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 THE ART 
 
 OF 
 
 BY 
 
 MRS. A : M . H Y 
 
 £131? 
 
 Entered according to Act of Congress, in the year 1873, by Janentzky a Co., in the office of 
 Librarian of Congress, at Washington, D. C. 
 
 PUBLISHED BY ^ 
 
 JANENTZKY & CO., 1125 CHESTNUT STREET, 
 PHILADELPHIA. 
 

 V5i 
 
 \ 
 
 ^O 
 
 3 
 
THE ART OF 
 
 Making Wax Leaves, 
 
 Of all the various artistic uses to which sheet 
 wax is applied, perhaps none is more effective 
 or more closely imitative of nature than the 
 manufacture of leaves. Autumnal tints in all 
 their gorgeous variety and blended hues, green 
 ferns and white veined ivy, and — most striking 
 of all — the rare foliaged exotics seen in hot- 
 house collections, — Colladiums, Bigonias, Coleus, 
 Cissus discolor, and many others. We do not 
 now allude to the many miserable specimens 
 seen in shop windows and arranged in vases 
 upon mantel shelves, to be admired only by the 
 makers themselves or by those who have never 
 seen the natural leaves of which they are sup- 
 posed to be copies. Such efforts as these do not 
 deserve the name, and would disgust the taste- 
 
4 THE ART OF 
 
 ful amateur, and deter him from attempting the 
 art. The simple directions we are about to 
 give will enable any one to produce specimens of 
 quite another type, which will amply reward 
 the small outlay of time and capital required 
 for their manufacture. 
 
 For Autumn leaves, use white wax for all 
 variegated or red ones, but yellow wax will be 
 best for the yellow tinted varieties. Use pat- 
 terns taken from natural leaves, and with a 
 pair of small scissors cut them neatly out of 
 the wax, using for the purpose two sheets 
 pressed firmly together. Some persons cut the 
 sheets separately and press them together after- 
 wards, but this is double trouble, as they can 
 just as well be cut at once, and the stem — a 
 wire covered with wax — can be easily inserted 
 between the two thicknesses, letting it extend 
 along the centre almost to the point of the leaf, 
 like the mid-rib of a natural leaf. If maple 
 leaves are to be made, they can be moulded 
 around the edges by pressing them firmly with 
 the ball of the moulding pin, the edge of the 
 leaf being held over the forefinger of the left 
 hand. Then, holding the leaf in the palm of 
 
MAKING WAX LEAVES. 
 
 jour left hand, begin to mould it from the 
 central stem outwards, until the two sheets of 
 wax are completely incorporated together. 
 
 Next; wet the right side of the leaf — the 
 side that has been held next the palm, and 
 press it down firmly upon the natural leaf, 
 which will thus impart the proper impressions 
 of veins, and also the natural bend of the 
 leaf itself. 
 
 Next comes the coloring, which is no unim- 
 portant matter, and will need some practice 
 before producing the right effect. Perhaps it 
 will be best for a beginner to try blending the 
 tints first upon a piece of waste wax. Kub a 
 small portion of the carmine upon a portion of 
 it and shade it on the edges with black or 
 brown, until the easy art is acquired. 
 
 Some of the prettiest of the maples are of 
 three distinct colors, yellow, red and green. 
 One point will be of the clearest crimson, 
 deepening in places into a purplish brown ; 
 another will be yellow, shaded into orange and 
 brown, and in another portion will be seen the 
 natural green, perhaps spotted and marked by 
 insects, but blending and changing very gradu- 
 
6 THE ART OF 
 
 ally into the other colors. In the imitation of 
 this easy blending of shades consists the chief 
 art of the coloring. 
 
 Take powder colors, prepared for wax work, 
 — chrome green, chrome yellow, carmine, and a 
 little vandyke brown. The green will need a 
 little of the yellow added to make it of the 
 natural tint. With one of the middle fingers, 
 rub on the green powder on both sides of a 
 portion of the leaf, working it well into the 
 veins and edges. Next rub pine yellow into 
 another part, and then upon a third the car- 
 mine ; then let the parts where the colors meet 
 be shaded together, adding enough brown or 
 ivory black to darken and shade it wherever it 
 is desirable. 
 
 In the same way may be colored any of the 
 autumn tinted leaves, nature furnishing enough 
 brilliant specimens from which to copy. If any 
 of the more sombre or russet tinted leaves are 
 wanted to mix in the gay group, they may be 
 colored with raw sienna, brightened, perhaps, 
 by adding a little touch of burnt sienna to the 
 edges. 
 
 Other leaves, however, will require different 
 
MAKING WAX LEAVES. / 
 
 treatment. Coleus leaves should be made of 
 light green wax, and moulded upon regular 
 moulds, either of plaster or metal, to be had of 
 various sizes at the places where other materials 
 for wax work are sold. 
 
 When made and moulded, the color, com- 
 posed of carmine and vandyke brown well 
 mixed, is rubbed upon the central portion, and 
 may be made to imitate nature very closely, 
 especially when the edges are left clear and 
 green. Or if green wax is not at hand, white 
 will answer very well by merely rubbing light 
 green paint on to the edges before putting 
 on the color for the centre. The less it is 
 rubbed the more velvety will be the appearance 
 of the leaf. Leaves of the Virginia creeper, 
 and sumac are of a very brilliant red color; 
 sweet gum, blackberry, sassafras, etc., are of 
 variegated hues. 
 
 The exotic foliaged plants, which have been 
 but lately introduced into our gardens and hot 
 houses, are capable of the closest imitation, but 
 are colored in a different manner. Oil colors in 
 tubes are used for them, and also dry zinc white, 
 where a peculiar kind of white is desired. For 
 
8 THE ART OF 
 
 Calladiuras, of which there are quite a variety, a 
 different method of moulding must be observed. 
 For the dark green species use wax of the 
 natural shades; cut them out of three thick- 
 nesses of what is called single wax, or two of 
 the double, always proceeding, if possible, with 
 a natural leaf as the model. Mould the wax 
 leaf with three or five wires instead of one ; let 
 one mark the centre, and two others curve from 
 the two barbed points of the arrow-shaped leaf, 
 the remaining two starting from points nearer 
 the apex and uniting with the central wire, 
 forming one stem at the base of the leaf. (See 
 illustration) . 
 
 A plaster mould will afford both a pattern of 
 form and a means of giving it shape and round- 
 ness. Of the green Calladiums some are marked 
 with red or pinkish blotches, which can be 
 given with sable brushes, using crimson lake 
 with a little white to give it body; for white 
 marks use the silver or cremnitz white, and for 
 lighter green, add chrome green toned to the 
 proper shade by adding white or chrome yellow, 
 or perhaps some of both. 
 
 For all veined leaves use a very finely pointed 
 
MAKING WAX LEAVES. » 
 
 sable pencil and cremnitz white, tracing them 
 firmly but lightly along the lines indicated by 
 the mould. 
 
 For the white Galladium or rather the light 
 green and white variety, use white wax, rend- 
 ered still whiter by rubbing with zinc white in 
 powder. These leaves are curiously marked 
 and mottled with green, and this mottling is 
 given by applying to the edges, and different 
 portions of the leaf, touches of green paint 
 mixed to the proper tint. After it has been 
 applied in a rough and seemingly careless man- 
 ner, take a badger blender and pass it back and 
 forth across, and up and down the leaf, until 
 the proper blending mottling is attained. 
 
 The leaves of the Cissus discolor are very 
 curiously spotted with light green beads upon a 
 ground of dark green and purplish crimson. 
 Mould the leaves as usual upon moulds made of 
 different sizes, and commence by painting the 
 leaves with crimson lake; this will give the 
 veins the peculiar purplish tint seen in these 
 leaves. When dry, the spots are to be given 
 with naples yellow paint, slightly tinted with 
 green, imitating nature in the shape and size of 
 the spots. 
 
10 THE ART OF 
 
 Another plant, very well worth copying in 
 wax, is the Achyranthus with its crimson and 
 dark brown leaves, looking so brilliant in the 
 sunlight. Plaster moulds in various sizes and 
 shapes are needed for these peculiar looking 
 leaves. Some of the leaves are only half open, 
 others drawn down in the centre, whilst others 
 will be fully expanded, and the full variety is 
 necessary to the perfect representation. A wire 
 through the centre, as with ordinary leaves, will 
 be sufficient for any of them, and it can be bent 
 to suit the shape of the mould. Use white wax, 
 and after all are moulded begin by painting 
 them entirely on both sides and the stem with 
 crimson lake, putting them carefully by to dry. 
 If the color is not as deep as in the natural 
 leaves, give a second coat, which will produce a 
 fine clear crimson or blood color. When this is 
 dry enough mark the lines or stripes with van- 
 dyke brown, and leave them to dry. 
 
 For the leaves of Begonias, use white wax of 
 three thicknesses, mould and paint the edges 
 with dull green made by mixing chrome green, 
 naples yellow and a little vandyke brown ; then 
 paint the centre of a lighter shade, produced by 
 
MAKING WAX FLOWERS. 11 
 
 adding white to the same. The under side of 
 the leaf must be washed with crimson lake, with 
 a slight addition of vandyke brown to give 
 it body. 
 
 In addition to the above-named varieties, there 
 are many other curiously marked leaves which 
 may be colored in oils, but the above directions 
 will afford sufficient guide to them, and by 
 closely imitating the natural leaves themselves, 
 learners will readily acquire the art. 
 
 MATERIALS FOR ALL 
 
 fe* .glower and ^mff Hffork, 
 
 MOULDS, PAINTS, TOOLS, &c, 
 
 May be procured of the Dealer where this 
 Book was bought. 
 
 For Specified List of Materials see nest page. 
 
SHEET WAX— Best Quality i n the Market.— White, Green, Yellow, Blue, 
 Pink, Purple, Buff— for Tea Rose, Browns — for autumn leaves, Orange, Varie- 
 gated—plain, Scarlet, Crimson, White— double, Variegated— with Carmine. 
 
 EXTRA LARGE WAX— For Pond Lilies, in Packages of 6 Sheets.— White, 
 Green, assorted. 
 
 WHLTE CAKE WAX— Warranted Pure.— The celebrated "Star Brand." 
 
 EXTRA FLNE DRY COLORS— In small glass bottles, prepared expressly 
 for this work and for Initial Stamping. — White, Burnt Sienna. Burnt Umber, Raw 
 Umber, Raw Sienna, Chrome Yellow — Nos 1, 2, Chrome Orange, Light Blue, 
 Prussian Blue, Green— light, medium, dark, Yellow Ochre, Indian Red, Light 
 Red, Lamp Black, Down— in different tints, Rose, Deep Rose, Purple, Solferino, 
 Bloom. Magenta. Vermillion. Frosting — white and colored, Lemon Yellow, Pure 
 Scarlet, Cobalt, Carmine— small and large size vials, Violet Carmine. Fine Dry 
 Colors, fitted in boxes, an assortment of 28 different Colors, complete for use. 
 
 GILT LEAF MOULDS— Violet, Nos. 1,2, 3. Camelia. 4, 5. Fuchsia, 6, 7, 8. 
 Fish Geranium, 9, 17, 18. Ivy, 10, 11, 35. Rose, 12, 13, 14. 22, 34 68. 69. Lily of 
 Valley, 15, 16. Verbena, 19, 20, 21. Orange, 23. 24. Heliotrope, 25, 26, 27. Arbu- 
 tilon, 28, 29. Pansey, 30, 31. Rose Geranium. 32. 33. Pond Lily. 36. 37. Maple, 
 38,39,40,41. Oak, 42, 43, 44. Dog Wood, 45, 46 Chestnut, 47, 48. Sassafras, 49, 
 49)4, 50. Blackbery, 51, 52, 53. Elm, 54, 55. Sumac, 56, 57. Wild Cherry, 59, 58, 
 58J/ 2 - Grape, 60, 61. Currant, 62, 63. Jessamine, 64, 65. Willow, 66, 67. But- 
 terfly, 71, 72, 73. Myrtle, 74, 75, 76. Cape Jessamine, Salvia, Honey Suckle, 
 Laurustinus,*Azalia, Lilac, Strawberry, Pyrus Japonica, Clemestine, Woodbine, 
 Passion Flower. 
 
 GILT FLOWER CUTTERS— Extra Fine of 1 piece each.— Verbena, 77, 
 78, 79. Heliotrope and Forget Me Not, 80, 81. 
 
 TIN FLOWER CUTTERS— Dahlia. 7 pieces, No. 1. Camelia, 6 pieces, 2. 
 Rose, 8 pieces. 3. Fuchsia, 2 pieces, 4. Geranium, 3 pieces, 6. Lily of Valley, 7. 
 Violet, 2 pieces, 10. Wisteria, 3 pieces, 13. Pyrus Japonica. 2 pieces, 14. Honey- 
 suckle, 15. Pink, 4 pieces. 16. Pansey, 4 pieces, 17. Geranium, 18. Jessamine, 19. 
 Orange, 20. Pond Lily, 8 pieces, 21. Tube Rose, 4 pieces, 22. Sweet Alysium, 23. 
 Moss Rose Calyx, 24. Clemestine or small Jessamine, 25. Star Flower, 26. 
 Quaker Lady, 27. Azalia, Nos. 31, 32, 33. Easter Lily, 34, Narcissus, 35. 
 
 SUNDRIES— Carmine Saucers. Green Moss, in Envelopes, in fine sprigs. 
 Staminas, a great variety. Wooden Crosses, painted white, 6, 7, 8%, 9%. 10%, 
 12, 14, 16 and 18 inches high. Rustic Crosses, neatly made, of different sizes. 
 Cross, Heart and Anchor, nicely arranged to represent Faith, Hope and Charity. 
 Harps. Lyres. Anchors. Megilp for dissolving Powder Colors. Glossing for 
 Wax Work. Poonah Brushes. Poonah Badger Brushes. Camels' Hair Quill 
 Brushes. Camels' Hair Pencils in tin. Red Sable Hair Pencils. Arrow Root, 
 pure Bermuda and Taylor's. China Saucers and Slants for mixing Colors. 
 Glass Balls for Currants and Grapes. 
 
 WOODEN MOULDING TOOLS and STEEL CURLING PINS. 
 
 12 
 
THE ART 
 
 OF 
 
 ■9 
 
 r w 
 
 BY 
 
 MRS, A. M. HYDE 
 
 Entered according to Act of Congress, in the year 1873, by Janextzky * Co., in the office of 
 Librarian of Congress, at Washington, D. C. 
 
 PUBLISHED BY 
 
 JANENTZKY & CO., 1125 CHESTNUT STREET, 
 PHILADELPHIA. 
 
TOOLS, 
 
 A LARGE VARIETY OF DESIGNS 
 
 FRET CUTTING, 
 
 Always on Hand. 
 SCHEIFFELE SHEET WAX. 
 
 IW~ Recognized as the Only Reliable Sheet Wax for making Wax Flowers. 
 
 The Proprietor would inform buyers, that in consequence of an inferior article 
 being offered for sale, and the sellers representing the same to be of the Scheiffele 
 Manufacture, it has become necessary to thus advise them, and further mention 
 that henceforth this Sheet Wax, in addition to being put up in the usual way, of 
 12 sheets to a Package, will exhibit on the Wrapper of each, an Imprint, as follows: 
 
 SCHEIFFELE SHEET WAX. 
 
 None Genuine unless having on the Wrapper the following 
 
 TRADE MARK: 
 
 W@. &4Mstd'rie-£d/ 
 
 Successor, 
 
 Entered according to Act of Congress, in the year 1873, by G. H. Smithers. 
 in the Office of the Librarian of Congress, at Washington, D. C. 
 
 All Counterfeits of this TRADE MARK, or improper use of the same, 
 will be held to legal accountability. 
 
WORKS ON ART 
 
 EACH. 
 
 AUDSLEY, Illuminating, $1 50 
 
 ALLEN", Young Mechanics' Instructor, or Workmans' Guide, 1 15 
 
 BACON, Theory of Colors, 1 50 
 
 BAIGENT, Heraldic Illuminating, 3 00 
 
 BARNARD, Foreground Studies, 10 00 
 
 BARNARD, Water Color Painting, 8 00 
 
 BOUTELL, Heraldry Historical and Popular, Illustrated, 9 00 
 
 BURNETT, Portrait Painting in Oil Colors, 7 50 
 
 BARBER, Painters, Grainers, and Writers' Assistant, 90 
 
 CHAPMAN, American Drawing Book, 6 00 
 
 CHASE'S Landscape Painting, 1 50 
 
 CHEVREUIL, on Colors, colored plates, 3 00 
 
 DELAMOTTE, Primer of Illumination, 4 00 
 
 FAU'S ANATOMY, with Atlas, plain, $13 50, colored, 22 50 
 
 FIELDING, Mixed tints and their uses, 1 25 
 
 GREEN, Perspective, 6 00 
 
 HARDING, Early Drawing Book, 5 00 
 
 " " New Drawing Book, 10 00 
 
 " Lesions on Trees, and on Art, 7 50 
 
 " Guide and Companion, 6 00 
 
 " Elementary Art, 12 50 
 
 HARRISON, Suggestions for Illuminators, 5 00 
 
 MINTORN, Wax Flower Modelling, 1 50 
 
 PEPPER, Art of Making Wax Flowers, 75 
 
 RINTOUL, Painting Photograph Portraits, 1 25 
 
 REINELL, Carpenters, Joiners, and Gilders' Companion, 67 
 
 REINELL, Masons, Bricklayers, Plasterers & Slaters' Assistant 67 
 
 TILTON, Wax Flowers and how to make 2 00 
 
 " Art Recreation, 3 00 
 
 ' ; Skeleton Leaves, 2 00 
 
 THOMAS, Mural Decoration, 7 50 
 
 WALL, Photograph Painting, 3 50 
 
 WALKER, Lessons on Animals and Figures. 3 75 
 
Hand-Books on Art. 
 
 Per Copy J+5 cts. Postage paid 50 cts. 
 
 Landscape Painting, in Oil Colors. 
 Portrait Painting in Oil Colors. 
 Marine Painting in Oil Colors. 
 
 Guide to Oil Painting, Part I. and II. [Oil Paintings. 
 
 On the materials used in painting, cleaning and restoring 
 Landscape Painting in Water Colors. 
 Portrait Painting in Water Colors. 
 System of Water Color Painting. 
 Art of Miniature Painting. 
 
 Sketching in Water Colors from Nature. 
 Guide to Water Color Painting. 
 Guide to Miniature Painting. 
 
 Sketching Trees from X ture in Water Colors. 
 A manual of Illumination. 
 A companion to Guide of Illumination. 
 Marine Painting in Water Colors. 
 
 Principles of Coloring in Painting. 
 Art of Flower Painting. 
 
 Guide to Flower Painting. 
 Art of mural decoration. 
 
 How to Sketch from Nature. 
 What to Sketcli with. 
 
 Hand-book of Alphabets. 
 
 Hand-book of Initial Letters. 
 
 Alphabet and Designs of different periods. 
 Animal Drawing, by Gullick. 
 Animal Drawing, by Weigall. 
 
 Artistic Anatomy of the Hois.' 
 Artistic Anatomy of the Human Figure." 
 Transparency Painting on Linen. 
 Transparency Painting on Glass. 
 Art of Sketching from Nature. 
 Elements of Perspective. 
 
 Principles of Form in Ornamental Art. 
 Drawing Models and their use- 
 Painting and Drawing in Colored Crayons. 
 Guide to Light and Shade 1 'rawing. 
 
 Guide to Pencil and Chalk Drawing. 
 Guide to Pictorial Art. 
 
 Guide to Levelling and Survey in;,'. 
 Guide to Pictorial Perspective. 
 
 The Art of Figure Drawing, by Weigall 
 to Figure Drawing, by Hicks. 
 Guide to Painting on Glass. 
 
 Pamire Perspective. 
 
 Art of Wood Engraving. 
 
 Painting on Glass for Magic Lantern. 
 
 Water Color Painting and Sketching from Nature. 
 Figure Painting in Water Colors, by Whiteford. 
 Miniature' Painting in Oil and Water ( olors 
 
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