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Discovering Diverse Content Through
Random Scribd Documents
 A BEAUTIFUL AND PRACTICAL PROCESS
FOR DECORATING WOOD,
LEATHER, SILK AND OTHER FABRICS.

t is simple to perform, durable, and very effective. The

designs are printed in colors, upon paper so prepared
that after they are cemented to the surface of the article
intended to be decorated, by simply dampening the back
of the paper, it may be at once and entirely removed,
and the finished work exactly resemble painting;
nothing but the colored designs remaining upon the
work.
Suppose that a white earthenware or porcelain plate is
the object to decorate: Take the design, and after having
cut off the larger portion of the margin of the paper, pass
over the colored design, fine brush, a slight coat of
Fastening Varnish, being careful to cover the whole of
the design and not go beyond the outlines. When the
varnish has partially dried, or has become “tacky,” which
will happen in five or ten minutes, place the varnished surface in the
position you wish it to occupy upon the plate, and then press it well
down with the roller; then take a damp piece of cloth or sponge and
press well the back of the picture, (if you were decorating a curved
surface, such as a vase, the ivory knife may be used for the purpose),
and allow it to remain for a minute or two, then thoroughly wet the
back of the design and raise the paper with the hand evenly and
carefully. Now wash the picture, which is transferred as gently as
possible with the water brush, to remove any soil; this done, carefully
press the work with a piece of fine linen slightly wetted, so as to
absorb the water and nearly dry the design, this prevents it from
blistering and causes the work to dry flat and evenly. Then after
having left it at least one day, apply a coat of retouching varnish, and
the work is complete.
To Decorate Silk and other Delicate Fabrics. Apply a coating
of fastening varnish, and allow it to dry, then with the water brush,
wash the paper surrounding the design carefully; this removes from
the paper the preparation which would otherwise soil the silk; now
apply a second coat of the same varnish, and when this has slightly
dried, place the design upon the silk or other fabric to be decorated,
and with the roller press it well down. With the water brush wet the
back of the paper covering the design and the paper may be at once
lifted off.

Another Method. Cut out the design carefully and cover it with a
thin coating of fastening varnish, and allow it to dry, then lay it upon
the silk or other fabric, and roll thoroughly; dampen the back of the
paper with the water brush, and lift it off as previously directed.

To Decorate Articles of a Dark Color. In decorating Japanned

goods, or any dark material, it is necessary to take the prepared
pictures covered with white lead or gold back, and follow the
directions as before. Should there be any design you wish to remove,
or any spots of varnish accidentally dropped upon the article
decorated, you can easily remove it by applying the clarified spirits.

A few of the many articles which can be easily and advantageously

decorated. Vases, trinket stands, and other ornaments in white
china, with or without a border of gold; tea or coffee services in
china, earthenware, or Bohemian glass; dessert services, flower pots
and boxes, candlesticks, urn and jug stands, carriages, sleighs,
wagons, furniture, tinware, and many other china articles which have
been made expressly for decoration by this art; white wood articles,
straw dinner mats, silk or cloth sofa cushions, scent bags, slippers,
hand screens, fans, ribbons, articles in ivory, book covers; indeed it is
difficult to say what ornamental article may not be thus decorated,
from the panels of a room to the tiny articles of the dressing table.
To the house decorator this art offers a complete substitute for the
costly process of hand painting for panels of rooms, and other
portions of his work which require artistic embellishment.
As to the choice of subjects, of course that must be left to individual
taste. The variety is large, comprising flowers, birds, figures and
landscapes, of all dimensions and in every style, the beautiful
products of Sevres, the works of modern artists, and inlaid woods.
The brushes may be easily cleaned with a little of the clarified spirits,
as well as any accidental spots of the varnishes upon the dress.
As all designs are covered with gold, or plain, the latter will show on
a white ground only, and are mostly used for ladies’ work. The
covered designs will show on any ground, dark or light, and are
principally used for manufacturing purposes, such as tin,
woodenware, etc.
 WAX ART.

Flowers and Fruit

 WITH INSTRUCTIONS FOR
MAKING THE WAX AND MOLDS,
MATERIALS USED, ETC.

ax Art was supposed to have reached the height of

perfection many years ago, but since the invention of the
various machines for cutting and molding designs into
form from wax, the rapidity with which the work is
executed, and the endless variety of artistic productions
in wax art, it is evident perfection has not yet been
reached, and we are led to believe it susceptible of
attaining a still higher degree of excellence. The reason
of its being taught so little during the past few years is
owing principally to the fact of its simplicity since the use of molds
and cutters, so artistically arranged that the form of any desired leaf
or flower may be chiseled out at will, from the varieties of colored
wax before you.
Nothing in fancy work excels the art of making Wax Flowers for
interest, amusement and fascination. Only a few tools are required. A
good eye for colors and a little taste in arranging them. There are two
distinct methods. First,

By Molding Them. All tubular flowers must be made by molds,

viz: Calla lily, lily of the valley, iris, morning glory, scarlet cypress
vine, stephanotis, and all other flowers tubular or labiated. A good
set of wooden molds, carved carefully, is the best, but any lady can
prepare her own molds in the following manner. Get your flower
fresh as possible, and stand it in water to give it perfect strength. Fix
a little pasteboard box, or any small cup shaped box; prepare these
yourself with strips of pasteboard, some larger or smaller, just
according to the size of leaf or flower you intend to mold from; mix
the finest dentists’ plaster of paris, (practice alone can perfect one in
the proper consistency), and pour it into the flower, having enough
mixed to fill it and cover every little part of the flower, let it remain
until hard, tear off the flower, and you have a perfect mold, every
little vein and impression perfectly taken. With a sharp knife trim off
all ragged edges and superabundant plaster, leaving your mold small
as possible, and lighter to handle. These leaf molds are much better
for all uses, even for sheeted wax flowers, than those metal molds
that cut the wax, and never give the fibrous look needed for a natural
looking leaf. The lily of the valley needs a wooden mold, the flower is
so delicate a plaster mold cannot be made.

Preparation of the Wax for Molded Flowers. These recipes are

of the times of our great grandmothers, who kept a few bees in their
gardens, making honey from the fields of sweet clover, the apple and
other fruit blossoms in the spring of the year, and buckwheat patches
in the summer. The wax was brown, and they bleached it by melting
it, clarifying it by selecting the whitest, running it off in thin sheets,
and laying it in the hot sun to bleach. All bleacheries do this on a
larger or smaller scale. After bleaching the wax white as muslin, you
can make your parlor mantel ornaments of it.
Keep a set of tin cups for your different tints of wax, your white cup
being the largest.

To Mold a Calla Lily. Have ready a basin of hot soap suds, strong
as possible of soap, and hot, so that your lily will be smooth, not
lumpy or bubbly. Melt your wax by setting the tin cup in boiling
water, as glue is melted. To every pound of white wax add a tube of
Winsor & Newton’s flake white paint, dissolved and thoroughly
mixed with one tablespoonful balsam fir, or Venetian turpentine, and
half table spoonful of dissolved gum mastic, the whitest possible.
This is a good recipe for sheeting wax for your own use, and will be
given below in preparations for sheeted wax flowers.
Your liquid being thoroughly mixed in two cups, your white and
yellow chrome cup, the yellow prepared exactly like the white, only
yellow chrome paint substituted for the white tube paint; your molds
all prepared by standing soaked in the hot soap suds, you commence
with the yellow cup, dipping your spadix mold, or the center of the
lily, in the yellow cup, making as many spadix as you wish to make
lilies. After finishing dipping spadix, you take your white cup and
large mold, dipping once and letting it cool a moment, and then
immersing the second time, to give a double thickness to the heavy
portions of the flower.
A hundred lilies can be molded in an hour.
The stems of wire can be prepared next. Fasten the spadix to the
stem, and slip the stem through the hole at the bottom of the molded
flower, then with a brush dipped in the hot green cup solder the
whole together, spadix, stem and flower.
All molded flowers are made exactly alike. All tools dipped first in
hot suds for every flower, after in the hot wax. It is well, as a rule, to
make all white flowers first—afterward, the colored flowers.
All variegated flowers are painted with a brush, using Winsor &
Newton’s moist water colors. All yellow flowers, like Thunbergia,
spadix of lilies, etc., by dipping in the yellow cup. A scarlet cup for
scarlet flowers, blue for blue flowers, rose colored for roses, Naples
yellow for sofrano and tea rose tints.
All roses and double flowers are made of separate petals molded and
joined together afterward.
All large leaves should be molded, and all small leaves, all dipped in
the green cup.
Your green cup is made of all your refuse colors melted together, and
the tube green tint added. Never use any darker tubes than No. 1
chrome green. Your olive and other tints are made by the refuse tints
thrown in from the drippings of red, yellow, purple, and odd tints.

Directions for Sheeting Wax. To every pound of bleached wax,

after dissolving thoroughly in an outer crucible of hot water, add 1 oz.
balsam of fir, or Venetian turpentine, in which dissolve a little resin,
white or mastic. If white wax is desired, one and one-half tube
Winsor & Newton’s flake white paint should be added—yellow,
orange or rose, and just what other tints are required. All sheeted
wax by machine is first molded into square blocks or bricks, and the
machine slices off the sheets. But these machines are expensive, and
no lady cares to have one who only makes wax flowers for pleasure.
Green wax is made from the drippings of all the other tints, and from
the yellow unbleached wax, with green tube paint added.
After preparing your cup of melted wax, have ready a plaster mold
made on a tea saucer or tea plate. Dip your mold in hot soap suds, for
flower molding, and with a small ladle pour over its wet surface the
melted wax, trimming off the sides and making even sheets,
remelting the clippings and resheeting it.
A wooden spaddle size of ordinary sheet wax is sometimes made, and
used instead of the plaster mold, called paddle wax, and a great
many teachers use a bottle, dipping the bottle, and forming wax thin
at one end, thicker at the other. Either plaster, wood or glass must be
dipped in the hot suds between every dipping in hot melted wax.

Wax Fruit is made in molds, and is always used with the paints in
preparing the crude wax, and painted afterwards with dry powder
paint.
Almost all molds for Wax Fruit should be made in halves—pears in
three pieces—and some fruits require the mold in several pieces.
Unless the molds are perfect the fruit will be defective, and nothing
can make it beautiful when it is once molded wrong.
Your fruit should be perfect, and in making your molds care should
be taken that there are no open places or leaks in the molds. Grease
your lemon, apple, orange, or whatever is to be molded, well first in
every part. Have ready your pasteboard cup, made a trifle larger than
your fruit, nearly filling your cup with the plaster, mixed with cold
water to the consistency of pound cake unbaked. Your fruit being
oiled, be very careful to sink it down just half in the dissolved
plaster. If you do not get in half, or if you sink it in more than half,
you will have an imperfect mold, and your fruit will be defective. A
little care makes it perfect.
As soon as the plaster is a little hardened, with a pen knife make four
holes in the outer plaster rim, not touching the fruit. These holes,
half an inch deep, are to hold the top of your mold; lock it into the
lower half, blow off all loose pieces of plaster, and when completely
hardened, oil the top of the fruit and the new half plaster mold, and
the holes for the locks; then prepare the second half. Be sure and
have your plaster fresh and strong, when thoroughly mixed to the
same consistency as the first, pour over the fruit into the pasteboard
cup, and even it all over. Leave it standing a good half hour, then
remove the pasteboard cup, and if the mold seems hardened,
carefully open it, being careful not to break off the locks, for upon the
perfection of these consists the perfection of the fruit.
In a basket of fruit, lady apples are beautiful, crab apples, Seckle
pears, Bartlett pears, a lemon, an orange or two, California plums,
two peaches, and grapes are desirable. Two pounds of wax will make
this elegant variety. None of the fruit should be large—all small, high
colors, and perfect in painting.
After preparing your set of molds, prepare your wax, as before
directed, and there should be twelve gill, or half-pint cups kept ready
for this work, with the different tints. A small sharp pouring spout on
each cup is a great help. The half-pint cups being generally used for
apples, peaches, pears, oranges and lemons; the plums, cherries, and
little fruits are made with the gill cups.
All fruit makers, masters, will tell you to be very careful and not get
too deep tints; for a lemon use common lemon chrome paint, dry;
orange, orange chrome, dry, and after making those two fruits, you
make from the same cups your apples, peaches and pears, because
the solid, clear color is needed first, and after, you can paint them to
their natural tint. 1st, Lemon. Match the color of the wax to the
lemon you imitate. Dry patent powdered yellow, gives a splendid
lemon tint.
After melting and tinting your wax, two cakes for one lemon, have
ready your mold—remember that every mold must be soaked in hot,
strong soap suds—have the upper half ready to put on as soon as
your lower half is filled with the hot wax. Pour in the even half of the
mold with the melted wax first. Never allow any to slop over the
edge. Place on the upper half immediately and lock closely together,
holding them clasped and turning them gently over and over,
keeping every part in a slow, steady motion until the liquid sound
has all ceased. About ten minutes is needed to every piece of fruit the
size of a lemon or an orange.
Let them stand inside the mold for some time, opening very
carefully. If your mold is perfect, very little trimming will be
required. With a sharp penknife remove every trace of the rim where
the fruit mold joined together, and wash off with benzine, rubbing a
little dry powder over the lemon to give it a fresh picked appearance,
and painting the stem end with water colors.

Orange is made precisely like the lemon, only orange chrome is

used instead of lemon.

Apples are made from the lemon cup or the orange cup, with a little
green chrome added to vary the foundation tint, and after molding,
trimming and washing off with benzine, paint red with dry carmine,
producing a splendid effect.

Peaches molded from the lemon cup, or orange, according to the

tint required. The fault with fruit-makers consists in getting too deep
a color in the cup, or melted tint, and that always produces the
coarse effect of the fruits usually displayed. Peaches should be
molded of a very delicate foundation tint, first trimmed while hot
from the mold, as little rubbing as possible on them, painted hot, and
after the carmine cheeks are rubbed on, (dry powdered carmine
being used), white flock should be rubbed all over them, to give them
the soft, downy effect.
Plums are painted with ultramarine or indigo blue added to the
carmine.
Grapes are made over glass globes, blown for the purpose, first
stemmed, then dipped in green or purple wax, and bloomed over
with corn meal (sifted on them).
The California grapes are easy to imitate, for the green wax, after
dipping, simply needs a little carmine painting outside.
No cross, piece of statuary, or vase, can ever be taken from the molds
unless the molds are made in a number of pieces. After running the
body of a cross, there must be a standard through the upright before
it hardens, to support it. Pour the lower part on afterward.

Molds for Leaves, consisting of a great variety of beautiful

formations, from almost every tree or shrub in nature’s garden.
Among the number you have to select from are: Oak, maple, myrtle,
lily of the valley, ivy, willow, currant, cherry, grape, orange,
strawberry, blackberry, chestnut, etc., etc.
Wet the molds before placing them in wax, to prevent them from
sticking. It will require but a little time for you to become familiar
with the method of cutting and molding the leaves and flowers, and
by the aid of your good judgment and exquisite taste you may soon
be able to arrange in form almost any leaf or flower you may desire to
see produced in wax.

Wires. The wire used for making the stems and branches is covered
with silk or cotton, and of different colors, and can be had in coils or
by the spool, each spool containing from twenty to twenty-five yards.
Paper wire comes in bunches. Silver wire on spools or in skeins.

Steel Molding Pins. The molding pins are used for molding and
changing the wax leaves and flowers into form desired, before
placing them upon the stem. They are made of steel with glass and
porcelain heads. Sizes run from 1 to 8.

Moss can be had by the package, or small sprig, for moss roses.

Miscellaneous Articles. Glass shades, glass balls for imitating

currants, grapes, cherries, and other fruit, small sable brushes, and
dry or liquid colors for tinting.
The Wax, consisting of a great variety of colors, you can purchase
by the sheet. The size of a sheet of wax is 3¼×5¼ inches.
Having given those who desire to do wax work an outline of the art,
with the materials used, and the method of applying them, I leave the
rest with the learner, who requires taste for the art, and perseverance
to acquire excellence.
 THE NEW
SPRINKLE WORK
 FOR THE BEAUTIFUL DECORATION OF
WOOD AND CHINA ORNAMENTS.

n idea of turning the standard accomplishments of the

day into a remunerative, as well as an agreeable
occupation for one’s leisure hours, has in the past few
years so asserted itself in the refined female world, that
the study of wood painting, and etching with the pen, as
well as the production of sprinkle work, are now all
much sought after.
There is no other handiwork that offers such enjoyment,
to those possessed of a sense of the beautiful, as the
different methods of wood decoration. While the study and practice
requisite in difficult etching, and the decorative embellishment of
useful articles with stylish ornamentation, makes one an
acknowledged artist, so through the medium of sprinkle work, with
the ever new and beautiful effects to be produced by the aid of
pressed leaves and flowers, or by the simple method of painting
bouquets and landscapes upon wood, there is endless scope for the
taste of the amateur.
Sprinkle work upon wood, the subject of this article, is easily
acquired. In the manipulation of the materials required, good taste is
all that is necessary, although a knowledge of drawing is of great
advantage. Besides the possession of the necessary utensils for the
production of sprinkle work, one should not fail to secure a rich
assortment of leaves, grasses and flowers, adapted to the purpose. A
walk in the country in the early spring or autumn will provide one
with a goodly quantity of lovely material; or suitable specimens can
be procured from some neighboring florist. There are so many fancy
articles prepared for this work, upwards of a thousand, that it is well
to have a great variety of leaves, grasses and other designs, such as
figures, initials, monograms, mottoes, arabesques, butterflies, etc.,
cut from paper, so that one can produce from the simplest to the
most elaborate arrangement. The pressing and drying of leaves is so
well known that we need not refer to it here, but it is well to select
leaves of perfect form, as the correcting of deficiencies sometimes
destroys the entire work. The leaves best adapted for this work are:
Ivy, oak, clover, geranium, rose, myrtle, gentian, maple, edelweiss
and ferns, avoiding the thick, fleshy foliage plants.
It is advisable for beginners to arrange their designs upon a piece of
wood or paper beforehand, to judge of the effect. Bouquets are
appropriate for the smaller articles to be decorated, wreaths for
larger or round pieces. For those more advanced, Konewka’s
silhouettes are recommended. With these and the addition of a little
painting, highly artistic effects can be produced.

Utensils. The necessary utensils can be procured in complete

outfits, neatly arranged in cases of different sizes. The contents are as
follows: One wire sieve, with handle, one coarse painting brush, one
fine painting brush, three hundred pins, one small pair of pincers,
several china saucers, one tube prepared Vandyke brown, one
drawing pen, one Herbarium with artificial leaves and space for the
preservation of natural leaves and flowers, one envelope containing
initials, six models of leaves.
In working with the sieve and brush, an irregular distribution of
color is made almost impossible. The principal colors used in
sprinkle work are the following: Prepared sepia, Vandyke brown,
black, and dark green. A mixture of black and brown will produce
quite a number of shades. The colors used are water colors, specially
prepared, and come either in tubes in a moist state, or in cakes which
require moistening. Great care should be taken not to get the color
too thick.

Process of Sprinkling on Wood. After the materials, leaves, etc.,

requisite for the work have been selected, take the article to be
decorated and score it gently with a small quantity of powdered
pumice stone, applied with a flannel pad, this frees it from any
roughness or dust that may have come upon it through handling or
transportation. Next take a clean cloth, and wipe all the powder off.
Now prepare the color to be used in a small porcelain saucer, above
all, being careful it is sufficiently diluted to flow freely, not muddy;
about the size of a pea taken from the tube is sufficient quantity of
color to a teaspoonful of water. The dried leaves or designs are then
fastened to the wooden article, by means of pins; this proceeding
must be carefully carried out, the points, sides and stems must be
well secured, and lie perfectly flat upon the object. In wreaths, the
stems should be so arranged that they come together in the center, in
order to accomplish a pretty ensemble. Now take the sieve in one
hand and the brush in the other, dip the brush lightly into the diluted
color, that it may not be too heavily charged with the color, press it
gently upon a piece of paper, and let it glide back and forth over the
sieve, holding the latter in a horizontal position above the object. In
this manner a fine shower is produced, which is kept up until the
proper shade is acquired. Blots, and where the color has run
together, should be removed immediately with blotting paper.
The final arrangement of the wreath should be such that the leaves
and grasses which extend out furthest, and are to have the darkest
shade, should be fastened last, over the others, so that they can be
first and more easily removed with the pincers. After the top layer of
leaves, etc., has been removed, where spaces are now perfectly white,
the design should be examined, whether any of the others have been
displaced, proceed with the sprinkle work as before, and remove
from time to time, the leaves in such a manner that those which are
to be left entirely white, are left to be removed last of all; the others
are removed first, according to the shade required. The spaces of
those removed last are also spattered, but very lightly, so that they
may not be too glaring.
The beginner will no doubt content herself to produce only such
work in one shade; with more experience a variety of shades may be
attempted. Those having more practice will not be satisfied with
these alone, but after the bouquet or garland is finished in different
shades, will by means of carefully spattering the separate leaves, seek
to bring out a fine shading and thereby produce a more perfect work;
in this case, the entire design, with the exception of the part of the
leaf to be shaded, must be covered with paper, after it is perfectly
dry, so that the color is not distributed further than the part desired.
Through this later and more difficult work the whole is brought out
with a plastic effect from the surface, while on the other hand the
separate layers of the leaves removed would appear flat and
monotonous in their extensions.
Lastly, the pen is taken, and what the foregoing process does not
supply, is put in by hand, to complete the work. Take the same color,
only thicker, and draw in the veins, and if necessary the entire
outlines, to bring out the work more boldly. This being finished, the
cleaning of the utensils should not be overlooked. The dried leaves
place carefully in the herbarium, the brush and sieve wash
thoroughly in water, the finished article allow to dry in a room (not
too warm), and after a day or two the varnishing and polishing may
take place, in order to give it, aside from durability and practical
purpose, a more brilliant finish and higher value to that which has
been accomplished with such care.

Varnishing and Polishing. Procure a bottle of “wood varnish,”

prepared expressly for the purpose. This should be applied to smaller
articles, as its peculiar properties make the polishing unnecessary.
This varnish is applied by means of a soft flat brush, in a room
entirely free from dust, and of warm temperature; the brush strokes
should be made from the center of the article towards its edges, and
according to its shape. Repeat from six to eight times. Flat articles
more readily take the polish than round ones. Before putting on the
separate coats, the previous one should be thoroughly dry. After the
last coat is dry, apply a little powdered pumice stone, by means of a
moist pad, and make the uneven places in the varnish smooth by
rubbing. When a perfectly smooth surface is obtained, (this
manipulation is omitted in varnishing articles that are turned,
because unnecessary), then apply the varnish once more in the same
manner, for the last time, and the article will thereby obtain a glossy
wood polish. This is left in a temperate room, free from dust, for two
days, when it will be thoroughly dry and hardened, and ready to be
turned over for the object it is intended. As before mentioned, we
advise this method only for articles of small compass. Tables, etc., we
advise to have finished by a regular furniture polisher, for the
smooth finish cannot be accomplished by an amateur. It is easily
conceived that by this process really wonderful effects may be
produced, when the artist has taste, and devotes care and time to the
work.
Sprinkle Work on China. It may not be generally known that the
same effects as produced on wood can also be produced on china
ware, the manipulation being slightly different. Instead of water-
colors, the ceramic or enamel colors are used, (Dresden or LaCroix).
They come in tubes, in a moist state, and are diluted with spirits of
turpentine, with a few drops of oil of anise or cloves. Those doing
both wood and china sprinkle work will do well to secure an extra
brush and sieve, which are to be had separate from the outfit boxes,
and use these for the mineral colors only. The leaves and grasses are
fastened by means of dissolved gum arabic, being careful to scrape
off any particles of the gum that may adhere to the china after the
leaves have been removed, before sprinkling over the blank spaces.
When the leaves are placed upon the article singly, and the desired
shade is produced, lay it in a warm place, over a register if possible,
and the leaves will come off as the gum separates from the ware,
when the sprinkling may be resumed, and the proper shading given
to heighten the effect.
Veins are drawn in with a crowquill pen, but the color must be
properly mixed to prevent it spreading. Really beautiful decorations
can be made by using ferns and maiden hair to ornament tiles, flower
pots, etc. If the leaves, such as the maple, and others that grow bright
with the first frosts of autumn, are to have their natural tints, the
piece is taken to be “fired,” which fastens the background, so that
their colors can be washed in without fear of injury to the
groundwork. The most useful colors for monochrome work in the
Lacroix colors, are the following: Brown, No. 4 or 17, sepia, brown-
green No. 6, dark green No. 7, Victoria blue, and violet of iron. If the
Dresden colors (Muller & Hennig’s) are used, which are preferable
on account of their rich and soft appearance, the following are
recommended: Dark brown No. 30, chocolate-brown No. 36, sepia
No. 28, olive green No. 11, shading green No. 10, and dark blue No.
13. When the work is finished, take it to the china decorator and have
it “fired.”
It is not necessary to use the best French china for sprinkle work, as
it is almost entirely covered with color.
Ladies who do not paint on china, but desire something different
from the ordinary stamped work, that is all that can be had in
decorated ware for common use, will find this an easy and delightful
way of ornamenting the white ware with some favorite flower or fern,
and so have something original, and that can be readily duplicated,
should any piece be broken, one of the objections to the stamped sets
being the difficulty and expense in replacing odd pieces.
To those affected by the odor of turpentine, we would recommend
the use of Hancock & Son’s Worcester moist and water-colors for
china.
Faience. Ivory white and other soft wares will answer, and the result
will always be a pleasing one if a little care is taken in the execution
of this branch of decoration.
 Pearl Embroidery

n the imitation of pearl, nothing has yet presented itself

so favorable to the writer as the beautiful and new
method of preparing fish scales for embroidery. You
may take the scales from a large size fish, the larger the
scales the easier they are to handle. Lay them in salt
water for a few hours, until quite well cleansed, after
which wipe them clean, and place them between two
sheets of writing paper, and lay a weight on them,
allowing it to remain a whole day, until they are dry and hard, when
they are ready for further use. Now draw the pattern of any favored
leaf, or whatever you wish on the scale, with pencil, and cut it out
with small scissors. If you are conversant with the form of leaves, you
can save time by cutting out the leaf without first drawing the
outlines. Draw in the veins of the leaves next with a needle. Stretch
your dark velvet tightly to an embroidery frame, place the pattern
which you wish to copy before you, and imitate it by sewing the
leaves, one at a time, on the velvet with fine gold thread, and the leaf
stalks and tendrils embroidered with the same. Wet the thread
before using, to render it flexible.
 FEATHER FLOWERS,

hoever may be so fortunate as to have in their

possession fine feathers can certainly make fine flowers.
Have at hand gum in solution, French paper for winding
stems, and wire of different sizes. Draw the under side of
the feather gently over the edge of your penknife to bend
it in the required direction; make a lump of bookbinder’s
thick paste or wax on the end of a wire for a stalk, and
begin your flower by sticking the smallest size feathers
into it for a center; place other feathers of the same kind,
but larger in size, around in order. Choose green
feathers for leaves and calyx, and pure white ones for
japonicas and white roses. Twist the ends of the same on
a wire, and make fast with gum, glue, paste, or other
similar adhesive substance. Be careful to select feathers
of the same kind for the same flower. Arrange in a vase, and cover to
keep free from dust. In this, as in all kinds of fancy work, let taste
and neatness govern the process.
It will often be found necessary to color the feathers to give the
desired variety of hues; this can easily be done by attending to the
following directions: Put the feathers into hot water, then drain
them; rinse two or three times in clear cold water; place them on a
tray, over which a cloth has been spread, before a good fire; as they
dry, draw them gently into shape between the thumb and finger.
To Dye Feathers Blue. Into about three cents’ worth of oil of vitriol
mix as much of the best indigo in powder; let it stand one or two
days. When wanted for use, shake it well, and into a quart of boiling
water put one tablespoonful of the liquid. Stir well, put the feathers
in, and let them simmer a few minutes.

Yellow. Put a tablespoonful of the best turmeric into a quart of

boiling water, when well mixed, put in the feathers. More or less
turmeric gives different shades.

For Orange, add a small quantity of soda to the preparation for

yellow.

Pink. Three good pink saucers to a quart of boiling water, with a

small quantity of cream tartar. If a deep color is required use four
saucers. Let the feathers remain in this dye several hours.

Red. Dissolve a teaspoonful of cream tartar in a quart of boiling

water; put in one teaspoonful of prepared cochineal, and then a few
drops of muriate of tin. This dye is expensive, therefore use the
plumage of the bird ibis.

Lilac. About two teaspoonfuls of cudbear in a quart of boiling water,

let it simmer a few minutes before you put in the feathers. A small
quantity of cream tartar turns the color from lilac to amethyst.
Bunches of orange blossoms can be made with good success of
feathers; the buds are to be made of starch and gum mixed; the
stamens of ground rice, colored with turmeric, into which the
gummed ends of manilla grass have been dipped.
The inhabitants of the Pacific Islands make beautiful feather flowers,
rivaling the natural ones in delicacy and beauty. Pinks, orange
blossoms, and roses of exquisite workmanship are often brought
from these islands. Old ostrich feathers can be made to look as well
as new by holding over hot steam, then drawing each vane of the
feather separately over a knife to curl it.
 LUSTRAL
BRONZE PAINTING.

repare your board for bronzing by first coating it over

with a strong solution of size, made by dissolving
isinglass in hot water; strain it, and coat over with a flat
camel’s hair brush while the size is warm. When dry,
coat it over thinly and evenly with gold size; let it remain
until sticky, then apply the powder bronze, with a soft
dry brush. You may use a variety of shades of bronze if you wish;
pale, blush and white. Blend them together to suit your subject, and
allow two days for it to dry before commencing to paint. Make a
drawing of your figure on thin white paper, rub some white on the
back of it, fit it upon the picture and mark over with the sharp end of
a stick, pressing on very lightly; after all is drawn in, remove the
sketch, and mark over the outlines with a lead pencil, lightly. If you
are copying from an engraving, notice on which part of the building
the light rests, and select those parts for gold, coating them over with
gold size, and putting on the leaf gold when sufficiently dry. If there
are any parts of your figure which you want rich colors, do them with
gold at the same time.
The painting must now be wiped with a silk handkerchief, to remove
all the particles of gold and dust, and supposing the thimble palette
ready, with all the colors, first mix a pale tint of purple, made with
Prussian blue and a little crimson lake, and pencil over the
mountains of the landscape evenly, then go over the water with a
very pale shade of blue. After coating the mountains and water once,
it is best not to touch them again until dry. Now paint in the foliage,
making the tints with yellow lake and Prussian blue; if you want
them bright for the different shades, add burnt sienna and Vandyke
brown, or both, as your tints require.
Stems of trees are mostly done with Vandyke brown, and other tints
added to suit; faces of figures do with white and a little sienna, mixed
together; white drapery coat over with white, scarlet with scarlet, and
yellow with chrome yellow; all other parts of the figures with white,
except the parts you have already gilded. This will answer for the first
painting.
The second shade upon the mountain is made with a neutral,
composed of three primative colors, crimson lake, yellow lake, and
Prussian blue. The tone you desire must predominate in making all
your neutrals. If you want a greenish neutral, the yellow lake must
predominate, if you wish a bluish neutral, the blue must
predominate, and if reddish neutral, the crimson lake must
predominate. Having selected your shade, be sure to have it about
the right strength before beginning, as it is difficult to avoid a
patched appearance on the mountains with varnish color, especially
on the second and third coating, unless you are quick in your work. If
the water requires more color, paint it in the darker places, then
repeat the shades on the foliage, where it is required.
Your figures now claim some attention. Any part you wish to have
crimson, paint over with crimson lake, repeat it when a little dry if
you wish it darker, and for the shades add a little blue with your
crimson lake. Blue dresses paint with a pale shade of Prussian blue
on white or pale gold, for the shades, paint in with a little stronger
Prussian blue, and when you wish to make any of these colors paler
add varnish, and when you want to thin it use turpentine. Green
dress, with yellow lake and Prussian blue on pale gold or white;
purple dresses, with crimson lake and a little Prussian blue, on white
or pale gold. Any part of the figure you do with scarlet, shade it with
crimson lake; yellow, shade with burnt sienna, (pale shade). In faces,
paint features in with Vandyke brown, and different tints with yellow
lake, crimson lake, and sienna paled down, and repeat to suit the eye.
Parts of mountains may require a third and fourth wash, if so, do it
with neutrals mentioned above. Sometimes we heighten the effects of
the near foliage by touching the edges with a little opaque color,
made of chrome yellow, white, and a little blue. It must be done very
carefully, as opaque colors are powerful, compared with transparent
ones. If what you do shows too abruptly, you have a remedy by
putting on a little more of the transparent color. Parts of the figures
may be heightened by touches of opaque color, and the faces also
may require retouching. When the painting is completed, a full week
should pass before varnishing, and great care should be taken not to
touch the bronze, as it will leave a stain, bronze being so delicate.

Varnishing. In varnishing, care must be taken to have a clean

brush, and the dust wiped from the painting with a silk handkerchief.
Lay the painting flat, and with a one inch camel hair brush coat over
with copal varnish, as evenly as possible, being careful to cover every
part. Leave it flat down, as it is, for a couple of hours, or more, before
removing, or the varnish is liable to run in streaks. Once varnishing
is sufficient to preserve the painting, but if you wish to polish it,
another coat of varnish must be given, allowing a week between; then
after another week, it should be rubbed with pumice sand and water,
in the following manner: Take a piece of woolen, put it over cotton,
to make a rubber of it; wet the rubber pretty thoroughly with water,
dip into some fine pumice sand, and rub it backwards and forwards
on your varnished picture, carefully. After you have rubbed for a
short time, wipe the sand from a part of it, to see the progress. If not
sufficiently smooth, rub again, care being taken not to rub through
the varnish. When smooth, wash all the sand off, wipe perfectly dry,
and give another coat of varnish, allowing the same time for it to dry,
then rub again with water and pumice sand. When smooth, wash off
the sand and proceed to polish with very fine powdered rottenstone,
and rubber made of satin or silk. Saturate this with water, and rub
with the rottenstone for a short time, until it shines, then wash all
off. You can make it shine by rubbing with your hand, using a little
sweet oil and a little more rottenstone.
When wood is used for painting on, choose that which is close
grained, and coat over several times with paint, rubbing down with
pumice sand and water. After the third coat, give plenty of time
between each coat to get dry and hard.
 GILDING.
The part you wish to have leaf gold, cover evenly with gold size.
Chrome yellow or white lead may be mixed in with the gold size to
enable you to see the process. Allow it to dry until a little sticky. It
can remain much longer than for bronzing, as leaf gold does not
require so strong a sticking property as bronze. When sufficiently
dry, put on the gold by means of the tip, or your fingers, from the
gold book. Be careful to cover every part of the gold size with smooth
leaf-gold. When all covered, press gently a piece of soft chamois skin,
on all the gilded parts, and remove the superfluous gold.
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