COMPLETE GUIDE 
 
 TO THE 
 
 ORNAMENTAL 
 
 LEATHER WORK. 
 
 LONDON : 
 PUBLISHED BY J. RETELL, 272 OXFORD STREET 
 
 SOLD BY 
 
 T. T. LEMARE, OXFORD ARMS PASSAGE, 
 PATERNOSTER ROW; 
 
 B. .SMITH, 107, FLEET STEEET; AND AIL BOOKSEILEHS. 
 
 Jlalf-a-Cromi.
 
 REVELL'S 
 
 COMPLETE GUIDE 
 
 TO THE 
 
 OMAMESTAl LEATHER WORK. 
 
 GENERAL REMARKS. 
 
 WE feel assured that a long introduction is neither 
 requisite to the reader or publisher of a Work like 
 the present, and shall, therefore, merely say, that the 
 great success our former little Works have met with,
 
 has induced us to send forth this edition, in which will 
 be found every particular connected with this very use- 
 ful source of amusement and fashionable department of 
 practical art. The illustrations are furnished by a late 
 pupil of the School of Design, who obtained the highest 
 prize for Flower Painting, assisted by a student of the 
 ROYAL ACADEMY OF ARTS. Every example given has 
 been practically tested, and, in most instances, the draw- 
 ings have been copied from the models executed in leather, 
 and will be found to combine durability with beauty of 
 design. In order to make the leather modelling as 
 durable as possible, we have not departed from nature in 
 the finished form, but in the mode of construction; for 
 example, we make several portions of a flower in one 
 piece of leather. The Narcissus and the beautiful White 
 Lily have each six petals ; in both instances, we make 
 the entire corolla of the flowers in one piece ; thereby, 
 while losing none of the beauty of the natural form of 
 the flowers, we gain strength and solidity ; as, were the 
 petals of the Lily or Narcissus to be composed of six 
 pieces, one, if imperfectly cemented, might fall off and
 
 detract from the beauty of the entire piece of work. By 
 our method of proceeding, it is impossible to do so : we 
 mention this, as, in our description of Making and 
 Modelling Flowers in Leather, we differ from the literally 
 botanic construction, while, at the same time, we arrive 
 at perfectly correct and artistic formation. 
 
 In some flowers, as in the Hop, Dahlia, &c., we have 
 found it impracticable to combine many petals in one 
 piece of leather ; where this is the case, especial care 
 must be taken to have good liquid glue, and fasten each 
 petal securely. 
 
 All leather to be used in Modelling Leaves, Flowers, 
 &c., must be first wetted, and modelled while wet ; and 
 as this is a general rule, the student will understand that 
 mention of the necessity of this operation will not in 
 every instance be repeated. 
 
 Amongst the many uses to which Leather Work is 
 applied, that of ornamenting Pulpits will be found a 
 
 capital field for the display of this art, as it is capable of 
 
 B 2
 
 xii. 
 
 being moulded into any form, and nothing can possiblv 
 have a more substantial and beautiful appearance. 
 
 Glasses of varied form, as jelly glasses and old- 
 fashioned goblets, as well as many of modern manufac- 
 ture, can be covered on the outside with Leather Work 
 Lilies of the Valley, and other such flowers, being 
 trailled round a groundwork of leaves, and being eithei 
 gilded or stained, look exceedingly well; and as the\ 
 are capable of holding water, become really useful at 
 well as ornamental articles for bouquets of flowers. 
 
 Fire-screens and scroll work are executed exactly ir. 
 the same manner, as described in the following pages, 
 for frames. Fire-screens are generally filled with Berlii; 
 wool, or some other fancy work. Those who would 
 prefer to have an entire piece of Leather Work, cat 
 paint landscapes or flowers upon white leather, usinsr 
 the same medium which is used at the School of Desigi: 
 for body colour painting, mixed with finely powdered 
 colours.
 
 Gold Leather Work looks remarkably well upon a 
 blue or crimson velvet ground, and makes very rich 
 frames, fire screens, &c. When tastefully arranged, the 
 flowers and leaves upon these grounds have a very mag- 
 nificent appearance. 
 
 Amongst the numerous articles which admit of being 
 ornamented with leather, may be enumerated frames, 
 brackets, vases, pole and hand screens, card plates and 
 racks, music and watch stands.
 
 imfte to teamwitai f tatkr 
 
 THE MATERIALS. 
 
 The principal Materials required for this work arc- 
 
 Basil Leather. 
 
 Skiver ditto. 
 
 A Bottle of Oak Varnish Stain. 
 
 Ditto Spirit Stain. 
 
 Ditto Shaw's Liquid Glue.
 
 16' REVELl/S COMPLETE GUIDE 
 
 A Bottle of Stiffening. 
 
 A Small Hammer. 
 
 A few Brushes, 
 
 Some Tacks. 
 
 A pair of Nippers. 
 
 A Veining Tool. 
 
 A few hard Steel Pens. 
 
 Bradawl. 
 
 Pair of Scissors. 
 
 A Leather-cutting Knife. 
 
 Grape Moulds. 
 
 Ditto for Passion Flowers. 
 
 Fine Black Lead Pencil.
 
 TO ORNAMENTAL LEATHER WORK. 1 7 
 
 LEATHER. 
 
 The kind of leather used for general purposes is basil ; 
 it should be selected of an even texture and of a light 
 colour, as the lighter coloured basil takes the oak var- 
 nish stain better than the dark. 
 
 Great care must be taken to select it soft and free 
 from blemishes, as if dark and rough leather is used, the 
 work when finished, even by skilful hands, will not have 
 so good an appearance as the production of much less 
 skilful artists, where good basil leather is used. 
 
 The skiver leather is used for making grapes, or very 
 small leaves and flowers, and can be obtained at the 
 same place as the basil leather ; this kind is also very 
 useful for thin stems and any minute portion of the 
 work.
 
 IS 
 
 REVELL S COMPLETE GUIDE 
 
 DIRECTIONS FOR MAKING THE LEAVES. 
 
 Sketch, either from nature, or from the example 
 annexed, the leaf you intend to copy, upon pasteboard ; 
 cut it out very carefully ; then place a piece of basil in 
 
 No. 1. 
 
 cold water for half a minute (not longer), unless the 
 leather is unusually thick ; the leather should then be 
 taken out of the water, and pressed in a linen cloth until 
 the surface becomes dry. Being thus prepared, lay 
 it quite flat and place upon it the pasteboard pattern,
 
 TO ORNAMENTAL LEATHER WORK. 19 
 
 holding it firmly down with the left hand, while with 
 the right, draw a line round the pattern with a fine hard 
 black lead pencil or the veining tool : while the leather 
 is damp cut oat the leaf with a pair of scissors or with 
 the leather-cutting knife, as occasion may require ; when 
 smaller or larger leaves are required, a reduced, or 
 enlarged, sketch should be taken, a pattern made of it in 
 pasteboard, and applied in the same manner as described 
 above, cutting out as many leaves as you require, and 
 generally making about four sizes of them, as varying 
 the sizes of the leaves adds much to the beauty of the 
 foliage. Leaves all the same size would have a very 
 formal appearance, as they must be veined before they 
 are allowed to dry; too much leather must not be 
 wetted at a time, nor more leaves cut out than can be 
 veined. To vein the leaves, mark them with the veining 
 tool on the smooth side of the leather strongly, by 
 pressing heavily on the leaf, where a thick vein is 
 required ; and more lightly where only finer ones should 
 be visible ; for raised veins employ the end of a fine pair 
 of scissors for the large, and a hard steel pen for the
 
 20 
 
 REVELL S COMPLETE GUIDE 
 
 smaller veins. Being veined, the leaves should be 
 bent and moulded as they are to appear upon the work 
 when it is completed : they should then be dried rather 
 quickly, as it greatly assists in the hardening. 

 
 TO ORNAMENTAL LEATHER WORK, 
 
 TO HARDEN THEM 
 
 Wiicii the leaves are thoroughly dry, brush them all 
 over, particularly the edges with the prepared stiffening 
 applying it with a camel's hair pencil, nimbly, as it drie.-- 
 very rapidly, apply it thin and evenly, taking care to 
 cover the edges ; when dry, they will be ready for 
 stainiu<r
 
 22 REVELL'S COMPLETE GUIDE 
 
 TO STAIN THEM. 
 
 Pour a little oak varnish stain into a small vessel, and 
 brash the leaves all over, using a hog's-hair tool for 
 the purpose of laying on the stain, taking care to cover 
 the edges, and brush it well out of the veined parts ; 
 should the leaves, when dry, not be so dark as desired, 
 another coat can be given, but in no instance apply 
 thick coats of stain, it will, if put on thick, most likely 
 dry darker in one place than another, and will never 
 have so smooth an appearance as when two thin coats 
 have been applied ; take care always that one coat must 
 be dry before another is applied.
 
 TO ORNAMENTAL LEATHER WORK. 23 
 
 TO MAKE STEMS. 
 
 Cut strips of basil leather about one-third of an inch 
 wide and as long as the leather will allow ; soak them 
 well in water for a few minutes until they feel very soft, 
 take them out, wipe the water from the surface, then 
 roll them round as tightly as possible (the smooth side 
 outwards) on a table or any even surface, and dry them ; 
 if required very stiff, <idd inside a piece of wire ; when 
 very thick ones are required the leather must be pro- 
 Dortionatelv wider.
 
 24 REVF.LL'S COMPLETE GUIDE 
 
 TO MAKE TENDRILLS. 
 
 Tendrills are made iu the same manner as Stems, 
 using skiver instead of basil leather, dry them quickly, and 
 they will then be ready for use in the following manner : 
 take a tendrill, damp it and immediately wind it round 
 a bradawl or a piece of stout wire, taking care to fasten 
 both ends of the tendrill so that it does not fly off; dry 
 it by the fire, then remove it from the awl and a deli 
 cately-formed tendrill will be the result ; arrange it and 
 cut to length and form wished, and apply a coat of 
 stiffening to keep it in shape. Stems and tendrills are to 
 be hardened and stained precisely in the same manner a.- 
 the leaves.
 
 TO ORNAMENTAL LEATHER WORK. 
 
 CRAPES. 
 
 In order to produce grapes symmetrically formed a 
 proper mould should be obtained ; then cut rounds of 
 skiver leather the size required, which must be wetted 
 and placed in the mould the smooth side downwards ; 
 then fill the leather in the mould firmly with wadding, 
 and tie the grapes securely with strong thread or fine 
 twine ; when the grape is finished, put a piece of wire 
 through the part where it has been tied up to form a stalk. 
 Or grapes can be made of deal or any soft wood with 
 a hole pierced through the centre large enough to admit 
 of a leather or gutta percha stalk being drawn throusrh 
 and fastened at one end ; they should now be stained 
 and made into clusters ; wooden grapes may be covered 
 with damp skiver leather if preferred ; it is necessary to 
 observe, in making the clusters that the tying should be 
 entirely concealed ; all fruit and flowers must be stained, 
 &c., precisely in the same manner as leaves.
 
 26 REVELL'S COMPLETE GUIDE 
 
 TO ORNAMENT A FRAME. 
 
 Procure a deal frame of the size and form required, 
 taking care to have it made of well-seasoned wood. Size 
 it all over with patent size. Leave it about an hour to 
 dry, then apply a coating of oak varnish stain, and when 
 dry it will be ready for use. Commence the process of 
 covering by attaching the stem with small tacks all 
 round, in spaces of a few inches, in a zigzag direction. 
 Supposing the vine pattern frame is selected, cover the 
 wood with four or five gradations of foliage, well ar- 
 ranged, so as to preserve as nearly as possible, the 
 natural appearance of the vine. Too great a profusion of 
 grapes should be avoided ; but as the number and size 
 of the clusters can hardly be determined, we must there- 
 fore leave it to the taste of the artist. 
 
 Common pins can be used with advantage in keeping 
 in its proper place that portion of the work where glue
 
 TO ORNAMENTAL LEATHER WORK. 
 
 27 
 
 only can be applied for the permanent fastening. When 
 the work becomes firmly attached, the pins can either be 
 withdrawn, or they can be cut off, close to the orna- 
 ments, with the nippers.
 
 28 . REVKLL'S COMPLETE GUIDE 
 
 THE PROPER KIND OF FRAMES TO 
 PROCURE. 
 
 The frames best adapted for the work, we have found 
 to be those levelled off on the outer edge to about half 
 an inch thinner than the inner, and formed as shewn in 
 Fig. 1 . Frames made in this shape greatly increase the 
 
 No. 2. 
 
 beauty of the entire design. A narrow gold beading we 
 hare generally added inside, as the gold gives a more 
 finished appearance to the frame.
 
 TO ORNAMENTAL LEATHER WORK. 
 
 29 
 
 WATCH STANDS, 
 
 Can, like one below, be made by every carpenter ; they 
 must be strong to bear the nailing and gluing on of the 
 leather ornaments. The design here given (Fig. 2), we 
 
 No. 3. 
 
 keep, as well as other descriptions in stock, but they can
 
 3U REVELL S COMPLETE GUIDE 
 
 be varied ad inftnilum ; and we shall be happy to make 
 any design to order very promptly, or, as we have before 
 observed, almost any carpenter can make them, if fur- 
 nished with a drawing to work from.
 
 TO ORNAMENTAL LEATHER WORK. 31 
 
 THE WHITE LILY, 
 
 This beautiful flower, one of the oldest inhabitants of 
 the flower garden, has six petals, which are formed of 
 
 No. 4. 
 
 one piece of leather, as in Fig. 1 ; the three largest
 
 32 REVELL'S COMPLETE GUIDE 
 
 petals, which, alternate with the others, are brought 
 uppermost, while the three smaller ones are placed 
 behind. Our readers will at once perceive what is meant 
 by referring to the finished flower ; they are to be veined 
 and curled as in the natural flower, and the petals will 
 require to be glued to keep them in their proper places ; 
 it is necessary, if you have not our mould for that pur- 
 pose, to adapt something to place the lily upon while 
 modelling it, as near the shape of the interior of the 
 flower as possible. The lily has six stamina, with 
 'oblong anthers, which are made in the manner described 
 for the convolvolus ; the pistil, with its swollen base or 
 germen, lengthened style and heart-shaped stigma, 
 hould be carefully imitated from nature, being a very 
 prominent feature in the flower ; the stamina should be 
 placed round the germen of the pistil and fastened with 
 liquid glue into the centre of the flower ; it must be re- 
 collected that the smooth side of the leather must be 
 inside the lily as in the convolvolus ; some flowers 
 require the smooth side of the leather inside, and some 
 outside ; it must depend upon whether the interior or
 
 TO ORNAMENTAL LEATHER WOKK. 
 
 exterior of the flower is most in sight, and in some 
 instances in the same flower some petals must be placed 
 ene way, and some another. 
 
 The bud of the lily is formed by merely folding the 
 wUola corolla together veined.
 
 34 REVKLL'S COMPLETE GUIDE 
 
 FUSCHIA. 
 
 The calyx forms the external part of this flower, and 
 is made with one piece of leather cut as in the accom- 
 panying (Fig. 1.) The petals within this are four, and 
 
 No. 5. 
 are cut out, the four in one piece ; in the form of the
 
 TO ORNAMENTAL LEATHER WORK. OD 
 
 dotted line, in Fig. 1, they must be moulded into shape 
 and glued to the stamina inside the calyx so as to alter- 
 nate with its petals. This flower belongs to the class 
 Enneandria, having nine stamina ; they are to cut in one 
 piece of leather. To put the fuschia together, proceed as 
 follows : Cut the nine stamina, and attach to them the 
 wire, to form the stalk ; then roll the four petals firmly 
 over the stamina ; they mnst be moulded and glued 
 round the stamina and stalk, then take the calyx and 
 roll round the whole ; the leaves nrnst be expanded and 
 moulded as in the engraving, taking care that the 
 stamina are left out as in the natural flower, and that 
 the inner petals alternate with the leaves of the calyx ; 
 to make the buds, roll up the calyx, and turn the ends 
 in, not inserting any stamina.
 
 36 
 
 REVELL S COMPLETE GUIDE 
 
 BRACKETS. 
 
 The beauty of a bracket depends entirely upon the 
 artistic skill displayed in ornamenting it. The en- 
 graving here given is to illustrate the form of bracket 
 
 No. 6. 
 
 best suited to give it strength and solidity, and to aid 
 the artist in bringing the work well out, the strips of 
 wood on each side of the piece in the centre will be 
 found exceedingly useful to nail and glue the work
 
 TO ORNAMENTAL LEATHER WORK. 
 
 upon ; they must be entirely covered with the foliage ; 
 the centre piece can be hidden or not to suit the design ; 
 the appearance of brackets are much improved by having 
 the edge of the upper part gilded.
 
 REVELL'S COMPLETE GUIDE 
 TO MAKE THE CONVOLVOLUS FLOWERS. 
 
 The Convolvolus, termed, by Botanists, Monopetalous, 
 from its being composed of only one petal, is exceedingly 
 well adapted for leather work ; it is made by cutting a 
 half circle of leather with a little piece cut out of the centre 
 of the diameter, as seen in the annexed engraving (Fig. 1 .) 
 1. 
 
 r Fhe leather so cut must be wetted and viened, then bent 
 round (the smooth side inside, so that the smooth side
 
 TO ORNAMENTAL LEATHER WORK. 39 
 
 oi' the leather form the inside of the flowers) until the 
 two edges on each side of the notch come together, where 
 they are to be joined by being either stitched or glued 
 together ; it will then have a conical shape, and must be 
 moulded with the fingers, or the mould, until it assumes 
 a natural appearance ; the top can be cut to shape, and 
 that part is finished ; cut the stamina, as in (Fig. 2.), 
 leaving a stalk of leather attached to it in the following 
 manner : take a piece of basil about a quarter of an inch 
 wide and a few inches long ; cut the top as in Fig. 2, 
 raking care to preserve the form of the anther at the top' 
 of each stamen, and rolling the stalk part up, put it 
 through the petal and glue it in its proper place. The 
 calyx has five leaves (Fig. 3), and is cut in one piece of 
 leather ; a hole is made in the centre, it is strung on the 
 stalk and attached with glue to the bottom of the flower 
 outside as in the finished flower (Fig. 4), so that the 
 perfect convolvolus is composed of three pieces, the petal 
 forming the body of the flower, the stamina inside, and 
 the calyx at the bottom of the flower outside.
 
 40 RBVHLL'S COMPLKTK 
 
 THE CONVOLVOLUS ANOTHER WAY. 
 
 Another way to make the Convolvolus is to cut a round 
 piece of leather the size of the flower required, and while 
 wet, moulding it over the mould for that purpose and 
 bending it into shape ; the Canterbury bell can be formed 
 of one piece of leather in the same manner, cutting the 
 top into proper shape with a pair of scissors.
 
 TO ORNAMENTAL LEATHER 'WORK, 41 
 
 HOPS. 
 
 The Hop consists of numerous membraneous scalet 
 having the fruit within, and at their base ; with the fruit 
 however we have nothing to do, as it is out of sight. 
 The membraneous scales are the petals of the flower, 
 and in the engraving (Fig. 1,) are twenty in number; 
 
 Fig. 8. 
 
 they are all the same size, and are cut out of skiver 
 leather, the shape of the single petal (Fig. 2).
 
 42 REVELL'S COMPLETE GUIDE 
 
 To make the Hop, proceed as follows : Take a piece 
 of wire and wind leather round the end of it, as in Fig. 3, 
 fastening it well with liquid glue ; this inner body should 
 be somewhat shorter than the Hop is to be when com- 
 pleted, and pointed at both ends. Cut out as many 
 petals as are requisite, and mould them into a convex 
 form at the end of each petal, then glue them alternately, 
 commencing'at the bottom and finishing at the top of the 
 flowers.
 
 TO ORNAMENTAL LEATHER WORK. 43 
 
 PASSION FLOWER. 
 
 The Passion Flower is composed in leather of five 
 pieces, and when well made presents a very beautiful 
 specimen of what can be accomplished in that material. 
 
 In making the Passion Flower cut out the calyx of five 
 
 Ko. 9. 
 
 leaves that is the part of the drawing in the annexed 
 
 diagram with the pointed end ; then cut out the 
 
 D 2
 
 REVELL'S COMPLETE GUIDE 
 
 corolla of five petals with the rounded ends ; cut 
 also a circular piece for the nectary, which must be 
 cut all round with the knife to form the radii, 
 
 No. 10, 
 
 the centre having 1 many small cuts radiating from the 
 central point ; when turned upward, in putting it in 
 its place, forms the fringe-like appearance around the 
 pistil seen in the flowers. 
 
 The Passion Flower has five stamina with ladle-shaped 
 ends, or anthers, and three stigmas a little elevated ahove 
 and turning over the stamina ; the anthers and stigma 
 are made of one piece of leather. The involu-
 
 TO ORNAMENTAL LEATHER WORK. 45 
 
 crum is formed also of one piece, and the three leave* 
 are laid one over the other as in the annexed flower. 
 
 No. 11. 
 
 To put together the various parts above described and 
 form the Passion Flower, begin by doubling a piece of 
 wire over the angles of the stamina, twisting it under-
 
 46 REVELI/S COMPLETE GUIDE 
 
 % 
 
 neath ; roll a piece of skiver leather round the wire to 
 form the style of the pistil and the stem of the whole 
 flower ; then turn up the three stigmas and roll a small 
 piece of leather round them close to the stamina and 
 turn them over ; this being done, place the nectary on 
 the stem, taking care that the ,cut portion in the centre 
 he arranged upwards around the pistil. The petals are 
 next placed on the stem, followed by the calyx ; the 
 leaves of the calyx must alternate with the petals ; liquid 
 glue must be inserted between each portion of the flower 
 to give it firmness. 
 
 The involucrum, which is a sort of calyx, is put on 
 the stem last a little way below the true calyx ; we may 
 just add, that all the leaves, petals, &c., with the excep- 
 tion of the involucrum, must have the smooth side of the 
 leather uppermost ; the petals and calyx must be hollowed 
 out with the modelling tool for that purpose, or if that is 
 not at hand, use the handle of the veining tool, and lay- 
 ing the petals and also the calyx on a smooth surface.
 
 No. 12.
 
 REVELL'S COMPLETE GUIDE. 49 
 
 rub them with the ivory end of the veining tool till they 
 become hollow and smooth as in the natural flower. 
 
 The above is the way, as plainly as we can possibly 
 describe it, to make a Passion Flower. We have repeat- 
 edly made the flower exactly upon the above plan, and it 
 has always been much admired.
 
 50 REVELL'S COMPLETE QUIDS 
 
 CAMILLA. 
 
 Camillas vary in the form of leaves, and the petals 
 vary in number. To make a camillia, cut out two pieces, 
 as in the annexed diagram, containing four petals in 
 
 No. 13. 
 
 each ; then cut out one or two larger pieces, with six 
 petals in each, and one or more still larger, with seven 
 or eight petals ; then, having a natural Camilla at hand,
 
 TO ORNAMENTAL LEATHER WORK. Ol 
 
 mould them all into form, fasten all the pieces of leather 
 together, the smallest at the top, and the largest at the 
 bottom, so that the petals alternate, with liquid glue, 
 and put a piece of wire through the whole for the stalk ; 
 eover it with skiver leather.
 
 52 REVELL'S COMPLETE GUIDE 
 
 JESSAMINE. 
 
 To make the Jessamine, copy the corolla from the 
 annexed design, by cutting a star-like piece of basil, into 
 
 No. 13 . 
 
 which insert the wire for the stalk as closely as possible. 
 As the stamina are not visible in this flower, it is needless 
 to make them. The tube upon which the corolla rests,
 
 TO ORNAMENTAL LEATHER WORK. 
 
 53 
 
 ean be made by rolling a piece of leather round the wire 
 thickest at the flower, and then add another piece of 
 leather about an inch below the corolla, which must have 
 five fine pointed leaves for the calyx.
 
 54 
 
 REVELL'S COMPLETE GUIDE 
 
 DAISY. 
 
 The Daisy is formed by making two pieces of leather, 
 like the pattern, one larger than the other, and putting 
 
 No. 14. 
 
 the wire, for stalk, through both of .them. The little 
 golden centre of the daisy, can be well imitated by
 
 TO ORNAMENTAL LEATHER WORK. O 
 
 placing a round piece of leather, rather thick, in the 
 centre, shaved off at the edges, and marked with the 
 reining tool full of dots.
 
 56 REVELL'S COMPLETE QUIDK 
 
 ROSES. 
 
 A Wild Rose is made by cutting out two pieces of 
 leather, exactly as in the engraving, putting the wire 
 through two holes made in the centre of the pieces with 
 a fine bradawl, and pass a piece of wire through the 
 
 Xo. 12. 
 
 holes, leaving both ends of the wire at the back to be 
 twisted for the stalk. To form the stamina, cut fine 
 strips of leather as long again as the stamina are required 
 to be, and insert them under the eye of the wire which
 
 TO ORNAMENTAL LEATHER WORK. 57 
 
 forms the stalk ; then cut the stamina, and pinch them up 
 into form ; the top piece, containing five petals, must 
 be moulded and curved upward, inclosing the stamina ; 
 the bottom piece also, containing five petals, must be 
 moulded downward?, curving and bending them into 
 form. 
 
 To make a larger Rose, cut out a smaller piece than 
 is -shewn in the engraving, of the same form, also the two 
 in the engraving, and a larger piece of the same form 
 making four pieces, containing twenty petals ; then 
 proceed as before-mentioned, and a fuller Rose is pro- 
 duced ; thus the character of the flower and the number 
 of petals can be regulated with comparative ease. 
 
 The rose leaves can be moulded at the back by 
 pressing them into the grape mould with one of the 
 pressing tools.
 
 KKVELL S COMPLETE GUIDE 
 
 OAK AND IVY BRACKET. 
 
 The Bracket annexed is out of the usual run of 
 brackets which have generally been ornamented with 
 leather work. The vine and the convolvulus pattern 
 are much used with very beautiful effect. We intended 
 
 No. 15. 
 
 this design to exhibit old oak : it should be stained very 
 dark, the oak stems being very thick, while the stems of 
 ivv can be formed of tendrils. To make the oak stems
 
 TO ORNAMENTAL LEATHER WORK. ,"C 
 
 get very thick wire, and have it cut to the desired 
 lengths, then cover the wires with leather, and bend 
 them to resemble knarled oak ; attach, as naturally as 
 possible, oak leaves and acorns at the back of the wires, 
 and on the wood work as shewn in the skeleton bracket 
 in a former part of this work ; then attach the ivy 
 tendrils, leaves, and berries around the oak stems, and 
 the bracket is completed. 
 
 We have found it much improves the appearance of 
 any piece of work we have been ornamenting, to give 
 the whole when completed a slight coat of varnish.
 
 60 RBVELI/S COMPLETE GUIDE 
 
 WATCH STAND FINISHED. 
 
 The design for a Watch Stand will illustrate one of 
 the various modes of ornamenting this kind of work ; it 
 is very light, and better than too much crowding the 
 
 No. 16. 
 
 ornamented parts, which, besides being a waste of time, 
 would not look so elegant as lighter work.
 
 TO ORNAMENTAL LEATHER WORK. <>1 
 
 CARD RACKS 
 
 Can be made in a variety of ways the design here 
 
 No. 17. 
 exhibited is novel, and at the same time very useful.
 
 62 REVELL'S COMPLETE GUIDE 
 
 The back is made either with wood, or calf- skin leather; 
 and the leaves forming the rack are also made of the 
 same material. Calf-skin dries very hard, being treated 
 exactly the same as the basil leather in the manner of 
 working.
 
 TO ORNAMENTAL LEATHER WORK. t';3 
 
 THE ROUND OPEN WORK FRAME. 
 
 The beautiful design in the accompanying page is 
 made with a round frame of any width desired, having 
 two rebates, one inside and one outside the frame the 
 inside rebate being to admit the picture, and the outside 
 one to allow of the nailing firmly to the frame the open 
 work, which is to be made in the following manner : 
 Take a flat board, an ironing board will do, lay the frame 
 upon it, and with a black lead pencil or a piece of chalk, 
 mark the size all round, making allowance for the 
 rebate ; then having ready the stems, work them in and 
 out, so as to form the open work as in the drawing ; 
 when finished, nail it to the frame, and work stems and 
 tendrils of the vine, hop, passion flower, or any other 
 beautiful creeping plant, attaching the fruit or flowers in 
 an artistic manner, and the result will be one of the 
 most elegant frames ever beheld.
 
 64 REVELL'S COMPLETE GUIDE 
 
 The open or trellis work of this frame should have 
 stout wire enclosed in the basil leather, and in order that 
 it may not appear formal, wind pieces of leather round the 
 naked wire at irregular intervals to resemble knots, &c. 
 then cover the whole with basil leather, the stem and 
 tendrils which are to wind in and out, and are a portion 
 of the plant, are not to have wire in them. 
 
 Fire Screens are generally filled with Berlin wool, 
 or some other fancy needlework. Those who would 
 prefer to have an entire piece of leather work can 
 paint landscapes or flowers upon white leather, using the 
 same medium as is used in body color painting at the 
 School of Design, mixed with finely powdered colors.
 
 TO ORNAMENTAL LEATHER WORK. 65
 
 UKVBLLS COMPLETE GUIDE 
 
 The basket ornamented with rose sprays outside, 
 can be lined inside with velvet, and little pockets being 
 
 made* in the velvet lining, they become a very useful 
 article ; the outside is stained old oak .
 
 G8 REVELI/S COMPLETE GUIDB 
 
 The running border here displayed can be adapted to 
 
 No. 20. 
 
 ornamenting cornices, poles, frames, &c. ; it is very ea.^ 
 of imitation, and will well repay the artist.
 
 TO ORNAMENTAL LEATHER WORK. 69 
 
 We shall conclude our designs with the table, which 
 is made in four pieces, so that one part can be done at a 
 time, and when completed, can be removed until the 
 whole is completed, when it can be put firmly together, 
 and forms a solid example of the use and beauty of the 
 Ornamental Leather Work.
 
 REVELL'S COMPLETE GUIDE. 71 
 
 TO MAKE ACORNS. 
 
 Acorns can be made in the following manner. Procure 
 some natural acorn-cups (which are to be found in great 
 quantities in the autumn), choose such cups only as are 
 perfectly sound ; then pierce two holes through the 
 bottom of the cup, pass a piece of fine wire through the 
 holes, leaving the two ends long enough to be twisted 
 into a stalk ; if the stalk is to be exposed, it must be 
 covered with skiver and made fast with Shaw's liquid 
 glue. The most correctly-formed acorn tops are those 
 turned in wood, which can be firmly placed in the cup 
 by the aid of the liquid glue ; this completes the fully- 
 formed acorr>
 
 72 
 
 CHERRIES. 
 
 Cherries are made in the same manner as grapes, and 
 the stalk neatly covered with skiver leather.
 
 TO ORNAMENTAL LEATHER WORK. 73 
 
 APPLES, *c, 
 
 Apples and pears can be turned in wood ; they may 
 be left bare, or covered with skiver leather ; they look 
 much better covered with skiver, and are, then, leather 
 work, properly speaking; or fruit may be moulded in 
 plaster casts with gutta percha. 
 
 Carved wood figures may be draped with tolerable 
 success with the skiver leather, but we have never seen 
 any that looked well enough when finished to repay the 
 time and trouble.
 
 74 RKVELL'S COMPLETE GUIDE 
 
 TO MAKE SIZE FOR STIFFENING THE 
 LEATHER WORK. 
 
 Simmer 4 oz. of strips of parchment in 8 oz. of water 
 till it is reduced one-half; skim off any impurities that 
 may arise to the surface, then strain it through a fine 
 sieve, or cloth, into a basin ; leave it till cold, when it 
 will be firm and clear ; when required for use, cut off as 
 much as you want, and warm it. Use while warm.
 
 TO ORNAMENTAL LEATHER WORK. 
 
 TO MAKE STIFFENING WHICH IS NOT 
 AFFECTED BY DAMP. 
 
 Mix, cold, 2 oz. of Australian red gum, 6 oz. of 
 orange shellac, | pint spirits of wine; put all into a 
 bottle, and shake it up occasionally till the gums are 
 dissolved; strain, and it is fit for use. This is far 
 preferable to the above size, as it is more hardening, 
 dries quicker, is always ready for use, and is never 
 affected by damp in change of weather.
 
 REVELL S COMPLETE GUIDE 
 
 TO MAKE MAHOGANY VARNISH STAIN, 
 WHICH DRIES IN A FEW MINUTES. 
 
 iMI.: cold, f Ib. Australian red gum, -j Ib. garnet 
 shellac, 1 pint spirits of wine ; put them in a bottle, and 
 shake occasionally, till the gum is dissolved ; strain, 
 and it is fit for use. The above makes a capital varnish 
 for leather of all kinds, especially for the leather covers 
 of old books ; it preserves them, and gives an appearance 
 almost equal to new.
 
 TO ORNAMENTAL LEATHER WORK. 
 
 SPIRIT OAK VARNISH STAIN 
 
 Can be made by adding to the above mahogany stain, 
 a small portion of vegetable black, and shaking it up till 
 well incorporated. To use the spirit oak stain on larger 
 surfaces we have found it preferable to apply it in the 
 same manner as a French polish namely, let all dirt 
 and wax be perfectly rubbed off with fine glass paper, till 
 quite smooth, then make a flannel rubber in the form 
 of a printer's dabber, put a little stain on the dabber, 
 and put a clean calico rag over it ; apply a little linseed 
 oil, with your finger, to the calico, and commence rub- 
 bing over a small space, in a circular direction (never 
 suffering the rubber to remain on any part), till you feel 
 it become tacky, then apply a little more oil, and so 
 on, till the stain on the rubber is exhausted. Should 
 the stain become too thick to work freely, add a few
 
 78 REVELL'S COMPLETE GUIDE 
 
 drops of spirits of wine, and shake it well together. 
 When you have raised a fine polish over the surface, let 
 it remain a few hours to harden, then take a clean bit of 
 calico, and just damp it with spirits of wine, rub it 
 lightly over the surface in a circular direction, which, 
 repeated two or three times, will clear off all smears, and 
 leave the most beautiful gloss ever seen. 
 
 In this latter process of finishing off, you must be 
 cautious not to damp the rag too much, for that would 
 instantly destroy all the polish ; also, to change the rag 
 often, and not suffer it to remain on any part. For 
 carved work it is only necessary to clean it as before 
 directed, and apply the stain with a camel's-hair brush, 
 by a gentle fire, letting it dry between each application. 
 
 The best oak varnish stain is that made with asphal- 
 tum ; but, as the manufacturing is attended with great 
 danger, we think it best not to give the particulars ; and 
 it Can be procured cheaper than it could be made in small 
 quantities.
 
 TO ORNAMENTAL LEATHER WORK. 79 
 
 TO PRESERVE LEAVES AND KEEP THEM IN 
 FORM FOR IMITATION. 
 
 Procure 1 Ib. or more of white starch powder, dry it 
 well in an open dish before the fire, put it on one 
 side to cool, when quite cool, put a layer of half an inch 
 at the bottom of a small box, observing that the box 
 also is dry ; gather the leaves, if possible, on a fine 
 summer day, and lay as many leaves gently on the 
 starch powder at the bottom of the box as can be done 
 without interfering with each other, then sprinkle starch 
 powder over them, and shake it down so that the powder 
 settles all round above and below the leaves until they 
 are completely covered, and about half an inch of the 
 starch powder above them, then put another layer of 
 leaves, and proceed with the starch powder as before 
 until the box is filled, then press the top part, quite full 
 of starch powder, fastening the lid of the box firmly 
 down until the leaves are required. Ferns and flat leaves 
 can be preserved by placing them between sheets of 
 blotting paper under a weight.
 
 80 REVELL'S COMPLETE GUIDE 
 
 TO GILD LEATHER WORK. 
 
 The materials necessary for gilding of this kind are 
 
 A Gilder's Knife. 
 
 A ditto Cushion. 
 
 Some Gold Leaf. 
 
 A little Cotton Wool. 
 
 A few Camel's Hair Pencils. 
 
 One or two Hog's Hair Tools. 
 
 A Tip. 
 
 Oil Gold Size. 
 
 Fat Oil. 
 
 Drying Oil, and a 
 
 Burnishing Stone. 
 
 They cost only a few shillings, and with care last 
 very long time.
 
 TO ORNAMENTAL LEATHER WORK. Si 
 
 Size the wood work twice over with parchment size, 
 cut all the leaves, and make the flowers in the usual man- 
 ner ; size them all over twice with parchment size ; nail them 
 down to the frame, and glue them when tacks would look 
 unsightly : needle points are very useful in this work to 
 secure it firmly, and cut them short off when the glued 
 parts are dry all the flowers and leaves being attached, 
 go over the entire work again with parchment size very 
 thinly ; the parchment size must he used warm ; when 
 the size is dry, mix well in a cup or any clean earthen 
 vessel about an ounce of oil gold size, and with equal 
 parts of fat oil and drying oil thin the gold size to 
 the consistence of cream ; take a hog's-hair tool, and with 
 it brush equally and very thinly all over every part that 
 can be seen with this prepared gold size, set it on one 
 side for an hour or two or more, until it has become 
 almost dry, and just sticks to your fingers when touched: 
 it must now be gilded all over, and to do this, take a 
 book of gold, handling it quietly, and mind there is no 
 draft, as a current of air would blow all the gold away : 
 turn out of the book two or three leaves of gold upon
 
 82 REVELL'S COMPLETE GUIDE 
 
 the cushion, and blow gently upon the centre of each 
 leaf, to make them lay flat on the cushion ; with the 
 gilder's knife cut the gold leaves into the sizes required 
 to cover the work, and with the tip or the gilder's knife 
 take up the gold from the cushion and lay it all over the 
 frame till it is covered, pressing the gold down with a large 
 camel hair tool or a piece of cotton wool, taking care not 
 to rub it backward or forward, but to put it very straight 
 down on to the work ; should there be any holes left, 
 cut small pieces of gold leaf and lay over them, pressing 
 the gold down, proceeding in the above manner till the 
 frame is covered all over with gold ; it must then be left 
 to dry an hour or two, and when dry brush all the loose 
 gold off with a large camel hair or badger's hair tool, 
 and the gilding is completed. Leather work gilded by 
 the above process will bear washing, and is the most 
 durable kind of gilding known.
 
 TO ORNAMENTAL LEATHER WORK. 83 
 
 TO BURNISH COLD. 
 
 u: and any wooden part attached to leather work 
 ran be burnished, which adds much to the variety of the 
 work, and is done in the following manner : that part 
 of the work intended to be burnished must be prepared 
 exactly as above, except that instead of using the pre- 
 pared oil gold size take the white of an egg and give the 
 work a coat of it, let it dry, then give it another coat, 
 and when nearly dry see that it lays on 'evenly ; applv 
 the gold leaf all over ; leave it an hour or two to becorrn 
 hard; then burnish it by rubbing it all over with a bur-
 
 84 
 
 REVELL 8 COMPLETE GUIDE 
 
 wishing stone or any very hard and perfectly smooth 
 substance. This burnish gilding is far more brilliant 
 than the oil gold, but will not wash, and is not so 
 durable.
 
 TO ORNAMENTAL LEATHER WORK. 85 
 
 BEE HIVES. 
 
 Bee Hives can be made with leather stems, as follows : 
 Cut a piece of wood to the shape and size required ; 
 wind and glue upon it the stems, beginning at the top ; 
 and finishing off at the bottom. To join the stems as 
 you proceed, cut each end to an angle, so that they fit ; 
 join them with liquid glue, and tie a piece of thread round 
 to hold them tightly together until the glue is dry. 
 When the hive is completed, that portion of thread left 
 visible can be cut off. 
 
 To imitate the tying seen in hives, mark with a pen, 
 or a camel's hair pencil, with the darkest stain, lines and 
 dots from top to bottom ; cut a small piece out of the 
 lower tier to make the entrance, and put a little handle 
 at the top with a piece of stem.
 
 si) RKVELL s COMPLETE GUIDE 
 
 When made as above, on wood, and well glued, they 
 can be sawn in halves, thus making two. Placed amongst 
 foliage, frames, &c., they are quite in keeping, and have 
 a pleasing effect.
 
 TO ORNAMENTAL LEATHER WORK. S7 
 
 TO PAINT ORNAMENTAL LEATHER WORK. 
 
 Use finely powdered colours, and mix them to the 
 consistence of cream, with the following medium : Mix 
 the white of an egg with 2 oz. of pure distilled vinegar ; 
 put them into a bottle and shake them well together 
 whenever you are about to mix any colours with it : or 
 mix the colours with parchment size warmed ; use while 
 warm : or mix them with a weak solution of gum arabic ; 
 and, in either case, varnish them with a quick drying 
 pale varnish, Oil colours will not do for painting this 
 kind of materials : any of the above mediums, properly 
 prepared, will answer well. Gilding may be interspersed 
 with brilliant effect.
 
 REVELL S COMPLETE GUIDE 
 
 A QUICK MODE OF STAINING. 
 
 The qucikest mode of staining the Ornamental Leather 
 Work is as follows : Procure a bottle of REVELL'S 
 CHYMICAL OAK COLOUR STAIN. This preparation will 
 not soil the hands, or the finest linen or woollen fabrics ; 
 will not stain wood or any other substance than the 
 leather to which it is applied, to which it imparts the 
 perfect appearance of old oak without any gloss, at the 
 same time hardening the leather without injuring it.
 
 TO ORNAMENTAL LEATHER WORK. 89 
 
 DIRECTIONS FOR USE. 
 
 Having your leaves, c., cut out and dried, pour some 
 of the contents of this bottle into a saucer, and apply it 
 copiously with a camel's hair brush, all over the leaves, 
 back and front, particularly the edges ; bend them while 
 damp as you wish them to appear upon the finished 
 work, then dry them rather quickly at a moderate dis- 
 tance from the fire, or in a current of air ; when dry 
 they are ready for use. 
 
 The leaves, &c., can be attached to any form of work, 
 and it is completed. When the entire work is complete, 
 it can be varnished at pleasure, as follows : Procure a 
 bottle of RKVELL'S OAK SPIRIT STAIN, and give the 
 entire work an even coat of it ; it dries in a few minutes, 
 and has the appearance of polished oak.
 
 90 REVEbl/S COMPLETE GUIDE 
 
 TO STAIN WOODEN ARTICLES. 
 
 If all the work is to be left dull, give the frame or 
 bracket, &c., a coat of OAK SPIRIT STAIN, which dries 
 in dull if put upon new wood, not prepared in any man- 
 ner. To prepare wooden frames, &c., so that the OAK 
 SPIRIT STAIN shall assume a polished surface, it is 
 necessary to size the frame well and leave it to dry; 
 when dry, give it one or more coats of OAK SPIRIT 
 STAIN. 
 
 Those who prefer making the Oak Spirit Stain, can 
 do so by referring to the receipt in this book ; it is made 
 with little trouble, and is composed principally of Aus- 
 tralian Red Gum ; a new article to most of our readers ; 
 and, although many druggists, &c., have procured it 
 when they have received orders for it, we are sorry to 
 say, in several instances, they have said there was no 
 article of that description; or else have substituted a
 
 TO ORNAMENTAL LEATHER WORK. 91 
 
 different kind of gum, perfectly worthless for this pur- 
 pose ; consequently, disappointment has ensued ; and in 
 order to protect the public from being imposed upon, 
 and ourselves the disgrace of publishing anything not 
 practicable, we are obliged, in self-defence, to state how 
 we came to use it. 
 
 In the month of January, 1852, the publisher was 
 applied to for a varnish stain that would dry quickly, 
 and at the same time be the colour required : he was 
 making experiments for this purpose, when, taking up 
 the TIMES newspaper of Friday, January 23rd, he found, 
 under the heading of SOCIETY OF AKTS, an epitome of 
 Professor EDWARD SOLLY'S lecture, at the above Society 
 on the previous Wednesday, on vegetable substances 
 used in the Arts, &c. Allusions were "made to a fine 
 red gum from New South Wales : he procured the 
 lecture, and then, after a little trouble, obtained samples ; 
 they were tested, and one was found to answer, and he 
 has now in stock several tons of the proper kind for 
 making the stain, and can supply it in any quantity.
 
 92 REVELL'S COMPLETE GUIDE. 
 
 We will now conclude by directing the student to an 
 attentive observance of nature : we have avoided, as far as 
 possible, technical terms ; where they are used the illus- 
 trations will, in most cases, explain them. The study of 
 this mode of decoration has often led those who had not 
 before observed the varied beauties of the floral world to 
 do so with the greatest pleasure and the happiest 
 results.
 
 SHAW'S LIQUID CLUE 
 
 Requires no preparation, sets almost immediately, will 
 resist wet, violence, time, and climate ; adheres to any 
 surface or material; cements china, marble, wood, paper, 
 leather, &c. ; is useful to shipbuilders, carpenters, book- 
 binders, pianoforte, brush, and toy makers; and is so 
 easy of application, that ladies and gentlemen may mend 
 their own china, ornaments, toys, veneers, mouldings, 
 parasols, book-covers, and a hundred other little articles, 
 with the greatest ease and certainty. 
 
 Price 6d. and Is. per Bottle. 
 
 SOLD WHOLESALE AND RETAIL BY 
 
 J. REVELL, 272, OXFORD STREET ; 
 
 MESSRS. BARCLAY & Co., FARRINGDON STREET ; 
 
 MESSRS. SUTTON & Co., Bow CHURCHYARD ; 
 
 AND TO BE HAD OF ALL 
 
 OILMEN, CHEMISTS, FANCY STATIONERS, 
 &c., &c.
 
 LIST OF MATERIALS, &c., 
 
 LEATHER WORK. 
 
 SOLD BY 
 
 J. REVELL, 272, OXFORD STREET. 
 
 Basil Leather, of the first quality, at Is. Cd. and 2s. 
 
 per skin. 
 
 Skiver ditto, ditto, at ditto. 
 
 Leather Leaves, 6d. per dozen, or 4s. per gross, 
 
 assorted. 
 
 Leather Stems and Tendrils, 2d. each. 
 Passion Flowers, Roses, &c., from 6d. to 2s. 6d. each. 
 Convolvulus and other less elaborate Flowers, from 
 
 2d. each. 
 
 Holly and Ivy Berries, Gd. per bundle. 
 Acorns, Is. per dozen.
 
 Oak Varnish Stain, Is. per bottle. 
 
 Spirit Oak ditto, Is. 
 
 Spirit Mahogany ditto, Is. ,, 
 
 Rev-ell's Chymical ditto, which possesses the property 
 of staining the leather used for this work, and will 
 not soil the finest linen, neither will it stain wood, 
 or any other material than leather. It can be applied 
 either cold or warm. Sold, with full directions for 
 use accompanying each bottle, price is. This being 
 the invention of the publisher, purchasers are 
 requested to observe his name and address on each 
 seal. 
 
 Stephens' Wood Stains. 
 
 Stains and Varnishes of every description. 
 
 Saucers for the Oak Stain, &c., Is. per doz. 
 
 Shaw's Liquid Glue, without smell, Is. per bottle. 
 
 Ditto, Old kind, 6d. 
 
 Prepared Stiffening, Is. ,, 
 
 Veining Tools, Is. 6d. each. 
 
 Cutting ditto, Is. 
 
 Grape Moulds, 2s. 6d. per set.
 
 Bradawls, Gd. each. 
 Hammers, Is. 3d. ,, 
 Wire of different sizes. 
 Hog's Hair Brushes, 3d. to 6d, each. 
 Camel's Hair Pencils, from Id. 
 And a variety of Brackets, Frames, &c., for Orna- 
 menting. 
 
 NTLD BY S. ODEJ,L, 18, PRINCES STREKT, CAVENDISH SQFA
 
 LIST OF VARIOUS ARTICLES, 
 
 SOLD BY 
 
 JAMES RETELL, 272, OXFORD STREET, LONDON. 
 
 Oil Colours in Patent Collapsible Tubes, 
 
 Of various sizes, and in Extra Fine Powder. 
 
 Cremnitz White 
 Flake White 
 Nottingham White 
 Ultramarine 
 Ultramarine Ashes 
 Cohalt 
 Royal Smalt 
 French Ultramarine 
 Permanent Blue 
 Antwerp Blue 
 Prussian Blue 
 Indigo 
 
 Yellow Ochre 
 Indian Yellow 
 Chrome, 1, 2, 3 
 Italian Pink 
 Yellow Lake 
 King's Yellow 
 Lemon Yellow, 1, 2 
 Dutch Pink 
 Naples Yellow 
 Lake 
 
 Purple Lake 
 Indian Lake 
 Crimson Lake 
 Scarlet Lake 
 Chinese Vermillion 
 Orange Vermillion 
 Red Chrome 
 Carmine 
 Madder Lake 
 Rose Madder 
 Pink Madder 
 
 Purple Madder 
 Light Red 
 Venetian Red 
 Indian Red, 1, 2 
 Brown Red 
 Raw Sienna 
 Burnt Sienna 
 Brown Ochre 
 Burnt Brown Ochre 
 Roman Ochre 
 Burnt Roman Ochre 
 Vandyke Brown 
 Raw Umber 
 Burnt Umber 
 Brown Pink 
 Madder Brown 
 Cologne Earth 
 Bone Brown 
 Cappa Brown 
 Asphaltum 
 Bitumen 
 Mummy 
 Emerald Green 
 Verdigris 
 Terra Vert 
 
 Chrome Green, 1, 2, 3 
 Oxyde of Chromium 
 Ivory Black 
 Blue Black 
 Lamp Black 
 Sugar of Lead 
 Gumption 
 Magylph
 
 Sable Hair Pencils. 
 
 For Oil or Water. 
 Large Goose, Brown or Red 
 Small ditto ditto 
 
 Duck ditto 
 
 Crow ditto 
 
 Small Swan 
 Large ditto 
 Miniature 
 Lining or Rigging 
 Writing and Striping 
 
 French Sables. 
 
 IN TIN FOR WATER. 
 
 Red or Brown. 
 Nos. 1, 2, 3, 4, 5, 6. 
 
 Sables for Oil. 
 
 Round Sf Flat. 
 Nos. 1,2,3,4,5,6,7,8,9,10,11,12. 
 
 French Brushes. 
 
 Flat Sf Ronnd. 
 Nos. 1,2,3,4,5,6,7,8,9, 10,1 1,12. 
 
 Camel Hair Pencils, 
 
 All Sizes, Long and Short. 
 
 Camel Hair Brushes, 
 
 In Flat Tins. 
 
 If inch 
 
 2 " 
 24 
 
 inch 
 
 H 
 
 n 
 
 Camel Hair Brushes. 
 
 In Round Tins. 
 Nos. 1, 2, 3, 4, 5, 6, 7, 8. 
 
 Pencil Sticks. 
 
 Cedar, Ebony, Ivory, 
 6, 12 & 15 in. 
 
 Badger Softeners. 
 
 Round &; Flat. 
 Nos. 1,2, 3,4,5,6,7,8,9,10,11, 12- 
 
 Palette Knives. 
 
 Horn and Ivory 
 
 Steel, with Horn or Bone Handles 
 Do. Ivory Handles 
 Do. Spatula Shape, Hrrn 
 
 Handles 
 Do. ditto Ivory do. 
 
 Port Crayons. 
 
 Steel, Albata, snd Bra 
 
 Brush Washers for 
 Turpentine. 
 
 Nos, 1, 2, 3, 4. 
 
 Oils and Varnish. 
 
 Spirits Turpentine 
 
 Cold Drawn Linseed Oil 
 
 Nut and Poppy Oil 
 
 Drying Oil, pale or strong 
 
 Fat Oil 
 
 Japan Gold Size 
 
 Mastic Varnish 
 
 Copal Varnish 
 
 White Hard Spirit Varnish 
 
 Asphaltum 
 
 Magylph 
 
 Gumption
 
 Extra Pine Cake and Moist Water Colors, 
 
 IN CAKES AND HALF CAKES. 
 
 Permanent White 
 Constant White 
 Flake White 
 Chinese White 
 
 Ultramarine 
 Ultramarine Ashes 
 Cobalt 
 Azure Blue 
 Royal Smalt 
 French Ultramarine 
 Permanent Blue 
 Antwerp Blue 
 Prussian Blue 
 Indigo 
 Intense Blue 
 French Blue 
 
 Gamboge 
 Yellow Ochre 
 Indian Yellow 
 Platina Yellow 
 Gall Stone 
 Lemon Yellow 
 Chrome, 1, 2, 3 
 Italian Pink 
 Dutch Pink 
 Yellow Lake 
 Mars Yellow 
 King's Yellow 
 Naples Yellow 
 Patent Yellow 
 
 Orange Orpiment 
 Orange Red 
 Mars Orange 
 Orange Vermillion 
 
 Lake 
 
 Crimson Lake 
 Scarlet Lake 
 Dark Lake 
 Indian Lake 
 Vermillion 
 Extract Vermillion 
 Scarlet Vermillion 
 Carmine 
 Burnt Carmine 
 Dragon's Blood 
 Madder Lake 
 Rose Madder 
 Pink Madder 
 Pure Scarlet 
 Dahlia Carmine 
 Indian Red 
 Light Red 
 Venetian Red 
 Brown Red 
 Red Orpiment 
 Red Chalk 
 Red Chrome 
 Deep Rose 
 
 Raw Sienna 
 Burnt Sienna 
 Brown Ochre 
 Roman Ochre 
 Burnt Roman Ochre 
 Vandyke Brow:i 
 Verona Brown, 1, 2, 3 
 Sepia 
 
 Warm Sepia 
 Roman Sepia 
 Raw Umber 
 Burnt Umber
 
 Water Colors, (continued.) 
 
 Brown Pink 
 Madder Brown 
 Cologne Earth 
 Bone Brown 
 Bronze 
 Reuben's Brown 
 Mars Brown 
 Intense Brown 
 Cappa Brown 
 Bistre 
 Chalons Brown 
 
 Payne's Grey 
 Neutral Tint 
 
 Purple 
 Indian Purple 
 Purple Madder 
 Purple Lake 
 
 Sap Green 
 Emerald Green 
 Prussian Green 
 Chrome Green, 1, 2, 3 
 Oxyde of Chrome 
 Verdigris 
 Barber's Green 
 Sea Green 
 Dark Green 
 Hooker's Green, 1, 2 
 Olive Green 
 Terra Vert 
 Green Bice 
 Lamp Black 
 Ivory Black 
 Blue Black 
 British Ink 
 Inlaying Black 
 
 Gold and Silver Shells. 
 
 Lead Pencils, 
 
 Extra Prepared. 
 
 H. Hard, for Sketching 
 H.H. Harder, for Outlines, &c. 
 H.H.H. Very Hard, for Archi- 
 tectural Drawing, &c. 
 H.B. Hard and Black 
 E.H.B. Extra Hard and Black 
 B. Black for Shading 
 B.B. Soft and Black 
 E.B.B. Extra Soft and Black 
 F. Fine for General Drawing 
 
 Indelible, and Bright's 
 Landscape Crayons. 
 
 Singly or in Sets. 
 
 Chalks, Crayons. 
 
 Italian Black Chalk 
 Ditto Red and White 
 Soft French Black 
 Charcoal 
 Pastiles 
 Black Square Conte Crayons 
 Ditto, Round, plain ditto 
 Ditto, Glazed ditto 
 Velours, (very Soft and Black) 
 Round and Square Red Cont6 
 Bistre 
 
 Earthenware. 
 
 Palettes and Saucers 
 Cabinet Saucers in Morocco 
 Case
 
 Miscellaneous. 
 
 Drawing Pins 
 
 Gold Leaf 
 
 Indian Ink 
 
 Mezzotint Brushes 
 
 Indian Rubber 
 
 Permanent Ink 
 
 Indian Glue 
 
 Velvet Scrubs 
 
 Sponge 
 
 Picture Frames 
 
 Ox Gall 
 
 Lithograph Chalk 
 
 Sealing Wax and Wafers 
 Pink Saucers 
 
 Gilder's Knives, Tips and \ Slate Pencils 
 
 Cushions 
 
 Tracing Points 
 
 Poonah Brushes 
 
 Burnishing Stones 
 
 Burnish Gold Size 
 
 Bronze 
 
 Oil ditto 
 
 Graining Combs and Tools 
 
 Revell's Permanent Brown Ink, 
 
 FOR DRAWING UPON BASIL LEATHER. 
 
 Price Is. per Bottle. 
 
 Pen and Ink Drawings can be made with this Ink, they have all 
 the appearance of the so-called Poker Paintings, (viz. Drawings 
 upon Wood, executed with one or more red hot wires.) The Ink 
 is permanent, and will be found advantageous as an adjunct to the 
 Ornamental Leather Work. 
 
 Unprepared Colours of the Pirst Quality. 
 
 Colours of every description for House Painting, Park Fencing,
 
 A 000 020 423 o