather. 
 
 Bazils 3^. to 3^. yd. each. 
 
 Skivers . . *s. to is. 6d. 
 
 Each. 
 
 Each. 
 
 Veiners . is. od. 
 
 Nippers . 3^. od. 
 
 Knives . is. 6d. 
 
 Hammers . is. 6d. 
 
 Awls . os. ^d. 
 
 Scissors . is. 6d. 
 
 Pincers 6d. & i s. $d. Do., larger . as. od. 
 
 Varnish, per 
 
 Liquid glue os. 6d. 
 
 bottle. . is. od. 
 
 Stiffening . is. od. 
 
 Mouth glue is. od. 
 
 Lamp for 
 
 Oak Stain . is. od. 
 
 glue . . 35-. yd. 
 
 French pins for Fixing, per Ib. 
 Seeds for Flowers, per bundle
 
 124 List of Prices, &c. 
 
 Grape Moulds . . . . is. yd. per set 
 Convolvulus do is. ^d. 
 
 A wholesale list for the trade and shippers 
 will be forwarded on application. 
 
 Frames, Brackets, and every other re- 
 quisite for the above.
 
 Mr. J. H. MINTORN, Modeller to the 
 Queen, continues to receive pupils at his 
 Studio, 33, Soho Square, where may be seen 
 a large and varied collection of models in 
 wax, and which may be inspected by all 
 who take an interest in the art. 
 
 Mr. J. H. MINTORN continues to super- 
 intend the manufacture of the wax and 
 other requisites used, so that the modeller 
 may be able to depend upon the strength, 
 durability, and colour of all the various 
 materials required for the art. 
 
 Ladies residing in the country or abroad 
 may rely on every attention being given to 
 their orders through the post.
 
 PAPER FLOWERS. 
 
 THE HANDBOOK. 
 
 BY MRS. J. H. MINTORN. 
 
 Price is. 
 FOURTH EDITION, REVISED AND ILLUSTRATED. 
 
 A thoroughly practical guide to a very useful and pleasing 
 decorative art. 
 
 HANDBOOK OR GUIDE 
 
 MODELLING IN LEATHER. 
 
 Mr. J. H. MINTORN has much pleasure in informing 
 the Public that he will shortly publish a New and Com- 
 plete Guide to this most Ornamental and Useful Art, by 
 his sister, Mrs. MOGRIDGE, late Miss MINTORN. 
 
 Every requisite for the above may be obtained of 
 MR. J. H. MINTORN, 33, Soho Square.
 
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 EMILY CHESTER. 
 LAMB'S TALES. 
 STORIES OF OLD DANIEL. 
 EXTRAORDINARY MEN. 
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 THE YOUNG ARTISTS. 
 LIFE OF NAPOLEON. 
 POPULAR ASTRONOMY. 
 ORBS OF HEAVEN. 
 PILGRIM'S PROGRESS. 
 
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 BUNDLE OF STICKS ; or, Love and Hate. By J. &E. Kirly. 
 
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 12 George Rontlcdge 6^ Sons' Juvenile Books. 
 
 With Large Illustrations fyH. S. MARKS, J. D. WATSON, 
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 I o ALPHABET OF TRADES. 
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 ALPHABET OF PRETTY 
 
 NAMES. 
 OLD TESTAMENT ALPHA- 
 
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 HISTORY, ist Period. 
 
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 THREE LITTLE KITTENS. | Puss IN BOOTS. 
 THE HISTORY OF FIVE TOM THUMB. 
 
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 TOM THUMB'S ALPHABET, j JACK ANDTHE BEAN-STALK 
 NEW TESTAMENT ALPHA- j -T HE LAUGHABLE ABC. 
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 OURFARM-YARDALPHABET. j 
 
 THE HISTORY OF MOSES, j 
 THE HISTORY OF JOSEPH. I 
 
 THEALPHABETofFLOWERS. j 
 
 NURSERY RHYMES, and I 
 Series. 
 
 NURSERY GAMES. 
 
 THE HOUSE THAT JACK 
 
 BUILT. 
 
 THE LIFE OF OUR LORD. 
 THE THREE BEARS. 
 RED RIDING-HOOD. 
 NEW TALE OF A TUB.* 
 NURSERY TALES. 
 
 Ditto . 
 
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 Ditto, 
 MY MOTHER. 
 
 4th Series.* 
 ,ist Series.* 
 2nd Series.* 
 3rd Series.* 
 4th Series. * 
 
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 LITTLE DOG TRUSTY. 
 THE WHITE CAT. 
 THE UGLY DUCKLING. 
 LITTLE SNOW-WHITE. 
 DASH AND THE DUCKLINGS. 
 
 Those marked -with an asterisk are NOT kept on linen. 
 
 Swm ^0oks. 
 
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 O 6 HISTORY OF OUR PETS. 
 HISTORY OF BLUE BEARD. 
 
 SlNDBAD THE SAILOR. 
 
 A, APPLE PIE. 
 TOM THUMB'S ALPHABET. 
 BARON MUNCHAUSEN. 
 PICTURE ALPHABET. 
 ARTHUR'S ALPHABET. 
 
 DOROTHY FRUMP AND HER 
 
 Six DOGS. 
 SINGING BIRDS. 
 PARROTS & TALKING BIRDS 
 DOGS. 
 
 NURSERY RHYMES. 
 BIRDS. 
 RAILROAD ALPHABET.
 
 London and New York. 
 
 AUNT MAYOR'S TOY BOOKS (continued '). 
 
 o 6 ALPHABET FOR GOOD BOYS 
 
 AND GIRLS. 
 
 THE SEA-SIDE ALPHABET. 
 FARM-YARD ALPHABET. 
 
 GREEDY JEM AND HIS 
 
 LITTLE BROTHERS.* 
 OUR Puss AND HER KIT- 
 HOP o' MY THUMB. [TENS.* 
 JACK THE GIANT KILLER. 
 LITTLE RED RIDING-HOOD. 
 BEAUTY AND THE BEAST. DON. 
 HAPPY DAYS OF CHILD- ONE, Two, 
 
 HOOD.* 
 
 LITTLE DOG TRUSTY. 
 THE CATS' TEA PARTY. 
 THE BABES IN THE WOOD. 
 WILD ANIMALS. 
 BRITISH ANIMALS. 
 THE FROG WHO WOULD A- 
 
 WOOING Go.* 
 
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 THE FARM- YARD.* 
 HORSES. 
 
 OLD DAME TROT. 
 MULTIPLICATION TABLE. 
 CHATTERING JACK. 
 KING COLE. 
 PRINCE LONG NOSE. 
 THE ENRAGED MILLER. 
 THE HUNCHBACK. 
 How JESSIE WAS LOST. 
 
 The above, except those marked with an 
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 GRAMMAR IN RHYME. 
 BABY'S BIRTHDAY.* 
 PICTURES FROM THE 
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 LOST ON THE SEA-SHORE.* 
 ANIMALS AND BIRDS.* 
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 ANNIE AND JACK IN LON- 
 
 [SHOE. 
 
 BUCKLE MY 
 MARY'S NEW DOLL.* 
 WHEN THE CAT'S AWAY.* 
 NAUGHTY PUPPY.* 
 CHILDREN'S FAVOURITES.* 
 NAUGHTY BOYS AND GIRLS. 
 LITTLE MINXES. 
 STRUWELPETER. [LIFE. 
 LITTLE MINNIE'S CHILD 
 KING NUTCRACKER. 
 LAZY BONES. 
 BRITISH SOLDIERS. 
 BRITISH SAILORS. 
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 e Shilling each. 
 
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 o 6 HISTORY OF MY PETS. | JESSIE GRAHAM. 
 HUBERT LEE. FLORENCE ARNOTT. 
 
 ELLEN LESLIE. BLIND ALICE.
 
 1 4 George Routledge o Sons' Juvenile Books. 
 
 f d ROUTLEDGE'S 6d. JUVENILES (continued). 
 
 o 6 GRACE AND CLARA. 
 
 ARTHUR'SCHRISTMASSTORY 
 
 RECOLLECTIONS OF MY 
 
 THE LOST LAMB. 
 
 CHILDHOOD. 
 
 ARTHUR'S STORIES FOR LIT- 
 
 EGERTON ROSCOE. 
 
 TLE BOYS. 
 
 FLORA MORTIMER. 
 
 ARTHUR'S ORGAN BOY. 
 
 CHARLES HAMILTON. 
 
 MARGARET TONES. 
 
 STORY OF ADROPOFWATER j THE Two SCHOOL GIRLS. 
 
 LEARNING BETTER THAN 
 
 THE WIDOW AND HER 
 
 HOUSES AND LAND. 
 
 DAUGHTER. 
 
 MAUD'S FIRST VISIT TO HER 
 
 THE ROSE IN THE DESERT. 
 
 AUNT. In Words of One Syl- 
 
 THE BIRTHDAY PRESENT 
 
 lable. 
 
 and THE BASKET WOMAN. 
 
 EASY POEMS. 
 
 SIMPLE SUSAN. 
 
 THE BOY CAPTIVE. By Peter 
 
 THE LITTLE MERCHANTS, 
 
 Parley. 
 
 STORIES OF CHILD LIFE. 
 
 TALE OF THE UNIVERSE. 
 ROBERT DAWSON. 
 
 DAIRYMAN'S DAUGHTER. 
 
 KATE CAMPBELL. 
 
 ARTHUR'S TALES FOR THE 
 
 BASKET OF FLOWERS. 
 
 YOUNG. 
 
 BABES IN THE BASKET. 
 
 HAWTHORNE'SGENTLE BOY. 
 
 THE JEWISH TWINS. 
 
 THE FALSE KEY. 
 
 CHILDREN ON THE PLAINS. 
 LITTLE HENRY AND HIS 
 
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 BEARER. 
 
 WASTE NOT, WANT NOT. 
 
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 TARLETON.and FORGIVE and 
 
 MARTHA AND RACHEL. 
 
 FORGET. 
 
 CARPENTER'S DAUGHTER. 
 
 LAZY LAWRENCE AND THE 
 
 THE PRINCE IN DISGUISE. 
 
 WHITE PIGEON. 
 
 GERTRUDE AND HER BIBLE. 
 
 THE BARRING OUT. 
 THEORPHANSANDOLDPOZ. 
 
 THE CONTRAST. Miss Edge- 
 worth. 
 
 THE MIMIC. 
 
 THE GRATEFUL NEGRO. Do. 
 
 THE PURPLE JAR, and other 
 
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 JANE HUDSON. 
 A Kiss FOR A BLOW. 
 
 PARLEY'S POETRY & PROSE. 
 
 YOUNG NEGRO SERVANT. 
 
 ARTHUR'S STORIES FOR 
 
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 LITTLE GIRLS. 
 
 ARTHUR'S LAST PENNY. 
 
 THE YOUNG COTTAGER. 
 
 BRIGHT-EYED BESSIE. 
 
 PARLEY'S THOS. TITMOUSE. 
 
 THE GATES AJAR. 
 
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 Royal y.mo t fancy covers. 
 
 o 4 THE BASKET OF FLOWERS. 
 THE BABES IN THE BASKET. 
 
 FLORENCE ARNOTT. 
 ROBERT DAWSON. 
 
 EASY POEMSFOR CHILDREN. 
 
 RECOLLECTIONS OF Mr 
 
 JESSIE GRAHAM. 
 
 CHILDHOOD. 
 
 HISTORY OF MY PETS. 
 
 BROOKE AND BROOKE FARM.
 
 London and New York. \ 5 
 
 ,. d. ROUTLEDGE'S qd. JUVENILES (continued), 
 
 o 4 LIFE IN THE WILDS. 
 
 HILL AND THE VALLEY. 
 THE WIDOW AND HER 
 
 DAUGHTER. 
 
 THE Two SCHOOL GIRLS. 
 THE JANE HUDSON. 
 A Kiss FOR A BLOW. 
 HUBERT LEE. 
 FLORA MORTIMER. 
 
 A DROP OF WATER. 
 THE FALSE KEY. 
 THE BRACELETS. 
 THE PURPLE JAR. 
 SIMPLE SUSAN. 
 KATE CAMPBELL. 
 LITTLE HENRY AND HIS 
 BEARER. 
 
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 Edited by Rev. R. A. WILLMOTT. Illustrated by FOSTER, 
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 KIRKE WHITE. By Southey. Illustrated by Birket Foster. 
 
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 LORD LYTTON'S POETICAL WORKS. 75. 6d. 
 
 - DRAMATIC WORKS. 6s. 
 DRYDEN'S POETICAL WORKS. With Portrait, &c.
 
 1 6 George Routledge &* Sons' Poets. 
 
 l&oniLebge's {jm-anb--j9i*p'cnng |3o,eis, &c. 
 
 Printed on tinted paper, /cap. 8vo, gilt edges. With 
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 3 6 LONGFELLOW'S COMPLETE POETICAL WORKS. Illust. 
 
 COVVPER. lilust. by Birket Foster. Edited by Willmott. 
 
 MILTON'S POETICAL WORKS. Illustrated by Harvey. 
 
 WORDSWORTH'S POETICAL WORKS. Illust. by B. Foster. 
 
 SOUTHEY'S JOAN OF ARC, AND MINOR POEMS. Illust. 
 by Gilbert. 
 
 GOLDSMITH, JOHNSON, SHENSTONE, AND SMOLLETT. Do. 
 
 KIRKE WHITE. By Southey. Illustrated by Birket Foster. 
 
 BURNS. Illustrated by Gilbert. 
 
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 BYRON'S POEMS. Illustrated by Gilbert, Wolf, &c. 
 
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 SHAKESPEARE'S COMPLETE WORKS. 
 
 CHAUCER'S POETICAL WORKS. 
 
 WILLIS'S POETICAL WORKS. 
 
 GOLDEN GLEANINGS. 
 
 CHOICE POEMS AND LYRICS. 
 
 SHAKESPEARE GEMS. 
 
 BOOK OF WIT AND HUMOUR. 
 
 WISE SAYINGS OF THE GREAT AND GOOD. 
 
 MONTGOMERY'S POEMS. 
 
 Fcap. 8vo, with Illustrations, in cloth. 
 2 6 LONGFELLOW'S COMPLETE POETICAL WORKS. 
 
 SCOTT'S POEMS. 
 BYRON'S POEMS. 
 COWPER'S POEMS. 
 WQRDSWORTH'S POEMS. 
 
 BURNS' POEMS. 
 MOORE'S POEMS. 
 MILTON'S POEMS. 
 POPE'S POEMS. 
 
 Or bound in a new style, 8 vo/s., cloth, i. 
 
 0oil%'s Docket |)ods. 
 
 iSmo, with Portrait. 
 I o LONGFELLOW'S COMPLETE POETICAL WORKS. Paper, 
 
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 SCOTT'S POETICAL WQRKS. Cloth, is. [is. 6d. 
 
 London : THE BROADWAY, LUDGATE HILL. 
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 J. OGDEN AND CO.. PRl.VTERS, 172. ST. JCH.N STREET E.C.
 
 THE LIBRARY 
 UNIVERSITY OF CALIFORNIA 
 
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