Chapter 5

Make a foundation of two strips of double wax, taking care to double in the wire. Indent it strongly with the pin towards the point, as it must be pressed into a conical form: it must be one inch deep and as much in circumference. Cut three strips of double wax, vandyke them with the scissors, and indent each point with the pin, bend the whole forward, and paint them in the same manner and colour as the petals. Pass these strips round the foundation first, keeping them exactly the same height. Place three rows of petals on, seven in number, then increase them to nine in a row, and so continue until the flower is complete. Take care to place every petal between and not behind its predecessors, and let each row fall back, so that at the conclusion it has a globular appearance in front, and flat at the back of the flower. Cut the calyx in double wax; it consists of ten points, five are light green, attached to the back of the flower, and five dark sepals which are pendant round the stem.

THE SALVIA PATENS.

_Rich and Rare._

This flower is of so rich and lovely a hue, that for its colour alone it deserves imitation. There are but few decidedly blue flowers, and I do not myself know any one that approaches this for brilliancy; it is however useful in consequence of its form being light and spray-like. The petals require to be cut in double blue wax; the shape must be produced previously to the colour being laid on. Petals cut from pattern No. 1, are much rolled with the pin and neatly united up the back. Take a piece of middle size wire, with a small piece of wax secured at the end, and pass it through the opening of the tube just formed. The under or banner petal is formed by pressing it in the palm of the hand; turn up the edges of the broad end of the petal, and turn down the edges of the narrow part; at the same time I must mention that a small wire is placed between this petal, by which it is affixed to its position. The buds are formed in the same manner as the flower, with the exception of the banner petal. The calyx consists of two points or sepals, attached one under and the other opposite the tube. The whole is painted with deep rich blue, produced by mixing cake smalt with the middle blue in powder. They are mounted in a spray by placing buds and flowers down the stem, two facing each other, and arranged alternate ways. A green leaf is placed under each bud and blossom.

VARIEGATED CAMELLIA.

_Unpretending excellence._

"In eastern lands they talk of flowers, And they tell in a garland their loves and cares; Each blossom that blooms in their garden bowers, On its leaves a mystic language bears." J. G. PERCIVAL.

As the limits of this little work will not admit of my giving instruction in more than one of these favourite flowers, I select the variegated one, considering it the most difficult.

The petals require to be cut in thick wax; colour them upon both sides with bright crimson, leaving white circular spots indiscriminately in various parts of two petals out of every five. The largest petals are formed by pressing the thumb very firmly upon the shining side, taking care that the edge inclines back without any wrinkled appearance. A crease is made up the centre upon the opposite side. Each set of petals are painted and curled the same, but the smallest are folded together. The stamina must be prepared from pale lemon wax, (cut double,) and the anthers at the end tipped with orange powder to represent the farina; they are cut into small clusters of seven or eight. Use the large wire,--pass a piece of double wax, the width of a sheet, and half an inch in depth, round the wire,--about half an inch deep; bend the wire down, and mould the whole into a cone shape. Affix a small cluster of stamina to the point, and in various directions the five smallest petals; insert among these two or three clusters of the stamina. Place in rows of five each succeeding set of petals, taking care in each row to introduce about two of the variegated or spotted petals, allowing such to be principally upon one side of the flower (and this may be observed in nearly all flowers that are variegated.)

The calyx is cut from lemon wax, shaded green and also brown. The head of the pin is rolled upon each to cup it: they are placed immediately behind the flower in rows of three, each succeeding set in the intervening spaces.

The stem is covered with a strip of light green wax, moulded smooth with the thumb and finger, tinged brown with the brush.

THE PASSION FLOWER;

_Belief:_

"Has become strangely interwoven with our faith, from a fancied resemblance to a cross and a crown, although it requires a great effort of the imagination to call up either the one or the other. Still its very name in some measure renders it sacred to faith and belief."

Cut the petals, ten in number, from treble wax, one of white and two of lemon; colour the lemon side with light green, leaving the edge rather lighter. Curl each petal in the following manner: press it in the hand, while warm, that the three thicknesses of wax may be certain to adhere. Roll the head of the small pin once down the centre upon the white side, and round the edge also. This must be done lightly at first, for if a pin is pressed too heavily it occasions the sheets of wax to separate and have a blistered appearance. Cut three triangular pieces of double wax, one inch in length, place the broad end to a piece of fine wire, and mould them smoothly down, small at the base and broad at the point; these three are affixed to the end of a middle size wire, and painted purple after they are attached. A piece of light green wax is moulded round immediately under them; about a quarter of an inch from this is attached the stamina, cut in light green wax, and touched round the ladle shape end with my orange powder. A full inch from this is placed a small foundation, formed of strips of green wax, two of which are snipped and coloured purple. The rays are attached immediately afterwards, and are manufactured as follows:--cut a number of strips of white wax, roll them between the fingers to incline them to be round; place your pieces of marble in warm water, and finish rolling the said strips of wax or rays between them: this is a much quicker, easier, and cleaner process than by doing them entirely with the fingers. Cut a strip of double green wax to pattern, place it about three quarters of an inch from the edge of a folded paper, place each of the rays closely upon this, taking care that every point extends only to the paper; this method will enable you to place them perfectly even, which is very necessary. For a flower it requires two strips of these rays; they are painted blue at the point and purple at the base, leaving a corresponding space white between the two colours. Press the two strips neatly round the previously made foundation, bending them back and regulating them with the point of the curling-pin. I next attach five petals at equal distance, the longest and narrowest of the two sets are placed on first, the other five immediately between. The calyx is cut in light green wax, it consists of three sepals, which are rolled with the head of the pin and attached to the back of the flower.

LEMON HOLLYHOCK.

_Persuasion._

This flower should be constructed of very thin lemon wax. It requires thirty small petals and seven large for a full blown flower: each petal is shaded with the light yellow powder towards the lower end. Crimp each petal with the point of the curling pin, and fold one end forward, the other back. Pass a strip of double lemon wax round the end of a piece of middle size wire, and mould the same to a point; the thirty small petals are attached first, so as to form a full rosette. The large petals are affixed to the back, and finished off with the calyx of double green. Half blown flowers are formed the same, but cut from smaller patterns. The early buds are moulded solid of green wax, covered with lemon; the calyx is placed on similar to the flower, moistened with gum water and sprinkled with down. Pink hollyhocks may be made precisely the same, the only difference being that pink wax and colour must be substituted for lemon.

THE CACTUS.

_Warmth._

Cut the petals in bright orange wax, place a fine white wire half way up each, and occasion it to adhere by attaching a strip of orange wax over it. Colour them upon both sides with carmine. Curl the petals by passing the head of the pin twice or thrice from each edge towards the centre, and bend the same back. Fold down the edge or end of two sheets of thick white wax. Leave a quarter of an inch from the end quite white, then paint a pink stripe half an inch deep; leave again a quarter of an inch white, and finally finish with a stripe of green. Cut the whole two widths into a deep fringe to form the stamina, and colour the anthers (produced by the fold) with cream colour (white and lemon powders). Take a piece of middle size wire, pass round it a strip of white wax; this is to form the pistillum. Attach to the end five fine points of white wax, and paint them also cream colour; shade the filament of the pistillum red. Divide the stamina, attach half to the upper, and the remainder to the three under petals. Join the pistillum to a strong stem, passing white wax round to form a foundation. Affix to the foundation the six petals, to which are attached the stamina, letting the latter fall from the top petals over the lower ones, and dividing it so as to enable the pistillum to pass through. Every set of petals are placed precisely between those preceding until the flower is complete. It must be remembered that the largest petals are attached first, and that they gradually decrease until you arrive at the smallest.

"For not, oh, not alone to charm our sight, Gave God your blooming forms, your leaves of light." CHARLES SWAIN.

GROUPING FLOWERS.

One of the principle rules to be observed is to avoid placing those flowers together which approach the same form or colour. Thus, in arranging two round flowers, I invariably break the formality by introducing some light spray. To facilitate a taste for grouping is the cause of my introducing illustrations to this work. It will be observed that I arrange spring flowers always alone. I am not so particular with the flowers of every season, for art in cultivation has done so much in furnishing us with specimens of various seasons, that it is no uncommon thing to meet with a rose in spring that we should take for

"The last rose of summer."

In the florists' windows, in winter (I mean in Covent Garden), we may perceive such perfections of nature that our imagination might be tempted to suppose that the summer sun could alone have produced them.

I would recommend the early spring flowers to be arranged in flower pots or in wicker baskets. In mixed groups, as a certain guide to those who do not like to trust to their own taste for blending colours, I would place lavender near pink; blue to red; white should approximate to scarlet, and yellow to purple. The small flowers particularly essential in separating the larger ones are white and yellow jasmine, nemophila cineraria, verbenas, myrtle, honeysuckle, etc., etc. The pendent flowers give great ease and elegance to a bouquet, and should be placed in first. The neck of the vase should be well filled with dried moss, which can be procured at the herbalists. Alabaster and glass vases are best adapted for the reception of wax bouquets, except when they are intended for the centre of a table, and then I prefer baskets of alabaster, wicker, or gilt; glass shades are requisite to cover either. All, or any of the last-named articles, I shall be happy to furnish to those who may kindly think proper to favour me with orders, addressed to my residence, 35, Rathbone Place.

WAX FLOWERS, AS ORNAMENTS FOR THE HAIR,

Have become so generally worn at Her Majesty's balls and drawing-rooms, that I deem it expedient to give some particular instructions respecting them, so as to insure their durability and prevent their adhesion to the hair.

For the first point named, I attach a fine white wire half way up the back of each petal; this materially strengthens the flower. All white flowers should be sprinkled with my prepared arrowroot, this prevents the edges of the petals clinging to the hair, and is a protection against heat. In coloured flowers, the paint has the same effect. The stems are to be covered with narrow ribbon, green or brown (China ribbon). When the flowers are to be perfumed, the perfume is to be placed upon the ribbon.

INSTRUCTIONS FOR MODELLING FOLIAGE.

There are various ways of modelling leaves, but I would recommend them to be made of sheet wax as much as possible. Take three sheets of green wax, matching in colour the leaf you are about to imitate. It is not material whether the middle sheet is the same colour as the upper or under sheet. Cover a wire,--the size must be chosen according to the proportion of the leaf,--place the said wire when covered under one sheet--cut the wax into the form of the leaf required. Plunge the real leaf into cold water, and the wax into hot; while in a softened state press it firmly and quickly upon the wrong side of the real leaf. This will give a truthful imitation. If a real leaf cannot be obtained of any particular flower, they can be modelled from a plaister mould, which I shall be happy to furnish.

Another method is to melt a small quantity of green wax into a liquid state. With a broad flat brush wash over the wrong side of a real leaf, previously oiled with the best salad oil.

The latter method may be also adopted upon a mould, soaked in warm water ten minutes previous to its being used.

The stalk must be attached afterwards, and a second layer of wax placed over.

THE VICTORIA REGIA.

"There is a splendour in the living flower."

Cut the petals from my peculiarly prepared wax; attach a wire half way up each at the back; colour the first sixteen petals with pale lemon. The remaining petals require a faint glow of pink laid on from the base towards the centre. They must be all much moulded with the large ivory curling pin, as well as assisted by the thumb and finger. The sixteen petals which constitute the two first rows, and which have been tinted pale lemon, have a deep pink vandyke or point formed at the lower end of each; round the edge of this point must be laid numerous spots and strokes of rich crimson, produced with crimson lake and minute portions of blue. Eight of the last named petals are shaded darker than the others, and are placed on first.

The centre or foundation is formed by moulding wax into a solid substance, two inches in diameter and three-quarters of an inch in depth. The stamina are very numerous, and cut according to patterns. The points are crimson, then shaded lemon, and rich pink the lower end. They are curled by passing the head of the curling pin firmly down the centre, bending the points a little back. The first four rows should fall down over the foundation, the other stand erect; by this means a direct crown is formed which contributes in a great measure to the beauty of the flower. The petals are placed on in rows of eight, with the exception of the last four, or as they may be termed, sepals of the calyx. These are at the back or outside dark chocolate colour (I prepare a wax on purpose). The large green seed cup that is finally attached is cast in hot wax, and can be purchased either at my establishment, or at my counters, Soho Bazaar. The calyx and seed cup are covered with prickles: to form these, roll some shreds or strips of light green wax between the marbles moderately warm; sever them into small pieces; hold the thickest end to a lighted candle, and apply each quickly to its proper place.

In selecting this flower as the closing subject of my instructions, it may not be entirely devoid of interest to many of my pupils to be furnished with a brief detail of the derivation of its name and character, as also the place where this extraordinary production of nature was first discovered. Sir R. Schomburgk was travelling in British Guiana, in the year 1837. It was in the River Berbice he beheld it, or I may say them, for numbers were floating in all their pride and glorious beauty, and at once struck him with surprise from the majesty of their form, and brilliancy of colour. This plant flowered first in England, at Chatsworth, the seat of the Duke of Devonshire, and soon after was named "Victoria," by the gracious permission of her Majesty.

Mr. Paxton has publicly stated, that his design for the Crystal Palace originated in consequence of his having planned the house in which was grown the first specimen of this gigantic plant at Chatsworth. Thus its name will be immortalized in connexion with that of the Exhibition till time immemorial. I think it may be justly denominated an emblem of strength and power.

Before I entirely leave this subject, I cannot resist alluding to the circumstance of my withdrawing works of great magnitude (and which I had purposely prepared for competition), from the late great Exhibition. It is due also to the gentlemen who formed the executive committee that a true statement should be made respecting their exclusion. A rumour having been circulated that they (the gentlemen of the executive committee), refused to give me adequate space, I am anxious to repudiate such statements, and to acknowledge that some of my best patronesses previously to the opening of the Great Exhibition, and since that period, have been various members of the families of those gentlemen and the Royal commissioners. Ample space was allotted to me in the gallery, and it was considered that as other wax flowers were to be arranged there, mine would not suffer more than the rest; but the gentleman, and I believe the only person who had anything to do with the arrangement of mine, was Mr. Owen Jones. I acquit this gentleman of any invidious feeling towards me, but can only regret that he did not personally inspect my works. If he had, I feel persuaded he would have been amazed at their magnitude and the bulk of labour executed by myself unassisted. As it is, it is more than probable that I suffer in the opinion of some, to the effect that I showed some degree of "temper" or obstinacy in withdrawing them.

I am likewise anxious that it should be known that it was not the heat of the gallery entirely that intimidated me. My plates of bent glass were much larger than any in the Crystal Palace, and the groups were arranged upon thirty hundred weight of stone. The whole formed such a huge mass that it was deemed by scientific men to be impracticable to be elevated to the gallery, without jeopardising what had been produced by me by intense labour and profuse expense. The truth of this statement can be testified by an examination of the works, which may be viewed daily at my residence from ten till five o'clock (gratuitously). They have already been inspected by _fifty thousand_ visitors; and as a proof that they have excited some interest and much admiration, I subjoin at the end of this little volume a few extracts from the public journals.

I have but little more to add--

"Now to the world my little book go forth, With all thy faults."

I cannot expect it will escape the criticism and censure of some; but if it meet the approbation of the discerning, and carries out my cherished, my promised views, that of instructing the uninitiated--furthering the purposes of Wax Flower Modelling--and refreshing the memories of my earliest pupils, who may for a season have neglected so charming an occupation, I shall be more than repaid for the trials and disappointments attending the various efforts I have made to satisfy all.

"Hoping the best--ready the worst to brook, Yet seeking friendly hearts--go forth, my little book."

"As life is then so short, we should so live and labour that we may have pleasing remembrances to console and cheer us at its close; let us work earnestly and diligently, not only for our own good, but for that of our fellow creatures:--

"Oh! let us live so, that flower by flower, Shutting in turn, may leave A lingerer still, for the sunset hour, A charm for the shaded eve!" HEMANS.

EXHIBITION OF WAX FRUITS AND FLOWERS, BY MRS. PEACHEY, ARTISTE TO HER MAJESTY.

The following eloquent awards of the press are placed as nearly as possible in the order of their respective dates, but the dates are necessarily omitted.

Mrs. Peachey, artiste to her Majesty, has now on private view at her rooms, 35, Rathbone Place, a superb collection of works intended for the Great Exhibition. They consist principally of an enormous bouquet of flowers and a colossal vase of fruit, both of which have been executed upon a scale never previously attempted in this country. The flowers are so arranged, that they appear to stand in a basket suspended over the surface of a pool of limpid water, in which the _Victoria Regia_ and other similar plants are already floating. Nothing can be more exquisite or artistic in effect than the manner in which the various flowers are grouped. The bouquet comprises specimens of almost every flower known to the botanist, from the simple honeysuckle of the cottage garden, to the rarest and most valuable exotics of the East.

Some idea of the dimensions of the two principal works may be gathered from the fact, that the shades are nearly six feet high, the largest ever blown in England, and the flowers occupied nearly a year in modelling. It was the intention of Mrs. Peachey to forward these beautiful specimens of her skill to the Great Exhibition, where a prominent place on the ground-floor was assigned to them; but it appears, that, owing to subsequent arrangements, another space, in one of the galleries, was allotted to her, and not at all adapted to such costly and fragile productions. The heat of the sun, in such an exposed situation, would have damaged the flowers irreparably; and even if this objection did not exist, it would be impossible to have the enormous shades, with their delicate contents, raised by any machinery at command into the desired position. The exhibition is one of so novel and beautiful a character, that it will well repay a visit.--_Morning Post._

* * * * *

The art of making flowers in wax has been brought to a very high degree of perfection by Mrs. Peachey, Her Majesty's artiste. There is not a floral production that she cannot truthfully and delicately reproduce with her kindly material, and she has lately executed a work which we believe defies competition in the department to which it belongs. This is an enormous bouquet, containing flowers of the most intricate structure, and supported by a rock, which peers from a lake of the brightest looking glass, decorated in its turn with waxen aquatic plants. All the flowers were modelled in the first instance from white wax, and the beautiful colours are all produced by painting. The whole group is enclosed by a shade, composed of four glass plates, so curved as to meet at the top.