PEACHEY'S
ROYAL GUIDE
TO
WAX FLOWER MODELLING.

ADVERTISEMENT.

Mrs. Peachey being, for the reasons stated in this work, compelled to circumscribe the giving of lessons, if not to discontinue instructions altogether in a few months, the book will, therefore, under any circumstances, be indispensable.

THE
ROYAL GUIDE
TO

BY

MRS. PEACHEY,

LONDON:

PUBLISHED AND SOLD BY MRS. PEACHEY,
ARTISTE TO HER MAJESTY,
AND SOLD BY ALL BOOKSELLERS.
MDCCCLI.

TO
THE PRINCESS ROYAL
OF
ENGLAND,

AS A TOKEN OF LOYAL AND GRATEFUL
ACKNOWLEDGEMENT
FOR THE SPONTANEOUS AND FOSTERING PATRONAGE OF
HER ROYAL HIGHNESS'S AUGUST PARENT

THE QUEEN;

THE ROYAL GUIDE TO WAX FLOWER MODELLING
IS MOST RESPECTFULLY DEDICATED
BY HER ROYAL HIGHNESS'S
MOST OBLIGED
AND OBEDIENT HUMBLE SERVANT,

EMMA PEACHEY,
ARTISTE TO HER MAJESTY.

PREFACE.

The Editor of this work, by Her Majesty's Artiste, Mrs. Peachey, fairly entitled the Royal Guide to Wax Flower Modelling, would fain leave the introduction, written by the same hand which rivals nature in her varying adornments, to unfold its historic, its poetic, its moral, and its suggestive graces—for it combines these; but having accepted the part, without which, since the days of Plato, no book is deemed complete, he essays a few prefatory observations and remarks.

Brevity, it has been said, is the soul of wit; but we may be brief when we know what is to follow, and for whom the following pages are designed.

Our fair readers will intuitively perceive that the scope of the instructive portion of this self-commending little volume is to facilitate their acquisition of an accomplishment at once royal and feminine in its origin and progress, and therefore worthy of their attention.

This elegant art requires but the fairy touch of a delicate hand to fill each available space in the chamber or drawing-room with the most perfect and beautiful imitations of the flower-garden.

Unaffected by change or climate, wax flower modelling perpetuates the transient glories of the floral seasons; places all the tender varieties under the immediate glance of the ever gratified eye of the artist, who can thus in the depth of winter exhibit to an admiring foreign guest the exotics of the far hemisphere, or the indigenous plants of her own loved land.

Who that has watched by the side of an invalid mother, would not feel an exalted pleasure in creating around her the magical representations of those flowerets and rosebuds her maternal hand was wont to rear? Who, in such a moment of ministering affection, would not feel how sweet the reward of a father's love, as his approving gaze spoke more than many words his thanks to the duteous child returning the early care of the fond partner of his griefs and joys? Contemplating such a scene as this, one cannot refrain from citing the language of the poet:—

The copious table of contents possesses great attraction for persons of refined taste, embracing every variety of flower usually modelled in wax: its arrangement is calculated to lead the learner, by easy steps, from the most simple to the most elaborate accomplishment of a very delightful task.

The sketch of her artistic life, with which the talented though unpretending authoress has favoured the public, cannot fail to prove useful and encouraging to the beginner, as it fully justifies the good old proverb, that "where there is a will, there is a way;" and that way is clearly and forcibly pointed out in the Royal Guide, so as to direct with perfect ease the willing fingers of the modeller to the attainment of her object, to excel in giving form and substance to her innate perceptions of the beautiful. Nor is this a selfish pleasure. These productions of skilled labour—if we may apply the word labour to an amusement—please the beholder, as they do the mind which calls forth the exquisite fancy which pencils these flowers.

The unanimous verdict of the Press will be found recorded at the end of the instructions. It is a remarkable fact, that so many Journals, giving in their separate awards, should have all concurred in opinion. This opinion is highly favourable to the Artiste and the art. The very language in which it is couched partakes of floweriness—if we may be pardoned for coining a word to express our meaning; indeed, we strongly commend for perusal these elegant notices of the Press; the writers evidently have been influenced by national considerations; for they speak of what they have seen as those convinced that, although there may be several wax flower modellers, there is but one Mrs. Peachey—Her Majesty's Artiste, and an Englishwoman.

It is with no insular feeling that we express the same sentiment; but, nevertheless, we do feel it to be something to boast of, that our countrywomen will not have to learn the art of Wax Flower Modelling from foreigners, many of whom however have been amongst the now nearly 50,000 visitors attracted to the collection, by the notices of the Press, and who have expressed equal approbation.

The Royal Guide is essentially a domestic national instructor. But its teaching will not be bounded by our island shores. We venture to predict, that the Royal Guide to Wax Flower Modelling will, ere long, establish for itself a more than European fame.

The Editor would now conclude the task he has undertaken, and performed, as well as more immediate professional calls upon his time would permit, to the best of his abilities; but, beyond changing or transposing a word or term here and there, introducing some poetic gems, and correcting the press, he does not claim any merit for the work from his hands, that properly belongs to the Authoress, who has been called into the field, and to whom the reader is now fairly introduced, as to a pleasing and accomplished instructress in this Art.

CONTENTS.

Before I commence my course of instruction in the fascinating art of representing in wax the floral beauties of nature, I deem it necessary to prelude by a brief explanation as to my pretensions, and the cause of my offering such instructions to the notice of the public.

I have constantly applied myself, during the last fourteen years, in strictly copying from nature every flower that has come under my notice, from the simple wild flowers of our hallowed native fields, to the latest and rarest exotics brought home by our most eminent collectors. I have also been materially assisted in this particular branch of my art, by the nobility and gentry having kindly granted me the indulgence of selecting as copies, from their conservatories, aught that I might consider as valuable additions to my specimens.

I have been frequently asked by my pupils to publish such a work as the present; but diffidence, amounting perhaps to a weakness, has hitherto prevented me from even momentarily exchanging the pencil of the artist for the pen of the author:

In the year 1847, I wrote several articles for the Lady's Newspaper, in the shape of instruction in Wax Flower Modelling, which articles appeared under the initials of "E. H., late pupil of Mrs. Peachey." I must confess I felt much gratified upon hearing my pupils, as well as other ladies, speak of these articles in terms of commendation. I trust I may be pardoned for this little piece of deception, and beg to remind those who might regard the "ingenious device" with censure, that Sir Walter Scott and many other writers of celebrity have done the same. If great and talented persons shrink from making their compositions known as their own creations, it is not surprising that I, who have no pretension to literature, should be equally tenacious of my incognito.

I have at this period determined upon publishing a book of instructions, purely in consequence of feeling quite inadequate to receive, as pupils, the numerous applicants that daily visit me, and express much anxiety to be initiated into my method of modelling and grouping.

They are two distinct things—to accomplish an art well, and to impart it to others. I hope I may not be considered egotistical in boldly asserting that, as an instructress, I stand pre-eminent. I feel proud, most proud, in having received repeated assurances from the distinguished and numerous ladies who have placed themselves under my tuition, that my method of teaching is such as to enable the most inexperienced to acquire with facility a perfect knowledge of this pleasing art.

The distinguished patronage I have from the first received at the hands of her Most Gracious Majesty, must surely convey to the minds of all, that I have a right to lay claim to artistic skill.

When I first commenced the agreeable occupation of imitating nature, I had not the slightest idea of ultimately making it a profession. My anxious desire, I may say, my ambition, was to produce something that might be considered worthy the notice of our most Gracious Queen, who at the period I allude to, 1837, had just ascended the throne.

A spirit of loyalty had been fostered in me from my earliest infancy; and a pardonable glow of pleasure always animates me, at the remembrance that I am the daughter of an old officer, who served as surgeon in the British army the long period of fifty years. The result of my wishes has been great success. Our beloved Sovereign, ever ready to encourage talent or industry in any form, condescended to permit a bouquet, which I designed and executed for her inspection (in token of my loyalty), to be placed as an ornament in one of the royal palaces. This was indeed an honour I had scarcely dared to anticipate. Two years after the period alluded to, the Queen became acquainted with the fact, that a change of circumstances had compelled me to make the art of wax flower modelling a source of profit. Her Majesty, unsolicited by any, spoke to the then Lord Chamberlain relative to a warrant of appointment being granted to me; and I forthwith received the Royal Letters Patent, being the first in this country who enjoyed the privilege of being styled "Artist in Wax Flowers to Her Majesty." I hope I may not be deemed prolix in giving these particulars; it is not from any feeling of vanity, but from gratitude due to the high power that encouraged my talent in its infancy. The auspicious patronage I received gave an impetus to my labours; and I have from that royal day taxed my energies to the utmost, to prove that my works deserved the high honour that had been conferred upon them.

As this work is intended for the perusal of the young, as well as the adult, I trust I may be pardoned for pausing a moment to dwell upon the all-wise dispensations of Providence. The talent which inspired me would have been useless, had not the "Giver of all good" discovered to me the knowledge that I possessed it; and I wish to impress upon the notice of my young friends and pupils, the advantage, I may say necessity, of embracing every opportunity of improving any talent committed to their charge; for my life has shown that what is acquired as an accomplishment or amusement, may one day become of vital importance to them.

It occurs to me, that it may not be uninteresting to many of my readers, to become acquainted with the period and by whom

I consequently subjoin an extract from Miss Strickland's Life of Mary Beatrice, second consort of James II., A.D. 1686.

From the year last named until 1736 I have been unable to trace any knowledge of this elegant art.

When wax flowers were again introduced by an Italian, they were clumsily manufactured in comparison to those seen in the present age of improvement; for I had the opportunity of inspecting some of their "miserable remains" but a few years since. Still I must acknowledge I discovered some taste and much ingenuity in their construction, and am not too proud to own that I benefited even by examining these very inferior productions. I feel quite satisfied that the art of wax flower modelling is almost still in its infancy. It is no longer regarded as an amusement only. It is enumerated with other accomplishments essential to female education. It assists botanical studies, and promotes the views of flower painters, either in oil or water colours; even in drawing, wax flowers will be found excellent auxiliaries, far preferable as copies to the even surface of plates. I have myself been much gratified by furnishing flowers in wax to some of our first flower painters, who have assured me that they have proved of great utility, in cases where the evanescent properties of the flower of nature prevented the possibility of committing their similitude to canvas ere their beauty had faded. It affords me no small degree of satisfaction also, that my flowers were found useful as copies for some of the beautiful carved work in the late great and ever memorable Exhibition. I have also supplied them as illustrations to botanical lectures.

In thus referring to the utility of wax flowers, I am reminded of a partially unfavourable prejudice which has lately sprung up, from an article which first appeared in a Manchester paper, and which was subsequently copied into The Times, and other papers. It is possible ladies may be induced to abandon this delightful amusement, upon reading such a statement as the subjoined extract:—

It is not my intention to contradict an assertion so boldly set forth. I have no doubt the editor of the Manchester Examiner had some grounds for the article; but I think it right to state that which I can prove—namely, that the wax artistically manufactured by me is so perfectly harmless, that for the last fourteen years I have had it in my hands, upon an average from twelve to fourteen hours every day (Sunday excepted), and never in the slightest degree experienced any inconvenience or ill effects.

The small portion of colour I introduce undergoes a chemical process, which neutralizes entirely any deleterious properties appertaining to the few colours required to be used. It is quite unnecessary to introduce white lead at all. I was assisted by a practical German chemist to prepare borax, in such a manner, as to entirely supersede white lead. Now most of my readers will be able to testify how perfectly harmless must be borax, it being one of the drugs so constantly used with honey, and recommended by the faculty as an excellent remedy for canker in the mouth. I am, as I have previously stated, the daughter of a medical man, and am perfectly acquainted with the danger attending the absorption of mineral colours into the system: under these circumstances, it is not likely that I should myself use that which would be injurious. Ladies, who desire to enjoy the recreation of wax flower modelling, may indulge in the amusement with perfect safety, if they purchase the wax of me. At the same time, I wish it to be perfectly understood, that I do not insinuate, or attribute aught against any other person or persons who prepare wax for sale.

I DECIDEDLY OBJECT to the dry colours being rubbed into the wax with the fingers. I invariably apply the colours with a brush. It must be injurious to close the pores of the skin, even were the powders so used innocuous; but to say nothing of the danger of the method alluded to, it is a most dirty occupation, and ladies would not like to see their hands dyed with carmine, Prussian blue, or chromes. Such a method of tinting is likely to prejudice ladies against the work altogether; besides which, it renders the flowers much more fragile. The only time I ever use dry powder is in the form of bloom (peculiarly prepared arrowroot), which I throw on lightly, but never rub in. Having endeavoured to prove that there are no dangerous results likely to accrue from this pleasing occupation, I will proceed to shew

And one great consideration is that the sight is not likely to be injured. The eye does not require to be fixed; it does not occupy so much attention as to prevent conversation, nor need the body be bent,—a matter of much importance with growing girls, many having suffered affections of the chest, and others disfigured for life, through continually stooping to frame work.

I will now proceed to name the

Wax—white, yellow, orange, pink, and several shades of green.

Two steel pins with china heads (different sizes).

One ivory pin, with large head.

Eleven bottles of powder; consisting of scarlet, bright crimson, dark crimson, lemon, yellow, orange, dark orange, light blue, middle blue, dark blue, and white.

Twelve large brushes.

Two small brushes.

Twelve saucers.

Three skeins of white wire.

Two skeins of green do.

Two pieces of white marble, 3 to 4 inches square, ¾ inch thick.

One pair of sharp pointed scissors.

One cake of smalt.

One cake of sepia.

One cake of crimson lake.