The Royal Guide to Wax Flower Modelling Part 4

"Wee, modest, crimson-tipped flower * * * * thou bonnie gem."

BURNS.

WALL-FLOWER.

_Fidelity in misfortune._

"How oft doth an emblem-bud silently tell What language could never speak half so well."

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 pa.s.sed 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 cla.s.s 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.

LILAC RHODODENDRON.

_Danger._

"All are for use--for health--for pleasure given:-- All speak, in various ways, the bounteous hand of Heaven."

CHARLOTTE SMITH.

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 pa.s.sing 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: pa.s.s 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 pa.s.sed 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 cl.u.s.ters, varying in number: seven form a pretty size. When the flowers are united, a cl.u.s.ter 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

KALMIA.

(LATIFOLIA.) _Combination._

"Ye flowers of beauty, pencilled by the hand of G.o.d!"

POLLOK.

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. Pa.s.s 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.

YELLOW JASMINE.

(JASMINUM REVOLUTUM.) _Grace and Elegance._

Cut the petals from double yellow wax. There are five to each flower.

Pa.s.s 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.

Pa.s.s 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 cl.u.s.ter; but the number may be increased or diminished at pleasure.

WHITE JASMINE.

(JASMINUM OFFICINALE.) _Amiableness._

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.

CAPE JASMINE.

(GARDENIA.) _Sweetness._

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 cl.u.s.ters, 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 subst.i.tute 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,

THE CABBAGE OR PROVENCE ROSE.

(ROSA CENTIFOLIA.) _Beauty._

"The rose has one powerful virtue to boast Above all the flowers of the field-- When its leaves are all dead, and fine colours are lost, Still how sweet a perfume it will yield."

WATTS.

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 cl.u.s.ters 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 pa.s.sed down the centre of each point previously to their being placed on. Pa.s.s 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.

THE MOSS ROSE.

_Beauty and Love._

Is similarly constructed (being one of the same cla.s.s), but is rather smaller. It requires the addition of a little real moss. It must be the fine spray moss; and dried quickly, by placing a warm flat-iron upon it.

It is affixed to the calyx and seed cup by pressing it on with the head of the curling pin.

THE WHITE ROSE.

(ROSE ALBA.) _Silence._

Cut the petals from thin white wax. Tinge the lower part of the first three sets of petals with my lemon powder. Cup all the petals with the finger, turning the last or largest two rows back. Cut a few stamina in lemon wax, with the edge rolled to form the anthers; colour them with orange, and when quite dry, touch them occasionally with brown (crimson powder and cake sepia). These stamina are divided into cl.u.s.ters, eight or ten filaments in each, and about five in number. Make a small cone-shaped foundation; attach one cl.u.s.ter of stamina at the point. The ten small petals are affixed round, turning in various directions, and interspersed with the rest of the stamina. The whole of the remaining petals are placed on five in a row, the last two turning back. Finish off with calyx and seed cup, as in previous instruction. This rose is peculiarly adapted for bridal bouquets; and I must here mention, while alluding to the subject of bridal favours, that I made upwards of ten thousand of these roses upon the happy occasion of Her Majesty's marriage. It may afford some trivial amus.e.m.e.nt to my younger friends, to relate the following anecdote, in connection with the event just alluded to. About three years after Her Majesty was united to His Royal Highness Prince Albert, a gentleman visited my establishment, and inspected my specimens of flowers in wax with evident satisfaction. He represented himself as being a great admirer of wax-work generally; and stated, that he himself possessed a rare specimen, in fact, a perfect _bijou_. He should wish me to see it. I, of course, expressed some anxiety to behold such perfection of art; and accordingly, he sent his footman with a small box, charged with strict orders to be particularly careful in conveying the same. After removing sundry pieces of tissue paper, and as many of wadding, my surprise may be easily imagined, when I beheld one of the identical bouquets (white rose, orange blossom, and myrtle, tied with white satin ribbon) that I had myself manufactured upon the joyous occasion already alluded to. I am but human nature, therefore, I hope I may be pardoned for expressing and feeling a certain degree of vanity upon inspecting this Royal relic of my own hands; still, I am not blind to the fact, that the happy occasion for which the bouquet had been prepared, namely, the nuptials of our beloved Sovereign, had materially enhanced its value to the possessor;--but I will no longer digress from the leading feature of this work, but commence the description of the formation of

THE DAMASK ROSE.