The scraps of wax that fall from the cutting will be found useful for making seed vessels, and other parts of the flowers.

Where the manufactured foundations cannot be obtained, patterns of them should be cut in paper; the venous appearance may be imparted to the wax by pressing the leaf upon it.

In the construction of sprigs, it is most important to be guided by sprigs of the natural plant, as various kinds of plants have many different characteristics in the grouping of their flowers, leaves and branches.

When about to copy a flower, take care in the selection of good sheets of wax, and see that their colours are precisely those of the flower you desire to imitate.

For the tints, stripes, and spots of variegated flowers, you will be supplied with colours among the other materials; and the application of them is precisely upon the principle of water-colour painting.

For the imitating of fruit in wax, very different rules are to be observed. The following directions may, however, be generally followed:

The material of which moulds for waxen fruit should be composed is the

plaster of Paris, such as is used for plaster casts, &c. If this cannot be procured, the inferior plaster, from the oil-shop, may be substituted, if it can be obtained

. If, however, the plaster is faulty, the results of the modelling will of course be more or less faulty also. It is the property of plaster of Paris to form a chemical union with water, and to form a pasto winch rapidly "sets" or hardens into a substance of the density of firm chalk. The mould must therefore be formed by impression from the object to be imitated, made upon the plaster before it sets.

The use of an elastic fruit in early experiments leads to a want of accuracy in the first, steps of the operation, which causes very annoying difficulties afterwards; and therefore a solid, inelastic body—an egg boiled hard—is recommended as the first object to be imitated.

Having filled a small pudding basin about three-quarters full of damp sand (the finer the better), lay the egg lengthways in the sand, so that half of it is above, and half below, the level of the sand, which should be perfectly smooth around it. Then prepare the plaster in another basin, which should be half full of water. Sprinkle the plaster in quickly till it comes to the top of the water, and then, having stirred it for a moment with a spoon, pour the whole upon the egg in the other basin.

While the half mould thus made is hardening thoroughly, carefully remove every particle of plaster from the basin in which it was mixed, and also from the spoon which has been used. This must be done by placing them both in water and wiping them perfectly clean. This is highly important, since a small quantity of plaster which has set will destroy the quality of a second mixing if it is incorporated therewith. In about five minutes the half mould will be fit to remove, which may be done by turning the basin up with the right hand (taking care not to lose the sand), so that the mould falls into the left hand.

The egg should then be gently allowed to fall back on the sand out of the mould; if, however, it adheres, lightly scrape the plaster from the edge of the mould, and then shake it out into the hollow of the hand. If, however, the exact half of the egg has been immersed in the sand, no such difficulty will arise; this shows how important is exactness in the first position of the object from which a tasting is to be taken.

The egg being removed and laid aside, the moulder casting must be "trimmed;" that is, the sand must be brushed from the flat surface of the mould with a nail-brush very slightly, without touching the extreme and sharp edges where the hollow of the mould commences. Then upon the broad edge from which the sand has been brushed, make four equi-distant hollows (with the round end of a table-knife), like the deep impression of a thimble's-end. These are to guide hereafter in the fixing of the second half of the mould. The egg should now be replaced in the casting, and the edge of the cast, with the holes, thoroughly lubricated with sweet oil, laid on with a feather, or what is better, a large camel-hair brush.

Into the small pudding basin from which the sand has been emptied, place with the egg upper-most the half mould, which, if the operation has been managed properly, should

close at the edges to the side of the vessel; then prepare some more liquid plaster as before, and pour it upon the egg and mould, and while it is hardening, round it with the spoon as with the first half.

In due time remove the whole from the basin; the halves will be found readily separable, and the egg being removed, the mould is ready to cast in, after it has been set aside for an hour or two, so as to completely harden. This is the simplest form of mould, and all are made upon the same principle.

The casting of an egg is not merely interesting as the first step in a series of lessons, but as supplying a means of imitating peculiarly charming objects, which the student of natural history tries almost in vain to preserve. We shall proceed, then, with the directions for the casting of an egg in the mould.

For the first experiments, common yellow wax may be used as the material, or the ends of half-burnt wax candles. The materials of the hard (not tallow) composition mould candles will also answer.

Every large object to be imitated in wax should be cast

; and therefore, though the transparent lightness required in the imitation of fruits is not requisite in an artificial egg, the egg may be cast upon the same principle as a piece of fruit, in the following manner.

. The two pieces of the plaster of Paris mould must be soaked in hot water for ten minutes.

. The wax should in the meantime be very slowly melted in a small tin saucepan, with a spout to it, care being taken not to allow it to boil, or it will be discoloured. As to the quantity of wax to be melted, the following is a general rule:—If a lump, the size of the object to be imitated, be placed in the saucepan, it should be sufficient for casting twice, at least.

. As soon as the wax is melted thoroughly, place the saucepan on the hob of the grate, and taking the parts of the mould from the hot water, remove the moisture from their surfaces by pressing them gently with a handkerchief or soft cloth. It is necessary to use what is called in some of the arts "a very light hand" in this operation, especially in drying moulds of fruits whose aspect possesses characteristic irregularities—such as those on the orange, the lemon, or the cucumber. The mould must not be

, but only

. If the

has not been hot enough, or if the drying is not performed quickly, the mould will be too cold, and the wax will congeal too rapidly, and settle in ridges and streaks; on the other hand, if the wax has been made too hot, it will adhere to the mould, and refuse to come out entire.

. Having laid the two halves of the mould so that there can be no mistake in fitting the one in its exact place quickly on the other, pour from the saucepan into

of the half moulds nearly as much wax as will fill the hollow made by the model (egg), quickly fit the other half on the top of it, squeeze the two pieces tightly together in the hand, and still holding them thus, turn them over in every possible position, so that the wax which is slowly congealing in the internal hollow of the mould may be of equal thickness in all parts. Having continued this process at least two minutes, the hands (still holding and turning the mould) may be immersed in cold water to accelerate the cooling process. The perfect congealment of the wax may be known after a little experience by the absence of the sound of fluid on shaking the mould.

. As soon as the mould is completely cooled, the halves may be separated carefully, the upper being lifted straight up from the under, and if the operation has been properly managed, a waxen egg will be turned out of the mould.

. The egg will only require

, that is, removing the ridge which marks the line at which the halves of the mould joined, and polishing out the scratches or inequalities left by the knife with a piece of soft rag, wet with spirits of turpentine or spirits of wine.

It is always desirable to make several castings of the same object, as the moulds are apt to get chipped when laid by in a cupboard; and for this reason, as well as for the sake of practice, we recommend our pupils to make at least a dozen waxen eggs before they proceed to any other object. If they succeed in this

, they may rest assured that every difficulty which is likely to meet them in any future operation will be easily overcome.

While the wax is yet on the hob, and in a fluid state, stir into it a little

, in powder, and continue to stir the mixture while it is being poured into the half mould. It will be found that unless the fixing and shaking of the moulds is managed quickly, the colouring matter will settle on the side of the half into which the mixture is poured; a little care in manipulation is therefore again requisite. The colouring of the wax is a matter which comes easily enough by experiment. Oranges, lemons, large gooseberries, small cucumbers, &c.,&c., are excellent objects for practice.

It will be noted by the accurate observer that the shell of the common hen's egg has a number of minute holes, which destroy the perfect smoothness of its appearance. This peculiarity is imitated in the following simple manner:—In the first place, very slightly prick with a fine needle the surface of your waxen egg, and then, having smeared it with spirits of turpentine, rub the surface all over. So as

to obliterate the marks of the needle point.

This is a beautiful, useful, and inexpensive art easily acquired, and producing imitations of the richest and rarest stained glass; and also of making blinds, screens, skylights, Chinese lanterns, &c., in every variety of colour and design.

In decorating his house an Englishman spends as much money as he can conveniently spare; the elegances and refinements of modern taste demand something more than mere comfort; yet though his walls are hung with pictures, his drawing-rooms filled with bijouterie, how is it that the windows of his hall, his library, his staircase, are neglected? The reason is obvious. The magnificent historical old stained glass might be envied, but could not be brought within the compass of ordinary means.

Recent improvements in printing in colours led the way to this beautiful invention, by which economy is combined with the most perfect results. A peculiar kind of paper is rendered perfectly transparent, upon which designs are printed in glass colours (

), which will not change with the light. The paper is applied to the glass with a clear white varnish, and when dry, a preparation is finally applied, which increases the transparency, and adds tenfold brilliancy to the effect.

There is another design, printed in imitation of the half-light (

); this is used principally for a ground, covering the whole surface of the glass, within which (the necessary spaces having been previously cut out before it is stuck on the glass) are placed medallion centres of Watteau figures, perfectly transparent, which derive increased brilliancy from the semi-transparency of the surrounding ground. This is by far the cheapest method, though involving extra trouble, as the plain grounds printed in sheets are only a fourth the price of the sheets which contain the medallion Watteau centres or other small designs suitable for the purpose.

The transparent sheets measure 20-1/2 in. by 16-1/2, and are ready for immediate use. The other articles required are some clear white varnish, some liqueur diaphane, brushes, metal palettes, and ivory sticks. These are all the appliances required.

To ascertain the quantity of designs required, measure your glass carefully, and then calculate how many sheets it will take (the sheets being 20-1/2 in. by 16-1/2 in. as given above). The sheets are arranged so that they can be joined together continuously, or cut to any size or shape.

Choose a fine day for the operation, as the glass should be perfectly dry, and unaffected by the humidity of the atmosphere. Of course, if you have a choice, it is more

to work on your glass before it is fixed in the frame. If you are working on a piece of unattached glass, lay it on a

table (a marble slab is preferable), over which you must previously lay a piece of baize or cloth to keep the glass steady.

The glass being thus fixed, clean and polish the side on which you intend to operate (in windows this is the inner side), then with your brush lay on it very equably a good coat of the prepared varnish; let this dry for

, more or less, according to the dryness of the atmosphere and the thickness of the coat of varnish; meantime cut and trim your designs carefully to fit the glass (if it is one entire transparent sheet you will find little trouble); then lay them on a piece of paper, face downwards, and damp the back of them with a sponge, applied several times, to equalize the moisture.

In ths operation arrange your time so that your designs may now be finally left to dry for fifteen minutes before application to the glass, the varnish on which has now become tacky or sticky, and in a proper state to receive them. Apply the printed side next to the glass without pressure; endeavour to let your sheet fall perfectly level and smooth on your glass, so that you may avoid leaving creases, which would be fatal.

Take now your palette, lay it flat on the design, and press out all the air-bubbles, commencing in the centre, and working them out at the sides; an ivory stick will be found useful in removing creases: you now leave this to dry, and after twenty-four hours apply a slight coat of the liqueur diaphane, leaving it another day, when, if dry, apply a second coat of the same kind, which must be left several days; finally, apply a coat of varnish over all.

If these directions are carefully followed, your glass will never be affected by time or any variations in the weather; it will defy hail, rain, frost, and dust, and can be washed the same as ordinary stained glass, to which, in some respects, it is even superior.

It is impossible to enumerate the variety of articles to the manufacture of which Diaphanie may be successfully applied, as it is not confined to glass, but can be done on silk, parchment, paper, linen, &c.,

which may be accomplished in the following manner:

Stretch your paper, or whatever it may be, on a frame or drawing board, then apply two successive coats (a day between each) of diaphanous liquor, and after leaving it to dry for

days, cover it with a thin layer of very clear size, and when dry it will be in a fit state to receive the coat of varnish and the designs.

Silk, linen, or other stuffs should be more carefully stretched, and receive a thicker coat of size than paper or parchment; the latter may be strained on a drawing or any other smooth board, by damping the sheet, and after pasting the edges, stretching it down while damp. Silk, linen, and other stuffs require to be carefully stretched on a suitable frame.

, take great care to allow time to dry before applying the liqueur diaphane.

All kinds of screens, lamp shades and glasses, lanterns, &c., &c., may be made in this way, as heat will produce no effect upon them. The transparent pictures are successful, because they may be hung on a window frame or removed at will, and the window blinds are superior to anything of that kind yet produced.

Vitremanie is a process of imitating painting on glass similar to Diaphanie, and Potichomanie is a process of like nature by which glass plates, vases, &c., are made to resemble porcelain.

This recently discovered and beautiful art consists in transferring coloured drawings to glass, porcelain, china, wood, silk, furniture, plaster of Paris, alabaster, ivory, paper, paper hangings, windows, tea trays, oil cloth, and all kinds of fancy articles; in short, materials of any kind, shape, or size, provided they possess a smooth surface, can be decorated with Decalcomanie; the immediate result being an exact resemblance to painting by hand. The art itself is simple and ingenious, and while affording agreeable occupation to ladies, it may be made to serve many useful purposes, on account of the numerous objects which will admit of being thus ornamented.

Thoroughly clean and free from grease the article to be decorated; then, having cut off the white paper margin of the drawing, dip one of the brushes into the transfer varnish, and give it a very light coat, being especially careful to cover the whole of the coloured portion, but not to allow it to touch the blank paper; then lay the drawing, face downwards, on the object to be ornamented, taking care to place it at once where it is to remain, as it would be spoilt by moving. If the varnish, on its first application, is too liquid, allow the picture to remain for about ten minutes to set.

Moisten the cloth with water, and lay it gently on the drawing which has been previously laid in its place on the object to be decorated; then rub it over with the paper-knife or roller, so as to cause the print to adhere in every part; this done, remove the cloth, well soak the paper with a camel-hair brush dipped in water, and immediately after lift the paper by one corner, and gently draw it off.

The picture will be left on the object, while the paper will come off perfectly white. Care must be taken that the piece of cloth, without being too wet, is sufficiently so to saturate the paper completely. The drawing must now be washed with a camel-hair brush, in clean water, to remove the surplus varnish, and then left till quite dry. On the following day, cover the picture with a light coat of the fixing varnish, to give brilliancy to the colours.

To ornament dark-coloured objects, such as the bindings of books, Russia leather, blotting-cases, leathern bags, &c., the picture must be previously covered with a mixture of opaque white varnish, taking care not to pass beyond the outline of the design. On the following day, proceed according to the instructions given in the preceding paragraph.

Varnish the picture with the transfer varnish, as previously explained, following the outline of the design, then allow it to dry for an hour or two; when quite dry, pass a damp sponge over the entire surface of the sheet, so as to remove the composition which surrounds the picture, and which may spoil the object.

Let the paper dry once more, and varnish the picture again with the transfer varnish; in about ten minutes, place it face downward on the object to be decorated, and rub it with the paper-knife or roller, over the whole of its surface. Finally, moisten the paper with a wet brush, allow it to remain sufficiently long to become moist, then strip the paper off.

dip a soft rag in the essence, and rub it over the surface.

To insure a successful result, care must be taken to give a very light coating of varnish to the parts to be transferred. When the varnish is first applied it is very liquid, and must remain ten minutes, the best condition for transferring being when the varnish is only just sticky, without being too dry.

English flowers of every variety: bouquets, tropical birds, flowers and fruits in imitation of aqua-tint; garlands with cupids after Watteau, and garlands with birds; domestic scenes; pears and cherries, apples and plums, white grapes and plums, black grapes and peaches, plums and mulberries, large bouquet of roses; bouquets of moss roses and pansies.; bouquets of small camellias; bouquets of wall-flowers and poppies; bouquets of orange-blossom, medallions, various subjects; birds'-nests; Gothic initials and monograms, fleurs-de-lis; borders various.

Heraldic Decalcomanie is an extended application of this art, the arms and crests of persons or families being emblazoned in their proper colours according to the rules of heraldry, and prepared for Decalcomanie. Armorial bearings, thus embellished, serve admirably to ornament and identify the books of a library and pictures of a gallery, to decorate menus for dinner, the invitations to a soirée, &c. By their brilliant colours they give an elegant effect to the table decorations.

This out-door pastime is of comparatively modern creation, and until quite lately was very much in vogue. It nay be played by persons of all ages and of either sex; but it is especially adapted for ladies and young persons, as it demands but slight personal exertion, while it affords delightful and health-giving sport.