3 1822 01126 9610 
 
 
 
 
 
 mm 
 
 
 
 - 
 
 
 
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 G/C 
 
 Central University Library 
 
 University of California, San Diego 
 : This item is subject to recall aftertwo weeks. 
 
 Date Due 
 
 021993
 
 WAX FLOWERS, 
 
 HOW TO MAKE THEM 
 
 NEW METHODS OF SHEETING WAX, 
 MODELLING FRUIT, &c. 
 
 BOSTON: 
 
 J. 53. TILTOlSr J^NT) 
 
 1864.
 
 Entered, according to Act of Congress, in the year 1864, by 
 
 J. E. TILTON & CO., 
 In the Clerk's Office of the District Court of the District of Massachusetts. 
 
 .J.ECTHOTTPED AT THB 
 
 Hotton Stereotype Foundry, 
 No. 4 Spring Lane. 
 
 PRINTED BY 
 
 CEO. C. RAMD & AVBBT, 8 COBKHIU..
 
 CONTENTS. 
 
 PAOB 
 
 INTRODUCTION 7 
 
 WAX FRUIT. 
 
 Making Moulds of Two Parts, 12 
 
 Mould for an Orange, 12 
 
 Moulds for Lemons, Citrons, Limes, Melons, Capsicums, &c., . 17 
 
 Moulds for Plums, Apples, Pears, Cherries, Closed Peas, &c., 18 
 
 Moulds of Peaches, Apricots, Filberts, Walnuts, Almonds, &c., 20 
 
 Moulds for Half Fruit, 20 
 
 Moulds of Many Parts, 22 
 
 Moulds of the Pomegranate and Medlar, 22 
 
 Mould of a Cucumber and an Egg, 24 
 
 Mould of a Mulberry, Raspberry, &c., 26 
 
 Pine Apple 27 
 
 Section of Fruit, ...-..- 28 
 
 Moulds of Small Fruit, 29 
 
 Grapes, Currants, 29 
 
 Other Objects 29 
 
 CASTING THE FRUIT. 
 
 Casting an Orange 31 
 
 Casting other Fruit, 32 
 
 Stalks, 34 
 
 Solid Fruit, 34 
 
 FINISHING THE FRUIT. 
 
 To Prepare the Fruit previous to Coloring 36 
 
 Coloring Sections of Fruit 38 
 
 Putting on a Rosy Tint, 40 
 
 Putting on Streaks, Specks, and Irregular Patches, ... 40 
 
 To put a Downiness or Powdering upon Fruit, .... 42 
 
 Varnishing a Fruit, 43
 
 4 CONTENTS. 
 
 SMALL CLUSTERED FRUITS. 
 Not made by Casting nor in Wax, . . . . . .45 
 
 To make Dark Grapes, 45 
 
 To make White Grapes, 47 
 
 To make Currants, 47 
 
 General Observations on Casting Wax, ....... 48 
 
 Elastic Moulds 49 
 
 To Obtain a.nd Prepare Wax, ' . .51 
 
 To Whiten Wax, 52 
 
 To Clean a Brush, 52 
 
 To Remove Wax from a Dress, 53 
 
 WAX FLOWERS. 
 
 Articles and Materials required, 54 
 
 Making Sheets of Wax 55 
 
 White 56 
 
 Yellow, 57 
 
 Pinks and Reds, 58 
 
 Blues, 58 
 
 Greens, 58 
 
 Colors required, 62 
 
 White and Green Down 62 
 
 Brushes, 63 
 
 Patterns and Shapes 64 
 
 Stamens and Pointal, ......... 66 
 
 To make Waxen Leaves, .67 
 
 To make Succulent Stems, Buds, &c., 68 
 
 MODELLING SIMPLE FLOWERS, . . 69 
 
 SINGLE AND SIMPLE FLOWERS. 
 
 The Snowdrop, Crocus, Primrose, and Violet, .... 72 
 
 The Crocus Tribe, 76 
 
 Crocus Sativus, . 78 
 
 The Snowdrop, 79 
 
 The Violet, - . . 80 
 
 The Heartsease, 82 
 
 The Tulip, Hyacinth, and Narcissus, 83 
 
 The Van Trol, or Sweet-scented Early Spring Tulip, . . 84 
 
 The Hyacinth 85 
 
 The Narcissus, 88 
 
 The Pink, Jessamine, Daisy, Forget-me-not, Coreopsis, &c., . 93
 
 CONTENTS. i) 
 
 The Single P , 94 
 
 The Double .k, 95 
 
 Clove and Carnation, 95 
 
 The Jasmine, 96 
 
 The Daisy, 97 
 
 The Forget--ne-not, 98 
 
 The Coreopsis 98 
 
 The Cyclamen, . 99 
 
 Other Simple Flowers, 100 
 
 The Laburnum, 101 
 
 The Convolvulus, 101 
 
 The Fuchsia, 102 
 
 Engraving of a large Fuchsia, 10-5 
 
 Various Parts of the Fuchsia of the Natural Size, . . .106 
 
 Bell Flowers, 107 
 
 The Tobacco 107 
 
 Honeysuckle, 107 
 
 The Poppy 107 
 
 The Passion Flower, 108 
 
 The Single Rose, 110 
 
 The Chrysanthemum, China Aster, and other Quitted Flowers, 110 
 
 The Lily of the Valley, 112 
 
 MODELLING OF DOUBLE FLOWERS, . . 114
 
 HERE are no imitations of natural 
 objects more exact and pleasing than 
 those made of wax, more especially 
 the representations of Fruit and Flow- 
 ers. So exact, indeed, are they, that if well made, 
 the most practised eye cannot sometimes detect the 
 real from the artificial. 
 
 In Fruit, the choicest specimens of every clime may 
 be thus assembled in a single vase, in all their ap- 
 parent lusciousness and perfection ; while in their waxen 
 prototypes, lovely Flowers may be viewed in all their 
 gorgeous coloring and transparent delicacy. As orna-
 
 8 WAX FRUIT AND FLOWERS. 
 
 ments to the drawing-room, when grouped with taste, 
 and blended with harmonic contrast, these waxen ob- 
 jects are not to be surpassed, whether we look at 
 them as records of foreign productions seldom seen, 
 of extraordinarily beautiful specimens of home-growth, 
 of favorites which it is desirable to preserve, or 
 merely as beauties of ordinary production, which the 
 eye delights to rest upon. Indeed, all lovers of 
 flowers (and who are not?) must admire these, 
 their lovely images, transparent, vivid, and brilliant as 
 they are. 
 
 The very beauty of waxen fruit and flowers, induces 
 the belief that to make them must be difficult. " I 
 can never make any so beautiful as these," is a very 
 oft-repeated expression upon witnessing even a single 
 group. Yet, in truth, no art is of more easy attain- 
 ment ; a little patience, and a little taste, are the whole 
 mental requisites ; these, superadded to ordinary care 
 in the manipulation, cannot fail very shortly to render 
 proficient the most inexperienced. Yet it is not to be 
 denied, that a slight knowledge of the harmony of 
 colors and of botany will greatly assist in the per- 
 fection of the more difficult of these works of elegance. 
 The chief thing is to know how to select the proper 
 materials, and how to set about the work in a proper
 
 WAX FRUIT AND FLOWERS. 9 
 
 manner; and, it may be added, to commence with 
 what is most easy. Should it be a fruit, let it be one 
 of a single color, as an orange or a lemon ; or, if 
 a flower, we might recommend a snowdrop, a violet,} 
 or a narcissus, in which there is no complexity, and 
 little pencilling. 
 
 In our larger cities, the requisite materials can al- 
 ways readily be procured, and it is not worth while 
 that any of them should be home-made ; yet, as per- 
 sons who desire to practise this art may live far in 
 the country, where it is difficult to obtain even the 
 simpler requisites ; and, as circumstances often arise in 
 which it is absolutely impossible to procure what may 
 be wanted for a particular purpose, as in the case of 
 a mould being required for a certain specimen of a^ 
 fruit, or the extra thick wax desirable for particular 
 flowers, &c., we intend to include in this, our little 
 book, every available information ; that the learner, 
 however remotely situated may be his residence, or 
 unique his model, may have as much as possible his 
 difficulties removed, his mind stimulated, and his fin- 
 gers directed to attain excellence. 
 
 Beginning with the easiest department, it is neces- 
 sary to divide the subject into the making of Fruit, 
 and the making of Flowers. These are quite distinct
 
 10 WAX FRUIT AND FLOWERS. 
 
 in themselves ; the former includes the imitation of 
 all solid objects, with melted wax poured into moulds. 
 The latter includes those more delicate ones, which 
 are made without moulds, of wax previously cut into 
 thin sheets.
 
 WAX FRUIT. 11 
 
 WAX FRUIT. 
 
 ] HE art of making Wax Fruit includes 
 every small object made in a mould ; thus 
 the same instructions that direct to 
 make an orange, are equally applicable 
 to form an egg, a pea, a cucumber, the stem of a cactus 
 or stapelia, a doll, a bust, or any similar article, ob- 
 serving that the principle upon which all are formed 
 is, that a mould is requisite. This is first to be made 
 or procured, then wax is to be cast in it; sometimes 
 solid, sometimes hollow. In many cases the objects 
 will now be completely finished, with the exception 
 of just trimming around where the mould joined ; in 
 other cases, the wax-castings are to be painted with 
 dry colors for some, and wet colors for others ; and in 
 different manners, according to the effect desired to be 
 produced. Thus the imitation of solid objects in wax
 
 12 WAX FRUIT. 
 
 necessarily resolves itself into three distinct portions, 
 each of which we must consider in detail ; and first, 
 as to 
 
 MAKING MOULDS OF TWO PARTS. 
 
 The materials and implements requisite for making 
 the proper moulds are plaster of Paris ; some slips of 
 stiff paper, or ribbons of tin cut from thin tin-plates of 
 their full length, and about three inches wide ; some 
 damp sand in a bowl ; a pint basin ; large spoon ; 
 small dinner-knife ; and jug of water. The plaster of 
 Paris should be quite fresh, and of good quality, 
 superfine if it can be procured ; it may be bought of 
 any of the Italian figure-makers. Thus provided, pro- 
 cure a regularly formed fruit, and one which is neither 
 hard like a walnut, nor yet rough like a peach, nor 
 irregular like a pine-apple ; an orange is a very good 
 one for this purpose ; then proceed as follows : 
 
 Mould for an Orange. Sink nearly one half the 
 orange into the sand which has been previously 
 damped ; and it will be better, for a reason afterwards 
 explained, to sink that part of the orange to which 
 the stalk was attached, so that the widest part of the 
 orange shall be just above the sand. Make the sand
 
 WAX FRUIT. 13 
 
 smooth around it. Then take one of the longest 
 pieces of tin, bend it round into a hoop a little more 
 than an inch wider than the orange, and keep it of 
 this form and size by a bit of string tied round it, 
 stick this hoop in the sand so as to enclose the 
 orange, and be at an equal distance from it on every 
 side, the upper edge of the tin standing up above the 
 fruit, which is now prepared for casting from. If you 
 have no tin, a piece of stiff and smooth brown paper, 
 folded double, and one end fastened to the other by a 
 Avafer or wax, and the slip then made to surround the 
 fruit, will do as well as the tin, though it is more 
 troublesome to insert into the sand. 
 ' Now prepare the plaster of Paris, which is to be 
 poured on to the fruit. First pour water into the 
 basin (it may be half or three quarters full), sprinkle 
 the plaster into the water quickly, till it comes up to 
 the top of the water, or till you think you have 
 enough to cover the exposed half of the fruit to half 
 an inch in depth, pour off the superfluous water, and 
 stir the whole together quickly, till well mixed, to 
 about the consistence of thick cream or honey ; then 
 pour the mixed plaster upon the fruit, so as to cover 
 it all over equally, or as nearly so as possible, the 
 plaster will, of course, be stopped from running away 
 2
 
 14 WAX FRUIT. 
 
 by the tin edging. If it should be too thin, and 
 therefore run too much off the fruit, so as to leave 
 the top bare, or nearly so, you must, after pouring it 
 on the fruit, watch till it begins to harden, and then 
 with a knife plaster it on the deficient parts, or else 
 quickly mix up a little more to pour on ; the whole 
 of this must not take up above a minute or two, or 
 the plaster will begin to set, as it is called ; that is, it 
 will commence solidifying, for it is the property of 
 calcined plaster of Paris to unite itself with water 
 with so strong a chemical affinity, that from an im- 
 palpable powder it becomes a hard and solid substance. 
 
 While the half mould, now roughly formed, is be- 
 coming hard enough to handle, the basin and spoon 
 must be carefully washed, ready for use again pres- 
 ently, for a second quantity of plaster must never be 
 mixed up in any vessel, till all former quantities be 
 carefully washed away ; and be it remarked, also, that 
 if plaster gets hard and dry in a basin, spoon, or other 
 vessel, the best way to remove it is to pour in a little 
 water, when it will readily separate in one piece. 
 
 We will now suppose the plaster, which has been 
 poured on the fruit, to have gotten about as hard as 
 the flesh of a soft pear, or just hard enough to handle ; 
 when this is the case, take the whole up from the
 
 WAX FRUIT. 15 
 
 sand, take away with the point of the knife all sand 
 which will drop from it, carefully remove the tin rim, 
 and hold the mould by the fruit; now cut away any 
 superfluous parts around the outside with a knife as 
 quickly as convenient, for it is now momentarily get- 
 ting harder ; turn it up, and holding the mould itself 
 in the hand, fruit uppermost, remote the orange, if it 
 can he done readily without hurting the mould. Lay 
 the fruit aside, cut away the lower edge of the mould 
 where it has touched the sand, till the mould is ex- 
 actly that of half the fruit, which is easily seen, by 
 the shape of it internally. This is somewhat impor- 
 tant, in order that the second half of the mould shall 
 fit the fruit. If the tin has been of proper size, the 
 mould will be half an inch thick around the edge. 
 
 The next operation is to prepare the second half of 
 the mould, and that is easier and quicker to do than 
 the first. First make two, three, or four holes with 
 the round point of the knife in different parts of the 
 edge of the former half, to such a depth and of such 
 a size, that each will hold half a small marble or 
 large pea. Then grease with tallow and salad oil, 
 melted together in equal proportions, and laid on with 
 a small brush, the edge of the finished half, holes and 
 all. Wipe the orange from -all sand, and place it in
 
 16 WAX FEU IT. 
 
 the half mould exactly as it came out, so that it shall 
 fit in every part ; surround the finished half mould 
 with a long slip of stiff paper or tin, which you must 
 tie on with a string, or fasten with a wafer. Place 
 the whole, thus prepared, on a table or flat surface, 
 fruit uppermost ; prepare some more liquid plaster, as 
 in the former instance, pour it upon the fruit, and let 
 it partly harden. Then take off the edging, trim up 
 
 The cut above shows the moulding of the orange. A, represents It 
 half buried in the sand, with the tin or paper around ; B, is a view of 
 the first half mould when complete. 
 
 the outside, and when quite hard, insert the blade of 
 the knife between the two halves and separate them. 
 The whole mould will now be complete, and the fruit 
 being taken out, it will be ready to cast in. 
 
 This is the simple process employed for making 
 two-part moulds of all equally or regularly formed 
 fruit of the nature of the orange, or such as are at 
 the same time soft and yielding, such as are without
 
 WAX FRUIT. 17 
 
 depressions, or irregular hollows or warts, and of such 
 a nature that the plaster will not stick to them. For 
 other fruit, as presently to be observed, a rather dif- 
 ferent method must be pursued. 
 
 If a second mould be desired of the same fruit, a 
 new half may be cast from the fruit for either side of 
 it, by the same method as pursued for the second half 
 of the original mould, without having recourse to the 
 sand, as in making the first. 
 
 Moulds for Lemons, Citrons, Limes, Melons, 
 cums, &c. The moulds of all these may be made as 
 explained for the orange, observing only, that a long 
 fruit should be laid in the sand lengthways, and a 
 round fruit stalkways ; so that the joints of the mould 
 shall for a lemon go from end to end ; and for an 
 orange round the greatest circumference 4 or round what 
 we may call its equator. Sometimes a citron is so 
 rough, that it will not deliver ; that is, draw out of 
 the mould, unless the latter be made of three pieces 
 instead of two. Lemons, also, have very often a 
 hollow next to the end knob, and, it may be, small 
 knobs upon them ; the largest or most irregular of 
 these should be placed either quite downwards, or 
 quite upwards in forming the moulds.
 
 18 WAX FEU IT. 
 
 Moulds for Plums, Apples, Pears, Cherries, Closed Peas, 
 Nectarines, Strawberries, Gooseberries, Green Figs, &c. 
 These are all fruit either too unyielding to be removed 
 from the first half mould by pressure, as in the orange, 
 or too soft not to be spoiled by the operation. The dif- 
 ference then to be observed in making the moulds for 
 these and similar objects is only this, that the edge 
 of the first half mould, where it touches the sand, is 
 to be trimmed to exactly the half of the fruit, before 
 the latter can be removed from it. It must be evi- 
 dent that every mould must divide in the widest part 
 of the fruit, for if the fruit be sunk too much in the 
 sand, the first half will not enclose enough of it, so if 
 the first half be cut away too much, the second half 
 will, in like manner, enclose too much, and the fruit 
 being somewhat yielding, it may be removed, yet the 
 wax cast afterwards to be withdrawn will be caught 
 by the overhanging edges of the larger part of the 
 mould, and the whole be spoiled, except that as the 
 wax shrinks a little in cooling, if the difference of 
 the two be but trifling, it may perhaps deliver, espe- 
 cially if the fruit be large as a melon. In making 
 moulds of Strawberries, Figs, and other soft fruit, 
 great care must be taken in their removal, for if they 
 are broken, they cannot be replaced well to make the
 
 WAX FRUIT. 19 
 
 second half. The calyx of the strawberry must be 
 removed before making the mould, and a little piece 
 of dough, putty, or cotton-wool be put into the hole 
 where the centre piece is drawn out along with the 
 calyx ; if it should be so, though this should be 
 avoided if possible. Egg Plums have mostly a channel 
 down them, this should be at the bottom of the mould. 
 Greengages, and many other Plums, Nectarines, most 
 
 A, represents the first half mould of an apple in section, intended to 
 show the nature of the small connecting holes; B, is the first half of a 
 pear, showing its lengthways position. 
 
 Apples, Cherries, &c., have a deep hollow or depres- 
 sion where the stalk grows ; in all these cases the 
 stalk should be removed, and this part placed down- 
 wards in the sand ; also be careful, if there is any de- 
 fect in the fruit, as a hole pecked by a bird, a speck 
 of decay, an injury, or curious growth, that this part 
 shall be so placed, that neither the mould nor* the 
 fruit shall be torn away in the removal of one from
 
 20 WAX FRUIT. 
 
 the other. Imperfect fruit is by no means to be re- 
 jected as unworthy of imitation ; on the contrary, it is 
 generally more natural than the unblemished speci- 
 mens. The stalks of long Pears may be left on the 
 fruit ; they will deliver well if laid lengthways in the 
 sand. 
 
 Moulds of Peaches, Apricots, Filberts, Walnuts, 
 Almonds, &c. No instruction is requisite for these 
 fruits beyond the above, except that as the plaster will 
 stick to them, either on account of their hairiness or 
 their dry hardness, it is requisite to grease them well 
 before placing them in the sand ; and as the grease 
 will cause the sand to adhere to them, after separating 
 the first half mould, let them be well cleaned from 
 sand before they are placed in it for the second cast ; 
 when thus placed, it is usual to grease well with the 
 oil and tallow, both the fruit and edge of the mould 
 at the same time. 
 
 MOULDS FOR HALF FRUIT. 
 
 It is often desired to form a model of a Half Apple, 
 Pear, or Peach. This is very easily done. First 
 consider where the section shall be, and either tie a 
 thread round the fruit at this place, or else mark it 
 
 2*
 
 WAX FRUIT. 21 
 
 round with a knife, just cutting through the rind ; a 
 thread is best for an Orange, Lemon, or Peach, and 
 a cut for an Apple or Pear. Insert almost all the 
 part which is to be cut off, and which should, in a 
 two-part mould, be always half, or more than half 
 the fruit, into the sand ; make a half mould upon it 
 as before directed, trim up this, remove the fruit, trim 
 up the edge of the mould to the line before marked 
 out, or rather beyond it, make the proper holes to 
 connect it with the next half, grease the edge well, 
 put the fruit in its place so as to fit exactly, then cut 
 it through, leaving of course half in ; see that the 
 pips are properly in their places ; if apple-pips, pear- 
 pips, or the dry stones of plums or apricots, oil them 
 a little, then, having fastened around the already fin- 
 ished half mould a paper edge or guard, pour the 
 mixed plaster over the cut half, and it will be the 
 exact counterpart of it. In removing this when set, 
 it is very probable that the pips will adhere to it, or 
 may even be imbedded in it ; in this case, cut away 
 carefully with a penknife, till you come down to them, 
 when they may be removed. To take a section of a 
 fruit, as three quarters of an apple, a portion of a 
 melon, &c., will be described in the next division of 
 the subject, viz. :
 
 22 WAX FEU IT. 
 
 MOULDS OF MANY PARTS. 
 
 These moulds are somewhat more difficult to form 
 than those before described, though the same general 
 principles are to be regarded, and the same manipu- 
 lation in most respects preserved. These three or 
 four-part moulds are applicable to all fruits, and other 
 objects of such a form that they cannot be divided 
 into two halves ; or if so divided, there remain little 
 knobs, depressions, or irregularities, that will not 
 readily remove from the mould. The Pine Apple will 
 afford an illustration of fruit for which a .sectional 
 mould will be necessary. The following remarks upon 
 various objects of this kind, added to the preceding 
 instructions, will render equally familiar the making 
 moulds more complex than those hitherto described. 
 
 Moulds of the Pomegranate and Medlar. The Pome- 
 granate, which is produced from a splendid crimson 
 flower, is well known to be a hard-shelled fruit. The 
 stalk end of this flower expands afterwards into the 
 fruit, while the other end, the outer part of which 
 forms at first a five-cleft calyx, remains attached, and 
 becomes hard like the rest of the fruit. In making a 
 mould of a perfect fruit then, this part must be care-
 
 WAX FBVIT. 23 
 
 fully preserved, and imitated in the model ; and it is 
 necessary to make first a mould of this part, as if 
 distinct from the rest. To do this, first grease the 
 fruit well around the top, then tie round the calyx here 
 alluded to a piece of paper as an edging, pour into 
 this some mixed plaster, first resting the fruit upright ; 
 it will be caught by the paper, and mould the top of 
 the fruit. When hard, trim it up a little, cutting all 
 away which comes on the outside of the five-leaved 
 calyx, leave it an inch projecting on the top, and cut 
 this to the shape shown at A. In this piece it will 
 be seen that there is a cross notch, or a hole which 
 will do as well, the object of which is to show better 
 how it fits the parts afterwards to be made. 
 
 This part being made, grease it well on one half, 
 as well as the fruit itself for one half or more, lay it 
 thus greased, nearly half buried in the sand, as if for 
 making a two-part mould, taking care that no part 
 above the sand shall have been left ungreased. Then
 
 24 WAX FRUIT. 
 
 proceed, as before directed, to form two half moulds, 
 burying up, in so doing, the plug which was first 
 formed, and if it has been cut to a proper shape, it 
 will at times be held fast in its place when the mould 
 is empty. Sometimes the part of the calyx remaining 
 on the ripe fruit is so closed up, or united together, 
 that it is not necessary to take this trouble, but in 
 this case the mould may be made in two parts, like 
 those of the apple or pear. 
 
 The open calyx of the Medlar requires the same 
 method to be pursued as recommended for the pome- 
 granate, and the fruit being rough, requires also 
 greasing. An unripe medlar is the easiest to cast 
 from, but a ripe and much bruised one is the most 
 natural. It is seldom that a medlar is made in wax. 
 
 Mould of a Cucumber and an Egg. The mould 
 of a Cucumber is usually of three parts, as the knobs 
 upon it will not allow it to be drawn from a two-part 
 mould. We premise, of course, that . a person would 
 usually choose a long, bent, and irregular Cucumber 
 to imitate ; with such a one, proceed as follows : 
 Bury it in the sand, so that rather more than one 
 third of it remain above, then place the tin around it 
 (and here a great advantage is found in tin over*
 
 WAX FRUIT. 25 
 
 paper, it bending readily to the shape of the Cucum- 
 ber), yet it may happen that two lengths of tin are 
 necessary ; if so, place them so as to overlap each 
 other, and put a piece of string around them, if neces- 
 sary, to keep them together ; mix and pour the plaster, 
 let it get partly hard, remove the tin, take up the 
 mould and fruit, and trim the former, so that it shall 
 be the mould of about one third of the fruit, and 
 make the proper connection holes, as before directed. 
 A cross section of this part finished is shown at A 
 in the cut. Next grease rather more than half this 
 new formed third mould, and put it perpendicularly 
 sideways, fruit and all, into the sand, as shown at B. 
 Surround the fruit part of it with the tin, so that 
 when the plaster is next poured, it shall cover half or 
 rather more of the unmoulded part of the fruit, being 
 stopped on one side by the tin, and on the other by 
 the first part formed. Take it up when set enough, 
 remove the two moulds from the fruit, and trim up 
 the newly-formed piece, taking care that you do not 
 break or disturb the edge which adjoins the other 
 mould. When trimmed, grease the new piece, put it 
 with the former piece over the fruit, and grease the 
 other edge of the first formed piece, surround the 
 whole with paper or tin, and pour the plaster upon it 
 3
 
 26 WAX FRUIT. 
 
 as before. "When set, it may be taken apart, and the 
 fruit taken out. The three parts united will form a 
 perfect mould of the Cucumber. The mould, before 
 the last addition has been made to it, will resemble 
 in section the cut at C. A longitudinal mould in its 
 first stage is seen at D. 
 
 An Egg had better be moulded in three pieces, as 
 it will seldom deliver well in two pieces. This object 
 being always procurable, and less unyielding than a 
 Cucumber, is an easy and good object to practise 
 upon. 
 
 Mould of a Mulberry, Raspberry, &c. These fruits 
 require to be moulded in the same way as the Cucum- 
 ber. Sometimes, however, the Raspberry may be made 
 in two pieces ; in this case one half must enclose the 
 point of it up to the thickest part, and the other, the 
 stalk end, to meet the former. When made in three
 
 WAX F.RUIT. 27 
 
 parts, the first part should enclose the stalk end of the 
 fruit up to the thickest part of it, and the other two 
 moulds should be made sideways. A Mulberry should 
 be made in four pieces, each containing a quarter, 
 and so placed as to confine the fruit from end to end. 
 No moulds are more troublesome than those of the 
 mulberry and raspberry, on account of the soft pulpy 
 character of the fruit, and the consequent difficulty of 
 trimming up the moulds properly, or removing them ; 
 also, if bruised, the juice is very apt to impair the 
 strength of the mould. 
 
 1 
 Pine Apple. This is a fruit not difficult to mould, 
 
 although it requires four or more pieces. First, cut 
 off the stalk and pull out the top leaves ; bury the 
 whole of the fruit in sand, except a circle of about 
 two and a half or three inches at the top or leafy- 
 end, pour plaster on this part after slightly oiling it, 
 and surrounding it with tin'; let it set, take off this 
 plaster piece from the fruit, trim it up, and be careful 
 not to cut the edge where it touched the sand in 
 a straight line, but in notches, so as to agree with 
 the square or irregular portions which the fruit itself 
 consists of, and which for this part will be seen very 
 readily, by the irregularities of the mould itself. It
 
 28 WAX FRUIT. 
 
 need only be cut thus towards the inner part. You 
 will not forget to make four or five, or even more, 
 holes with the point of the knife around this foot 
 or end mould, to connect it well with the pieces after- 
 wards cast. This part being greased, put it again 
 upon the Pine Apple, and the latter being cleaned 
 from sand, place the two together lengthways in the 
 sand, leaving rather more than one quarter above. 
 Cast this upper quarter as before directed; trim it up, 
 grease it, and cast adjoining this and the foot mould, 
 a second quarter of the fruit, then the third, and 
 afterwards a completing one, forming altogether five 
 pieces. A string had better be tied round the four 
 sectional moulds to keep them together. Some Pine 
 Apples mould much better than others. 
 
 Sections of Fruit. The manner of making moulds 
 for straight sections of common fruits has already been 
 described. For other sections, as when a quarter is 
 cut from a melon, or one third of an apple or an 
 orange, the moulds had better be of three parts, the 
 part cut out forming the first part cast, and for this 
 we need only surround the fruit with a piece of paper, 
 tying it on ; it must be put in the sand to cast the 
 second piece.
 
 WAX FRUIT. 29 
 
 Moulds of Small Fruit. Small fruit, such as Straw- 
 berries, Raspberries, &c., are generally cast solid ; the 
 method pursued for larger fruit being scarcely appli- 
 cable to them. It is therefore requisite to bore a 
 hole through one portion of the mould to pour the 
 melted wax in. This hole should taper downwards 
 like a funnel, and must be made at such a part that 
 it will not injure the appearance of the fruit ; for ex- 
 ample, at the stalk end of the fruit, as it will in the 
 strawberry, &c., be hidden by the calyx afterwards to 
 be put over it. The hole to pour the wax in should 
 not be made in the Cherry, as the fruit is so smooth 
 and shiny that it is very difficult to hide the place. 
 
 Grapes, Currants, and other fruit of the like kind, is 
 never moulded, but made by glass balls, as afterwards 
 described. 
 
 Other Objects. In the same manner that the moulds 
 of fruit are made, may be made moulds of many other 
 objects, as stems and leaves of many of the Cactuses, 
 Stapelias, and other succulent plants. radishes, onions, 
 confectionery articles, dolls and figures, moulds for the 
 electrotype, &c.
 
 30 WAX FRUIT. 
 
 CASTING THE FRUIT. 
 
 )R casting the fruit in the moulds, the 
 following articles will be required : 
 A wash-hand basin of cold water, an- 
 other of hot water, two or three tin 
 saucepans, or other vessels, with spouts, to melt the 
 wax in, a towel, and the following colors in fine 
 powder, or, better still, ground in oil, such as artists 
 use, and which are usually sold by the tube, viz., 
 light chrome yellow, lake, Prussian blue, and raw 
 umber ; also, some red lead in powder, and a suffi- 
 ciency of wax. The best wax is not necessary, the 
 remaining pieces of half-burnt wax or composition 
 candles will do equally well, besides which, the wicks 
 of the candles is the best material for the stalks of 
 many fruit. A bone knife or a teaspoon is also 
 necessary to stir up the melted wax. Thus furnished.
 
 WAX FRUIT. 31 
 
 set to work as follows : The method being exactly 
 the same for every fruit which is to be cast hollow ; 
 the color alone differs, and this must be always in 
 accordance with the fruit, observing that the lightest 
 color of the fruit is that to be imitated ; the spots, 
 darker tints, streaks, &c., are to be put on afterwards. 
 First, we will commence with an orange. 
 
 Casting an Orange. Prepare the mould by soak- 
 ing it for ten minutes in water as hot as the hand 
 can conveniently bear. While the mould is soaking, 
 melt a sufficiency of the wax ; when melted, put in a 
 little red lead in powder ; stir it up well ; then take 
 out the mould from the water, wipe it dry on the 
 surface, but without rubbing it, lest you should rub 
 out the fine irregularities on the inside of the mould, 
 which constitute the beauty of the fruit. The mould 
 will now be penetrated with water, but without having 
 the surface wet, thus preventing the wax sticking to it. 
 Thus ready, hold one half the mould in the left hand, 
 nearly fill this half side with the melted wax just 
 stirred up, taking care that none of it has run over 
 the edge or joint, put the other half of the mould on 
 it, squeeze the two pieces tight together with the hands, 
 and still holding them tight, turn them over and over
 
 32 WAX FEU IT. 
 
 in every manner, so that the melted wax shall, before 
 it congeals, pass equally over the whole internal sur- 
 face of the mould. The mould being warm with the 
 water, and still further warmed by the wax, it would 
 take perhaps ten minutes before the whole were con- 
 gealed ; to save time, you must have recourse to the 
 basin of cold water, and dip your hands and the mould 
 in the water, still turning it about, thus keeping it 
 immersed, and turning it for two or three minutes, 
 the wax will have become hard, which may be known 
 by shaking it, and the same time listening whether 
 there is the sound of a liquid within. If set, leave it 
 to rest for a few minutes in the cold water. Then 
 the halves of the mould may be pulled off, and the 
 orange will be found perfect in form, and of a natural 
 color. The only thing now to be done is to take off 
 with a penknife any mark of the joint of the mould, 
 and if the knife itself leaves a mark, smooth it off 
 with a bit of rag, damped with turpentine. 
 
 Casting other Fruit. The other fruit, which require 
 no after-coloring, or which are finished when cast and 
 trimmed up, are the Walnut, Lemon, and perhaps some 
 others. For the Lemon, the wax is to be colored with 
 chrome yellow ; for the Walnut and Medlar, raw umber
 
 WAX FRUIT. 33 
 
 may be added to it ; for the pomegranate and chestnut, 
 burnt umber is better. The Strawberry, Raspberry, and 
 Cherry may be cast white, or some of them lake and 
 white. The Egg Plum, and several of the Pears and 
 Apples, may be yellow. The innumerable shades of 
 green may be formed of different admixtures of chrome 
 yellow and Prussian blue. For the Mulberry and dark 
 Plums, use Prussian blue and lake, in different pro- 
 portions. The pine apple is to be yellow ; the banana 
 a dark green or a yellow, according to the sort or 
 ripeness of the fruit. Gooseberries of various colors, 
 for the dark-red gooseberry, you may mix together lake 
 with a little raw or burnt umber. Filberts are to be 
 cast green ; so are Melons. Quinces, a bright yellow. 
 Greengage Plums, a very light bluish green. All fruit, 
 of which a part is cut off, is to be cast of the color of 
 the inner flesh, which is seen ; of the Orange, this is 
 yellow ; of the Apple, white ; of the Melon, salmon- 
 colored, made by red lead and chrome yellow ; in this 
 case, notwithstanding the general direction, the Melon 
 had better be cast green, and the flesh painted. Of 
 the Pomegranate, the seeds within are seen to be a fine 
 scarlet. The colors of other fruit will easily suggest 
 themselves.
 
 34 WAX FEU IT. 
 
 Stalks. All moulds which have been made with 
 the stalks of the fruit remaining, and these are 
 chiefly Peas, Cucumbers, or, in a few cases, Apples, 
 must have these stalks on the part where the moulds 
 join, and, in casting, or rather previous to casting, 
 a piece of twisted cotton, with a wire in it, must be 
 laid in the proper part, so as to project into the fruit ; 
 when the latter is cast, the cotton will be fixed to its 
 place. Stalks that are put in after the fruit is cast, 
 will meet with our attention hereafter, as it does not 
 belong to the casting. 
 
 Solid Fruit. Small fruit cannot be well cast in 
 the above manner. The best pf^cess, then, is to tie 
 parts of the mould together, and pour the wax through 
 a hole at the top, until the mould is full ; then place 
 this in cold water, but not so that the water can run 
 into the hole at the top ; let it stop a minute, then 
 pour out again all the wax not congealed, so that the 
 fruit will be solid or not, according to the manage- 
 ment pursued.
 
 WAX FRUIT. 35 
 
 FINISHING THE FRUIT. 
 
 FTER the wax fruit are cast, they re- 
 quire first to have the mark or ridge 
 left by the joints of the mould carefully 
 pared off with a penknife, and then 
 generally the knife-marks smoothed off with a small 
 piece of rag dipped in turpentine or spirits of wine ; 
 very numerous fruits will, after this simple operation, 
 be quite finished, as the Orange, Lemon, Walnut, and 
 all other fruits which are of uniform color. The 
 beauty, however, of most fruits, lies not merely in 
 their shape, but upon a correct imitation of their 
 bloom, rosiness, down, streaks, specks, and so on ; 
 and in imitating these properly consists the only diffi- 
 culty of .wax-fruit making. The materials now re- 
 quired are various colors, as carmine in powder, to- 
 gether with the same colors used in casting ; also,
 
 36 WAX FRUIT. 
 
 there will be required a small piece of flannel, two 
 or three camel's hair brushes, thin wire covered with 
 green silk for the stalks of Cherries, and a little green 
 paper colored on both sides, for the calyx of Straw- 
 berries and Raspberries, a few cloves for the flower 
 end of an apple, a bottle of mastic varnish, some 
 powder blue for the bloom of Plums and Grapes, and 
 some white or yellowish down for the mealiness of 
 Greengages, Peaches, &c. ; this is of three kinds, one 
 is arrow-root, this is the most inferior ; the second is 
 paper powder, made by scraping white paper away 
 with a penknife ; the third is white flock, procured at 
 the paper stainers, or it may be made by cutting up 
 into a very fine powder a piece of fine kerseymere, or 
 other fine wollen cloth, and sifting the cuttings. 
 
 To Prepare the Fruit previous to Coloring. The 
 cast having been trimmed up, sometimes requires to 
 be stalked, &c. Pears, Melons, Cucumbers, &c., as 
 already observed, may generally be cast with the 
 stalks on, using the cotton wicks of the wax candles, 
 cut to twice the intended length, and with a piece of 
 wire inserted in each. Apples, Plums, Cherries, and 
 some other fruits, should have this stalk inserted after 
 the fruit is cast, and before it is colored. Some
 
 WAX FRUIT. 37 
 
 should have the stalk inserted last of all, as the 
 Strawberry and the Raspberry. The stalk of the 
 Apple, &c., may be made of wire covered with silk, 
 and to give it a natural appearance, it may be dipped 
 in melted wax. When thus made, thrust it into the 
 proper part of the fruit. If the stalk does not hold 
 fast, unroll the stalk fpr about a quarter of an inch, 
 hold this part in the candle till the wax, which is 
 over the silk, just begins to melt. Thrust it, while 
 thus warm, into the fruit, which hold upside down, 
 so that the stalk shall be lowest, till the wax around 
 it is congealed. The stalk may afterwards be painted 
 to imitate Nature more accurately. Apple, plum, and 
 damson stalks are generally bent ; cherry-stalks two 
 inches long, and nearly straight. The eye end of an 
 apple, pear, and quince, has the remains of a five- 
 leaved calyx which once enclosed the flower. This 
 is very readily imitated by the spice called a clove. 
 Put one of these on the bar or hob of a stove to get 
 hot ; then, while hot, thrust it into the apple, holding 
 the fruit that side downwards till set hard. Some 
 persons dip these cloves into the melted wax of the 
 same color as the fruit previous to inserting them. 
 To do this conveniently, a needle or pin is thrust into 
 the head of the clove previous to dipping, that it may 
 4
 
 38 WAX FRUIT. 
 
 not soil the fingers. "When the cloves are dipped, 
 there should be a hole made for their reception, 
 otherwise the wax will be borne up as they are 
 thrust down, occasioning a disagreeable appearance, 
 and which superfluity is not very readily removed 
 without disturbing the clove. Observe that stalks are 
 always to be made of a green color at first, unless 
 cast with the fruit, as in the case of a pear, when 
 they may be cast yellow like the pear itself. All of 
 the orange tribe have very dark stalks ; it is only 
 young oranges that should have stalks. The cherry 
 stalk is formed light green, and tinted darker after- 
 wards by rubbing over it a little brown in powder. 
 
 Coloring Sections of Fruit. The internal part of 
 fruit is generally, if not always, of a very different 
 color from the exterior. Thus the outside of the 
 Walnut is brown, the kernel white, or with its skin 
 on it cream color. The rind of an Orange is much 
 darker than the pulp. The flesh of an Apple or Pear 
 is generally white, while the peel is yellow, brown, 
 or green. In casting a section in wax, a difficulty 
 may arise from these causes ; yet a little thought and 
 patience will readily overcome it. The fruit, if cast 
 all at one time, should generally be cast of the lighter
 
 WAX FRUIT. 39 
 
 color, and the other color painted on afterwards, ac- 
 cording to Nature ; thus of the half orange, we should 
 cast it yellow, and afterwards paint the pips (if visible) 
 white, and the rind orange color, made chiefly of red 
 lead. It is often advisable to cast the fruit in two 
 sections. To do this, the following hints may suffice : 
 First, take the flat part of the mould, or that which 
 represents the flesh ; pour upon it a little wax, colored 
 of the proper tint, trim it so as to take away any 
 films of wax that would interfere with the joint of 
 the two moulds when put together ; then partly fill 
 the other or deeper side of the mould with the dif- 
 ferent color for the rind, unite the two together, and 
 turn them about till the whole wax is set, as before 
 directed. The cast will now be complete as to the 
 colors of the two parts. A Walnut will have two deep 
 moulds, one of the half shell, the other of the half 
 kernel of the opposite part of the nut'. First, cast the 
 kernel side, to the open half mould ; fill the mould with 
 the cream-colored wax, not made too hot ; when a 
 little set, pour out what is not wanted ; cut it clean 
 across the edge. Next, nearly fill the other half mould 
 with brown wax, unite the two together, turn them 
 about, and let it settle with the shell side down- 
 wards ; a fine and natural cast is obtained by this
 
 40 WAX FRUIT. 
 
 
 
 means. If you desire to cast walnuts solid, let the 
 hole, where the wax is to be poured in, be in the 
 middle of one of the shells. Upon this principle the 
 sections of all fruit may be cast in very nearly their 
 proper colors, whether the sections be of a piece cut 
 off, or a piece cut out. 
 
 Putting on a Rosy Tint. The fine scarlet hues of 
 ripeness are very easily put on ; indeed, as easily as a 
 lady of ancient days would rouge her cheeks, and in 
 much the same manner ; all that is requisite, is to 
 take up a little of the powdered carmine on a small 
 piece of flannel, and rub it gently and regularly over 
 such part of the fruit as is to be thus ornamented ; 
 it will soon communicate all the effect desired. The 
 bloom may thus be given to the Newton Pippin and 
 many other apples, to the white-heart Cherry, some of 
 the summer Pears, the Peach and Apricot, and very 
 slightly to the green and yellow Plums. 
 
 Putting on Streaks, Specks, and Irregular Patches. 
 All these things must be done with the proper colors, 
 mixed with mastic varnish, spirit varnish, or tur- 
 pentine, and sprinkled or else laid on with a sable 
 or camel's hair brush. To accomplish this with facility
 
 WAX FRUIT. 41 
 
 and truth, a little practice, guided by observation and 
 taste, will effect more than the most minute instruc- 
 tions. Indeed, it is like painting in general, so purely 
 a mechanical process, that all we could say upon the 
 matter would be almost useless. The beauties and blem- 
 ishes, whichever they may be, that constitute the streaks 
 and specks upon fruit, are almost always scarlet or 
 carmine, the brown of raw umber, or some mixture 
 of these two. For ribstone Pippins, and some other 
 apples, lake is to be preferred to carmine ; white- 
 heart Cherries, when over-ripe, have irregular specks 
 or patches of brown upon them. The green and 
 yellow Plums, green Grapes, Apricots, and Peaches 
 have specks more or less crimson, tempered a little 
 with brown. The decay spots of apples and pears are 
 brown only, the streaks of ripeness are red. Irregular 
 spottiness may be produced thus : Mix carmine or 
 other color with turpentine, spirits of wine, or varnish, 
 so as to be very weak of color ; take up a little in a 
 hard tinting brush, such as is used in coloring wax 
 for flowers ; hold this charged brush at a little dis- 
 tance, draw a pen through it, so as to spurt or 
 sprinkle the color upon the fruit ; it will of course lie 
 in specks, and produce a good and natural effect. 
 The effect is much heightened sometimes by putting a 
 4*
 
 42 WAX FRUIT. 
 
 blush over the fruit first, or by wetting it with tur- 
 pentine. The specks, by this means, flow, in some de- 
 gree, into each other, become softened around their 
 edges, or run partly into streaks. The seeds of a 
 strawberry are colored by painting them with bright 
 chrome yellow. A Chestnut is cast in raw umber, and 
 colored with burnt umber. 
 
 To put a Downiness or Powdering upon Fruit. 
 One of the powders mentioned on the 36th page is 
 adapted for this purpose. Suppose that you desire to 
 put on the mealiness which is so visible upon a 
 peach, you would first color one side of it with a 
 red blush, to show the ripeness of that part which 
 has been exposed to the sun, and which will generally 
 be over one half of the fruit. This being done, take 
 in the palm of the hand a small quantity of white or 
 slightly yellow flock, put the fruit upon this, and roll 
 it along with the flock between the hands, until suffi- 
 ciently and equally covered with the fine woolly par- 
 ticles. It should be done over a sheet of paper, that 
 none of the flock be wasted. If it is an Apricot to 
 be covered, use an orange, or rather buff-colored flock, 
 or else the white flock mixed with dark chrome yellow 
 in powder. Dark Grapes and dark Plums are to be
 
 WAX FEU IT. 43 
 
 dusted over with powder blue from a muslin bag, and 
 green grapes, plums, &c., with arrow-root in the same 
 manner ; but as the arrow-root has always a cold and 
 raw appearance, and is too white to be natural, it is 
 better to use hair powder, which has been rubbed up 
 with a slight quantity of a greenish yellow powder 
 of any kind. 
 
 If a person is not furnished with oil or powder 
 colors, and dislikes the use of varnish or turpentine, 
 he may use for all purposes of finishing the cast fruit 
 the ordinary water colors of the paint-boxes, rubbed 
 up in the customary way with water, to which a drop 
 or two of ox-gall has been added. This last is neces- 
 sary to make the colors adhere to the wax, which is 
 of a greasy nature. It is to be observed, however, 
 that fruit, &c., colored with water colors, cannot be 
 washed, as that may which has been finished in tur- 
 pentine or varnish. 
 
 Varnishing a Fruit. There are few fruits that re- 
 quire to be varnished after having been painted, this 
 finishes the process respecting them. The Lady Apple, 
 a beautiful little American species, is always very 
 glossy, so are all kinds of Cherries. Many fruits may 
 be improved and rendered glossy by gently rubbing
 
 44 WAX FRUIT. 
 
 them with a flannel, and this rubbing is generally 
 necessary in some degree with all fruit, but it is not 
 sufficient with Cherries, Strawberries, Chestnuts, the 
 seeds of an Apple or Pear, the flesh of a Pomegranate^ 
 Orange, or Apple. These and other things of the like 
 kind are to have one coat of mastic varnish, laid on 
 with a soft camel's hair brush as evenly as possible, so 
 as to show no ridges. The varnish must not be laid 
 on till the under-painting is quite dry, lest it should 
 become smeared.
 
 WAX FRUIT. 
 
 SMALL CLUSTERED FRUITS. 
 
 NOT MADE BY CASTING NOR IN WAX. 
 
 OME few Fruits are not made in wax 
 at all, nor in moulds, and yet are of 
 such a character as to add greatly to 
 the appearance of a group or cluster. 
 These are chiefly Grapes and Currants, and which are 
 made with balls of glass tied together, of various sizes, 
 so that in making a bunch of grapes, you may select 
 the requisite variety of size. There are smaller round 
 ones of the sizes for currants. 
 
 To make Dark Grapes. First, choose three or four 
 dozen bulbs from the smallest to the largest size. 
 Next, cut a corresponding number of wires for stalks, 
 about two inches long each ; these should be made of 
 a thin wire covered with green silk, of such a size
 
 46 WAX FRUIT. 
 
 that it will readily enter the mouth or hole of the 
 
 V 
 
 glass bulb. Melt some wax, and color it purple with 
 
 <* 
 
 Prussian blue and lake, putting in more or less of the 
 
 one or the other, according to the real color of the 
 grape. These must be in a saucepan or dish, not 
 less than an inch in depth. Dip one end of one of 
 the intended stalks into this melted wax, and insert it 
 into the mouth of the glass bulb, and hold it there for 
 a minute, till it is well fixed by the congealing of the 
 wax. Fasten the whole in the same manner. Now 
 take up each grape separately by the stalk ; dip the 
 bulb part wholly into the wax ; take it out instantly 
 and turn it up, so that the stalk shall be underneath, 
 and consequently any drop of wax there may be will 
 settle around the stalk, and not on the bulb itself. 
 In a minute or so, the grape having now a film of 
 wax over its surface, will have all the semi-trans- 
 parency of the real fruit. The whole being done in 
 this way, tie them together in a natural manner by 
 their stalks, observing to put the smallest grapes near 
 to the bottom of the bunch. When tied together and 
 naturally arranged, sprinkle slightly over them a little 
 powder blue from a muslin bag. Finally, rub off with 
 the finger some of this powder blue from the promi- 
 nent parts, as if the grapes had been handled or
 
 WAX FRUIT. 47 
 
 rubbed in packing. The most natural way to do this, 
 is to roll them between the hands. 
 
 To make White Grapes. The only difference here 
 is, that the wax used both for fastening on the stalks 
 and for dipping the bulbs into, is colored a light yel- 
 lowish green ; and when finished, the grapes are to 
 be very slightly dusted over with arrow-root or hair 
 powder, or, for some grapes, no dusting is necessary. 
 
 To make Currants There are ten or twelve Cur- 
 rants in a bunch, and these are made of bulbs 
 similar to those for grapes. First, put short stalks 
 to them of very fine green wire ; dip them for White 
 Currants into wax slightly tinged yellow ; for Red Cur- 
 rants and Black Currants the same. The white will 
 require no painting ; the red and black must be col- 
 ored with carmine, or with a dark purple, as their 
 natural tint requires ; then for the end opposite to the 
 stalk, and where the flower has been, put a spot of 
 black paint, or a minute bunch of black or brown 
 wool ; let them next be arranged loosely into a bunch, 
 and finally varnished.
 
 48 WAX FRUIT. 
 
 GENERAL OBSERVATIONS ON CASTING WAX. 
 
 The wax may be, and often is, congealed around 
 the hole as well as the sides ; in this case it is evi- 
 dent that the hole must be cleared, before the liquid 
 within can escape ; it is scarcely worth while to pour 
 any out of a Cherry, Raspberry, Mulberry, or other 
 similarly small object. In casting a large object 
 through a hole, there should only be a small quantity 
 of wax allowed to congeal first ; in a few minutes a 
 second coat may be poured in, and afterwards a 
 third ; this method will prevent cracking. The object 
 of the water to soak the mould in at first and between 
 each casting, is to prevent the wax and mould sticking 
 together ; and the reason hot water is preferred is, that 
 it may not congeal the wax too rapidly. In a mould 
 which is too cold, the wax will often settle in ridges 
 or streaks. The mould, when filled, or partly filled, 
 as the case may be, is, after such filling, plunged and 
 turned about in cold water, merely to hasten the con- 
 gealing of it. Wax should be melted always by a 
 very slow and gentle heat ; the heat of boiling water 
 is always sufficient ; thus a common glue pot is an 
 excellent thing to melt it in. This is to be attended 
 to for two reasons, one, because if too hot, it will be
 
 WAX FRUIT. 49 
 
 apt to adhere to the mould, and also because, when 
 any color lias been mixed with it, this color becomes 
 darker ; especially when there is chrome yellow in it, 
 this turns by heat dark olive. If great toughness is 
 required in a wax cast or mould, one ounce of yellow 
 rosin, or still better, of Canada balsam, is to be added 
 to every pound of wax. Wax moulds for plaster- 
 casting or the electrotype should have the above, and 
 also one fourth its weight of flake white and red lead, 
 mixed together, previous to melting. Modelling wax, 
 and that used for wax dolls, hair dresser's blocks, &c., 
 are colored Avith flake white and vermilion, the latter 
 in very small quantity. 
 
 Wax is sometimes adulterated with white lead, tallow, suet, potato 
 starch, or rosin. "When wax is bought, it is proper to break each cake, 
 for it is not unfrequently the case that some impurities are in the centre, 
 the outside only being good. 
 
 ELASTIC MOULDS. 
 
 The body to be moulded, previously oiled, must be 
 secured one inch above the surface of a board, and 
 then surrounded by a Avail of clay, about an inch dis- 
 tant from its sides. The clay must also extend rather 
 higher than the contained body : into this, Avarm melted 
 glue, as thick as possible, so that it will run, is to be 
 5
 
 50 WAX FRUIT. 
 
 poured, so as to completely cover the' body to be 
 moulded ; the glue is to remain till cold, when it will 
 have set into an elastic mass, just such as is required. 
 
 Having removed the clay, good glue is to be cut 
 into as many pieces as may be necessary for its re- 
 moval, either by a sharp-pointed knife, or by having 
 placed threads in the requisite situation of the body 
 to be moulded, which may be drawn away when the 
 glue is set, so as to cut it out in any direction. The 
 portions of the glue mould having been removed from 
 the original, are to be placed together and bound round 
 by tape. 
 
 In some instances it is well to run small wooden 
 pegs through the portions of the glue, so as to keep 
 them exactly in their proper positions. If the mould 
 be of considerable size, it is better to let it be bound 
 with moderate tightness upon a board, to prevent it 
 bending whilst in use ; having done as above described, 
 the wax is to be poured into the mould and left 
 to set. The wax must not be poured in whilst too 
 hot ; as it cools so rapidly when applied to the cold 
 glue, that the sharpness of the impression is not 
 injured. 
 
 When the moulds are not used soon after being 
 made, treacle should be previously mixed with the glue, 
 to prevent its becoming hard.
 
 WAX FRUIT. 51 
 
 The description thus given is with reference to cast- 
 ing those bodies which cannot be so well done by any 
 other than an elastic mould ; but glue moulds will be 
 found greatly to facilitate casting in many depart- 
 ments, as a mould may be frequently taken by this 
 method in two or three pieces, which would, on any 
 other principle, require many. 
 
 TO OBTAIN AND PREPARE WAX. 
 
 The wax should be put in a moderately fine hair 
 bag, well tied up, and be boiled briskly in a clean 
 saucepan, with sufficient water to Avell cover the bag, 
 and half an ounce of aqua-fortis to each quart of 
 water ; a weight should be placed upon the bag to 
 keep it down. As the wax rises to the top of the 
 water, it is to be skimmed off with a spoon, and be 
 put into a pan, and when no more rises, the bag must 
 be pressed by having a flat board and a heavy weight 
 placed on it, to squeeze out any wax that may remain. 
 The wax so obtained should be re-boiled in fresh 
 water, and treated the same way as before, and even 
 a third boiling may be necessary, in order to have it 
 quite pure ; after the last boiling, it is to be poured 
 into moulds to form cakes. The quantity of aqua-fortis
 
 52 WAX FEU IT. 
 
 at the second boiling, may be reduced one half; and if 
 it is boiled a third time, it may still further be re- 
 duced to the same extent. If wanted white, it is 
 bleached. 
 
 TO WHITEN WAX. 
 
 The process of bleaching wax in order to give it 
 that beautiful whiteness which it has in commerce, is 
 effected generally by chemical means ; but it may be 
 bleached in small quantities as follows : Take the best 
 and cleanest beeswax you can obtain, melt it in hot 
 water, skim it off into a cup or basin, previously 
 oiled, when quite cold, cut the wax into thin slices, 
 expose these to the action of the sun and air upon 
 white dishes, sprinkling it, unless there be rain, once 
 or twice a day with clean water ; at the end of a 
 week melt the wax again, and proceed as before. In 
 hot weather, the wax may be floated on water in the 
 middle of the day, as it is best not to allow it to melt. 
 
 TO CLEAN A BRUSH 
 
 That has been in turpentine, wash it with hot 
 water and soap ; and if it has been used in varnish,
 
 WAX FRUIT. 53 
 
 cleanse it first in spirits of wine for spirit varnish, 
 and turpentine for oil varnish, such as copal, mastic, 
 &c. These are called oil varnishes, although made 
 Avith turpentine. 
 
 TO REMOVE WAX FROM A DRESS. 
 
 It not unfrequently happens, that when wax is 
 melted, some is spilt on the dress ; it may be re- 
 moved as follows : Toast the crumb of a small piece 
 of bread, and, while hot, apply it to the droppings of 
 wax, a portion of which it will absorb and take up, 
 and by repeating this process, the whole wax will be 
 gradually removed. 
 
 5*
 
 WAX FLO WE US. 
 
 WAX FLO WERS. 
 
 O understand properly the making of 
 Models of Flowers from Wax, we must 
 first allude to the materials employed, 
 then to the procuring of proper shapes 
 or patterns, afterwards to the fashioning of these 
 materials, cut to the required patterns into the object 
 to be imitated ; and finally, the natural arrangement 
 and finishing of each part, the decorating it with 
 artificial leaves, tendrils, &c., and the grouping of the 
 whole together into a harmonious contrast. 
 
 ARTICLES AND MATERIALS REQUIRED. 
 
 The materials of which Imitative Flowers are made, 
 are sheets of wax of many different colors, to form 
 the petals, leaves, &c., and wire of different thick- 
 nesses covered with green silk. The articles used to
 
 WAX FLOWERS. 55 
 
 fashion and color the flowers are curling pins, various 
 dry and water colors, ox-gall, tinting brushes, camel's 
 hair pencils, a pair of scissors to cut the wax, shapes 
 of tin, card, or stiff paper ; varnish for certain flowers ; 
 white and green down for dusting over such as appear 
 mealy. If the waxen sheets are made at home, other 
 trifling articles are necessary ; this is always advisable 
 with those who consume much wax, because the home- 
 made sheets do not cost a quarter as much as those 
 bought, and also because the person making these 
 things herself, is able to procure, with accuracy, every 
 tint required, and to make her wax of every size and 
 thickness ; indeed, we never knew an artist who could 
 imitate successfully even the generality of flowers, 
 much less the extraordinary ones, as the Stapelias, 
 the Orchideous plants, &c., who did not make for her- 
 self all the wax required. It is right, then, first to de- 
 scribe fully this process. 
 
 Making Sheets of Wax. Have ready, at the com- 
 mencement of the operation, about two pounds of 
 white wax, a portion of Canada or fir balsam ; the 
 following colors, ground in oil, or else in a dry state j 
 chrome yellow, light and dark, Prussian blue, co-
 
 56 ' WAX FLOWEJRS. 
 
 bait or French ultramarine (the former is the best), 
 carmine and Chinese, or permanent white ; these will 
 make every tint required. You will want also a small 
 saucepan Avith a lip, or, what is better, two sauce- 
 pans, one to go readily into the other, in the manner 
 of a glue-pot ; a clean glue-pot is itself much to be 
 preferred. The object of this double vessel is, that 
 the outer one should have water put in it, while the 
 inner vessel holds the wax, thus the latter being melted 
 by the heat of boiling water only, never burns, boils 
 over, or gets discolored; there should be a cover over 
 it. The next thing wanted is a square tin mould, 
 made one inch deep, two and a half inches wide, and 
 five or six long, made in the manner of a cake tin, 
 with a wire around the top. This is all that is re- 
 quired for casting the wax first into blocks. You had 
 first better make some white, because that color is 
 more used than any other, and the scraps left will 
 cast again for other colors ; it will take half a pound 
 of wax to fill the above sized mould, and the block 
 thus made, will cut up into five or six dozen sheets 
 or more. The vessel that holds the melted wax should 
 be glazed porcelain or crockery, and should not be used, 
 particularly if white wax is needed.
 
 WA X PL O WERS. 57 
 
 White. Cast some transparent, and others a little 
 opaque ; the former will be made by putting half a 
 pound of wax and one ounce of Canada or fir balsam 
 into the saucepan ; then, when melted, stirring it up 
 well with a bone spoon, or a piece of wood, arid 
 pouring it into the mould, having first greased the 
 mould, so as to allow it to be separated from the 
 tin, it is then ready for cutting into sheets. If it is 
 to be an opaque white, stir up with the wax, when 
 melted, more or less of the permanent or Chinese 
 white ; pour it when of a uniform color. A very little 
 white will suffice, as it must never be much colored. 
 The wax, when ready for sheeting, should not be too 
 hard ; say, about the condition of new bar soap. 
 
 Yellow. Mix with the transparent wax more or 
 less chrome yellow, either light or dark, according to 
 the tint required. There are generally four yellows 
 made, primrose color, light yellow, fit for certain 
 carnations, roses, tulips, &c., dark yellow, as for the 
 jonquil and orange.
 
 58 WAX FLOWERS. 
 
 Pinks and Reds. Color with different quantities 
 of carmine or Chinese vermilion. It may be made 
 various shades. The first being excessively pale, fit 
 for the blush rose ; the two next, ordinary rose colors ; 
 and the darkest, which is a deep red, like the damask 
 rose, various red hyacinths, &c. 
 
 Blues. There are but two colors of blue wax 
 usually made, one by a light blue, colored with cobalt, 
 the other a full tint, formed of Prussian blue and 
 wax. The first is for light-colored blue hyacinth, the 
 other for dark hyacinths, and some of the companulas. 
 
 Greens. There will be required six or seven differ- 
 ent tints of green, from the light grass-green of the 
 primrose leaf, to the deep green of the camellia, they 
 are all colored by the different admixtures of light 
 chrome yellow and Prussian blue or chrome green. 
 
 There are numerous other colors required, but they 
 are produced by coloring the white wax by means 
 afterwards described. This is chiefly because most 
 flowers which are colored, are not alike on both sides, 
 and are generally quite white towards the centre of 
 the flower, and to use a colored wax for such a pur-
 
 WAX FLO WE US. 59 
 
 pose, would be to give a muddiness that would entirely 
 spoil the effect of the tint. Waxen sheets made in 
 the above manner will not be either brittle in cold 
 weather, nor too yielding in hot, nor are they much 
 altered by time. 
 
 To save expense, it is always advisable to cut into 
 sheets the blocks first made of white and other light 
 color before any darker colors are made, because the 
 scraps and spoiled sheets may then be melted again 
 for the darker tints ; for example, scraps of primrose 
 wax will melt for a yellow or green ; pink for a red ; 
 yellow for an orange ; a light green to a darker tint ; 
 and so on. Also, in the after modelling of the flow- 
 ers, the scraps are all valuable. If Avax is frequently 
 melted, it will require a little spirits of turpentine 
 added to it. 
 
 We must now return to the white block cast, and 
 show how it is to be cut into sheets. First, it is 
 necessary to have a stop to fasten to the table the 
 lump of wax; a piece of wood, three inches wide, 
 and of which the following is a section, is well 
 adapted for the purpose. (See cut next page.) 
 
 A, is the block of wax ; B, the machine. The part 
 CE rests on the table, to which it is held safely by 
 the screw D ; at C, is a cross piece of wood, which
 
 60 WAX FLOWERS. 
 
 prevents the block of wax, represented as shaded in 
 the cut, from slipping off. You must now get a car- 
 penter's shave, called a spoke-shave (and those are 
 of the bes't shape which are used by coopers). The 
 wooden part which slides over the block of wax 
 
 should be flat, and it should have rather a wide 
 mouth or orifice where the iron passes. Grease well 
 the iron and wooden under-face of the shave, and 
 then force it along the wax, so as to. cut off a thin 
 slice, to make the surface even. This first slice will 
 not be fit for use, nor yet perhaps the second or third. 
 Soon, proceeding in the same manner, and keeping the 
 tool well greased, slices or sheets will be cut off of 
 equal and proper thickness. Such as are good must 
 be kept for use, the rest re-melted. 
 
 A second method of cutting up the block, is to hold 
 it in the hand, and force it along the greased surface 
 of a larger wide-mouthed carpenter's plane. 
 
 A third method, which may be pursued by every
 
 WAX FLOWERS. 61 
 
 body without expense, is to have a number of pieces 
 of writing paper cut rather smaller than the mould in 
 which the wax has been cast. Take the block of wax 
 out of the mould, and put into the mould as much 
 paper as will just raise the block above the wired 
 edge of the tin mould. Then fastening the mould, wax 
 and all, firmly to a table, either by resting it on the 
 stay before mentioned, or otherwise, as convenient; cut 
 the top off even by a thin bladed dinner knife, taking 
 care to run the knife steadily along the edge of the 
 mould. Now take out the block, and put in a piece 
 of paper to raise it up ; put it in again, and you can 
 cut off a sheet equal in thickness to the paper, the 
 same operation repeated will give another slice ; and 
 so on, raising up the block by a piece of paper each 
 time after a piece has been cut off. The only incon- 
 venience here, is the removal of the block of wax 
 each time from the casting mould ; to prevent this, 
 the stay which fixes to the table may have sides to 
 it, when it is proposed to cut the wax by a knife, 
 and it having no stop at one end of it, it can be 
 taken out, and a piece of paper put beneath it with 
 little trouble. If it be required to have long leaves, 
 like those of a hyacinth, the mould to cast the wax 
 in should be seven inches long, and one inch wide.
 
 62 WAX FLO WE US. 
 
 Colors required. The ordinary colors used in 
 painting flowers on paper, will also be required in imi- 
 tating them in wax. The colors should all be trans- 
 parent and bright ; browns, blacks, and other dark 
 colors are rarely ever wanted. For black we recollect 
 only two uses, that of painting the anthers of the 
 garden tulip, and to mix with carmine for the very 
 dark rose, but even in this last case it is not neces- 
 sary. The most useful colors are, two shades of 
 chrome yellow, smalt (powder blue), and Prussian 
 blue ; carmine, in powder, to color the wax, and after- 
 wards, where necessary, to give a uniform tint to the 
 petals. The following, in cakes, to be rubbed in the 
 ordinary way of water colors, but with a little color- 
 less ox gall, to make the colors lay upon the greasy 
 surface of the wax : Cobalt, carmine, chrome, burnt 
 sienna, sap green, Prussian blue, &c. These are to 
 be laid on with the ordinary camel's hair pencils, and 
 are adapted to make the ornamental marking of the 
 flowers, such as the streaks of the tulip and carnation. 
 
 White and Green Down. Some leaves and stalks 
 have a certain degree of mealiness or hairiness about 
 them, which it is desirable to imitate. For this pur- 
 pose, sometimes a white, and at others a greenish white
 
 WAX FLOWERS. 63 
 
 powder is used ; any of those recommended for waxen 
 fruit may be employed. Green flock is to be used for 
 the hairiness of stems* a^ahe mealiness or glaucous 
 white color of the leaves of the carnation, pink, &c., 
 may be made of hair powder, mixed with a little 
 Brunswick or other green in a state of powder, they 
 being rubbed together through a lawn or muslin 
 sieve, to incorporate them well, and thus to make the 
 color uniform. 
 
 Brushes. The tinting-brush is for dry colors; the 
 sizes and shapes are as follows : 
 
 Their use is to brush over the various shades of 
 wax a different tint, where required ; for example, 
 the Eutoca Viscida is a flower of a beautiful blue 
 color, but its centre is white, and the petals are 
 lighter on' their under side ; therefore it must be 
 made of white wax, and the blue color put on, be- 
 fore the petals are united together, by means of one 
 of these brushes, and cobalt or ultramarine blue in 
 powder. The cut shows the point of two different 
 sized brushes.
 
 64 WAX FLOWERS. 
 
 Patterns and Shapes. - This is a very important 
 matter, but presents no difficulty. The best of all 
 patterns is the flower itself. Procure, if you can, tw.p C 
 flowers like each other ; one you are to keep perfect 
 as a guide in making up, the second you may pull to 
 pieces, which will enable you to count the number 
 of the petals, to see their exact form, color, size, and 
 shape. Take, then, one of each of the various parts, 
 lay it upon a piece of white paper, and mark care- 
 fully round it with a pencil, so also of all the other 
 parts- These are the guides, and in order that they 
 may be available another time ; you should write upon 
 each the number required of them. The wax of proper 
 color must then be selected, cut, colored, and moulded, 
 according to these patterns. When flowers are readily 
 procured, a selection should be made, and the patterns 
 preserved for after use. Next to real flowers, the 
 paintings of them of a natural size are of value, as 
 it is easy, with a piece of tracing-paper, to take off 
 any shape required, and afterwards to cut out a paper 
 model according to its outline. Having mentioned a 
 paper model, it may be stated that for making one 
 flower only, a paper or card shape will do very well, 
 but if a number are to be made, it is better to use 
 thin tin. That called tag-plate, and which is used for
 
 WAX FLO WERS. 65 
 
 the tags of laces, is the thinnest, and will cut very 
 readily with scissors. At many places are sold pieces 
 of tin for the purpose, but besides being very expen- 
 sive, they are by no means correct, and imply that 
 every individual leaf, bud, or floret made by them, 
 must be exactly a counterpart to all the others ; thus, 
 a bunch of flowers, all exactly alike, as the May or ^ 
 White Thorn, the For-get-me-not, the Lilac, &c., would I 
 look extremely formal, however well they were ar- ) 
 ranged ; though it is to be admitted, that these tin 
 shapes very much diminish the labor of making such 
 flowers as we have named, but to use them for Dahlias, 
 Roses, &c., is unnecessary and unadvisable. The fol- 
 lowing shows these tin shapes for four flowers : 1 and 
 
 2, the For-get-me-uot ; 3, the Veronica ; 4, the Lilac ; 
 
 6*
 
 66 WAX FLOWERS. 
 
 5, various shapes of the Dahlia, one within the other, 
 forming a series of six sizes ; 6, shape of the Prim- 
 rose petal ; 7, of the quilled China Aster, or made a 
 little larger of the Chrysanthemum. 
 
 A circumstance here forces itself upon the attention, 
 that, although the petal curves down to a point where 
 it is united to the rest of the flowers, yet, when cut- 
 ting out the shape, and afterwards the wax, this part 
 is to be made wider than is natural, in order that 
 it may adhere the stronger to the rest, and not be so 
 liable to bend or snap afterwards ; for all waxen flow- 
 .ers are apt to get a little brittle by time, particularly 
 those that, are made with wax, into which Canada 
 balsam has been melted, as it is by some of the 
 makers, greatly to its injury. 
 
 Stamens and Pointal. The thread-like parts within 
 flowers are made with white, yellow, or green cotton, 
 made stiff" first with starch, and then dipped in melted 
 wax; this maybe cut into lengths as required; bristles 
 dyed of these colors are also useful ; wax itself, cut 
 into slips, will often be better than any thing else. 
 The seeds, as they are called, sold at the artificial 
 flower makers, are vile substitutes.
 
 WAX FLOWERS. 67 
 
 To make Waxen Leaves. This is a method very 
 different from making the petals of the flowers, al- 
 though very often the petals, if made thus, would be 
 very greatly improved. The waxen leaves are made 
 partly by moulding, and partly by cutting ; but as 
 they are made of sheets of wax previously prepared, 
 the method of making them properly belongs to this 
 department of the , subject. First, take the natural 
 leaf, and make a pattern of it in tin or card, with all 
 its irregularities of outline, place it upon wet sand, 
 and pour plaster of Paris over it to the thickness of 
 half an inch. When set, trim it round ; turn it over, 
 and cast in like manner the other side, but without 
 disturbing the leaf itself. Separate the parts when the 
 last plaster is set, take out the leaf, and you will have 
 two moulds of it, which are ready for use immedi- 
 ately, and will, if carefully used, last for a long time. 
 To make the leaves themselves of wax, take a sheet 
 of the latter, cut it by the tin pattern into proper 
 size, soak the mould in water just warm, and while 
 thus wet and warm, squeeze the waxen shape between 
 the two half moulds ; they will impress upon it all the 
 various veins and irregularities of the real leaf. The 
 most usual leaves made are those of the Hyacinth, the 
 Camellia, Rose, Orange, Geranium, Convolvulus, Pas-
 
 68 WAX FLOWERS. 
 
 sion Flower, Hop, Laburnum, Primrose, Violet, and 
 Water Lily. Some flowers never have leaves attached 
 to them, as the Dahlia, Anemone, Ranunculus, Poppy, 
 &c. The leaves, in these examples, are much divided, 
 and would be very difficult to imitate ; nor are they 
 necessary, as they are never found in nosegays con- 
 taining these flowers. 
 
 To make Succulent Stems, Buds, &c. Many objects, 
 which may be considered as accessories to flowers, re- 
 quire to be cast exactly in the manner already de- 
 scribed under waxen fruit. There are various succulent 
 Stems, as those of the cactus, stapelia, aloe, &c. ; the 
 Buds of the larger fuchsias, berries of coffee, very small 
 oranges, buds of the dahlia, hips of the rose tree, &c., 
 yet casting is to be avoided as much as possible, on 
 account of the trouble of it, and the too great uni- 
 formity of the produce ; generally the buds of flowers 
 may be modelled very well by the hand, without having 
 recourse to the inconveniences of casting ; the latter 
 process being chiefly of use to those who make the 
 commoner kind of waxen flowers for sale.
 
 WAX FLOWERS. 
 
 MODELLING SIMPLE FLOWERS. 
 
 
 T is always advisable for the learner to 
 commence with what is simple and easy, 
 and to proceed thence to the more diffi- 
 cult flowers. Now there is a great 
 trouble in producing a fac-simile of personate flowers 
 like the Foxglove, and all those flowers which are bell 
 or trumpet-shaped, as the Blue Bell, the Convolvulus, 
 Tobacco, the Marvel of Peru, and others ; still greater 
 difficulty would be found with many of the Orchideous 
 plants, the Calceolaria, &c., while others are so re- 
 markably easy, that even a first attempt generally suc- 
 ceeds in producing a good imitation ; such, for example, 
 are the Primrose, the Heart's Ease, the Laburnum, the 
 Pink, &c. We shall describe many of these beautiful 
 objects in detail, only observing, that with all flowers 
 it is advisable first to cut out and arrange all the 
 
 1 oet 
 
 pieces required ; then to color them properly, after-
 
 70 WAX FLOWERS. 
 
 wards to Mtach the parts to each other, arid finally 
 to put on such extra touches of colors, down, varnish, 
 &c., as they seem to require. 
 
 A little knowledge of botany will greatly assist, be- 
 cause it teaches the character of the fhnver in its 
 single natural state, showing the number of its leaves, 
 or, more properly, petals, and the number of the 
 stamens or inner thread-like bodies, and also the vari- 
 ous positions of these and other parts relatively to 
 each other. All flowers of the same species, and gen- 
 erally of the same family, are like each other in these 
 and other respects ; thus, although there are twenty or 
 more species of Crocus, and of these perhaps fifty 
 varieties, yet they all agree in having six parts to 
 the flower, three outside the other three, with three 
 stamens within side, and a pointal in the centre of 
 all. By knowing, then, the character of one Crocus, 
 we know the character of all, and require no form or 
 pattern but a single petal ; our botanical knowledge 
 supplying all other information. Lest we should not 
 be understood by the non-botanist, through being too 
 scientific in speaking of the parts of a flower, we have 
 to state, that the outer envelope of a flower is called 
 a calyx, and its parts are called sepals ; this is gener- 
 ally a green cup, as in the Primrose, yet sometimes
 
 WAX FLOWERS. 71 
 
 colored, as in the Fuchsia ; and when a flower has 
 but one kind of envelope, as the Crocus and the Tulip, 
 it is a calyx. When the flower has two envelopes, 
 the inner part is a corolla, and its parts are called 
 petals, as the red leaves or petals of the Rose. Some- 
 times the calyx falls off when the flower opens, as the 
 Poppy. Within the corolla are the stamens or threads, 
 and in the centre of all the pointal, and sometimes the 
 young seed-vessel.
 
 WAX FLOWERS. 
 
 SINGLE AND SIMPLE FLOWERS. 
 
 THE SNOWDROP, CROCUS, PRIMROSE, AND VIOLET. 
 
 [MROSE. The cliaracter of all the 
 tribe is to have the calyx in one piece, 
 with five feet on the top. The corolla 
 of one piece, five-cleft at the top, five 
 stamens, and one pointal.
 
 WAX FLOWERS. 73 
 
 Choose the palest colored yellow wax, one sheet 
 will be enough for two flowers and two buds ; also, 
 bright green wax for the calyx and leaves, one 
 sheet will make two leaves or four buds. Cut the 
 calyx, as shown at A ; and five petals, as at B. Paint 
 each petal with a spot in the middle, as shown, with 
 a dark orange yellow. Choose a piece of moderately 
 thick wire for a stalk, three or four inches long, cover 
 it with a slip of green wax, and make a little knob 
 at the point. Then take a piece of yellow wax, half 
 an inch long, and a quarter of an inch wide ; cut this 
 with the scissors into five Strips for stamens, stick 
 these on the top of the wire, or rather on the 
 knob which terminates it, then put on in like manner 
 the five petals ; afterwards, take the calyx in a warm 
 palm of the hand, roll over it the knob of one of the 
 curling pins, so that it may gradually curl up, that 
 the edges may be joined together, assisting this curling 
 up by folding them with the fingers. When thus made 
 warm and pliant, fold it carefully over a small pencil 
 or round stick, made wet, until the edges slightly lap 
 over each other, rub down these edges so that they 
 
 In cutting out the patterns, always lay them lengthwise of the sheet of 
 wax, as it is much less brittle cut thus, than if the petals were cut cross- 
 wise. It is advisable also, in cold weather, to warm the wax a little, before 
 it is cut up.
 
 74 
 
 WAX FLOWER&. 
 
 unite neatly. Thrust the wire part of the pin down 
 within the calyx and between that and the centre 
 stick, in five places, corresponding to the top of the 
 teeth. This, if carefully done, will form the calyx 
 into five ribs, as in nature, and as shown in section 
 in the cut ; or it may be improved in this respect by 
 having a pentagonal stick instead of a round one, or 
 it may be finished when removed from the stick. 
 When made, pass the calyx up from the bottom end 
 of the stalk. Fasten it in the proper place, so that its 
 points shall come under the corolla, and fix it by 
 pinching its lower end with the stalk. Lastly, make 
 the flower of proper form, by bending all the petals 
 quite flat, not individually, for each may have a little 
 folding' or other irregularity given to it, but merely 
 that the whole flower shall be flat and not cup-shaped. 
 
 The corolla of the Primrose is in nature but of one 
 piece, formed at the lower part like a tube, and spread
 
 WAX FLOWERS. 75 
 
 out in the upper part into five parts, but it is much 
 more difficult to make it . so in wax ; nor is the effect, 
 when made, better than when made in five pieces. 
 
 To form the bud, take one or two yellow petals 
 only, curl them round, and nearly bury them in the 
 calyx. The leaf, to be natural, must be cast in a 
 proper mould ; and should, when made, be dusted un- 
 derneath with the white down. 
 
 The Common Primrose " that pale visitant of 
 balmy Spring," as Bidlake calls it is not always so 
 pale ; for when cultivated, it not only becomes double, 
 but sports into white and various colors. The double 
 variety may be made white, sulphur colored, pale pink, 
 and dark red ; the form of a double Primrose is shown 
 in the cut on page 72. When thus double, the pecu- 
 liar dark spot painted on the single variety is not found, 
 but the whole flower is of a uniform tint. The whole 
 flower thus double, is in general form like a Carnation, 
 but of the size of the Primrose; its petals are of the 
 form of the single one, except those near the centre. 
 It may be made of wax which is of pure white, pale 
 yellow, deep yellow, pink, or dark red ; this last should 
 be made by white wax painted with dry carmine by I 
 the tinting brush, before it is cut out, and the cut ' 
 edges touched with the same after cutting.
 
 76 WAX FLOWERS. 
 
 Other flowers of the primrose tribe are the Cowslip, 
 the Polyanthus, the Auricula, the Chinese Primrose ; 
 all these have many flowers upon the same stem, and 
 all coming out of the top of it. The cowslip has cup- 
 shaped flowers, the others have their flowers flat like 
 the primrose ; the cowslip is smaller than the primrose, 
 and darker, Avith a still darker spot upon each divis- 
 ion of the corolla. The manner of making the prim- 
 rose will suggest the modelling of the others. The 
 polyanthus is to be made of bright yellow wax ; the 
 auricula generally of white wax ; the mealiness of this 
 last may be put on best thus : Damp_ the parts which 
 are to be mealy with turpentine, and dust arrow-root 
 or hair-powder over them ; the leaves are of a dark 
 bluish green ; they must also be dusted with white. 
 
 The Crocus Tribe. All Crocuses have six petals, 
 or rather sepals, colored alike, and formed into a long 
 tube 'below ; three of the sepals are rather within the 
 other three. There are three stamens and one pointal. 
 Choose first the common yellow crocus, which is seen 
 expanded on page 72. Cut the sepals and stamens 
 of the size and form shown at A and B ; the former 
 of gold-colored wax, either cast of proper color, or 
 yellow wax to which a more golden hue is given by
 
 WAX FLOWERS. 77 
 
 deep chrome, or rather of deep orange. When the 
 stamens are formed, damp them with turpentine, and 
 dip them, while damp, into powdered dark chrome. 
 Fin the pointal, as represented at C, of yellow wax 
 on the end of a wire, damp it with turpentine, and 
 dip it into powdered carmine, with a little orange 
 mixed, or not to spoil the carmine by mixing another 
 color with it, this last may be dusted over afterwards. 
 Join the three stamens to three of the sepals, first 
 having rolled them in the hand with the ball end of 
 the pin, so that each sepal may be somewhat boat- 
 shaped. The lower end of the stamens should blend 
 with the sepal to which it is attached, so that their 
 union is not observed. The point of union should also 
 be below the expanded part of the flower. Put a little 
 bit of spare wax around the base of the pointal, and 
 fasten the sepals to it by pressure, first putting on 
 the three which bear the stamens at equal distances, 
 and then the other three. Unite them, if possible, so 
 as to form a tube at the base, and spread them out 
 somewhat at the top, according as an open or closed 
 flower is desired; sheaths or large folding leaves of 
 light brown wax may be placed over the stem, first 
 one on one side, then one on the contrary. Between 
 the lowest sheath and the stem may be placed the 
 7*
 
 re 
 
 WAX FLOWERS. 
 
 leaves. When a crocus is in flower, the leaves gen- 
 erally have not grown so tall as the flower, they must 
 be always cut out of dark green wax, and have a 
 white stripe painted up the centre of each. 
 
 The cut on page 72, also shows a bud of the Scotch 
 Crocus ; this species is yellow, with brown pencilling on 
 the outside of the sepals ; it has always two flowers 
 to a root. 
 
 Crocus Sativus, or the Saffron Crocus, shown in the 
 cut, blossoms in the autumn ; it is a fine purple, with 
 yellow stigma and -stamens. The pretty little Cloth- 
 of-gold Crocus is a bright yellow, marked outside with 
 brown, and its sepals are turned downwards, when the 
 flower is full out. 
 
 The Colchicum is to be modelled in the same way 
 as the crocus. It is of a purplish pink color, and has 
 six stamens ; also, the Sternbergia, a bright-yellow au- 
 tumn flower, of the size and form of the crocus, but
 
 WAX FLOWERS. 79 
 
 with six stamens. Numerous other flowers will suggest 
 themselves as of the same character. 
 
 The Snowdrop, Take a wire of small size, about 
 six inches long. Next a piece of white wax, a quarter 
 of an inch square, and cut this into six thread-like 
 strips, after the manner of a fringe. Twist this around 
 the end of the wire, so that the six points hang down 
 a little way. You need not be particular about this, 
 because, as the flower always hangs down, the centre 
 part is not much seen. Then cut three of each of the 
 two patterns given of pure white wax; make each of 
 them hollow, rubbing them by the ball while warmed 
 by the hand. Then put on at equal distance the three 
 inner petals, so that they adhere well to the stalk, and 
 completely cover the stamens, and also that they over- 
 lap each other a little. Next, put on the three outer 
 petals. Paint the inner ones with a spot of bright 
 green, made of a mixture of Prussian blue and chrome 
 yellow, and laid on with a camel's hair or sable brush 
 of small size. At the foot of the flower put a little 
 piece of green wax to form a small ball ; bend the 
 stalk, and add to it, distant from the flower, a sheath 
 made of very thin green wax ; when there are to be 
 leaves shown, there should be always two on the
 
 80 WAX FLOWERS. 
 
 stalk ; but when a pot full of Snowdrops is to be rep- 
 resented, there may be many leaves arising from the 
 ground without a flower at all ; observe in this case, 
 also, there should be always two together. Snow- 
 drops should always be shown two or three together. 
 
 The Violet. This simple flower, which is of five 
 petals, may be made of blue sheet wax, of the 
 proper color at first, or white wax, colored either 
 with oil or dry colors, after being cut into petals ; 
 the latter is to be preferred, because it gives a 
 finer tint. Sometimes White Violets are made ; 
 their form is the same as the dark purple ones. It 
 is the botanical characteristic of the Sweet-scented 
 Violet, that its flowers grow on stalks which come 
 at once from the root of the plant, as also the 
 leaves ; thus the plant is never branched, and, properly 
 speaking, there is no real stem to it ; although each 
 leaf and flower has its distinct stalk. Owing to this, 
 it is very easy to make, and looks well when in an 
 imitation garden-pot, or in a bunch of two or three 
 together. There is a calyx of one piece, which how- 
 ever is five pointed, the points not very sharp.
 
 WAX FLOWERS. 
 
 A, calyx, to be cut rather larger than the pattern. 
 B, shape of lower petal. C, side petal. D, top petal. 
 
 First, form the centre of the flower of a small piece 
 of dark yellow wax ; this is to be scarcely larger than 
 the wire which forms the stalk ; indeed, it is but the 
 piece of wax folded over the stalk, and pointed up at 
 the end. It may be snipped with scissors after being 
 put on, to resemble five stamens closely packed together. 
 Now put on the five petals, one below, one at each 
 side, and two at the top. All the petals are consid- 
 erably hollowed in the hand first, particularly the 
 three lower ones. When these are fixed, wrap the 
 calyx around the purple petals, so that each point of 
 it comes to the interval between the petals ; or, in 
 other words, so that the points are seen from the face 
 of the flower ; the upper part of the stalk end of the 
 flower should be rather fuller than the lower, as if 
 the stalk came out in some degree from the bottom, 
 as well as the end of the flower. The calyx and 
 leaves are of a bright green.
 
 82 WAX FLOWERS. 
 
 The Heartsease. The whole of the Heartsease are 
 of the tribe of the violet, and therefore consist of the 
 same parts, and are equally as easy to imitate, except, 
 that many of them require much after-coloring. The 
 Heartsease has very rarely any scent, and it is 
 branched ; that is, although each flower has its own 
 foot stalk, yet there are many flowers and leaves to 
 the same stem ; the leaves, too, are very different 
 from those of the violet. The flowers are of every 
 variety of purple, blue, yellow, white, and occasion- 
 ally brown color ; but never red. They are also of 
 every size, from the wild one of the fields, which is 
 scarcely half an inch across, to the splendid produc- 
 tions of the garden, eight inches or more in circum- 
 ference.
 
 WAX FLOWERS. 83 
 
 THE' TULIP, HYACINTH, AND NARCISSUS. 
 
 The Tulip is not an easy flower to make, although 
 so apparently simple. This simplicity, indeed, consti- 
 tutes half the difficulty, as the flower, when formed, 
 is so large as to show all defects, and is not relieved 
 by leaves, tendrils, or any other adjunct which can 
 hide a misshapen petal, &c. In fact, a Tulip, to be 
 a beautiful object in wax, must be made with perfect 
 exactness. Tulips vary very much in their color, 
 shape, and mode of streaking ; some have yellow 
 bodies, and others white ; some black anthers, others 
 yellow ; and so accordant with each other must be 
 the anthers, streaks, color, size, and form, that only 
 a real Tulip must be taken as a pattern. Upon the
 
 84 WAX FLOWERS. 
 
 examination of this, it will be found that the young 
 seed-vessel is found of a club-shape in the centre ; 
 next, are six stamens at equal distances ; next, six 
 petals ; the whole supported on a strong stem. The 
 petals should be made of white wax for white flowers, 
 and a middle shade of yellow for the other varieties. 
 The color for the streaks is a mixture of carmine 
 with a little blue or black, using Prussian blue to 
 produce a purple ; and Indian ink, with the carmine 
 or lake, to form a deep crimson. Great care must 
 be taken in laying on the streaks, as these must be 
 on both sides of the petal, and before this is attached 
 to the stalk ; also, each petal is to be rolled with the 
 knob of the largest curling pin, until it is somewhat of 
 a boat shape, or much hollowed in the part that is to 
 come next. the stalk. Three of the petals are to be 
 put on first, and the other three afterwards in such a 
 manner, that their edges will somewhat overlap the 
 edges of the others ; the whole flower, if fully blown, 
 will form a cup-shape ; but it is far more elegant to 
 contract the top much more than this, so as to show 
 fully the outside of the petals. 
 
 The Van Trol, or Sweet-scented Early Spring Tulip, 
 is very easy to make. Its petals are about an inch 
 and a half long, and three quarters or less in width,
 
 WAX FLOWERS 85 
 
 round below and pointed above. They are to be made 
 of deep yellow wax, and colored all over with car- 
 mine, except around the edges, which are to be left 
 yellow. When put together, the petals are seldom 
 regular, but somewhat distorted, so as to appear 
 twisted towards the top an effect easily imitated ; 
 the flower should also be represented as nearly 
 closed. 
 
 In wax, these small Tulips are usually represented 
 as growing in a garden-pot ; there are to be two leaves 
 for each ; if thus made, never put more than three in 
 a pot. 
 
 The Hyacinth. This beautiful production of the 
 garden is of every possible color, except bright green, 
 scarlet, brown, and black ; its varieties, .both single 
 and double, running through every shade of blue, pink, 
 yellow, white, &c. It is rarely or never streaked, but 
 very often the centre of a double flower is of a much 
 darker color than the outer petals. The form of the 
 Hyacinth is different from any former flower we have 
 described, inasmuch as it consists of numberless florets, 
 united together to form a close bunch. This adds 
 somewhat to the labor, but not the difficulty of manip- 
 ulation. First, cut from twelve to twenty pieces of 
 8
 
 86 WAX FLOWERS. 
 
 thin wire, eight inches long; then cut out the petals 
 according to form A. If you are imitating a single 
 flower, take a piece of white wax, a quarter of an 
 inch broad, and hah an inch long, cut this in narrow 
 strips, roll a piece similar to this round the top of 
 each wire, one end of each strip being attached to the 
 wire, the other end beyond it, these are for stamens ; 
 if you wish a double flower, let there be either six 
 or twelve of these, or rather of narrow petals as a 
 substitute for the stamens ; those for the inner row 
 are to be of form B ; and for the second row of form 
 C ; being a gradation in size from the outer or true 
 petals, which are also six in number. The various 
 petals, when cut out, will require after-coloring or not, 
 according to the variety copied. The stamens being 
 attached, next fix the six petals at equal distances 
 around, smooth very carefully the joints of them near 
 to the stalk, so that they shall appear united for 
 nearly half their length. Let the petals remain quite 
 close together at the top for the buds, a little more 
 open for the next lowest flowers, and the petals of 
 the full-blown ones, quite curved back in a round 
 and regular form, for this character is very essential 
 to the Hyacinth. If a double flower is to be imitated, 
 first, instead of the stamens, fix the six inner petals ;
 
 WAX FLOWERS. 87 
 
 then, in the intervals of these, the next row ; and in 
 the intervals between these last, or exactly opposite 
 the inner row, the largest petals ; the base of all the 
 under ones is covered with the upper row, and the 
 whole base is nicely rounded off. The petals are 
 then put into form, by carefully bending back first 
 the outer row, then the next, and lastly the inner 
 ones. One or even both rows of inner petals may be 
 dispensed with for the buds, particularly the smaller 
 ones. The joining of the florets together is the same 
 for single and double flowers. The following brief 
 instruction may suffice for many other flowers besides 
 the Hyacinth : Provide a needleful of green silk, and 
 cover each stalk for about an inch with green wax. 
 Arrange the bud and flower in the order of their 
 degree of expansion ; fasten two of the smallest to- 
 gether, half an inch from the floret, by a curl of the 
 silk ; a quarter of an inch lower down, fasten on a 
 third floret or bud, by another turn of the silk, and 
 so on for about three or four inches down the stems, 
 increasing the distance of a quarter of an inch for 
 each as you proceed downwards, and also rather in- 
 creasing the half inch distance from the floret to the 
 place of the ligature ; after placing two or three, it 
 will be necessary to bend the stem of the floret side-
 
 88 WAX FLOWERS. 
 
 ways. It will be observed, in a natural flower, the 
 buds are upright ; the fresh-blown florets, horizontal 
 to the stem ; and the lower one, rather hanging down. 
 As you go on attaching these florets, the stem will 
 need covering with a strip of green wax, similar to 
 that used at first. Doing this with care, nicely blend- 
 ing the edges of these pieces, and duly arranging the 
 florets so as to touch each other all round, a very 
 natural appearance will be given to the whole ; and 
 should a Hyacinth be even the very first flower to 
 be imitated, the learner will generally have cause to 
 congratulate herself upon her successful modelling. 
 For a fine Hyacinth, you will not require more than 
 four sheets of wax, as it cuts to great advantage. 
 
 The Narcissus. The name Narciss or Narcissus, 
 is rather that of a family than a particular flower, 
 as the species are extremely numerous, and general 
 among us. Space only allows one to be fully de- 
 scribed ; but the instructions given for that apply to 
 them all, especially if the following remarks relative 
 to the peculiarities of each are borne in mind. 
 
 Jonquil (Narcissus Jonquillus). This is wholly, 
 cup and all, of a bright yellow, the stems are thin 
 and long ; there are two sheaths. The flower is about
 
 WAX FLOWERS. 89 
 
 two inches across, and there are two or three to each 
 stem. The leaves are short and narrow. 
 
 Poet's Narciss (Narcissus poeticus). There is but 
 a single flower to each stem, and this is very often 
 double, of a pure white color ; when single, the cup 
 is white tipped with scarlet. The seed-vessel is very 
 small, the stem rather slender. 
 
 Polyanthus Narciss (Narcissus Tageta). Eight or 
 ten flowers to a stalk, of a fine dark yellow color, 
 both as to petals and cup ; the latter, however, is 
 much the darker, and may be made of orange wax, 
 while the petals are of the darkest shade of yellow. 
 The flowers need not be more than an inch and a 
 half over, or even less than this. 
 
 Two-flowered Narciss (Narcissus biflorus.) This 
 two-flowered species is one of the prettiest, and as 
 easy as any other to imitate, we will therefore de- 
 scribe it more in detail than the rest. The petals 
 are, as in every case of the others, six in number ; 
 the stamens six ; the nectary or centre part in the 
 form of a cup. This is of a yellow color, jagged 
 around the edge. The petals are white ; the sheath 
 of a light brown \ and the stem and leaves bright 
 green. First, take two moderately thick wires for the 
 stem, and cover 'two or three inches of the tpp of each 
 8*
 
 1)0 WAX FLO WE US. 
 
 with green wax. Model six stamens of the form 
 given in the illustrative cut. Dip the points of these 
 in turpentine ; and then, while wet, in dry orange 
 chrome. Lay them aside for the turpentine to evapo- 
 rate, and for them to become hard again. While the 
 stamens are drying, cut out a piece of deep yellow 
 wax, of the form shown at A, and make it jagged 
 around the edge. Hold this piece in the hand, and 
 roll the ball of the curling pin -over it backwards 
 and forwards, till it curls up, and till the edges may 
 be brought together. You may then unite the edges, 
 
 and still roll it with the pin, till it forms a perfect 
 regular cup. The petals will not require rolling ; but 
 if you have a natural flower to copy from, you will 
 find that the natural ones are somewhat in ridges, 
 this effect is produced by the pin being pressed against 
 them lengthways. Unite the six stamens to the wire 
 stem, so that they shall just have their anthers pro-
 
 WAX FLO WERS. 91 
 
 jecting beyond it. Next pierce the centre of the cup 
 by the bottom end of the stalk, and pass it up to 
 its proper place ; that is, so that the bottom of it 
 comes up close to the anthers of the stamens, which 
 have just been put on ; pinch this tightly on. Place 
 the petals at regular intervals under the cup, bending 
 them across at about a quarter of an inch near the 
 bottom, and putting them on by this quarter of an 
 inch, which will be quite sufficient. Wrap a piece 
 of white wax, for about an inch, along the wire for the 
 tube of the flower, and make the whole quite smooth 
 and even ; lastly, finish the flower with a little oblong 
 ball of green wax of the same color as the stem, to 
 form the seed-vessel, as shown at C. The other 
 flower is to be made the same way, or a bud may 
 be formed in like manner. The petals are to be bent 
 so as to give the flower a flat appearance ; or rather, 
 a flower opening is to be somewhat hollow ; in a full- 
 blown floAver, the petals are to be flat, and in one 
 which has been open for two or three days ; they 
 are to be bent back. The two flowers are now to 
 be tied together at about an inch and a half from 
 the seed-vessel of the one, and an inch from the 
 seed-vessel of the other. Tie them not only here, 
 but downwards along the stem to the bottom of it
 
 92 WAX FLOWERS. 
 
 with thin soft cotton or silk. Cut out of brown wax 
 a sheath, shaped as D, join it to the stem so as to 
 conceal the upper ligature, and cover the stem below 
 the sheath with green wax. The flowers only remain 
 to be bent into proper form, so as to arrange them- 
 selves gracefully. They are naturally bent immedi- 
 ately adjoining the seed-vessel or bulb, at the bottom 
 of the tube of the flower.
 
 WAX FLO WERS. 
 
 TEE PINK, JESSAMINE, DAISY, FORGET-ME-NOT, 
 COREOPSIS, AND CYCLAMEN. 
 
 The Pink, Carnation, Clove, &c. Many of the 
 Pinks are beautiful objects for modelling, and by no 
 means difficult, whether single or double. We will 
 begin with the single Indian Pink, as shown in the 
 centre of the above illustration. This flower is an 
 annual, of a fine scarlet color, with black markings 
 upon it as represented. First, take a moderately- 
 thick wire, fix upon the end of this the pointal, which 
 is of a forked character in all Pinks, Cloves, &c., as 
 shown more fully at C, in the succeeding cut. Next 
 color a sheet of white wax of a deep crimson with
 
 94 WAX FLO WERS. 
 
 carmine on both sides of it, but rather paler on the 
 underside. Then cut out five petals, with long points, 
 nearly of the shape shown at B, but rather fuller in 
 the body, and with a different edge, as seen above. 
 'Put the proper markings on each petal with black, 
 not too regularly, for fear of stiffness in appearance. 
 Place the five petals around the top of the stalk, and 
 bend each back, when put on ; and it is advisable in 
 this, and many other cases, where the petals or other 
 parts are to have a sudden bend given to them, to 
 warm them for a moment in the sun or before a fire, 
 to prevent the wax from snapping across ; it is par- 
 ticularly necessary in petals, which, like those of the 
 Pink, have a long, narrow end to them ; this part 
 being necessarily weak, and liable to accident. Form 
 a calyx of bright green wax, of the shape of A, be- 
 neath, but smaller ; roll it into a tube, with a closed 
 end, as before described for the Primrose ; bring it up 
 to the flower from the bottom of the stalk, unite it 
 well, and the flower is finished ; except that there are 
 two or three small leaves or bracts, as they are called, 
 at the base of the calyx. 
 
 The Single Pink is made in precisely the same 
 manner as the Indian Pink last described, but rather 
 larger. The petals are of white wax, colored towards
 
 WAX FLOWERS. 95 
 
 the end of the body of them with a fine purple, made,*/ 
 of lake and Prussian blue, laid on with a camel's hair 
 or sable pencil. The wax which forms the calyx must 
 be of a dark green, powdered over, when the flower 
 is finished, with' arrow-root or other white downy 
 powder, to give the slight degree of mealiness ob- 
 served on this flower, as well as upon the Clove, Car- 
 nation, &c. 
 
 The Double Pink contains from thirty to forty 
 petals, all of the same shape, except that the inner 
 ones are somewhat narrower than those near the edge. 
 The petals being ready, attach them around the top 
 of the stem, folding each more or less back, till the 
 whole together shall form a shape similar to about 
 one third of an orange cut off. There are great 
 varieties of pinks, the markings, edgings, and form of 
 which vary considerably. 
 
 Clove and Carnation. We somewhat forestall the 
 subject of double flowers, by introducing here the 
 Double Clove, the Carnation, and Picatee. The for- 
 mation of them is the same as for a double pink. 
 The cut on page 96 shows the shape of the various 
 parts at A, E, and D ; while F shows the general 
 shape of the flower when complete. E is a full
 
 96 WAX FLOWERS. 
 
 sized petal of a Carnation, with the markings or 
 stripes required ; but these flowers, as well as the 
 Picatees, are so extremely varied in these respects, 
 that, as in the case of the Tulip, Ranuculus, and 
 others, a real flower, or a good colored copy of one, 
 must be had as a pattern. They may all be made 
 
 of white wax, colored as circumstances require ; some 
 Picatees may be made of light yellow, and cloves of 
 pink wax, colored with dry lake, or carmine mixed 
 with a little black, to give the peculiar dark crimson 
 of the Clove. The markings of the Carnation are 
 generally of carmine for some of the stripes, and of 
 a purple for others. 
 
 The Jasmine. Choose the finest wire for the stalk, 
 the darkest green for the leaves, and the purest white 
 wax for the flower. The cut on page 93 will show 
 the general arrangement and shape of the various
 
 WAX FLOWERS. 97 
 
 parts ; the flowers are there represented as of full size, 
 but the leaf is in nature about double of that depicted. 
 No particular remark is to be made relative to the 
 formation of the flower itself; all is extremely easy, 
 the only care is to join the two edges of the tube 
 of the white flower carefully, for it may be made all 
 in one piece. To bend this part, and all other tubular 
 flowers, fold the wax, while warm, over the stem of 
 the curling pin, or of a wire of proper size. In this 
 flower there are no stamens required to be seen. 
 
 The Daisy, For the centre of a Daisy, cut a strip 
 of deep yellow wax, an inch or more in length, and 
 a quarter of an inch broad, into thread-like strips ; 
 not quite, however, cutting through the whole width, 
 thus not quite separating each from the others ; twist 
 the piece thus cut round the end of a wire, and trim 
 the tops of them, so as altogether to be of a round form. 
 This ought now to resemble the top of a round paint- 
 ing brush, about a quarter of an inch over ; trim 
 them up at the back also, so as not to cut them sep- 
 arate from each other, lest they fall apart, but merely 
 to make them smooth and even ; ne^ct take a round 
 piece of Avhite wax, and cut it into from twenty to thirty 
 divisions, as shown in the representation of the Daisy
 
 98 WAX FLOWERS. 
 
 flower on page 93, pass this up from the bottom of 
 the stalk, and press it until it adheres well around 
 the centre boss. Next cut a circular piece of green 
 wax half the size of the white piece, and join it be- 
 neath. The flower will thus be formed. 
 
 TJie Forget-me-not. This is a very different flower 
 from any we have yet attempted. It had better be 
 cut from white wax by a tin shape, of which one 
 is given of proper form on page 65. Color them of 
 a bright blue, except near the very centre of the 
 flower, where it should be of a pure white, while the 
 five thread-like stamens are of a bright yellow. The 
 flower buds are pink. The flowers may be scattered, 
 or in a close spike, as they are found of both char- 
 acters. The stem must be of fine wire, the flowers 
 and buds formed separately, and put on so that the 
 most pinkish ones are at the top of the bunch ; these 
 are very small, and are curled round, like a scorpion's 
 tail. The blue used to color the wax for the florets 
 should be cobalt or ultramarine, the former is the best. 
 Two or three bunches of flowers may be upon the 
 same stem. 
 
 The Coreopsis. The light delicate character of this
 
 WAX FLOWERS. . 99 
 
 flower, and its rich color, give great effect to a group. 
 It is to be made precisely in the same manner as 
 the Daisy ; the centre is black, slightly sprinkled with 
 yellow, the petals are a deep rich orange, and the 
 marks upon them are a rich brown, formed by burnt 
 umber painted upon them. The calyx is light green, 
 and formed of a number of small leaves placed lapping 
 over each other. There are nine or ten petals, and 
 they are jagged at the edge, as shown in the flower 
 at the right of the cut on page 93. 
 
 The Cyclamen. This is the next flower in order, 
 and is represented on page 93. It differs from all 
 the others in having the petals, which are five in 
 number, bent back. The flowers are altogether curi- 
 ous. They are of a whitish pink color in the English 
 species, and to be formed of white wax, slightly tinted 
 with carmine or lake. The stamens are not visible, 
 therefore they need not be made. The stalk is about 
 three inches long, and it is to have a small lump of 
 wax at the end of it, to form the flower upon ; the 
 petals are to be held to the fire for a moment to be 
 made very pliable, then placed on the little lump and 
 pressed down tight ; each one as it is put on being 
 turned up, as shown in the cut. The calyx and stalk
 
 100 WAX FLOWERS. 
 
 are to be of very dark green wax. The calyx is 
 of one piece cut at the rim into five blunt points. 
 The seed-vessel is of a light brown ; it may be made 
 of any refuse pieces, and is about the size of a small 
 pea, but oval ; its calyx half covers it. The leaves 
 are of a very dark green, with white lines a.nd margin. 
 Each flower and leaf grows on a separate stalk, 
 which rises immediately from the root. The stem of 
 the seed-vessel is curiously twisted round and round, 
 like a corkscrew, and more so as the. seed ripens, 
 until at length the seed-vessel lies on the ground, and 
 thus it may be said to sow its own seed. 
 
 Another species of variety of Cyclamen is common 
 in the gardens or green-houses, the petals of which 
 are beautifully tinted with a fine dark pink, near the 
 lower end of them, or for about a quarter of an inch 
 of the part turned over. The leaves are the same. 
 There is also the Cyclamen Coum, Avith small short 
 scarlet flowers and round or kidney-shaped leaves. 
 
 OTHER SIMPLE FLOWERS. 
 
 The manner of making the above flowers will show 
 the general management to be observed with all flow- 
 ers of a simple character ; to imitate them with facility
 
 WAX FLOWERS. 101 
 
 requires only a little practice ; and presuming that the 
 tyro has already attained some little degree of facility 
 of operation, it will not be necessary to enter into 
 others with so minute particulars : the following re- 
 marks may, however, be useful, and, with a real flower 
 to work with, no difficulty can arise. The flowers which 
 arc next enumerated, are such as can be made in wax 
 Avith much perfection, and are such as are usually 
 chosen for that purpose. 
 
 The Laburnum. This is one of the prettiest and 
 easiest flowers to make in wax. Twelve or fourteen 
 flowers or buds may form the bunch. They are to 
 be of the brightest yellow wax, and made on slender 
 wire. The flower consists of a crooked lump for the 
 bottom, then two side pieces, and a standard at top ; 
 this last has several veins of dark purple upon its 
 inner side. The whole, when finished, will be droop- 
 ing, and therefore in much estimation to group with 
 more stiff and massive flowers. 
 
 The Convolvulus. A very difficult flower. The 
 varieties white, with five pink stripes ; or purple with 
 pink stripes are the prettiest. After having cut the 
 shapes all of one color, that is, either white left un- 
 
 9*
 
 102 WAX FLOWERS. 
 
 colored, or tinted on the inner side with fine rich blue, 
 with a trace of red in it, lay upon the piece thus 
 cut, to form the flower, five long triangular strips of 
 pink wax ; rub them gently, till they adhere nicely ; 
 then, having it warm, fold it over the wooden form- 
 ing shape (Convolvulus moulding stick) ; being careful 
 to soak the shape for a minute or two in warm, but 
 not hot water ; first rub it gently on the outside, until 
 the edges come together, when they must be joined 
 very carefully and neatly. Form the rim in proper 
 shape, according to the flower copied, and take it off 
 the mould. Now prepare the stem, which may be a 
 rather thick wire ; finer wires, ready waxed, being used 
 for the flowers and leaves. There is always a flower 
 on one side the stalk, and a leaf opposite to it on 
 the other, a circumstance very likely to be overlooked. 
 The buds come out very rapidly, and the flowers 
 decay as soon ; thus, in a group there should never 
 be more than one or two flowers expanded. The bud 
 is twisted before opening. The leaf is heart-shaped. 
 
 The Fuchsia. Every year brings us new species 
 of Fuchsia, some small and with solitary flowers, others 
 tubular and with flowers in bunches ; the former are 
 by much the easier to imitate. The leaves are in
 
 WAX FLOWERS. 103 
 
 pairs, of a middle shade of green, veined with purple 
 or scarlet. From the junction of each leaf with the 
 stem arises a flower, which must be joined at once 
 to the stem ; the flower stems of fine copper wire, 
 that they may be weak and pendulous. All the wire 
 used must be waxed, by rubbing it over with a piece 
 of wax, in the same manner as a thread is waxed 
 by the tailor. Have the leaves of different sizes, and 
 the smaller of a lighter color than the others. Join 
 two opposite each other on the end of the stem, then 
 two others near to them on the opposite sides of the 
 stem at a little distance down, two others in the 
 same position as the top pair. Out of the axillae of 
 these, and indeed of the last pair also, may be seen 
 little buds, with stalks of half an inch long, next an- 
 inch, and a little pendulous, then of an inch and a 
 half, progressing to two or more inches, when full- 
 blown flowers will be seen. In placing them on, first 
 tie on the flowers, then put the leaves over the joints 
 *where these were attached. The flowers are made 
 thus : They have eight stamens, four inner petals of 
 a fine purple color, and, lastly, a scarlet calyx, some- 
 what tubular, and with four points like petals. The 
 fine wire itself, colored pink towards the points, forms 
 a pointal in the centre, which extends down an inch
 
 104 WAX FLOWERS. 
 
 from the flower ; a minute ball is at the end of it, 
 made by just dipping the end in melted wax. Next 
 follow eight scarlet stamens, which extend down half 
 an inch, then comes the purple corolla, and finally 
 the scarlet calyx. This, last entirely hides the corolla 
 when the flower is closed. The berry is dark purple, 
 and of an oval shape. A beautiful variety, which 
 looks well in wax, called Victoria victrix, has the 
 calyx of a pure white, and the corolla a dark purple. 
 Of the larger Fuchsias, the buds are generally cast 
 in a mould in the same manner as for waxen fruit. 
 The following is an engraving of a large Fuchsia, in 
 which every part is of the natural size.
 
 WA X FLO WE R S . 
 
 105
 
 106 
 
 WAX FLOWERS. 
 
 Various parts of the Fuchsia of the natural size, being 
 drawn from an actual flower.
 
 WAX FLOWERS. 107 
 
 Bell Flowers. These are all difficult to make ; they 
 are most of a blue or purple color, the corolla of one 
 piece, and its edge cut into five divisions or teeth. 
 They may be bent into shape upon a proper mould- 
 ing stick made on purpose, according to the -size and 
 the shape of the flower to be imitated. 
 
 The Tobacco. The noblest species, the Virginian 
 Tobacco, is made in the same manner as the bell 
 flowers ; it is of a fine pink, and tubular ; the calyx 
 is also somewhat tubular. It is a very good object in 
 
 Honeysuckle. This is a trumpet-shaped or tubu- 
 lar flower, made of yellow wax, somewhat stained 
 with red. It has five prominent stamens. It may be 
 made readily with a real flower to copy from. The 
 Wild Honeysuckle looks perhaps the best if it is of 
 white wax shaded with pink. 
 
 The Poppy. This flower is difficult to make, and 
 the only kind that should be attempted is the Scarlet 
 or Field Poppy. First, procure a wire of moderate 
 thickness, and cover it with green worsted ; at the top 
 end place an oval lump of green wax, which you are
 
 108 WAX FLOWERS. 
 
 to cut transversely, so that the top shall be nearly 
 flat, and of the full size of the lump of wax ; make 
 upon this several lines or marks from the centre out- 
 wards, also a little irregularity around the edge, from 
 line to 'line. Cut a strip of dark purple wax into 
 stamens of a thread-like form, without separating the 
 one from the other. Dip the outer ends in gum 
 water, and then into a black or purple powder, to 
 represent the anthers. Place these close all around 
 and underneath the seed-vessel, pressing them down 
 tight and firm, so as to surround it with very numer- 
 ous stamens. Then take the thinnest sheets of wax 
 you can get, cut four petals of proper form, and 
 paint them with vermilion on both sides ; crumple 
 these gently up in the hand, and then opening them 
 carefully, press the ends of them under the stamens, 
 putting on first those on two opposite sides, and 
 afterwards the other two to fold over them. No 
 leaves are wanted ; it is better to have the flower 
 drooping. 
 
 The Passion Flower. This is rather a difficult 
 subject to make ; but no one looks more natural, or 
 more beautiful when complete, with its flowers, ten- 
 drils, leaves, and somewhat climbing stem ; it climbs.
 
 WAX FLOWERS. 109 
 
 however, not by any convolution of the ''stem itself, 
 as does the Convolvulus, but by the tendrils which the 
 young stem throws out to support its growth upwards. 
 No description can give an idea of the flower itself; 
 the centre of it is a curiously-formed column, with 
 three spreading, club-shaped arms upon the top of it. 
 This must all be modelled of green Avax, a wire run- 
 ning up the centre. Out of the lower part of the 
 central column grow five stamens, the anthers of these 
 must be modelled of dark yellow wax, except their 
 filaments, which may be of fine green wire waxed". 
 A fine bright blue ring of filaments, like rays, are 
 seated around the lower part, and this is supported 
 by ten, or sometimes twelve, white petals, each of them 
 is a little hollowed, and every other one throughout is 
 somewhat larger than the intermediate ones, and a 
 little hooked at the end ; the back of these petals is 
 generally a little green. The tendrils are made of a 
 thin green wire, made by twisting it round a pencil, 
 then pulling it out loosely. The leaves are a very 
 dark green, which may be made of wax and stamped, 
 or they may be bought ready made. The Passion 
 Flower should always be made along with its stem, 
 &c., and hung gracefully over a vase. There is a 
 very fine species of Passion Flower, often beautifully 
 10
 
 110 WAX FLOWERS. 
 
 modelled. * It is of a fine crimson color, with the rays 
 partly colored with a darker tint. 
 
 The Single Hose. The Single is much more dim- 
 cult to model than the Double one, yet the Sweetbrier 
 and the Wild Eose would look unnatural if doubled. 
 First, cut a number of stamens, and tip them with 
 knobs of yellow. Place these in a loose bunch around 
 the end of the stem wire, rather spreading them out 
 from the centre, but not formally or stiffly. Cut five 
 heart-shaped petals of white wax, color them of a 
 pinkish hue with carmine, and place them ' at equal 
 distances around and under the stamens. Next, cut 
 five irregular green leaves, which place underneath 
 them, for a calyx. Lastly, form of green wax a per- 
 fectly smooth, longish, oval ball, which pass the wire 
 through at the bottom, and bring it up close to the 
 calyx, Avhich must be very smoothly and evenly joined 
 to it. The leaves are of five leaflets of different sizes. 
 The rosebud is of a pointed oval form ; the calyx 
 leaves inclosing all, or nearly all, of the petals, more 
 or less, according to its expansion. A small oval 
 seed-vessel is seen beneath the bud. 
 
 The Chrysanthemum, China Aster, and other quilled
 
 WAX FLOWERS. Ill 
 
 Flowers. These are different from those before de- 
 scribed. They are not, properly speaking, double flow- 
 ers, but are of that character called compound flowers, 
 the nature of which is, that it consists of a great 
 number of flowers upon one receptacle or base, the 
 corolla of each is tubular, and' being increased much 
 in size by cultivation, the whole has a very compound 
 or doubled appearance. The best way of making 
 these quilled flowers is this : Procure a tin shape, 
 such as that given in No. 7, on page 65. Stamp two 
 or three hundred pieces of white, pink, or purple wax, 
 of the color of the intended flower, and as many 
 pieces of thin wire covered with silk, these last half 
 an inch long. Fold up each floret of wax around a 
 strong, bright knitting-needle. Inserting about half 
 the length of the small wires in each, pinch them 
 tight. The florets are now all prepared. The next 
 thing is the receptacle. It may be made of refuse 
 wax, about the size of a farthing, but a quarter of 
 an inch thick, and rounded at the upper edge. Fasten 
 the wire for the general stem in the centre beneath, 
 and cover the under part with numerous small green 
 leaves, overlapping each other, for a calyx. Then 
 choosing first the most imperfect of the florets, stick 
 them close together near the centre, working with
 
 112 WAX FLO WE US. 
 
 them round and round, till you get to the edge, taking 
 care to expand the cleft top of them more and more 
 as you proceed outwards, so as to show more ex- 
 panded flowers ; this may be done one at a time, 
 just before putting each one on ; or, more conven- 
 iently and quickly all together at first, arranging 
 them in this case on a table, so that they may be 
 conveniently handled one by one when wanted. If 
 the expanding of them has been regular, and the 
 placing of them done neatly, the whole, when fin- 
 ished, will have a shape like a rather flat half ball, 
 as the flowers naturally have. 
 
 The Lily of the Valley. This flower must be made 
 upon very different principles from those hitherto de- 
 scribed. File to a round end a piece of bone, metal, 
 plaster of Paris ; or, still better, the end of a round 
 slate-pencil ; grease this end, and dip it. half an inch 
 deep into pure white wax, so cold as to be ready to 
 set immediately ; cut it round the stick or former into 
 b fiVe^ teeth. Dip it into water, when the part at the 
 end will drop off, if assisted by the point of a pen- 
 knife. This forms the bell or cup-shaped corolla. 
 Make eight or ten of these for one branch of flowers, 
 some rather smaller than the others, some of them
 
 WAX FLOWERS. 113 
 
 also you may squeeze up into buds. Then have as 
 many fine wires waxed with green, upon the end of 
 each put n>e^very small stamens of yellow. Pass up 
 a corolla from the bottom of the stalk, and fasten it 
 close to the stamens. Then unite the whole together 
 into a loose bunch, the flowers drooping in the same 
 direction. The whole must be wrapped in a leaf 
 of bright green wax, as if it grew from the centre 
 of it. 
 
 10
 
 114 WAX FLOWERS. 
 
 MODELLING OF DOUBLE 
 FLO WERS. 
 
 ODELLING Double Flowers is infinitely 
 moi-e easy than that of single ones, be- 
 cause Nature here sports into a greater 
 variety of shape and color. Double 
 Flowers are of themselves unnatural, and therefore a 
 rigid conformity with the original is by no means 
 requisite, unless it is to be a scientific copy of some 
 florist's variety ; a deviation from which renders it 
 valueless for the purpose intended, however handsome 
 and well shaped. In forming Double Flowers in 
 wax, the general form is the first consideration ; 
 also, the manner of the petals lapping over each 
 other, and that those which come nearest to the out- 
 side of the flower are always larger than the inner 
 ones, as well as better formed ; and in a striped flower 
 they are more decidedly and correctly streaked and
 
 WAX FLOWERS. 115 
 
 spotted. The chief favorites are the Rose, the Dahlia, 
 the Camellia, the Carnation, Pink, Ranunculus, Anemone, 
 and Primrose. Those flowers which are most difficult 
 to make single, are never doubled at all, such as the 
 Lily of the Valley, the Convolvulus, Passion Flower, and 
 others. Instructions to form a Dahlia will be a suffi- 
 cient guide for Double Flowers in general. 
 
 To form a Dahlia, choose seven sheets of the proper 
 colored wax ; and Dahlias are of every color, except 
 black, brown, green, and blue. Cut seventy or eighty 
 shapes with the tin guides, of which a shape is given 
 on page 65, with some of two or three smaller sizes, 
 keeping the various sizes separate. Coil the smallest 
 round a wire, so as to roll them up completely. The 
 next size must be a very little opened towards the 
 top. The third size still more opened. The next 
 with only the sides a trifle doubled over, and so on 
 with the others ; the outer ones being a little ribbed 
 lengthwise, so as merely to show a waved surface ; 
 though Dahlias vary very much in this respect, most 
 of them being somewhat quilled, even to the extreme 
 outer row or edge. The petals being ready, take 
 a thick wire, and place around the end of it, firmly 
 fixing them on, some of the smallest petals ; after- 
 wards the other sizes in regular rotation ; the upper
 
 116 WAX FLOWERS. 
 
 surface of the whole together being of the form rep- 
 resented by about one third of an orange cut the flat 
 Avay, or like a portion of a flattened ball. Lastly, 
 a calyx is required ; this may be of several small 
 green leaves folding over each other, at the same 
 time concealing the ends of the petals, and uniting 
 them more firmly to the stem.
 
 THE 
 
 PARLOR GARDENER. 
 
 A TREATISE ON THE HOUSE CULTURE 
 OP ORNAMENTAL PLANTS. 
 
 Translated from the French, and adapted to American use. 
 BY CORNELIA J. RANDOLPH, 
 
 OF VIRGINIA. 
 
 WITH ELEVEN ILLUSTRATIVE CUTS. 
 Price 75 cents. 
 
 THE A H T 
 
 OF 
 
 SKETCHING FROM NATURE. 
 
 TWENTY-SEVEN ILLUSTRATIONS. 
 
 Said to be the best elementary work on Drawing extant. 
 Price 40 cents.
 
 SKELETON LEAVES 
 
 AND 
 
 PHANTOM FLOWERS. 
 
 A New and Practical Guide to this elegant art, 
 the manner of skeletonizing leaves and flowers, 
 method of grouping and arranging into bouquets. 
 Also, guide to PRESERVING NATURAL FLOWERS 
 with their fresh bloom and beauty. 
 
 Price, $1.50. 
 J. E. TILTON & CO., Publishers. 
 
 NEW DRAWING CARDS. 
 
 SKETCHING FROM NATURE FOR YOUNG ARTISTS. 
 A beautiful set of subjects far superior to the 
 imported and common cards in use. 
 
 Price, per package, 50 cents. 
 
 J. E. TILTON & CO., Publishers. 
 
 JUST PUBLISHED, 
 
 FLOWERS: 
 
 HOW TO MAKE THEM. 
 
 With new methods of Sheeting Wax, Modelling 
 Fruit, &c. 
 
 Price, $1.50. 
 J. E. TILTON & CO., Publishers.
 
 ART RECREATIONS. 
 
 A COMPLETE, ILLUSTRATED, AND EASY GUIDE 
 
 Pencil Drawing, Crayon Drawing and Painting, Water- 
 Color Painting, Oil Painting, Painters' Photographs in 
 Water and Oil, Grecian Painting, Oriental Painting, 
 Antique Painting, and in fact all known varieties of 
 Drawing and Painting. 
 
 Also, Leather Work, Moss Work, Feather Work, Wax 
 Work, Cone Work, Shell Work, &c. How to Preserve 
 Birds, how to make Aquariums, Magic Lanterns, Papier 
 Mache Work, Paper Flowers, Vases, &c. ; in fact, a per- 
 fect Encyclopaedia of all that is ornamental and useful. 
 
 To be used without a teacher ; with rules for making 
 all materials needed. 
 
 Price, muslin, $2.50 
 
 Halfcalf, 3.75 
 
 Rich Turkey, . . . . . . . 5.00
 
 FLOWERS 
 
 FOE THE 
 
 PARLOR AND GARDEN. 
 
 BY EDWARD SPRAGUE RAND, JR. 
 
 A splendid illustrated volume on the culture of Green- 
 house, Conservatory, Stove, Parlor, and Garden Flowers, 
 Ferns, Bulbs, &c. ; Instructions and Plans on the Building, 
 Stocking, and Keeping Conservatories, Greenhouses, &c. ; 
 Waltonian Cases, Ferneries, &c. ; Soil for the Flower 
 Garden ; List of Best Plants and Seeds ; How to Propa- 
 gate ; Time of Planting and Flowering ; in short, every 
 information needed by the amateur or the most experi- 
 enced gardener. It is a volume long needed, and the 
 author's high reputation in these matters will insure a 
 work that will supply every want. 
 
 Price, muslin, gilt top, .... f 2.75 
 
 Halfcalf, 3.75 
 
 Turkey, 5.00
 
 
 fc/Vl 
 
 . ; 
 
 "
 
 CENTRAL UNIVERSITY L 
 
 University of California 
 
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 MAR 2 9. iQflR
 
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