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 IN 
 
 MADAME HERMAN'S 
 
 NEW METHOD OF 
 
 &Mm§ Wm lt©u»§. 
 
 WITH PRACTICAL ILLUSTRATIONS. 
 
 The same method which has been taught so successfully 
 in New York to all her pupils in three hours' time. 
 
 f^loc 
 
 
 This Book and an entire Set of Moulds may be had for 
 $2.50, from the author's address, 
 
 MADAME HERMAN, 
 
 ff$ West 4.1st Street, JVe»> Tori- City, 
 
 Who will be happy to explain anything which would not 
 be generally understood. 
 

 \ l 
 
 
 Entered according to Act of Congress, in the year 1873, by 
 Madame Herman, in the Office of the Librarian of Congress, at 
 Washington, D. C. 
 
 
€@MTM$fT8< 
 
 General Remarks 6 
 
 Chapter 1st, Name and Manner of Using the M ■■•.. !a 8 
 
 2d, The Rose and Bud 10 
 
 3d, The Pond or Water Lily 13 
 
 4th, The Lily of the Valley 16 
 
 5th, The Morning Glory IS 
 
 6th, The Dark Clove Carnation 20 
 
 7th, The Tuberose 22 
 
 8th, The White Camelia 24 
 
 9th, The Fuschia 25 
 
 10th, The Sweet Pea 28 
 
 11th, The Green and Autumn Leaves 30 
 
 12th, Concluding Remarks 32 
 
 13th, Price List of Materials 33 
 
PREFACE 
 
 Being convinced that the present book of instruction 
 in my new method of making wax flowers would be ac- 
 ceptable to my pupils and others who wish to become 
 acquainted with this beautiful art, has induced me to pub- 
 lish the following chapters. 
 
 This book has been made more particularly to supply 
 the wants of persons living at a distance, and who can 
 not come to this city to learn this method. 
 
 Any one with the " love of the beautiful " can not but ad- 
 mire well-made wax flowers which resemble nature so well 
 that many persons are daily deceived by them, mistaking 
 them for natural flowers ; they are well adapted to deco- 
 rative purposes, and nothing is more pretty for presents 
 than wax flowers. 
 
 Careful attention to my course of lessons with the vari- 
 ous plates accompanying them, will enable any one to 
 learn my method in less hours than it takes to learn the 
 old way in as many weeks. 
 
 The expense of the materials used being so little that it 
 enables everybody to learn it, and will be appreciated by a 
 look at my price list, giving the best quality of everything 
 used, at a much smaller price than can be had from any 
 wax-flower artist's place. 
 
GENERAL REMARKS. 
 
 As all the flowers made by this method are made of 
 melted cake-wax, it requires a lamp to melt the wax; 
 the lamp I use is well adapted to that purpose; it is 
 a small tin lamp put on the table, and burning alcohol ; 
 it has one or two burners, according to the size. 
 
 A few tin cups are necessary. They may be had from 
 any tin shop at a cost of about 5 cents each ; four or five 
 of these will be sufficient. 
 
 The white cake-wax must be put into the tin cups, say 
 1 or \h cakes in each. For white flowers, no colors or 
 preparations are necessary, as the wax, when melted, will 
 be beautifully white, if the pupil is careful not to let it 
 boil. 
 
 Never let your wax boil, as it spoils it. When all the 
 wax in the cup is melted, it is ready for use, and must be 
 taken off the lamp, and when it gets cool, put it again on 
 the lamp. 
 
 The sheet-wax is necessary for green and Fall leaves, 
 and also for the yellow centres of Pond Lilies. The green 
 sheet-wax is also used for covering stem wires. 
 
 The colors used are all marked in the price list, and 
 are in small bottles. The various colors are scattered in 
 
the different cups, thus coloring the wax. It requires 
 about one-third of a bottle for coloring a tin cup full 
 of wax. 
 
 The most necessary cups of colored wax are : 
 
 A cup of rose colored wax for roses ; 
 
 A cup of yellow colored wax for tea roses, centres of 
 tuberoses, etc. 
 
 A cup of pure wax for all white flowers, and 
 
 A cup of green wax for several purposes. 
 
 The other colors are used dry with a small brush. 
 
 The Kremitz white is used for making a beautiful azure 
 of the Prussian blue, and otherwise to make all colors 
 lighter. 
 
 Mixing Burnt Umber with any color makes the said 
 color darker. 
 
 Stamens are the centres of Morning Glories, Fuschias, 
 etc., and are of different colors. Only six varieties are re- 
 quired. 
 
 Stem-wire is used for the stems of all flowers, and is 
 already cut and put in packages of one ounce ; they must 
 be covered with strips of green sheet-wax ; a little prac- 
 tice will.be found necessary to cover the wires quickly. 
 
 Spool-wire is useful for the stems of green and autumn 
 leaves; it is much thinner than stem-wire, and is covered 
 with green cotton. 
 
CHAPTER I. 
 
 NAMES OF THE MOULDS AND HOW TO USE THEM. 
 
 Figures 1, 2, 3 and 4 are the moulds used for the 
 Pond Lily. 
 
 Figs. 5 and 6 are for making Roses. 
 
 Fig. 7 is the Morning Grlory mould. 
 
 Fig. 8 is the Carnation Pink mould. 
 
 Fig. 9 is the Lily of the Valley mould. 
 
 The moulds must be put into a cup of cold water and 
 remain there about five minutes before using. 
 
 They must be out of the water when not in use. 
 
 Every mould is used by dipping it into the hot wax and 
 taking it out instantly. 
 
 Taking, for instance, the smallest Pond Lily mould 
 (Fig. 1), by the wire, you dip it into the hot wax, and in 
 taking it out instantly, you turn it, so that the drop of 
 wax which otherwise would remain on the middle of the 
 leaf goes to the end of it. Then you place it into the palm 
 of your left hand and slide it gently, so- that the hot wax 
 (already cool) will remain in your left hand apart from 
 the mould. Fig. 10 shows the way to take the wax off the 
 mould ; thus making a small Pond Lily leaf. 
 
 Before making another leaf, you must dip the mould 
 into the cold water to prevent the wax from sticking to 
 the mould. 
 
 Be careful not to let any drop of water fall into your 
 hot wax. 
 
PLATE I. 
 
 Fie:. 1. 
 
 Fiff. 2. 
 
 Fiff. 3. 
 
 Fig. 4. 
 
 Fig. 5. 
 
 Fig. 6. 
 
 Fiar. 8. 
 
 Fiar. 9. 
 
9 ; 
 
 The Rose moulds are used in the same way, always being 
 careful to turn them on one side in taking them out of the 
 hot wax, to have the drop of wax go to the bottom of the 
 leaf, thus making it perfect. 
 
 The Morning Glory mould is dipped into the wax and 
 taken out perpendicularly, then the drop of wax will re- 
 main at the tip end of it. The best way to remove the wax 
 from that mould is to transfer it into the left hand and put 
 the thumb and two first fingers of the right hand round 
 the mould and press the wax gently all around till it comes 
 apart from the mould, as shown in Fig. 11. 
 
 A little practice will soon give the student the idea of 
 the best way to remove the wax from the mould. 
 
 Do not dip more than three parts of the mould into the 
 wax. 
 
 The Carnation Pink mould is used exactly as the Morn- 
 ing Glory mould ; and so is the mould for the Lily of the 
 Valley, with the exception that less than the fourth part of 
 this last mould is dipped into the cup of hot wax. 
 
CHAPTER II. 
 
 THE ROSE AN"!) BUD. 
 
 Make a small hook at the end of one stem wire, and 
 then cover it with green sheet-wax. The hook is neces- 
 sary to prevent the Rose leaves from slipping in pressing 
 them together. Then dip the small Rose mould (Fig. 5), 
 into the wax, and thus make a small Rose leaf; the next 
 thing is to place that leaf upon the stem ; for that purpose 
 you hold your covered wire with the left hand near the 
 hook, and place the leaf upon that part of the stem, being 
 careful to stick on the stem that part of the leaf where the 
 drop of wax is, and you will find that the wax is so thor- 
 oughly adhesive that it requires but to press it gently on 
 the stem to make it stick well; when your leaf is thus 
 placed on the stem, you close it in rolling it around the 
 stem in order to hide it and give a more natural shape to 
 the flower. The wax is so pliable that yon will experience 
 no difficulty in giving to the leaves that shape which is so 
 desirable, to avoid stiffness. 
 
 You proceed by dipping the same mould in the water ; 
 then make the second leaf and stick it in the same manner 
 on the stem, but avoid closing it as much as the first leaf. 
 Fig. 12 will show where to place this second leaf, thus 
 illustrating the way of putting them together. 
 
 You continue in the same manner till you have made 
 about three leaves more from this same small mould, mak- 
 ing altogether five leaves; then you proceed with the 
 second sized mould, which is the smaller end of mould Fig. 
 
PLATE II. 
 
 Fig-. 10. 
 
 Fig. 11. 
 
11 
 
 6, and make about the same quantity of leaves as you have 
 done from the first mould, and so on with the third and 
 fourth sizes — making altogether about twenty leaves. 
 
 It is better to have less, than more than that quantity 
 of leaves to form the Rose. 
 
 If you wish to have a full-blown Rose, you alter the ar- 
 rangement of one or two leaves made from the largest 
 mould, in this way : instead of putting the hollow of the 
 leaf over the other leaves as you have done throughout the 
 Rose, you put the hollow outside, and it will look exactly 
 as if that leaf would fall. 
 
 To finish the Rose, it requires now but the calyx, which 
 is formed from the green sheet-wax. See Fig. 13 for the 
 arrangement. 
 
 A half-blown bud is made exactly as the Rose, but from 
 the two first moulds only, and finished with the calyx. 
 See Fig. 13. 
 
 The closed bud is made in the following manner : You 
 place on your wire a small Rose leaf as for the Rose, and 
 taking your first sized mould, you dip about one third of 
 the side of it into the hot wax — that is to say that instead 
 of dipping the mould flat, you dip it on the side, thus mak- 
 ing a kind of shell. You make four of these shells and 
 place them around the first leaf, which is already on the 
 stem. Fig. 13 shows this closed Rose bud. For making 
 the green leaves, read Chapter XI, page 25. 
 
12 
 
 ROSE. 
 
 Sweet Rose, when summer sunbeams play 
 On lovely flowers on every side, 
 
 Thou, then the gayest of the gay, 
 Blushest, the garden's fairest pride. 
 
 And though when summer days are o'er, 
 (Alas, that lovely things should fade) 
 
 Thy beauty and thy blush no more 
 Are in our gay parteres displayed. 
 
 Yet then, the fall'n and wither'd leaves 
 Retain their well known rich perfume ; 
 
 And e'en a faded rose-bud gives 
 An useful moral from its tomb. 
 
 The fairest form must fade ; but worth 
 Will still survive though beauty dies ; 
 
 When beaUty stoops to kindred earth, 
 Virtue immortal seeks the skies. 
 
PLATE III. 
 
 Fig. 14. 
 
 Fio-. 12. 
 
 Fig". 15. 
 

CHAPTER III. 
 
 THE POND OR WATER LILY. 
 
 An extensive locality of this plant exists npon the Sara- 
 toga Lake ; its surface, for a quarter of a mile, may be seen 
 whitened by these lilies, occasionally intermixed with the 
 yellow lilies, and the rich blue of the Pontederia, another 
 beautiful aquatic plant. 
 
 This beautiful flower may be imitated with great ex- 
 actness. I shall choose for this chapter the common Lily 
 of our rivers, as being the best known. 
 
 An extra thick wire for the stein is necessary, or two 
 ordinary ones put together and covered over with green 
 sheet-wax will do as well. Do not forget to make a small 
 hook at the upper end of the wire to prevent the leaves 
 from slipping upward in putting them together. 
 
 For the centre of the Lily, you must have yellow and 
 orange sheet- wax. You take an ordinary sheet of yellow 
 wax and divide the length into three parts ; put one of 
 these parts into your left hand, and with a pair of scissors 
 cut strips as shown in Fig 14, and then pinch the top of each 
 strip with the thumb and first finger ; roll this around the 
 stem from the base of those strips. When placed upon 
 the stem, press the centre with the palm of your hand, to 
 form a kind of ball, to imitate the natural centre of the Lily. 
 
 You proceed by taking the same quantity of orange 
 sheet-wax and indent it with your scissors as shown in 
 Fig. 15, and after having pinched the ends, you place this 
 
14 
 
 around the yellow centre, allowing the orange points to 
 stand erect. 
 
 Then take your first mould, Fig. 1, by the wire, and dip 
 it in the hot white wax, taking it out instantly, being care- 
 ful to turn it with the larger end downward, to have the 
 drop go there. 
 
 Be careful, also, not to dip this mould over the flat part 
 of it, as it would make the leaf too large. 
 
 You place this first leaf on the wire and over the centre 
 by cementing it with that end of the leaf where the drop 
 of wax is ; make another small leaf and place it opposite the 
 first one in the same way ; then a third and a fourth be- 
 tween the two first ones, and make four more leaves from 
 the same first sized mould, thus making eight small point- 
 ed leaves. 
 
 Never make a new leaf until you are qnite sure that you 
 have cemented the others well on the stem. 
 
 After this, you take the second sized mould and make 
 eight more leaves from it, being careful to let the drop of 
 wax run to the smallest end of the mould ; the top of the 
 leaves will then be round, in contrast with the other leaves, 
 which are pointed. Dip about a third of your mould into 
 the hot wax. 
 
 Make eight more leaves from mould No. 3, and let the 
 drop of wax run to the round part ; then make eight more 
 leaves from the largest mould, letting the drop of wax run 
 to the round part, so that the leaves from the two last 
 moulds will be pointed at the top. 
 
 The four leaves for the calyx are made from the largest 
 mould, dipping it first in the white and then in the green 
 hot wax. 
 
 Mix a small quantity of Burnt Umber with the same 
 amount of Carmine, and rub it on the outside of the four 
 leaves making the calyx. 
 
 The two colors thus mixed will be found useful also for 
 the Pond Lily pads or leaves. 
 
PLATE IV. 
 
 Fiff. V.i. 
 
15 
 
 The bud is made with the same centre, and with sixteen 
 leaves from the two first sized moulds, and the four leaves 
 for the calyx are made from the second sized mould, thus 
 making them round at the top. 
 
 Paint the calyx of the bud in the same manner as for the 
 flowers. 
 
CHAPTER IV. 
 
 THE LILY OF THE VALLEY. 
 
 This graceful little flower is made from mould No. !». 
 You dip a very small portion of this mould in the white 
 wax; dip to the ridge part of the mould; make about 
 eight of these coatings of wax; then cut the same quantity 
 of spool-wire, about 1^ inch long, and another piece of 
 spool-wire, about three inches long, for the stalk, and dip 
 the top of the eight small wires into hot yellow wax, tak- 
 ing them out quickly, thus making very small balls of wax. 
 This will imitate the pollen ; and, to put it into the interior 
 of the flower, it is best to make a small hole with a heated 
 wire in the centre of the flower, and to pass the small wire 
 with the pollen into it. Draw it tight, so that the small 
 yellow ball touches the interior of the flower ; cover the 
 stem with green wax. The buds are best imitated by roll- 
 ing some yellow wax around the top of the stems, and dip- 
 ping into white wax. You then take each bell-like flower 
 apart, and pinch four sides, which will prevent the bells 
 from being quite so open. 
 
 This being done lightly, it will resemble much the 
 natural flower ; these will now require arranging on the 
 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 student will notice that this requires now but the 
 green leaves, which are long and narrow, and are made 
 as explained in Chapter XI. 
 
17 
 
 LILY OF THE VALLEY. 
 
 O, what a lovely moral tells, ; 
 The lily with its silver bells, 
 'Tis said they ring on summer nights, 
 Summoning all the fairy sprites, I 
 To meet their tiny king and queen, ' 
 Under the oak or on the green. 
 If so, it surely is to bless- 
 How could the lily call to less ? 
 To us of duller sense 'tis mute, 
 Yet eloquent as poet's lute. 
 
 Low in the vale retired it lies 
 Shunning the gaze of vagrant eyes ; 
 Close to its own dear parent earth 
 It clings, the type of modest worth, 
 But hidden, though, in hood of green, 
 Too beautiful to be unseen ; 
 ( )ft is it sought by those who prize 
 The modesty which fools despise ; 
 Oft is it found by the proud few, 
 Who can esteem its virgin hue, 
 And leave the flowers of gaudier dye. 
 O'er the sweet valley flower to sigh. 
 
 Oh, is not this a happier fate 
 Thau one short hour of pride elate ; 
 Than one bright, gaudy, sunny day. 
 In blue and scarlet, and away- 
 Some may admire, but few can prize 
 The flaunting flowers of many dyes. 
 But all will seek the gentle one 
 Winch seems the general gaze to shun ; 
 Nor breathes its sigh of fragrance sweet 
 But to her lover at her feet. 
 
 Maidens, scorn not this humble tale 
 Of the sweet Lily of the Vale. 
 
CHAPTER V. 
 
 THE MORNTNG GLORY. 
 
 The Convolvulus, or Morning Glory, is made from mould 
 No. 7, by dipping three parts of it into white wax, and re- 
 moving as shown in Fig. 11. 
 
 You then color your Morning Glory with a brush dipped 
 in dry paint, though I prefer to rub it on with the first 
 finger. 
 
 Some Morning Glories have narrow colored stripes, and 
 others are colored nearly all over. The colors most observ- 
 able in Morning Glories are blue, purple and pink. 
 
 Take a long piece of spool-wire and fasten to one end of 
 it, with a little piece of wax, four stamens folded in the 
 middle, and one not folded, thus making eight heads of 
 stamens together, and one single head, longer than the 
 others. The color of the stamens must be according to the 
 color of the flower. 
 
 Having made a small hole through your Morning Glory, 
 you pass the spool-wire through, and draw it tight from the 
 outside, so that the stamens remain stationary in the cen- 
 tre. You then fix four small calyx, and, taking an ordi- 
 nary pencil, you twist the wire around it, and the flower 
 is made. 
 
 A spray of Morning Glories, of different colors, inter- 
 woven with ivy leaves and Morning Glory leaves, looks 
 very pretty around rustic baskets, etc. 
 
Id 
 
 IVY CONVOLVULUS. 
 
 Where stocks and harebells blossoming, 
 Shed fragrance o'er a flow'ry bed ; 
 
 A sapling of the last year's spring 
 Weaved to the wind its feeble head. 
 
 And oft it dropped a tear, as though 
 It wept, because it upward grew, 
 
 And bent a frequent look below, 
 As loth to bid the sweets adieu. 
 
 But flowers will fade, and one by one 
 Did each its scent or beauty lose ; 
 
 Now where the rose's blushes gone. 
 And faded now the tulip's hues. 
 
 Fair, fragile, and inconstant friends ; i 
 A summer pair, they all were gone ; 
 
 And as the oak tree upward tends. 
 It stands deserted and alone. 
 
 And so had liv'd, and so deeay'd. 
 But, springing from its wither'd bough. 
 
 An Ivy spread its mantling shade. 
 And bursting, blossoms o'er it now. 
 
 And the two friends so closely twine. 
 
 The tree supports— the flower adorns : 
 The oak need not for youth repine, 
 
 Nor the frail Ivy fear the storms. 
 
 And thus should friendship ever be 
 Founded on qualities which last, 
 
 That it may live on sympathy, 
 When beauty and youth are pa<t. 
 
CHAPTER VI. 
 
 THE DARK CLOVE PINK. 
 
 This dark, rich-colored flower may be easily imitated, 
 and is most effective in contrast with other most delicate- 
 tinted flowers. 
 
 It is made with mould No. 8, by dipping the three-quar- 
 ters of it into white wax, and removed from the mould as 
 shown in Fig. 1 1 . Make four of these coatings. 
 
 A rather ragged or serrated edge must be given with 
 the scissors, and when thus clipped all around, cut it 
 right through on one side, that is to say, cut from the edge 
 to the bottom of the bell on one side only, and cut the 
 three other coatings in the same manner. You then pro- 
 ceed by coloring the coatings with Carmine on both sides 
 with a small brush or finger. 
 
 Or you may obtain this color by squeezing some car- 
 mine oil paint into a cup of white wax and make the coat- 
 ings from it. 
 
 For the foundation, take a piece of stem-wire, covered 
 with green sheet-wax, and, on this, place the two anthers, 
 or horns, cut from white paper and dipped into white wax ; 
 then place the four petals around this, bending them back- 
 ward, and avoiding anything approaching stiffness in the 
 arrangement. 
 
 After the petals are placed on, make the seed-cuj) ; for 
 this you take an ordinary pencil, and having scraped the 
 color with a knife about three-fourths of an inch, you let 
 
21 ' 
 
 it soak in water for a few minutes, and having melted some 
 green wax, but not t?)o warm, as it would make the seed- 
 cup too thin, you dip your pencil in it and take it out 
 quickly ; if it is still too thin you dip it once more in the 
 wax which will make two coatings one over the other, and 
 having removed from the pencil, you cut them with the 
 scissors to make the four various parts of the calyx. 
 
 Almost any shade,* from scarlet to deep purple, is found 
 in these flowers, and all may be, with a little care, easily 
 produced. 
 
 If you wish to make a varegated pink, you make the 
 petals from white wax, and when clipped all around, you 
 color, with a small brush, a few stripes, very narrow, on 
 each petal with carmine, and finish as explained for the 
 clove carnation. 
 
CHAPTER VII. 
 
 The Tuberose. 
 
 The Tuberose is best imitated from the smallest Pond 
 jily mould. Having covered your wire with your sheet 
 pax, you roll some white wax around the top of it, thus 
 aaking a kind of ball to imitate the pollen, and proceed by 
 naking the petals from the small pond lily mould dipped 
 n white wax. 
 
 Place these petals around the pollen. The outside leaves 
 nust be gracefully bent backward and a little curled. 
 
 You finish it by dipping the part cemented on the stem 
 rery slightly in hot green wax, to make a kind of calyx. 
 
 This flower is very nice in a boquet, its whiteness must 
 >e perfect. 
 
23 
 
 TUBEROSE. 
 
 First fair floweret of the year, 
 * 'Mid thy white and savory hed, 
 Welcome spring's first harbinger, 
 Gold-tip Tuberose, rear thy head. 
 
 Not the nipping northern fear, 
 Let not frost or snow alarm ; 
 
 Through the wintry waste appear; 
 I will shelter thee from harm. 
 
 Happy harbinger of spring, 
 See appear its golden rays ; 
 
 And, sweet floweret, seems to bring 
 Hopes of warmer, brighter days. 
 
 And so we often find there is, 
 E'en in hours of deepest care, 
 
 Sweet forerunning hopes of bliss, 
 Warning, guarding from despair. 
 
CHAPTER VIII. 
 
 The White Camelia. 
 
 This beautiful flower can be well imitated by using the 
 rose moulds. You firstly roll some white wax around the 
 stem, making a small ball as large as the end of the little 
 finger, and then dip it into the cup of hot white wax, to 
 make it perfectly pure. Then make four small leaves from 
 the first sized rose mould, and place them around this ball, 
 but rather low, so that they do not go over the ball more 
 than a third of an inch. Make four more leaves from the 
 same mould, and in placing them on the stem you must 
 draw them backward in holding the fastening part of each 
 leaf firmly over the stem with your left hand, so that it 
 does not come apart from the stem ; those few leaves must 
 be drawn down from the edge till they are almost in a 
 horizontal line, then take the second sized mould and make 
 four more leaves from it, and place them horizontally as 
 the others, and continue with the two largest moulds in 
 making four leaves from each. Then finish by making a 
 very small calyx, and make a spray of green leaves. It is 
 very important to have perfectly pure wax for this flower. 
 
CHAPTER IX. 
 
 The Fuschia. 
 
 The Fuschia is made from the smallest rose mould and 
 the smallest pond lily mould. You take a piece of spool 
 wire and fasten to one end of it eight stamens and one 
 longer than the rest, as for the morning glory ; then make 
 the four petals of the corolla from the small rose mould, 
 in dipping only one half of the flat part in white wax, 
 place those eight leaves gracefully around the stamens. 
 The four sepals of calyx are made from the small pond 
 lily mould, by dipping in the white wax the flat part of 
 it only ; place these around the petals. 
 
 To finish with the body of the flower, you dip the pen- 
 cil as for the pink's seed-cup, but into white wax, about 
 half an inch ; pass the wire through it, it will then hide 
 that part of the flower where the sepals are fastened to 
 the wire ; give a nice curve to those sepals. Dip in green 
 wax the top of the body to make the small seed-cup. 
 
 Fuschias are of many different colors. A very delicate one 
 is the petals or centre being white, and the four sepals and 
 body pink madder ; they must be painted before placed on 
 the stem with a "small brush or finger; give a delicate shade 
 of green to the points. 
 
 >Some others have a crimson centre and white . outside 
 leaves. 
 
 Others have a beautiful purple centre and crimson out- 
 side. 
 *2 
 
26 
 
 The bud is made on the same kind of wire as the flower, 
 without any stamens; the centre may be omitted as it 
 would be covered over by the outside leaves which meet at 
 the points, thus hiding the interior. 
 
 A nice spray can be made with the green leaves on an 
 extra strong and long wire, covered with green sheet wax, 
 and to the end of it you attach the two smallest buds and 
 thetwo smallest leaves, you may secure them on the large 
 stem with a very fine piece of thread, covered over with 
 green sheet wax till the junction of the next two leaves; 
 then two more buds or flowers, and so on ; the buds always 
 at the top of the spray. 
 
27 
 
 FUSCHIA. 
 
 Beside the rosy bower of love, 
 
 Blest with the smile of sunny skies, 
 With sweets around it and above, 
 The drooping- Fuschia poured its sighs. 
 
 For the gay summer time had passed, 
 And brought no blossom to its bough ; 
 
 And Autumn plucked, with envious haste, 
 The fading flowers from his brow. 
 
 ' O will the waning year pass by, 
 
 Scattering on all around one bloom, 
 While I unblest, unfavored die, 
 No blush, no blossom, no perfume. 
 
 While ever bounteous nature showers 
 Its rainbow loveliness around ; 
 
 And e'en the wreck of summer flowers 
 Strews with gay beauty the rich ground. 
 
 Must I, poor unimpassioned flower, 
 Thus coldly live, and nun-like die, 
 
 Growing by Love's own rosy bower, 
 Without one glance from his dear eye." 
 
 Just then flew by the wayward child, 
 
 And thus the pensive Fuschia mourned, 
 And the capricious urchin smiled, 
 As to the plant his arrow turned. 
 
 The bolt had scarcely left his bow, 
 'Ere pendent pearls on each branch move, 
 
 Which, changed to his own tint, are now 
 The emblems of " accepted love." 
 
CHAPTER X. 
 
 The Sweet Pea. 
 
 This delicate flower is the easiest to make. 
 
 Make it on spool wire. 
 
 Make from the smallest rose mould and white wax three 
 small leaves ; cut the first one all around to make it about 
 half the size from what it was before, cut the second one, 
 to have it a little larger and leave the third one the full 
 size, as taken from the mould, and proceed by coloring the 
 two first ones with pink madder, the largest leaf remain- 
 ing white. You then stick the smallest leaf on the stem 
 and bring the edges together, which will make one sharp 
 edge in front, then place the second leaf at the back of the 
 first one and stick it on the wire, pinch it at the top, from 
 the back, to curve that leaf inward, on each side of the 
 first one. 
 
 You then place the third leaf on the stem at the back of 
 the two first ones, with the hollow part backward in con- 
 trast with the others. 
 
 Finish it by adding four little pieces of sheet wax for 
 the calyx. 
 
 Some sweet peas have the three leaves colored purple. 
 
29 
 
 SWEET PEA. 
 
 My little fragile favorite, whither art thou tending ? 
 Thy butterfly-like blossoms, why thus are they sporting ? 
 Where are now thy pliant little tendrils wending ; 
 Whither are they wandering, or what are they com ting? 
 
 I have seen roses bloom — I too have seen lilies, 
 Primroses and cowslips, pinks and daffodillies ; 
 Some excel in beauty, some enchant by meekness, 
 Little flower, they tell me thy charm is in thy weakness. 
 
 Even from thy birth, of flowers or plants the weakest, 
 Long ere thy blossoms burst, a firm support thou seekest; 
 And as around thy prop, thou thy small tendrils wreathest, 
 O. all the sweetness there, of thy fragrant soul thou breathest. 
 
 Sweet breath — sweet flower — sweet weakness, ever clinging 
 To the one chosen prop from the beginning — 
 O surely love is here! and though shadowed but in flowers, 
 Each breath, each slightest tint of -the all beautiful" is ours. 
 
CHAPTER XL 
 
 The Green and Autumn Leaves. 
 
 Brass moulds are indispensable to make those leaves. 
 
 Take for instance the rose leaf mould (brass) and dip it in 
 cold water, then take a sheet of green wax and place it on 
 the back of the mould, that is where the veins are most 
 conspicuous ; press the wax with the thumb on every part of 
 the brass mould, then take a piece of spool wire and place 
 it half way on the middle of the wax which is on the 
 mould, then put another sheet of wax over the first one, 
 covering of course the stem. 
 
 To have a well made leaf, it then requires to press well 
 this second sheet of wax upon the first one, in order to 
 take all the impressions of the brass mould ; when this is 
 done you press your thumb all around the sharp edge of 
 the mould, this will separate all the wax around the mould. 
 
 The next thing is to remove the leaf (already made) from 
 the mould. This will easily come apart by passing the 
 thumb all around the edge. 
 
 Never use a brass mould without dipping it into cold 
 water, as the wax would adhere to it. 
 
 Every leaf is made in the same manner. You need not 
 take two sheets of green wax to make a leaf ; after having 
 put one part of a sheet over the mould and placed the 
 wire on the ridge part of it, you then fold the other part 
 of the sheet wax over it. 
 
31 
 
 It is very important to press well those two sheets on 
 the brass mould, as it will take a very good impression of 
 every vein, and will also, when taken out of the mould, 
 look much thinner than it would have "done if not properly 
 pressed over the mould. 
 
 In winter, the sheet wax is liable to become brittle, it 
 can be softened by pressing- it between the hands or passed 
 over the fire. 
 
 The fall leaves are made in the same way, but when 
 taken off the mould, are painted with carmine, yellow and 
 brown, and sometimes blue. 
 
 A good way to produce the fall leaves is to make ' them 
 out of yellow instead of green wax, and then to color them 
 over. 
 
 There is some variegated sheet wax sold for autumn 
 leaves, but I prefer them painted after they are made. 
 
 It is well to cover the stems of leaves with sheet wax to 
 hide the cotton, though they can be covered from the hot 
 green wax with a small brush. 
 
 The Pond Lily pad is generally glossy ; after having 
 painted it as explained in Chapter III, you brush it over 
 the color with a brush, or rub it with the fleshy part of 
 the hand, and you will obtain that shiny appearance. 
 
CHAPTER XII. 
 
 Concluding Remarks. 
 
 If the wax is warmer than it should be, the coating on 
 the mould will be too thin ; and if too cool the coating will 
 be thicker than is desirable. When too cold it should be 
 put again over the lamp. The right heat is to be found 
 only by practice. 
 
 Before using scissors to cut wax, always dip them in 
 cold water. 
 
 If the sheet wax be too brittle, warm it between your 
 hands, or over a fire. 
 
 * I have found that a little silver white from the oil tube 
 mixed with hot white wax gives that crisp whiteness to the 
 Camelia which is so characteristic with that flower. 
 
 AVhen your white wax becomes yellow or dirty, warm it 
 over, and pour it over some other colored wax, as your 
 white wax must always be perfectly pure. 
 
 When not in use, cover your cups with a piece of linen, 
 or turn them over to prevent the dust from spoiling the 
 wax. 
 
 Never waste any wax, all clippings can be melted in the 
 green cup of wax. 
 
 For the mixing of the colors with the white wax, you 
 scatter a small quantity of the color into the hot wax, and 
 you stir it with a small brush, and then try if the color is 
 right by dipping a mould in the wax, thus making a leaf ; 
 if you have put too much color into the wax, you add 
 more wax to it, and if the color is too light you add more 
 color to it. 
 
33 
 
 PRICE LIST OF MATERIALS. 
 
 Small Lamp, one burner, 
 Large " two " 
 Pound of "Wax, 
 Vial Chrome Green, 
 " " Yellow, 
 
 " Orange Chrome, 
 " Rose Madder, 
 " Carmine, No. 40 
 " Prussian Blue, 
 " French Purple, 
 " Burnt Umber, 
 " Kremitz White, 
 
 50c. 
 
 $0 00 
 1 00 
 
 85 
 
 ► 10c. each or the 9 bottles for 90 
 
 Brass Moulds for Green Leaves. 
 
 3 Sizes Moulds for Roses, 
 
 2 
 
 2 
 3 
 2 
 3 
 3 
 3 Camel's Hair Brushes, 4c. each, 
 
 Pale and Dark Greei 
 1 " Yellow Sheet Wax, 
 
 Camelias, 
 Fuschias, 
 Pond Lilies, 
 Lilies of the Valley, 
 
 Ivy, 
 
 Geranium, 
 
 > The doz. 1 00 
 
 4 Doz. Pale and Dark Green Sheet Wax 
 
 1 " Yellow ! 
 
 1 " Orange " 
 
 1 Oil Tube Silver White for Camelias, 
 
 1 Spool Wire, - 
 
 1 oz. Stem Wire, - - 
 
 6 Bunches Stamens for 
 
 6 dozen, 
 
 12 
 
 60 
 
 15 
 10 
 10 
 25 
 
 $5 07 
 
 N. B. The above list of materials is what is required by 
 
34 
 
 each student. The amount being $5.07 in having a large 
 lamp, or $4.57 if a small lamp is required. 
 
 All those articles can be sent to any part of the United 
 States, and may be paid on delivery, thus saving all trouble. 
 
 Orders promptly attended to. 
 
 Any article used for Wax Flowers always on hand. 
 
35 
 
 Madame Herman is also the inventor of the beautiful art 
 of making Foliage, which is a perfect representation of the 
 Natural Leaf, and is made without moulds or scissors. 
 Never before been taught in this country. 
 
 It has been pronounced the greatest invention of the day. 
 
 This beautiful art can be learned for three dollars only, 
 by buying the Book of Instruction, with many practical 
 illustrations, so composed that any child, 10 years of age, 
 can learn from the book. 
 
 This is the beautiful method which has been taught so 
 successfully in New York by Madame Herman for $10. 
 
 The book is to be had from the author, at 113 West 41st 
 Street. 
 
 Sent to any part of the St^+es. 
 
36 
 
 THE AMERICAN CROSS. 
 
 This beautiful Cross which is an imitation of Parian 
 Marble, and which will last a life-time with a little care, 
 and is ten inches high, is sold for only $1.50. 
 
 A Beautiful Portrait of Washington in Wax. 
 
 Taken from a painting presented by General Washington 
 to a member of the celebrated Chew family, of great re- 
 nown (of German town, Pa.), in a handsome oval frame, 11 
 inches long, 9 inches wide, for only $5.00. 
 
INSTRUCTIONS 
 
 METHOD OF 
 
 MAKING WAX FLOWERS. 
 
 Price of this Book, with an entire Set of Moulds, $2.50. 
 
 SOLD AT 
 
 MADAME HERMAN'S, 113 West 41st Street, New York. 
 
 E3F° Agents wanted in every city and town in America. 
 
TSE GmEaTEST I XV EXT I OX OF THE PdY. 
 
 THE BEAUTIFUL ART OF 
 
 AILING FOLIAGB, 
 
 Whieh is a perfect representation of the Natural Leaf, and made 
 without Moulds or Scissors. 
 
 Can n;w be learned for only $3.00, by buying the Book of Instruction. 
 
 SOLD BY THE AUTIIOIt, 
 
 MADAME HERMAN, 113 West 41st Street, New York. 
 

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