The Royal Guide to Wax Flower Modelling

Having given a list of the materials required for the elegant and charming amusement of "Wax Flower Modelling," I deem it expedient to make a few remarks relative to the properties of, and

Without wishing to derogate from the merit of others, or retaining to myself the exclusive ability of vending the purest wax and the best of other articles to be used in obtaining a faithful representation of nature, I think it necessary to state, that I offer to the public materials only of the very best quality; consequently, I take the prices of other persons' goods as no criterion or standard for mine. The wax is manufactured under my own immediate superintendence; soft, and perfectly dull on one side. It is sufficiently opaque of itself not to require being painted on the wrong side for white flowers, which is the case with common wax. I likewise prepare wax, called "double wax," it is twice as thick as the ordinary wax. When the single wax is used double, the two shining sides should be placed together. It has sheets of tissue paper placed between it to keep each sheet of wax smooth and straight (a great advantage,) for when this is not done (though the wax may be good), the edges are often wrinkled, and a great deal of waste is the consequence.

The Colours—eleven in number, submitted for sale on my counters, 160, 161, 162, 163, Soho Bazaar, are of the very best quality, and ground down particularly fine in spirits. I recommend saucers instead of a flat pallet, as it is not necessary to use up at once all the colour that is mixed; and by keeping each colour distinct in separate saucers, much waste is prevented.

Twelve brushes are indispensable; each to be confined to the use of one colour. Two small sable brushes are for veining, as in geraniums.

The large ivory pin is required for the Victoria Regia, water-lily, and other large flowers.

The two smaller pins are to be used for similar purposes, on flowers of less magnitude.

The cake colours are never to be used alone, but rubbed down with the powder, as will be shown in my instructions for mixing colours.

The large white wire is to be used as stems for flowers, such as dahlia, camellia, &c.

The second and finest white wire to support the petals.

The green wire, Nos. 1 and 2, are for stems of various flowers.

I think it necessary to give some

Place the powder required in a saucer: add a few drops of water, and rub the same with a brush for some time; as friction materially improves the brilliancy of tint. The colour should be mixed as thick as cream, but a very small portion taken into the brush at one time. As the brushes are large, they absorb a large quantity of colour; consequently, the brush used to mix the colour with, must be pressed upon the edge of the saucer several times to cleanse it.

The cake paint is used with the powder colours for fine veining, and when a second colour is required to be placed over another; as I shall show in my instruction for the rich dahlia purpurea. I have a great objection to mixing gum water with the colours. I use it only previous to throwing on down, such as in the calyx of geranium, primrose, &c.

A rich crimson is produced by the application of the crimson powder upon pink wax.

A darker crimson, by adding a little of the darkest crimson powder to the former. If a deeper crimson still be required, add a little of the middle blue.

A pale pink is obtained by applying crimson powder with a small portion of white, laid on the wax very thin.

A light orange scarlet, as in fuchsia fulgens, is acquired by mixing a minute portion of scarlet powder with the bright crimson.

Scarlet for geranium; a larger portion of the scarlet with the crimson.

Different shades of scarlet are also produced by laying the crimson powder upon different shades of wax, namely, lemon, yellow, and orange.

A purple (as in violet), is produced by mixing the second blue with a lesser portion of the bright crimson powder.

A deeper purple, as in the centre of the anemone, is obtained by the combination of the crimson powder with the deepest blue.

Various shades of lilac and peach colours are produced by a careful admixture of the bright crimson, middle blue, and white.

A primrose colour is obtained by using my lemon powder (a beautiful preparation), upon white wax.

A rich brown, as in wall-flower, requires a mixture of cake sepia with bright crimson.

The dark velvet-purple-looking spot seen in geraniums is obtained from mixing the cake smalt with a little bright crimson powder.

A similar tint may be obtained by mixing crimson lake, in cake, with the middle blue.

In noticing the

I beg to remind my readers that these are the only instruments I deem requisite for modelling wax flowers. Both these require to be moistened before they are applied to the wax. Warmth as well as moisture is essential for these. A glass of lukewarm water will answer the purpose; but great care must be taken to shake off the surplus water; for if the globules were to fall upon the petal, it would occasion the colour to run.

requires to be stated; for they must not be held as a pen or pencil, but perfectly perpendicular. Commence a short distance from the lower end of the petals—for where the paint is applied the wax will not adhere. When the petal is all one colour, pass the brush from you quickly and lightly off the same on to the paper. If it is a variegated petal, bring the brush towards you. This will enable you to soften off the edges of the spots which are to be left free from colour. When moisture is required in the brush, the latter must not be plunged into water, but a small drop taken up by the handle on to the paper.

Dip either into boiling water, and wipe them immediately. The marbles require to be used warm.

Although I do not pretend to put this forth as a "Botanical work," I deem it necessary that I should make use of certain words in application to forming the different parts of a flower; I shall give an explanation of such botanical words as I must occasionally make use of in the course of my instructions.

Corolla signifies a flower deprived of its centre. For example: the corolla of a rhododendron falls from its position, leaving the interior of the flower pendent to the stem. The convolvulus has a funnel-shaped corolla.

Petal. This is part of the corolla, and what is termed, by the uninformed—leaf; for instance, we hear of drying rose leaves, when in fact it is the petals that are alluded to. The term leaf should only be applied to the foliage.

Pistil, or Pistillum, is that part of a flower which projects directly from the centre, and is longer than the rest; we observe it in the white lily, fuchsia, honeysuckle, etc. The enlargement at the end of the pistil is termed stigma.

Stamens, or Stamina, signify the filaments that surround the pistil; and the enlarged part at the end of each filament is called anther.

Farina is the fine dust which is contained in the anther, and which shows itself also outside.

Calyx is applied to the green attached to the flower. For example: the part that is covered with moss about the rose is the calyx. Sometimes the calyx is covered with down, as in geranium, primrose, etc.

Stigma. The enlargement at the end of the pistillum.

To take the pattern of a natural flower, you must remove the petals carefully, sorting out how many there are of an equal size. Take the shape of one out of each set, in the following manner: Place the petal upon a sheet of writing paper, holding it firmly to the paper with the point of the fore finger of the left hand. Take a large brush containing a very little colour and pass it round the edge. The exact form will be left upon the paper without tearing the edges of the petal, even though it were unusually fragile. When the requisite flower cannot be procured, a proper pattern can be obtained at Soho Bazaar, or at my residence, 35, Rathbone Place, where I am happy to receive visitors, daily, from ten in the morning till six o'clock in the evening. Place the pattern upon the dull side of the wax, and as the grain runs the length of the same, cut each petal accordingly, for the wax takes the paint much better in that direction.

FLORAL LIFE.

THE FLOWERING SEASONS.

As it will be impossible in a small volume to give instructions in all Flowers, I shall endeavour to select such as will produce a pleasing contrast of form and colour; at the same time, including flowers of every season, commencing with Spring—and who does not hail the early Flowers with delight? After a long and severe winter, the appearance of the golden crocus and the modest snowdrop, peeping from the earth, convey to the mind a glow of unspeakable pleasure.

Prepare the petals (from pattern) in double wax, choosing a bright orange, but not too dark. Place the two shining sides of the wax together. The inner petals are not striped, but the three outer ones have eight or ten pencil strokes of a middle shade of green, broad towards the lower end, and carried off to fine points; these strokes do not extend beyond two thirds of the flower, and laid on with the sable brush. Cup the petals very much with a large head pin (this is why they require to be cut from double wax) so firmly that each petal produces an egg-shaped form when united. Double a hem in a piece of wax the same as that from which you have previously cut the petals. Prepare the stamina from this piece of wax by snipping the proper number. The hem at the edge of the wax is to represent the anthers; affix the stamina when so prepared to the end of a piece of strong wire, and cover them with farina (my second yellow powder). Place the petals round the stamina—first, the three not painted—and the remaining three in the intervening spaces.

The calyx is prepared in lemon wax, tinged with a little brown, and is passed round the end of the flower. The stem covered with pale lemon wax. The leaves narrow strips of double wax (dark green), strongly indented with the point of the pin, and a white stripe laid smoothly on with the small sable brush.

The above directions will answer for the crocus susianus, the cloth of gold, striped orange, and very dark purple; besides the Scotch crocus, striped, white, and purple.

This charming, pensive little flower should be prepared from double white wax. It consists of six petals, like its companion the crocus. The longest are left perfectly white, the others striped upon the inside with very light green paint; and upon the opposite or exterior side of the petal is placed a triangular green spot, near the off end. Cut a fine green wire, three inches long, cover it with a strip of light green wax, affix to the end the stamina, cut from yellow wax. Place round these the striped petals, and those that are quite white immediately between; finish off the same by placing a little double green wax at the end of the flower, which forms the calyx; the flower-stalk is then to be attached to a stronger stem. Where they are united place a small sheath, cut from lemon wax, tinge round the edge with light green. The leaves are rather narrow, not so dark as the crocus; made from double wax. The head of the pin is merely rolled down the centre: they are attached a short way down the stem.

This unassuming pretty flower has a salver-shaped corolla; but in modelling it, I advise its being formed of five petals. Prepare the latter in double white wax, colour them upon both sides with my lemon powder (this is a most beautiful preparation), taking the precaution not to carry the same to the end, or it would prevent adhesion of the wax. With a small sable brush, form a triangular spot of deep yellow at the lower end of the broad part of the petal. Attach to the end of a second-size wire a piece of lemon wax, extending the same half an inch down the stem; this is to form a foundation: the point is to be neatly moulded, and to be seen peeping, as it were, from the centre of the flower. The petals are curled in the following manner;—rest the petal in the palm of the left hand, placing the side that has the triangular spot downwards, press the third finger of the right hand in the centre, and then upon the opposite side strongly indent with the point of the pin. Place the five petals thus prepared round the stem previously formed, press the petals neatly together, flattening them down a little to give the appearance of being formed in one piece. The calyx is cut in very light green wax, it is in one piece, vandyked at the top into five points; in each point press the pin, and attach it afterwards round the neck or tube of the flower. Wash the calyx with a weak solution of gum water, using for the purpose a sable brush. Sprinkle it over, while moist, with a little of my prepared down. The stem should look transparent, consequently the wire must be covered with very light green or lemon wax. For the leaf, see my general instructions upon foliage.

Prepare the petals in white wax: there are five in number. Pass the head of a large pin firmly down the centre, so as to cup each. Cover a fine green wire with a strip of light green wax; at the end of this affix a small piece of orange wax, and mould it to a point, not allowing it to be larger than a carraway seed. Dip the point of this foundation in water, and then into the second yellow powder, which gives it the appearance of farina. Place three petals under the foundation, and the remaining two on the top, turning them back; bend the stalk up, and under the three petals place a small piece of white wax, which is to be coloured purple after it is attached. The calyx consists of five points, and are placed round the neck of the flower.

Purple violets are constructed precisely the same as the former; the only difference that exists being that the petals require to be cut from blue wax, and painted upon both sides with purple (bright crimson and middle blue.)

The petals are cut from thick or double white wax. Place a piece of fine white wire half way up each, and secure it to its position by placing a narrow strip of white wax upon the same, rolling it down each edge with the head of the smallest pin. Colour them from the centre to the point with bright purple (second blue and bright crimson), the large brush to be used, (see my directions, p. 13.) The small petals are cupped by laying each in the palm of the left hand, and pressing it firmly with the thumb of the right hand. The large or outside petals are curled in the same manner, but the points turned back. The centre or foundation is formed by passing two strips of double pink wax round the end of a strong wire, (care must be taken at all times to double the wire down to prevent its slipping;) mould the same to a point, leaving it broad at the lower end; indent it strongly round with the curling pin; colour this half way down with dark or black-looking purple, (dark blue and crimson.)

The stamina are also formed from pink wax: first roll a whip (as in muslin) which produces the anthers, and cut a fringe the third of an inch deep. Wind the same around the previously formed centre, and then brush them out with the dark purple brush that has been applied to the foundation. When thoroughly dry, touch the ends occasionally with green; this must be done with the sable brush. At the back of the pulp first formed, close to the wire, affix the small petals at equal distance, and the large ones, which turn back, in the intervening spaces. When the anemone is in bud, it is surrounded by a calyx, but as it expands it rises and leaves the said calyx at least one inch down the stem; it has a fringed appearance, and is prepared from double green wax. The stem is covered neatly with light green wax.

The anemones grow in great variety of colour, but this instruction, as to form and centre, is applicable to all. The brilliant scarlet and purple, contrasted with the pink, lemon, and white, form a pretty group by themselves.

Prepare the petals from double yellow wax, placing the shining sides together, a fine white wire half way up between. Form two distinct creases up the centre with the point of the pin; with the head of the latter cup the broad part of the petal. Turn the edges inward towards the point, and colour each petal upon both sides with the crimson powder, softening off the same, and leaving a margin of the yellow free from colour. The stamina are prepared (according to pattern), from double yellow wax, and painted with rich brown (cake sepia and crimson), from the broad part to the point. To a large wire affix a piece of double green wax, cover the same with lemon wax, and press it into a triangular form: place a strip of double green wax three quarters of an inch from this point, to form a foundation to attach the petals to. Place round the foundation the brown stamina previously prepared, and then attach the petals, in rows of three or five; they vary very much in number, some flowers being much more double than others.

The remarks in the foregoing instructions on the "Van Thol Tulip," are also applicable to the Summer Tulip; the centre is formed the same, but rather larger; nature must do the rest. The great beauty of the flower in the florist's eye, consists in its being cup-shaped and round at the base. The ground colour of the flower ought also to be very clear and bright in the centre.

Cut six petals in double white wax; indent up the centre of each with the point of a curling pin; press against this crease upon the opposite side, so as to produce a ribbed appearance. Pass the head of the curling pin down on each side of the previously named crease, and press the petals back. Cut a strip of yellow wax half an inch deep and one inch and a half in length; plait it up at one edge, and join it round to form a cup. To the end of a piece of middle size wire attach the stamina, draw the same through the cup, and fasten it underneath. Take a slip of pale green wax, and wind round the wire under the cup, to form the tube or neck of the flower. Attach three petals in a triangular form immediately under the cup, and the remaining three immediately between those preceding.

is constructed precisely the same; but use for the petals double yellow wax instead of white, and orange wax for the cup instead of yellow.

Whilst culling the sweet and early flowers, I cannot permit myself to pass the daisy, that pretty and simple production of nature, so emblematical of innocence, and which has been immortalized by poets, ancient and modern.

The daisy may be made entirely white, crimson tipped, or crimson all over the petals: the latter are cut in single white wax, a strip at once the width of a sheet of wax. After the petals are coloured, the pin is deeply indented into each, some in fact are made quite round. The flower grows single and double, so that there is no decided number required; this must be left to the taste of the copyists; but if they prefer the double flower, the eye or centre is scarcely visible. On the contrary, if it is a single flower that is to be imitated, the eye must be increased. To form the latter, take a sheet of yellow wax, fold it at the end the eighth of an inch deep, hold it between the thumb and finger of the left hand, and with the point of the curling pin indent the edge closely the whole length, and pass round the end of the middle wire, letting it rise a little in the centre. The petals are then attached very closely, and as many as form the double or single flower, whichever may be preferred. The calyx is green, and placed on similarly to the petals.

Cut from bright orange four wax petals for each blossom: colour the edges, and vein each a rich brown (crimson powder and cake sepia). Press the finger in the centre of every petal, for the purpose of giving a crumpled appearance.

Use a piece of middle size wire; cover it with green wax, and affix to the end four stamina, made in the following manner: Double along the end of a sheet of lemon wax (a narrow fold); cut the stamina short and fine; colour the ends with my lemon powder. Place the petals immediately under; putting them on so as to form a square. The calyx is cut from green wax passed round the tube of the flower, and coloured afterwards with the same brush that has been used for the flower. The buds are made of solid wax; some green, others orange; and painted with the rich brown in various shades. In the largest buds, leave the orange points free from paint, at the point peeping from beneath the dark calyx.

There cannot be a more natural looking flower than the last described, if modelled neatly, and well in regard to colour; at the same time, I must remind my pupils that none can look worse if badly executed.

Having now submitted what I consider a fair selection from spring flowers, I will proceed to those which we may observe at a later period, commencing with the rhododendron. This is one of a class of flowers which I admire most particularly in nature, and also find extremely useful in an artistic point of view. Its form is peculiarly eligible in grouping, and its value increased from the fact, that it is cultivated at the present time in such great varieties of shades and colours. I do not know that I can experience a greater treat than to visit the Botanical Gardens, Regent's Park, when their show of American plants is on view; and I would recommend my pupils to devote some time to perfect themselves in flowers that afford such great variety; and as instruction as to the formation of one conveys the same for all, except as to varying the colour, I do not feel that I could choose a more advantageous specimen of floriculture for imitation.

Cut the petals in white wax; chose it rather thick, but not the double wax. It is formed with two pieces, and yet when united it appears as if there were five petals. The colour is produced in any shade of lilac by mixing my bright crimson, middle blue, and a small portion of white together. This is laid on round the edge upon both sides with a large brush. When perfectly dry, the colour is partly taken off by passing a moist brush containing very little colour over the whole. This carries off the rough portion of the paint previously applied, and gives the petals a soft and shaded appearance. Press the curling pin up the centre of each point, and pinch against it so as to form a distinct seam. Roll the head of the pin down each side of the seam, which will occasion the edges of the petal to look a little crumpled. Unite the petals neatly together, making a small plait between each. Form the pistil of double wax: thicken it at the end to represent the stigma. The stamina are produced by folding the end of a sheet of wax so as to produce the same appearance as a hem in muslin, and cut ten fine filaments for each flower (the hem represents the anthers). Colour the pistil and stamina pale pink: darken the end of the pistil to a deep crimson. Touch the ends of the stamina with a sable brush moistened with brown (crimson powder, orange powder, and cake sepia); while wet, dip them into farina (produced by mixing my lemon powder with white, quite dry). Cut a piece of wire, three inches long, middle size: pass a small piece of light green wax round the end, and double the wire down; then attach the pistil to it, and place the stamina round, taking care that the pistil rises above the stamina. The centre petal of each flower is dotted with brown, the same colour previously used for the anthers. The stem is passed through the centre of the corolla, pressing the edges of the latter neatly to the wire. It is one of those flowers that has not a calyx attached close to the flower, but is shaded lightly round the end with a crimson brush. The flowers are mounted in clusters, varying in number: seven form a pretty size. When the flowers are united, a cluster of small points of very light green wax are placed: these are what are termed by botanists, "calyx involucre," signifying that such calyx is remote from the flower. Place three or four leaves round the stem, a short distance from where the flowers are united.

Another of the American plants useful in grouping, is the

The corolla is in one piece, having five points. It requires to be cut in thick wax. Press the finger in the centre, and pinch up each point, bending the same towards the centre. A double piece of wax, cut in points, is placed at the back; press the two firmly together, and make a hole in the centre with the large pin. Paint in the corolla a small circle of crimson points, using for this purpose a sable brush. Cover a piece of fine wire two inches in length; mould to the end a small piece of double green wax, making it quite round. The pistil is affixed to this, and is formed by rolling the edge of the wax (as a whip in muslin), and cutting it fine, as previously directed. The stamina are prepared in the same manner, consisting of ten filaments, and are placed round the pistil. Pass the stalk through the centre of the corolla, rendering it secure by pressing the fingers close to the flower underneath. Finish off the flower by attaching five minute points of green wax. After the pistil and stamina are drawn through the flower, press the anther of each filament down to the corolla with the head of the pin, and tip them with deep crimson.

Cut the petals from double yellow wax. There are five to each flower. Pass the head of the small curling pin quickly twice down each petal; and indent it strongly down the narrow or tube part of each petal upon the opposite side. Cover a piece of fine wire, about three inches long; affix a small piece of green wax, pressed into a point by the side of, and at the end of, the said points. Dip the latter into water, and while wet, into the yellow powder, to represent farina. Place the five petals around, pressing each on neatly and firmly, permitting the points or stamina to be seen just rising from the neck or tube of the flower. Pass a small piece of green wax round the lower end of the tube to form the calyx. Some buds may be formed from wax, wound round wire, and made solid; others of petals closed. About four flowers, and three or four buds, form a pretty and useful cluster; but the number may be increased or diminished at pleasure.

The petals are prepared from thick or double white wax. It is put together precisely as the last named flower; but the petals are pointed, instead of being round, as in the yellow. Press the point of the curling pin up the centre of each petal. After the flower is united, the tube is tinged, first with pale yellow, and subsequently with red, very slightly. The calyx consists of five fine points, which are cut in green wax, and attached at the bottom of the tube. The flowers are mounted like the yellow jasmine. The green sprigs are placed on two at once, facing each other.

The petals are cut in thick wax, or single wax doubled; when the latter is the case, be careful to place the two shining sides together. It is particularly easy to form: the petals require to be curled precisely as the yellow jasmine. The centre is formed by crushing two or three small pieces of orange wax to the point of a wire. The first five small petals are very faintly tinged with orange; this is merely to give warmth to the centre of the flower, to make up for the deficiency of the life-glow, if I may use this term—great care must therefore be taken not to make it too dark. All the succeeding petals are placed on in rows of five, turning some of the petals forward towards the centre of the flower.

The neck of the flower is already formed from the ends of the petals; it only requires to be moulded very smooth, and coloured a light pomona green. The calyx consists of five points of green wax, placed at the end of the tube. The dark foliage is placed round in clusters, and produces a pleasing contrast to the flower. I would here observe, that this flower is particularly useful in grouping. It is a greenhouse production, and extremely fragrant in nature; it is consequently always consistent to place it in a bouquet; independently of this, it is an excellent substitute for white camellia in groups, where the last named flower would be too large.

I shall proceed to give some instruction in Roses. The varieties now grown and named in our nurseries amount to the almost incredible number of two thousand. I shall therefore choose, for the information and improvement of those ladies who kindly think proper to place themselves under the guidance of my little book, about six kinds, such as I deem most useful, and as being different in form and colour. I think, when these are perfectly understood, any other kind can be copied easily from nature. I shall commence with the old favourite,

Cut the petals from pale pink wax; colour the three smallest rather deep with the crimson powder. The split petals, marked on my pattern fifteen, are coloured the same, but rather a lighter hue. Each succeeding set are painted the same, but gradually diminish the colour until you arrive at the outer petals, which are the lightest of all. To form the petals, use a pin as little as possible; cupping them with the thumb or finger, according to its size. For the largest petals, use the thumb, so pressing each in the centre, while it is resting in the palm of the left hand, as to become perfectly round. The last two or outer rows are turned back with the head of a curling pin.

Prepare the foundation of solid wax, rolled round the end of a moderate size wire. It must be cone-shaped. The three smallest petals are crushed and placed at the point in a triangular form. The split petals, marked on my pattern fifteen, are united into clusters of five, and placed round immediately under the three that are crushed. Each succeeding row of petals are placed on in like manner, taking care that each petal is attached to the under part of the foundation, and not upon the side. I particularly name this, as I too frequently find ladies err in forming the roundness of the rose. The last two rows of petals, which are turned back, must be placed rather lower than those preceding. The calyx is cut from double light green wax.

The head of the curling pin is passed down the centre of each point previously to their being placed on. Pass a strip of double green wax close round the base of the flower, moulding it round and smooth with the thumb and finger. This is to represent the seed cup. When the calyx is affixed, it must rest against the back of the rose, and be so neatly moulded over the seed cup, as not to show any division or seam.