,transcriber's ,note3 ,minor typographical errors have been corrected without note1 whilst more significant amendments have been listed at the end of the text4 ,superscript characters are shown within braces4 ,punctuation within the section headings1 though inconsistent1 remains as published4 ,,peachey',s ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling4 ,god might have made the earth bring forth ,enough for great and small1 ,the oak tree and the cedar tree ,without a flower at all4 ,then wherefore1 wherefore1 were they made8 99 99 99 99 99 99 ,to comfort man--to whisper hope1 ,whene'er his faith is dim2 ,for whoso careth for the flowers ,will much more care for ,,him4 ,,advertisement4 ,,mrs4 ,,peachey being1 for the reasons stated in this work1 compelled to circumscribe the giving of lessons1 if not to discontinue instructions altogether in a few months1 the book will1 therefore1 under any circumstances1 be indispensable4 ,illustration3 ,j4 ,gardner ,co4 ,zinc4 #hf ,hatton ,garden4 ,,the ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling4 ,,by ,,mrs4 ,,peachey1 ,artiste to ,her ,majesty4 ,for not alone to please the sense of smell1 ,or charm the sight1 are flowers to mankind given1-- ,a thousand sanctities do them invest1 ,and bright associations hallow them6 ,which to the cultivated intellect ,may give delight1 and all the heart improve4 ,,london3 ,,published ,,and ,,sold ,,by ,,mrs4 ,,peachey1 ,,artiste ,,to ,,her ,,majesty1 ,,and ,,sold ,,by ,,all ,,booksellers4 ,,mdcccli4 ,,to ,,the ,,princess ,,royal ,,of ,,england1 ,,as ,a ,,token ,,of ,,loyal ,,and ,,grateful ,,acknowledgement ,,for ,,the ,,spontaneous ,,and ,,fostering ,,patronage ,,of ,,her ,,royal ,,highness',s ,,august ,,parent ,,the ,,queen2 ,,the ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling ,,is ,,most ,,respectfully ,,dedicated ,,by ,,her ,,royal ,,highness',s ,,most ,,obliged ,,and ,,obedient ,,humble ,,servant1 ,,emma ,,peachey1 ,,artiste ,,to ,,her ,,majesty4 ,,preface4 ,the ,editor of this work1 by ,her ,majesty's ,artiste1 ,,mrs4 ,,peachey1 fairly entitled the ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling1 would fain leave the introduction1 written by the same hand which rivals nature in her varying adornments1 to unfold its historic1 its poetic1 its moral1 and its suggestive graces--for it combines these2 but having accepted the part1 without which1 since the days of ,plato1 no book is deemed complete1 he essays a few prefatory observations and remarks4 ,brevity1 it has been said1 is the soul of wit2 but we may be brief when we know what is to follow1 and for whom the following pages are designed4 ,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 progress1 and therefore worthy of their attention4 ,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-garden4 ,the morning flowers display their sweets1 ,and gay their silken leaves unfold1 ,as careless of the noontide heats1 ,as fearless of the winter cold4 ,nipped by the wind's unkindly blast1 ,parched by the sun's directer ray1 ,the momentary glories waste1 ,the short-lived beauties die away4 ,unaffected by change or climate1 wax flower modelling perpetuates the transient glories of the floral seasons2 places all the tender varieties under the immediate glance of the ever gratified eye of the artist1 who can thus in the depth of winter exhibit to an admiring foreign guest the exotics of the far hemisphere1 or the indigenous plants of her own loved land4 ,who that has watched by the side of an invalid mother1 would not feel an exalted pleasure in creating around her the magical representations of those flowerets and rosebuds her maternal hand was wont to rear8 ,who1 in such a moment of ministering affection1 would not feel how sweet the reward of a father's love1 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 joys8 ,contemplating such a scene as this1 one cannot refrain from citing the language of the poet3-- ,o6 if there be a tear1 ,from passion's dross refined and clear2 ,a tear so limpid and so meek1 ,it would not stain an angel's cheek2 ',tis that which pious fathers shed ,upon a duteous daughter's head4 ,the copious table of contents possesses great attraction for persons of refined taste1 embracing every variety of flower usually modelled in wax3 its arrangement is calculated to lead the learner1 by easy steps1 from the most simple to the most elaborate accomplishment of a very delightful task4 ,the sketch of her artistic life1 with which the talented though unpretending authoress has favoured the public1 cannot fail to prove useful and encouraging to the beginner1 as it fully justifies the good old proverb1 that where there is a will1 there is a way2 and that way is clearly and forcibly pointed out in the ,,royal ,,guide1 so as to direct with perfect ease the willing fingers of the modeller to the attainment of her object1 to excel in giving form and substance to her innate perceptions of the beautiful4 ,nor is this a selfish pleasure4 ,these productions of skilled labour--if we may apply the word labour to an amusement--please the beholder1 as they do the mind which calls forth the exquisite fancy which pencils these flowers4 ,the unanimous verdict of the ,press will be found recorded at the end of the instructions4 ,it is a remarkable fact1 that so many ,journals1 giving in their separate awards1 should have all concurred in opinion4 ,this opinion is highly favourable to the ,artiste and the art4 ,the very language in which it is couched partakes of floweriness--if we may be pardoned for coining a word to express our meaning2 indeed1 we strongly commend for perusal these elegant notices of the ,press2 the writers evidently have been influenced by national considerations2 for they speak of what they have seen as those convinced that1 although there may be several wax flower modellers1 there is but one ,,mrs4 ,,peachey--,her ,majesty's ,artiste1 and an ,englishwoman4 ,it is with no insular feeling that we express the same sentiment2 but1 nevertheless1 we do feel it to be something to boast of1 that our countrywomen will not have to learn the art of ,wax ,flower ,modelling from foreigners1 many of whom however have been amongst the now nearly #ej1jjj visitors attracted to the collection1 by the notices of the ,press1 and who have expressed equal approbation4 ,the ,,royal ,,guide is essentially a domestic national instructor4 ,but its teaching will not be bounded by our island shores4 ,we venture to predict1 that the ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling will1 ere long1 establish for itself a more than ,european fame4 ,the ,editor would now conclude the task he has undertaken1 and performed1 as well as more immediate professional calls upon his time would permit1 to the best of his abilities2 but1 beyond changing or transposing a word or term here and there1 introducing some poetic gems1 and correcting the press1 he does not claim any merit for the work from his hands1 that properly belongs to the ,authoress1 who has been called into the field1 and to whom the reader is now fairly introduced1 as to a pleasing and accomplished instructress in this ,art4 ,,contents4 ,,page ,advantage of wax flower modelling over other fancy work #h ,anecdote--,bridal #cb ,anemone ,anemone ,hortensis #bj ,art of modelling wax flowers introduced into ,england #d ,awards of the press #fa ,blossom #dc ,botanical words1 explanation of #ac ,bouquets--her ,majesty's marriage #cb ,brushes1 method of applying them #ac ,brushes1 how to cleanse #ac ,cactus #ec ,call for the book #a ,camellia1 ,variegated ,variegata #ej ,carnation ,dianthus #ce ,chatsworth #eh ,crocus ,crocus ,luteus #af ,crystal ,palace #eh ,curling pins and scissors1 use of #ab ,dahlia ,dahlia #dh ,daisy ,bellis ,perennis #bc ,directions for mixing colours #aa ,dry colouring1 objections to #g ,exhibition1 7,great7 #eh ,extract from family letters of his ,grace the ,duke of ,devonshire #d ,foliage1 ,instructions for #ef ,forget-me-not ,myosotis #dj ,flowers1 mounting of1 etc4 #ee ,flowers1 various1 to be described #ae ,floral life #ae ,flowering seasons1 the #ae ,fuchsia ,fuchsia ,fulgens #ch ,fuchsia1 ,crimson ,fuchsia ,coccinea #ci ,geranium1 ,pink ,pelargonium #dj ,geranium1 ,scarlet #db ,grouping ,flowers #ed ,her ,majesty's patronage #b ,hollyhock1 ,lemon ,altha #ec ,honeysuckle ,caprifolium #cg ,how to cleanse the scissors1 pins1 and marbles #ac ,introduction #a ,jasmine1 ,yellow ,jasminum ,revolutum #bh ,jasmine1 ,white ,jasminum ,officinale #bi ,jasmine1 ,cape ,gardenia #bi ,jonquil #bc ,kalmia ,kalmia ,latifolia #bh ,kew ,gardens #h ,lilac ,rhododendron #bf ,lily1 ,white ,lilium ,alba #dd ,lily1 ,pink-spotted ,lilium ,lancifolium #de ,lily1 ,white ,water ,nymphea ,alba #df ,lily1 ,yellow ,water ,nymphea1 ,yellow #dg ,lily1 ,blue ,water ,nymphea1 ,blue #dg ,materials required for wax flower modelling #h ,mignonette1 7origin of7 ,reseda ,odorata #db ,moral view of the art #d ,myrtle ,myrtus ,communis #cf ,narcissus #bc ,nature1 how to copy from #ad ,orange ,blossom ,citrus #dc ,passion ,flower ,passiflora #ea ,primrose ,primula #ag ,professional sketch1 etc4 #c ,progress of the art #e ,pupils--necessarily limited--testimony of former pupils #b ,purposes to which the materials are applied #i ,regent's ,park ,gardens #h ,rhododendron #bf ,roses--instructions #cj ,rose1 ,cabbage ,rosa ,centifolia #cj ,rose1 ,moss ,rosa ,muscosa #cb ,rose1 ,white ,rosa ,alba #cb ,rose1 ,damask ,rosa ,damascena #cc ,rose1 ,sweet-scented ,tea ,rosa ,safrano #cd ,rose1 ,yellow ,rosa1 ,cloth of ,gold #cd ,rose1 ,austrian ,briar ,rosa ,lutea #ce ,salvia ,salvia ,patens #di ,seringa ,oleine #dd ,sir ,joseph ,paxton #eh ,snowdrop ,galanthus ,nivalis #ag ,the ,lady's ,newspaper1 articles in #b ,the ,queen's warrant #c ,the ,manchester ,examiner answered #f ,the colours #aj ,tulip1 ,van ,thol ,tulipa ,prcox #bb ,tulip1 ,summer #bb ,victoria ,regia1 ,the ,victoria ,regia #eg ,violet1 ,white ,viola ,odorata #ai ,violet1 ,purple ,viola ,purpurea #bj ,visitors #ei ,wallflower ,cheiranthus ,cheiri #be ,wax ,flowers1 as ornaments for the hair #ee ,wax1 artistically prepared #f ,illustration ,,peachey',s ,,royal ,,guide ,,to ,,wax ,,flower ,,modelling4 ,before ,i commence my course of instruction in the fascinating art of representing in wax the floral beauties of nature1 ,i deem it necessary to prelude by a brief explanation as to my pretensions1 and the cause of my offering such instructions to the notice of the public4 ,i have constantly applied myself1 during the last fourteen years1 in strictly copying from nature every flower that has come under my notice1 from the simple wild flowers of our hallowed native fields1 to the latest and rarest exotics brought home by our most eminent collectors4 ,i have also been materially assisted in this particular branch of my art1 by the nobility and gentry having kindly granted me the indulgence of selecting as copies1 from their conservatories1 aught that ,i might consider as valuable additions to my specimens4 ,i have been frequently asked by my pupils to publish such a work as the present2 but diffidence1 amounting perhaps to a weakness1 has hitherto prevented me from even momentarily exchanging the pencil of the artist for the pen of the author3 ,authors1 you know1 of greatest fame1 ,through modesty1 suppress their name4 ,in the year #ahdg1 ,i wrote several articles for the ,lady's ,newspaper1 in the shape of instruction in ,wax ,flower ,modelling1 which articles appeared under the initials of ,e4 ,h41 late pupil of ,mrs4 ,peachey4 ,i must confess ,i felt much gratified upon hearing my pupils1 as well as other ladies1 speak of these articles in terms of commendation4 ,i trust ,i may be pardoned for this little piece of deception1 and beg to remind those who might regard the ingenious device with censure1 that ,sir ,walter ,scott and many other writers of celebrity have done the same4 ,if great and talented persons shrink from making their compositions known as their own creations1 it is not surprising that ,i1 who have no pretension to literature1 should be equally tenacious of my incognito4 ,i have at this period determined upon publishing a book of instructions1 purely in consequence of feeling quite inadequate to receive1 as pupils1 the numerous applicants that daily visit me1 and express much anxiety to be initiated into my method of modelling and grouping4 ,they are two distinct things--to accomplish an art well1 and to impart it to others4 ,i hope ,i may not be considered egotistical in boldly asserting that1 as an instructress1 ,i stand pre-eminent4 ,i feel proud1 most proud1 in having received repeated assurances from the distinguished and numerous ladies who have placed themselves under my tuition1 that my method of teaching is such as to enable the most inexperienced to acquire with facility a perfect knowledge of this pleasing art4 ,the distinguished patronage ,i have from the first received at the hands of her ,most ,gracious ,majesty1 must surely convey to the minds of all1 that ,i have a right to lay claim to artistic skill4 ,when ,i first commenced the agreeable occupation of imitating nature1 ,i had not the slightest idea of ultimately making it a profession4 ,my anxious desire1 ,i may say1 my ambition1 was to produce something that might be considered worthy the notice of our most ,gracious ,queen1 who at the period ,i allude to1 #ahcg1 had just ascended the throne4 ,a spirit of loyalty had been fostered in me from my earliest infancy2 and a pardonable glow of pleasure always animates me1 at the remembrance that ,i am the daughter of an old officer1 who served as surgeon in the ,british army the long period of fifty years4 ,the result of my wishes has been great success4 ,our beloved ,sovereign1 ever ready to encourage talent or industry in any form1 condescended to permit a bouquet1 which ,i designed and executed for her inspection 7in token of my loyalty71 to be placed as an ornament in one of the royal palaces4 ,this was indeed an honour ,i had scarcely dared to anticipate4 ,two years after the period alluded to1 the ,queen became acquainted with the fact1 that a change of circumstances had compelled me to make the art of wax flower modelling a source of profit4 ,her ,majesty1 unsolicited by any1 spoke to the then ,lord ,chamberlain relative to a warrant of appointment being granted to me2 and ,i forthwith received the ,royal ,letters ,patent1 being the first in this country who enjoyed the privilege of being styled ,artist in ,wax ,flowers to ,her ,majesty4 ,i hope ,i may not be deemed prolix in giving these particulars2 it is not from any feeling of vanity1 but from gratitude due to the high power that encouraged my talent in its infancy4 ,the auspicious patronage ,i received gave an impetus to my labours2 and ,i have from that royal day taxed my energies to the utmost1 to prove that my works deserved the high honour that had been conferred upon them4 ,as this work is intended for the perusal of the young1 as well as the adult1 ,i trust ,i may be pardoned for pausing a moment to dwell upon the all-wise dispensations of ,providence4 ,the talent which inspired me would have been useless1 had not the ,giver of all good discovered to me the knowledge that ,i possessed it2 and ,i wish to impress upon the notice of my young friends and pupils1 the advantage1 ,i may say necessity1 of embracing every opportunity of improving any talent committed to their charge2 for my life has shown that what is acquired as an accomplishment or amusement1 may one day become of vital importance to them4 ,it occurs to me1 that it may not be uninteresting to many of my readers1 to become acquainted with the period and by whom ,,the ,,art ,,of ,,modelling ,,flowers ,,in ,,wax ,,was ,,brought ,,into ,,england4 ,i consequently subjoin an extract from ,miss ,strickland's ,life of ,mary ,beatrice1 second consort of ,james ,,ii41 ,a4,d4 #afhf4 ,the beautiful imitations of natural flowers in wax which have lately afforded an attractive exercise for the taste and ingenuity of many of our youthful countrywomen1 were first introduced into ,england by the mother of ,mary ,beatrice1 as a present to her royal daughter2 as we find by the following passage in a contemporary letter from a correspondent of the ,lady ,margaret ,russell1 which gives some information relative to the ornamental works then in vogue among ladies of rank1 in the court of ,mary ,beatrice4 ',in gum flowers1 ,mrs4 ,booth tells me you and she is to doe something in that work1 which ,i suppose must be extraordinary4 ,i hope it will be as great perfection as the fine ,,wax ,,work ye queen has1 of nun's work1 of fruit and flowers1 that her mother did put up for her1 and now she has 'em both for her chapel and her rooms4 ,i do not know whether they be the four seasons of the year1 but they say they are done so well1 that they that see 'em can hardly think 'em other than the real4',a ,a ,in the collection of private family letters of the ,duke of ,devonshire1 at ,chiswick ,lodge3 copied by courteous permission of his ,grace4 ,from the year last named until #agcf ,i have been unable to trace any knowledge of this elegant art4 ,when wax flowers were again introduced by an ,italian1 they were clumsily manufactured in comparison to those seen in the present age of improvement2 for ,i had the opportunity of inspecting some of their miserable remains but a few years since4 ,still ,i must acknowledge ,i discovered some taste and much ingenuity in their construction1 and am not too proud to own that ,i benefited even by examining these very inferior productions4 ,i feel quite satisfied that the art of wax flower modelling is almost still in its infancy4 ,it is no longer regarded as an amusement only4 ,it is enumerated with other accomplishments essential to female education4 ,it assists botanical studies1 and promotes the views of flower painters1 either in oil or water colours2 even in drawing1 wax flowers will be found excellent auxiliaries1 far preferable as copies to the even surface of plates4 ,i have myself been much gratified by furnishing flowers in wax to some of our first flower painters1 who have assured me that they have proved of great utility1 in cases where the evanescent properties of the flower of nature prevented the possibility of committing their similitude to canvas ere their beauty had faded4 ,it affords me no small degree of satisfaction also1 that my flowers were found useful as copies for some of the beautiful carved work in the late great and ever memorable ,exhibition4 ,i have also supplied them as illustrations to botanical lectures4 ,in thus referring to the utility of wax flowers1 ,i am reminded of a partially unfavourable prejudice which has lately sprung up1 from an article which first appeared in a ,manchester paper1 and which was subsequently copied into ,the ,times1 and other papers4 ,it is possible ladies may be induced to abandon this delightful amusement1 upon reading such a statement as the subjoined extract3-- ,,the ,,danger ,,of ,,modelling ,,in ,,wax4--,few persons1 especially1 perhaps1 of the many young ladies who are now practising the very pleasing art of modelling fruits1 flowers1 c41 in wax1 at all suspect the great danger in which they are placed from the poisonous nature of the colouring matter of the wax which they handle so unsuspectingly4 ,the white wax1 for instance1 contains white lead2 the green1 copper2 the yellow1 chrome yellow and vermilion--strong poisons all2 while many other kinds of wax are equally poisonous1 and1 therefore dangerous4 ,there are very many persons who are aware of the intense sufferings1 for very many years past1 of ,mr4 ,w4 ,bally1 phrenologist and modeller in wax1 in which latter branch he has laboured for #bd or #be years1 three of them as teacher of the art1 at the ,manchester ,mechanics' ,institution4 ,mr4 ,bally has been at times completely paralysed1 and is now and has long been very nearly so1 especially in the hands and arms2 and he has also been afflicted with extensive ulceration of the throat1 and has almost totally lost his voice4 ,both himself and his medical adviser1 after a long attention to his symptoms1 are satisfied that the primary cause of his affliction is the extent to which the subtle poisons in the wax with which he has worked have been absorbed into his system through the pores of his hands1 while the disease has been generally strengthened1 and one part of it accounted for1 by the occasional application of his fingers to his lips while at work4 ,mr4 ,bally says1 that he has known several cases in which young ladies have been attacked with partial paralysis of the hands and arms1 after having devoted some time to the practice of modelling2 but at the time he had no suspicion of the cause4 ,as all the requisite colours can be obtained from vegetable matter1 and as the use of mineral colouring seems to lead to such deplorable results1 the subject should be carefully investigated by those working with coloured wax4--,manchester ,examiner4 ,it is not my intention to contradict an assertion so boldly set forth4 ,i have no doubt the editor of the ,manchester ,examiner had some grounds for the article2 but ,i think it right to state that which ,i can prove--namely1 that the wax artistically manufactured by me is so perfectly harmless1 that for the last fourteen years ,i have had it in my hands1 upon an average from twelve to fourteen hours every day 7,sunday excepted71 and never in the slightest degree experienced any inconvenience or ill effects4 ,the small portion of colour ,i introduce undergoes a chemical process1 which neutralizes entirely any deleterious properties appertaining to the few colours required to be used4 ,it is quite unnecessary to introduce white lead at all4 ,i was assisted by a practical ,german chemist to prepare borax1 in such a manner1 as to entirely supersede white lead4 ,now most of my readers will be able to testify how perfectly harmless must be borax1 it being one of the drugs so constantly used with honey1 and recommended by the faculty as an excellent remedy for canker in the mouth4 ,i am1 as ,i have previously stated1 the daughter of a medical man1 and am perfectly acquainted with the danger attending the absorption of mineral colours into the system3 under these circumstances1 it is not likely that ,i should myself use that which would be injurious4 ,ladies1 who desire to enjoy the recreation of wax flower modelling1 may indulge in the amusement with perfect safety1 if they purchase the wax of me4 ,at the same time1 ,i wish it to be perfectly understood1 that ,i do not insinuate1 or attribute aught against any other person or persons who prepare wax for sale4 ,i ,,decidedly ,,object to the dry colours being rubbed into the wax with the fingers4 ,i invariably apply the colours with a brush4 ,it must be injurious to close the pores of the skin1 even were the powders so used innocuous2 but to say nothing of the danger of the method alluded to1 it is a most dirty occupation1 and ladies would not like to see their hands dyed with carmine1 ,prussian blue1 or chromes4 ,such a method of tinting is likely to prejudice ladies against the work altogether2 besides which1 it renders the flowers much more fragile4 ,the only time ,i ever use dry powder is in the form of bloom 7peculiarly prepared arrowroot71 which ,i throw on lightly1 but never rub in4 ,having endeavoured to prove that there are no dangerous results likely to accrue from this pleasing occupation1 ,i will proceed to shew ,,the ,,advantage ,,of ,,wax ,,modelling1 ,,over ,,other ,,fancy ,,work4 ,and one great consideration is that the sight is not likely to be injured4 ,the eye does not require to be fixed2 it does not occupy so much attention as to prevent conversation1 nor need the body be bent1--a matter of much importance with growing girls1 many having suffered affections of the chest1 and others disfigured for life1 through continually stooping to frame work4 ,there is no monotony in this agreeable employment1 for new varieties are continually springing up in nature2 and a visit to the ,botanical ,gardens at ,kew1 or the ,regent's ,park1 will at all seasons afford some fresh specimen4 ,in referring to the former gardens1 ,i cannot forbear expressing the deep sense of obligation ,i feel due from the public1 and artists particularly--being myself one of them1--for the boon bestowed upon us by those powers who afford such facility for inspecting--free of charge--all that is lovely1 choice1 and rare4 ,it is perfectly clear1 according to my method1 that the most elegant drawing room might be used1 without suffering in its appearance during its operations4 ,i would merely recommend that the table should be covered with paper1 so that all small pieces might be kept together1 and easily removed4 ,i will now proceed to name the ,,materials ,,required ,,for ,,wax ,,flower ,,modelling4 ,,wax--white1 yellow1 orange1 pink1 and several shades of green4 ,two steel pins with china heads 7different sizes74 ,one ivory pin1 with large head4 ,eleven bottles of powder2 consisting of scarlet1 bright crimson1 dark crimson1 lemon1 yellow1 orange1 dark orange1 light blue1 middle blue1 dark blue1 and white4 ,twelve large brushes4 ,two small brushes4 ,twelve saucers4 ,three skeins of white wire4 ,two skeins of green do4 ,two pieces of white marble1 #c to #d inches square1 #c_/d inch thick4 ,one pair of sharp pointed scissors4 ,one cake of smalt4 ,one cake of sepia4 ,one cake of crimson lake4 ,one bottle of down4 ,having given a list of the materials required for the elegant and charming amusement of ,wax ,flower ,modelling1 ,i deem it expedient to make a few remarks relative to the properties of1 and ,,purposes ,,to ,,which ,,the ,,materials ,,are ,,applied4 ,without wishing to derogate from the merit of others1 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 nature1 ,i think it necessary to state1 that ,i offer to the public materials only of the very best quality2 consequently1 ,i take the prices of other persons' goods as no criterion or standard for mine4 ,the wax is manufactured under my own immediate superintendence2 soft1 and perfectly dull on one side4 ,it is sufficiently opaque of itself not to require being painted on the wrong side for white flowers1 which is the case with common wax4 ,i likewise prepare wax1 called double wax1 it is twice as thick as the ordinary wax4 ,when the single wax is used double1 the two shining sides should be placed together4 ,it has sheets of tissue paper placed between it to keep each sheet of wax smooth and straight 7a great advantage17 for when this is not done 7though the wax may be good71 the edges are often wrinkled1 and a great deal of waste is the consequence4 ,,the ,,colours--eleven in number1 submitted for sale on my counters1 #afj1 #afa1 #afb1 #afc1 ,soho ,bazaar1 are of the very best quality1 and ground down particularly fine in spirits4 ,i recommend saucers instead of a flat pallet1 as it is not necessary to use up at once all the colour that is mixed2 and by keeping each colour distinct in separate saucers1 much waste is prevented4 ,twelve brushes are indispensable2 each to be confined to the use of one colour4 ,two small sable brushes are for veining1 as in geraniums4 ,the large ivory pin is required for the ,victoria ,regia1 water-lily1 and other large flowers4 ,the two smaller pins are to be used for similar purposes1 on flowers of less magnitude4 ,the cake colours are never to be used alone1 but rubbed down with the powder1 as will be shown in my instructions for mixing colours4 ,the large white wire is to be used as stems for flowers1 such as dahlia1 camellia1 c4 ,the second and finest white wire to support the petals4 ,the green wire1 ,nos4 #a and #b1 are for stems of various flowers4 ,the square pieces of marble are of great utility in rolling fine filaments1 or rays1 for the various kinds of passion flowers4 ,it is a much quicker and cleaner method than rolling them with the fingers4 ,i think it necessary to give some ,,directions ,,for ,,mixing ,,colours4 ,place the powder required in a saucer3 add a few drops of water1 and rub the same with a brush for some time2 as friction materially improves the brilliancy of tint4 ,the colour should be mixed as thick as cream1 but a very small portion taken into the brush at one time4 ,as the brushes are large1 they absorb a large quantity of colour2 consequently1 the brush used to mix the colour with1 must be pressed upon the edge of the saucer several times to cleanse it4 ,the cake paint is used with the powder colours for fine veining1 and when a second colour is required to be placed over another2 as ,i shall show in my instruction for the rich dahlia purpurea4 ,i have a great objection to mixing gum water with the colours4 ,i use it only previous to throwing on down1 such as in the calyx of geranium1 primrose1 c4 ,a rich crimson is produced by the application of the crimson powder upon pink wax4 ,a darker crimson1 by adding a little of the darkest crimson powder to the former4 ,if a deeper crimson still be required1 add a little of the middle blue4 ,a pale pink is obtained by applying crimson powder with a small portion of white1 laid on the wax very thin4 ,a light orange scarlet1 as in fuchsia fulgens1 is acquired by mixing a minute portion of scarlet powder with the bright crimson4 ,scarlet for geranium2 a larger portion of the scarlet with the crimson4 ,different shades of scarlet are also produced by laying the crimson powder upon different shades of wax1 namely1 lemon1 yellow1 and orange4 ,a purple 7as in violet71 is produced by mixing the second blue with a lesser portion of the bright crimson powder4 ,a deeper purple1 as in the centre of the anemone1 is obtained by the combination of the crimson powder with the deepest blue4 ,various shades of lilac and peach colours are produced by a careful admixture of the bright crimson1 middle blue1 and white4 ,a primrose colour is obtained by using my lemon powder 7a beautiful preparation71 upon white wax4 ,a rich brown1 as in wall-flower1 requires a mixture of cake sepia with bright crimson4 ,the dark velvet-purple-looking spot seen in geraniums is obtained from mixing the cake smalt with a little bright crimson powder4 ,a similar tint may be obtained by mixing crimson lake1 in cake1 with the middle blue4 ,various shades of green are procured by combining the first or second yellow with the darkest blue4 ,in noticing the ,,use ,,of ,,curling ,,pins ,,and ,,scissors1 ,i beg to remind my readers that these are the only instruments ,i deem requisite for modelling wax flowers4 ,both these require to be moistened before they are applied to the wax4 ,warmth as well as moisture is essential for these4 ,a glass of lukewarm water will answer the purpose2 but great care must be taken to shake off the surplus water2 for if the globules were to fall upon the petal1 it would occasion the colour to run4 ,,the ,,method ,,of ,,applying ,,brushes requires to be stated2 for they must not be held as a pen or pencil1 but perfectly perpendicular4 ,commence a short distance from the lower end of the petals--for where the paint is applied the wax will not adhere4 ,when the petal is all one colour1 pass the brush from you quickly and lightly off the same on to the paper4 ,if it is a variegated petal1 bring the brush towards you4 ,this will enable you to soften off the edges of the spots which are to be left free from colour4 ,when moisture is required in the brush1 the latter must not be plunged into water1 but a small drop taken up by the handle on to the paper4 ,,to ,,cleanse ,,the ,,scissors1 ,,pins1 ,,and ,,marbles4 ,dip either into boiling water1 and wipe them immediately4 ,the marbles require to be used warm4 ,,explanation ,,of ,,botanical ,,words4 ,although ,i do not pretend to put this forth as a ,botanical work1 ,i deem it necessary that ,i should make use of certain words in application to forming the different parts of a flower2 ,i shall give an explanation of such botanical words as ,i must occasionally make use of in the course of my instructions4 ,,corolla signifies a flower deprived of its centre4 ,for example3 the corolla of a rhododendron falls from its position1 leaving the interior of the flower pendent to the stem4 ,the convolvulus has a funnel-shaped corolla4 ,,petal4 ,this is part of the corolla1 and what is termed1 by the uninformed--leaf2 for instance1 we hear of drying rose leaves1 when in fact it is the petals that are alluded to4 ,the term leaf should only be applied to the foliage4 ,,pistil1 or ,,pistillum1 is that part of a flower which projects directly from the centre1 and is longer than the rest2 we observe it in the white lily1 fuchsia1 honeysuckle1 etc4 ,the enlargement at the end of the pistil is termed stigma4 ,,stamens1 or ,,stamina1 signify the filaments that surround the pistil2 and the enlarged part at the end of each filament is called anther4 ,,farina is the fine dust which is contained in the anther1 and which shows itself also outside4 ,,calyx is applied to the green attached to the flower4 ,for example3 the part that is covered with moss about the rose is the calyx4 ,sometimes the calyx is covered with down1 as in geranium1 primrose1 etc4 ,,stigma4 ,the enlargement at the end of the pistillum4 ,,how ,,to ,,copy ,,from ,,nature4 ,to take the pattern of a natural flower1 you must remove the petals carefully1 sorting out how many there are of an equal size4 ,take the shape of one out of each set1 in the following manner3 ,place the petal upon a sheet of writing paper1 holding it firmly to the paper with the point of the fore finger of the left hand4 ,take a large brush containing a very little colour and pass it round the edge4 ,the exact form will be left upon the paper without tearing the edges of the petal1 even though it were unusually fragile4 ,when the requisite flower cannot be procured1 a proper pattern can be obtained at ,soho ,bazaar1 or at my residence1 #ce1 ,rathbone ,place1 where ,i am happy to receive visitors1 daily1 from ten in the morning till six o'clock in the evening4 ,place the pattern upon the dull side of the wax1 and as the grain runs the length of the same1 cut each petal accordingly1 for the wax takes the paint much better in that direction4 ,,various ,,flowers ,,to ,,be ,,described4 ,,floral ,,life4 ,lord1 what is life8 ',tis like a flower ,that blossoms1 and is gone6 ,we see it flourish for an hour1 ,with all its beauty on2 ,but death comes1 like a wintry day1 ,and cuts the pretty flower away4 ,,the ,,flowering ,,seasons4 ,say1 what impels1 amid surrounding snow ,congealed1 the ,,crocus' flowery bud to glow8 ,say1 what retards1 amid the summer blaze1 ,the autumnal bud1 till pale declining days8 ,the ,god of seasons1 whose pervading power ,controls the sun1 or sheds the fleecy shower2 ,he bids each flower ,his quickening word obey1 ,or to each lingering bloom enjoins delay4 ,h4 ,,kirke ,,white4 ,as it will be impossible in a small volume to give instructions in all ,flowers1 ,i shall endeavour to select such as will produce a pleasing contrast of form and colour2 at the same time1 including flowers of every season1 commencing with ,spring--and who does not hail the early ,flowers with delight8 ,after a long and severe winter1 the appearance of the golden crocus and the modest snowdrop1 peeping from the earth1 convey to the mind a glow of unspeakable pleasure4 ,then wherefore had they birth8 ,to minister delight to man-- ,to beautify the earth4 ,,instruction ,,how ,,to ,,form ,,the ,,crocus4 7,,crocus ,,luteus47 ,youthfulness4 ,prepare the petals 7from pattern7 in double wax1 choosing a bright orange1 but not too dark4 ,place the two shining sides of the wax together4 ,the inner petals are not striped1 but the three outer ones have eight or ten pencil strokes of a middle shade of green1 broad towards the lower end1 and carried off to fine points2 these strokes do not extend beyond two thirds of the flower1 and laid on with the sable brush4 ,cup the petals very much with a large head pin 7this is why they require to be cut from double wax7 so firmly that each petal produces an egg-shaped form when united4 ,double a hem in a piece of wax the same as that from which you have previously cut the petals4 ,prepare the stamina from this piece of wax by snipping the proper number4 ,the hem at the edge of the wax is to represent the anthers2 affix the stamina when so prepared to the end of a piece of strong wire1 and cover them with farina 7my second yellow powder74 ,place the petals round the stamina--first1 the three not painted--and the remaining three in the intervening spaces4 ,the calyx is prepared in lemon wax1 tinged with a little brown1 and is passed round the end of the flower4 ,the stem covered with pale lemon wax4 ,the leaves narrow strips of double wax 7dark green71 strongly indented with the point of the pin1 and a white stripe laid smoothly on with the small sable brush4 ,the above directions will answer for the crocus susianus1 the cloth of gold1 striped orange1 and very dark purple2 besides the ,scotch crocus1 striped1 white1 and purple4 ,,the ,,snowdrop4 7,,galanthus ,,nivalis47 ,consolation4 ,the snowdrop1 and then the violet1 ,arose from the ground with warm rain wet2 ,and their breath was mixed with fresh odour sent ,from the turf1 like the voice and the instrument4 ,this charming1 pensive little flower should be prepared from double white wax4 ,it consists of six petals1 like its companion the crocus4 ,the longest are left perfectly white1 the others striped upon the inside with very light green paint2 and upon the opposite or exterior side of the petal is placed a triangular green spot1 near the off end4 ,cut a fine green wire1 three inches long1 cover it with a strip of light green wax1 affix to the end the stamina1 cut from yellow wax4 ,place round these the striped petals1 and those that are quite white immediately between2 finish off the same by placing a little double green wax at the end of the flower1 which forms the calyx2 the flower-stalk is then to be attached to a stronger stem4 ,where they are united place a small sheath1 cut from lemon wax1 tinge round the edge with light green4 ,the leaves are rather narrow1 not so dark as the crocus2 made from double wax4 ,the head of the pin is merely rolled down the centre3 they are attached a short way down the stem4 ,,the ,,primrose4 7,,primula47 ,forsaken4 ,look on these flowers6 as o'er an altar1 shedding ,on ,milton's page soft light from coloured urns-- ,they are the links man's heart to nature wedding1 ,when to her breast the prodigal returns4 ,they are from lone1 wild places--forests1 dingles1 ,fresh banks of many a low-voiced hidden stream2 ,where the sweet star of eve looks down and mingles ,faint lustre with the water-lily's gleam4 ,,mrs4 ,,hemans4 ,this unassuming pretty flower has a salver-shaped corolla2 but in modelling it1 ,i advise its being formed of five petals4 ,prepare the latter in double white wax1 colour them upon both sides with my lemon powder 7this is a most beautiful preparation71 taking the precaution not to carry the same to the end1 or it would prevent adhesion of the wax4 ,with a small sable brush1 form a triangular spot of deep yellow at the lower end of the broad part of the petal4 ,attach to the end of a second-size wire a piece of lemon wax1 extending the same half an inch down the stem2 this is to form a foundation3 the point is to be neatly moulded1 and to be seen peeping1 as it were1 from the centre of the flower4 ,the petals are curled in the following manner2--rest the petal in the palm of the left hand1 placing the side that has the triangular spot downwards1 press the third finger of the right hand in the centre1 and then upon the opposite side strongly indent with the point of the pin4 ,place the five petals thus prepared round the stem previously formed1 press the petals neatly together1 flattening them down a little to give the appearance of being formed in one piece4 ,the calyx is cut in very light green wax1 it is in one piece1 vandyked at the top into five points2 in each point press the pin1 and attach it afterwards round the neck or tube of the flower4 ,wash the calyx with a weak solution of gum water1 using for the purpose a sable brush4 ,sprinkle it over1 while moist1 with a little of my prepared down4 ,the stem should look transparent1 consequently the wire must be covered with very light green or lemon wax4 ,for the leaf1 see my general instructions upon foliage4 ,illustration ,,violet4 7,,viola ,,odorata47 ,modesty4 ,as the dew that moistens the rose at dawn1 ,gives the ,,violet many a tear1 ,so bright in the morning of life she shone1 ,that her fragrance still lives while her spirit is gone1 ,embalming her memory here4 ,m',,comb4 ,sweet flower6 spring's earliest1 loveliest gem2 ,while other flowers are idly sleeping1 ,thou rear'st thy purple diadem1 ,meekly from thy seclusion peeping4 ,thou1 from the little secret mound1 ,where diamond dew-drops shine above thee1 ,scatterest thy modest fragrance round2 ,and well may nature's poet love thee6 ,thine is a short1 swift reign1 ,i know1 ,but love1 thy spirit still pervading1 ,new violet tufts again shall blow1 ,then fade away as thou art fading2 ,and be renewed2--the hope how blest1 7,oh1 may that hope desert me never67 ,like thee1 to sleep on nature's breast1 ,and wake again1 to bloom for ever6 ,,bowring4 ,a violet1 by a mossy stone-- ,half hidden from the eye2 ,fair as a star1 when only one ,is shining in the sky4 ,,wordsworth4 ,prepare the petals in white wax3 there are five in number4 ,pass the head of a large pin firmly down the centre1 so as to cup each4 ,cover a fine green wire with a strip of light green wax2 at the end of this affix a small piece of orange wax1 and mould it to a point1 not allowing it to be larger than a carraway seed4 ,dip the point of this foundation in water1 and then into the second yellow powder1 which gives it the appearance of farina4 ,place three petals under the foundation1 and the remaining two on the top1 turning them back2 bend the stalk up1 and under the three petals place a small piece of white wax1 which is to be coloured purple after it is attached4 ,the calyx consists of five points1 and are placed round the neck of the flower4 ,,purple ,,violets4 ,violets1 sweet tenants of the shade1 ,in purple's richest pride arrayed1 ,your errand here fulfil2 ,go1 bid the artist's simple stain ,your lustre imitate in vain1 ,and match your ,maker's skill4 ,purple violets are constructed precisely the same as the former2 the only difference that exists being that the petals require to be cut from blue wax1 and painted upon both sides with purple 7bright crimson and middle blue47 ,like the sweet south ,that breathes upon a bank of violets1 7,so darkly1 deeply1 beautifully blue17 ,smelling and giving odours4 ,thou smiling promise of more sunny days1 ,how do ,i love thine unobtrusive glance6 ,,anemone4 7,,anemone ,,hortensis47 ,sickness4 ,the petals are cut from thick or double white wax4 ,place a piece of fine white wire half way up each1 and secure it to its position by placing a narrow strip of white wax upon the same1 rolling it down each edge with the head of the smallest pin4 ,colour them from the centre to the point with bright purple 7second blue and bright crimson71 the large brush to be used1 7see my directions1 p4 #ac47 ,the small petals are cupped by laying each in the palm of the left hand1 and pressing it firmly with the thumb of the right hand4 ,the large or outside petals are curled in the same manner1 but the points turned back4 ,the centre or foundation is formed by passing two strips of double pink wax round the end of a strong wire1 7care must be taken at all times to double the wire down to prevent its slipping27 mould the same to a point1 leaving it broad at the lower end2 indent it strongly round with the curling pin2 colour this half way down with dark or black-looking purple1 7dark blue and crimson47 ,the stamina are also formed from pink wax3 first roll a whip 7as in muslin7 which produces the anthers1 and cut a fringe the third of an inch deep4 ,wind the same around the previously formed centre1 and then brush them out with the dark purple brush that has been applied to the foundation4 ,when thoroughly dry1 touch the ends occasionally with green2 this must be done with the sable brush4 ,at the back of the pulp first formed1 close to the wire1 affix the small petals at equal distance1 and the large ones1 which turn back1 in the intervening spaces4 ,when the anemone is in bud1 it is surrounded by a calyx1 but as it expands it rises and leaves the said calyx at least one inch down the stem2 it has a fringed appearance1 and is prepared from double green wax4 ,the stem is covered neatly with light green wax4 ,the anemones grow in great variety of colour1 but this instruction1 as to form and centre1 is applicable to all4 ,the brilliant scarlet and purple1 contrasted with the pink1 lemon1 and white1 form a pretty group by themselves4 ,,tulip ,,van ,,thol4 7,,tulipa ,,pr,,cox47 ,declaration of ,love4 ,flowers are the brightest things which earth ,on her broad bosom loves to cherish2 ,gay they appear as children's mirth1 ,like fading dreams of hope they perish4 ,,patterson4 ,prepare the petals from double yellow wax1 placing the shining sides together1 a fine white wire half way up between4 ,form two distinct creases up the centre with the point of the pin2 with the head of the latter cup the broad part of the petal4 ,turn the edges inward towards the point1 and colour each petal upon both sides with the crimson powder1 softening off the same1 and leaving a margin of the yellow free from colour4 ,the stamina are prepared 7according to pattern71 from double yellow wax1 and painted with rich brown 7cake sepia and crimson71 from the broad part to the point4 ,to a large wire affix a piece of double green wax1 cover the same with lemon wax1 and press it into a triangular form3 place a strip of double green wax three quarters of an inch from this point1 to form a foundation to attach the petals to4 ,place round the foundation the brown stamina previously prepared1 and then attach the petals1 in rows of three or five2 they vary very much in number1 some flowers being much more double than others4 ,the remarks in the foregoing instructions on the ,van ,thol ,tulip1 are also applicable to the ,summer ,tulip2 the centre is formed the same1 but rather larger2 nature must do the rest4 ,the great beauty of the flower in the florist's eye1 consists in its being cup-shaped and round at the base4 ,the ground colour of the flower ought also to be very clear and bright in the centre4 ,,narcissus4 ,permission4 ,by all those token-flowers that tell ,what words can ne'er express so well4 ,,byron4 ,cut six petals in double white wax2 indent up the centre of each with the point of a curling pin2 press against this crease upon the opposite side1 so as to produce a ribbed appearance4 ,pass the head of the curling pin down on each side of the previously named crease1 and press the petals back4 ,cut a strip of yellow wax half an inch deep and one inch and a half in length2 plait it up at one edge1 and join it round to form a cup4 ,to the end of a piece of middle size wire attach the stamina1 draw the same through the cup1 and fasten it underneath4 ,take a slip of pale green wax1 and wind round the wire under the cup1 to form the tube or neck of the flower4 ,attach three petals in a triangular form immediately under the cup1 and the remaining three immediately between those preceding4 ,,the ,,jonquil is constructed precisely the same2 but use for the petals double yellow wax instead of white1 and orange wax for the cup instead of yellow4 ,,the ,,daisy4 7,,bellis ,,perennis47 ,innocence4 ,whilst culling the sweet and early flowers1 ,i cannot permit myself to pass the daisy1 that pretty and simple production of nature1 so emblematical of innocence1 and which has been immortalized by poets1 ancient and modern4 ,,the ,,daisy4 ,a nymph demure1 of lowly port1 ,or sprightly maiden1 of ,love's court1 ,in thy simplicity the sport ,of all temptations2 ,a queen in crown of rubies dressed1 ,a starveling in a scanty vest1 ,are all1 as seems to suit thee best1 ,thy appellations4 ,i see thee glittering from afar1 ,and then thou art a pretty star2 ,not quite so fair as many are ,in heaven above thee2 ,yet like a star1 with glittering crest1 ,self-poised1 in air thou seem'st to rest-- ,may peace come never to his nest1 ,who shall reprove thee4 ,sweet flower--for by that name at last1 ,when all my reveries are past1 ,i call thee1 and to that cleave fast1 ,sweet silent creature1 ,that breath'st with me in sun and air2 ,do thou1 as thou art wont1 repair ,my heart with gladness1 and a share ,of thy meek nature4 ,,wordsworth4 ,the daisy may be made entirely white1 crimson tipped1 or crimson all over the petals3 the latter are cut in single white wax1 a strip at once the width of a sheet of wax4 ,after the petals are coloured1 the pin is deeply indented into each1 some in fact are made quite round4 ,the flower grows single and double1 so that there is no decided number required2 this must be left to the taste of the copyists2 but if they prefer the double flower1 the eye or centre is scarcely visible4 ,on the contrary1 if it is a single flower that is to be imitated1 the eye must be increased4 ,to form the latter1 take a sheet of yellow wax1 fold it at the end the eighth of an inch deep1 hold it between the thumb and finger of the left hand1 and with the point of the curling pin indent the edge closely the whole length1 and pass round the end of the middle wire1 letting it rise a little in the centre4 ,the petals are then attached very closely1 and as many as form the double or single flower1 whichever may be preferred4 ,the calyx is green1 and placed on similarly to the petals4 ,wee1 modest1 crimson-tipped flower 99 99 99 99 thou bonnie gem4 ,,burns4 ,,wall-,,flower4 ,fidelity in misfortune4 ,how oft doth an emblem-bud silently tell ,what language could never speak half so well4 ,cut from bright orange four wax petals for each blossom3 colour the edges1 and vein each a rich brown 7crimson powder and cake sepia74 ,press the finger in the centre of every petal1 for the purpose of giving a crumpled appearance4 ,use a piece of middle size wire2 cover it with green wax1 and affix to the end four stamina1 made in the following manner3 ,double along the end of a sheet of lemon wax 7a narrow fold72 cut the stamina short and fine2 colour the ends with my lemon powder4 ,place the petals immediately under2 putting them on so as to form a square4 ,the calyx is cut from green wax passed round the tube of the flower1 and coloured afterwards with the same brush that has been used for the flower4 ,the buds are made of solid wax2 some green1 others orange2 and painted with the rich brown in various shades4 ,in the largest buds1 leave the orange points free from paint1 at the point peeping from beneath the dark calyx4 ,there cannot be a more natural looking flower than the last described1 if modelled neatly1 and well in regard to colour2 at the same time1 ,i must remind my pupils that none can look worse if badly executed4 ,having now submitted what ,i consider a fair selection from spring flowers1 ,i will proceed to those which we may observe at a later period1 commencing with the rhododendron4 ,this is one of a class of flowers which ,i admire most particularly in nature1 and also find extremely useful in an artistic point of view4 ,its form is peculiarly eligible in grouping1 and its value increased from the fact1 that it is cultivated at the present time in such great varieties of shades and colours4 ,i do not know that ,i can experience a greater treat than to visit the ,botanical ,gardens1 ,regent's ,park1 when their show of ,american plants is on view2 and ,i would recommend my pupils to devote some time to perfect themselves in flowers that afford such great variety2 and as instruction as to the formation of one conveys the same for all1 except as to varying the colour1 ,i do not feel that ,i could choose a more advantageous specimen of floriculture for imitation4 ,,lilac ,,rhododendron4 ,danger4 ,all are for use--for health--for pleasure given3-- ,all speak1 in various ways1 the bounteous hand of ,heaven4 ,,charlotte ,,smith4 ,cut the petals in white wax2 chose it rather thick1 but not the double wax4 ,it is formed with two pieces1 and yet when united it appears as if there were five petals4 ,the colour is produced in any shade of lilac by mixing my bright crimson1 middle blue1 and a small portion of white together4 ,this is laid on round the edge upon both sides with a large brush4 ,when perfectly dry1 the colour is partly taken off by passing a moist brush containing very little colour over the whole4 ,this carries off the rough portion of the paint previously applied1 and gives the petals a soft and shaded appearance4 ,press the curling pin up the centre of each point1 and pinch against it so as to form a distinct seam4 ,roll the head of the pin down each side of the seam1 which will occasion the edges of the petal to look a little crumpled4 ,unite the petals neatly together1 making a small plait between each4 ,form the pistil of double wax3 thicken it at the end to represent the stigma4 ,the stamina are produced by folding the end of a sheet of wax so as to produce the same appearance as a hem in muslin1 and cut ten fine filaments for each flower 7the hem represents the anthers74 ,colour the pistil and stamina pale pink3 darken the end of the pistil to a deep crimson4 ,touch the ends of the stamina with a sable brush moistened with brown 7crimson powder1 orange powder1 and cake sepia72 while wet1 dip them into farina 7produced by mixing my lemon powder with white1 quite dry74 ,cut a piece of wire1 three inches long1 middle size3 pass a small piece of light green wax round the end1 and double the wire down2 then attach the pistil to it1 and place the stamina round1 taking care that the pistil rises above the stamina4 ,the centre petal of each flower is dotted with brown1 the same colour previously used for the anthers4 ,the stem is passed through the centre of the corolla1 pressing the edges of the latter neatly to the wire4 ,it is one of those flowers that has not a calyx attached close to the flower1 but is shaded lightly round the end with a crimson brush4 ,the flowers are mounted in clusters1 varying in number3 seven form a pretty size4 ,when the flowers are united1 a cluster of small points of very light green wax are placed3 these are what are termed by botanists1 calyx involucre1 signifying that such calyx is remote from the flower4 ,place three or four leaves round the stem1 a short distance from where the flowers are united4 ,another of the ,american plants useful in grouping1 is the ,,kalmia4 7,,latifolia47 ,combination4 ,ye flowers of beauty1 pencilled by the hand of ,god6 ,,pollok4 ,the corolla is in one piece1 having five points4 ,it requires to be cut in thick wax4 ,press the finger in the centre1 and pinch up each point1 bending the same towards the centre4 ,a double piece of wax1 cut in points1 is placed at the back2 press the two firmly together1 and make a hole in the centre with the large pin4 ,paint in the corolla a small circle of crimson points1 using for this purpose a sable brush4 ,cover a piece of fine wire two inches in length2 mould to the end a small piece of double green wax1 making it quite round4 ,the pistil is affixed to this1 and is formed by rolling the edge of the wax 7as a whip in muslin71 and cutting it fine1 as previously directed4 ,the stamina are prepared in the same manner1 consisting of ten filaments1 and are placed round the pistil4 ,pass the stalk through the centre of the corolla1 rendering it secure by pressing the fingers close to the flower underneath4 ,finish off the flower by attaching five minute points of green wax4 ,after the pistil and stamina are drawn through the flower1 press the anther of each filament down to the corolla with the head of the pin1 and tip them with deep crimson4 ,,yellow ,,jasmine4 7,,jasminum ,,revolutum47 ,grace and ,elegance4 ,cut the petals from double yellow wax4 ,there are five to each flower4 ,pass the head of the small curling pin quickly twice down each petal2 and indent it strongly down the narrow or tube part of each petal upon the opposite side4 ,cover a piece of fine wire1 about three inches long2 affix a small piece of green wax1 pressed into a point by the side of1 and at the end of1 the said points4 ,dip the latter into water1 and while wet1 into the yellow powder1 to represent farina4 ,place the five petals around1 pressing each on neatly and firmly1 permitting the points or stamina to be seen just rising from the neck or tube of the flower4 ,pass a small piece of green wax round the lower end of the tube to form the calyx4 ,some buds may be formed from wax1 wound round wire1 and made solid2 others of petals closed4 ,about four flowers1 and three or four buds1 form a pretty and useful cluster2 but the number may be increased or diminished at pleasure4 ,,white ,,jasmine4 7,,jasminum ,,officinale47 ,amiableness4 ,the petals are prepared from thick or double white wax4 ,it is put together precisely as the last named flower2 but the petals are pointed1 instead of being round1 as in the yellow4 ,press the point of the curling pin up the centre of each petal4 ,after the flower is united1 the tube is tinged1 first with pale yellow1 and subsequently with red1 very slightly4 ,the calyx consists of five fine points1 which are cut in green wax1 and attached at the bottom of the tube4 ,the flowers are mounted like the yellow jasmine4 ,the green sprigs are placed on two at once1 facing each other4 ,,cape ,,jasmine4 7,,gardenia47 ,sweetness4 ,the petals are cut in thick wax1 or single wax doubled2 when the latter is the case1 be careful to place the two shining sides together4 ,it is particularly easy to form3 the petals require to be curled precisely as the yellow jasmine4 ,the centre is formed by crushing two or three small pieces of orange wax to the point of a wire4 ,the first five small petals are very faintly tinged with orange2 this is merely to give warmth to the centre of the flower1 to make up for the deficiency of the life-glow1 if ,i may use this term--great care must therefore be taken not to make it too dark4 ,all the succeeding petals are placed on in rows of five1 turning some of the petals forward towards the centre of the flower4 ,the neck of the flower is already formed from the ends of the petals2 it only requires to be moulded very smooth1 and coloured a light pomona green4 ,the calyx consists of five points of green wax1 placed at the end of the tube4 ,the dark foliage is placed round in clusters1 and produces a pleasing contrast to the flower4 ,i would here observe1 that this flower is particularly useful in grouping4 ,it is a greenhouse production1 and extremely fragrant in nature2 it is consequently always consistent to place it in a bouquet2 independently of this1 it is an excellent substitute for white camellia in groups1 where the last named flower would be too large4 99 99 99 99 99 ,i shall proceed to give some instruction in ,roses4 ,the varieties now grown and named in our nurseries amount to the almost incredible number of two thousand4 ,i shall therefore choose1 for the information and improvement of those ladies who kindly think proper to place themselves under the guidance of my little book1 about six kinds1 such as ,i deem most useful1 and as being different in form and colour4 ,i think1 when these are perfectly understood1 any other kind can be copied easily from nature4 ,i shall commence with the old favourite1 ,,the ,,cabbage ,,or ,,provence ,,rose4 7,,rosa ,,centifolia47 ,beauty4 ,the rose has one powerful virtue to boast ,above all the flowers of the field-- ,when its leaves are all dead1 and fine colours are lost1 ,still how sweet a perfume it will yield4 ,,watts4 ,cut the petals from pale pink wax2 colour the three smallest rather deep with the crimson powder4 ,the split petals1 marked on my pattern fifteen1 are coloured the same1 but rather a lighter hue4 ,each succeeding set are painted the same1 but gradually diminish the colour until you arrive at the outer petals1 which are the lightest of all4 ,to form the petals1 use a pin as little as possible2 cupping them with the thumb or finger1 according to its size4 ,for the largest petals1 use the thumb1 so pressing each in the centre1 while it is resting in the palm of the left hand1 as to become perfectly round4 ,the last two or outer rows are turned back with the head of a curling pin4 ,prepare the foundation of solid wax1 rolled round the end of a moderate size wire4 ,it must be cone-shaped4 ,the three smallest petals are crushed and placed at the point in a triangular form4 ,the split petals1 marked on my pattern fifteen1 are united into clusters of five1 and placed round immediately under the three that are crushed4 ,each succeeding row of petals are placed on in like manner1 taking care that each petal is attached to the under part of the foundation1 and not upon the side4 ,i particularly name this1 as ,i too frequently find ladies err in forming the roundness of the rose4 ,the last two rows of petals1 which are turned back1 must be placed rather lower than those preceding4 ,the calyx is cut from double light green wax4 ,the head of the curling pin is passed down the centre of each point previously to their being placed on4 ,pass a strip of double green wax close round the base of the flower1 moulding it round and smooth with the thumb and finger4 ,this is to represent the seed cup4 ,when the calyx is affixed1 it must rest against the back of the rose1 and be so neatly moulded over the seed cup1 as not to show any division or seam4 ,,the ,,moss ,,rose4 ,beauty and ,love4 ,is similarly constructed 7being one of the same class71 but is rather smaller4 ,it requires the addition of a little real moss4 ,it must be the fine spray moss2 and dried quickly1 by placing a warm flat-iron upon it4 ,it is affixed to the calyx and seed cup by pressing it on with the head of the curling pin4 ,,the ,,white ,,rose4 7,,rose ,,alba47 ,silence4 ,cut the petals from thin white wax4 ,tinge the lower part of the first three sets of petals with my lemon powder4 ,cup all the petals with the finger1 turning the last or largest two rows back4 ,cut a few stamina in lemon wax1 with the edge rolled to form the anthers2 colour them with orange1 and when quite dry1 touch them occasionally with brown 7crimson powder and cake sepia74 ,these stamina are divided into clusters1 eight or ten filaments in each1 and about five in number4 ,make a small cone-shaped foundation2 attach one cluster of stamina at the point4 ,the ten small petals are affixed round1 turning in various directions1 and interspersed with the rest of the stamina4 ,the whole of the remaining petals are placed on five in a row1 the last two turning back4 ,finish off with calyx and seed cup1 as in previous instruction4 ,this rose is peculiarly adapted for bridal bouquets2 and ,i must here mention1 while alluding to the subject of bridal favours1 that ,i made upwards of ten thousand of these roses upon the happy occasion of ,her ,majesty's marriage4 ,it may afford some trivial amusement to my younger friends1 to relate the following anecdote1 in connection with the event just alluded to4 ,about three years after ,her ,majesty was united to ,his ,royal ,highness ,prince ,albert1 a gentleman visited my establishment1 and inspected my specimens of flowers in wax with evident satisfaction4 ,he represented himself as being a great admirer of wax-work generally2 and stated1 that he himself possessed a rare specimen1 in fact1 a perfect bijou4 ,he should wish me to see it4 ,i1 of course1 expressed some anxiety to behold such perfection of art2 and accordingly1 he sent his footman with a small box1 charged with strict orders to be particularly careful in conveying the same4 ,after removing sundry pieces of tissue paper1 and as many of wadding1 my surprise may be easily imagined1 when ,i beheld one of the identical bouquets 7white rose1 orange blossom1 and myrtle1 tied with white satin ribbon7 that ,i had myself manufactured upon the joyous occasion already alluded to4 ,i am but human nature1 therefore1 ,i hope ,i may be pardoned for expressing and feeling a certain degree of vanity upon inspecting this ,royal relic of my own hands2 still1 ,i am not blind to the fact1 that the happy occasion for which the bouquet had been prepared1 namely1 the nuptials of our beloved ,sovereign1 had materially enhanced its value to the possessor2--but ,i will no longer digress from the leading feature of this work1 but commence the description of the formation of ,,the ,,damask ,,rose4 7,,rosa ,,damascena47 ,freshness of ,complexion4 ,the rose1 like ruddy youth1 in beauty stands1 ,and would be cropped by none but fairest hands4 ,cut the petals from white wax1 and paint them upon both sides 7with my crimson71 two-thirds down4 ,cup the petals as in the preceding rose4 ,cut two strips of stamina in lemon wax1 tip them with my orange powder4 ,make a foundation of lemon wax1 and pass round the strips already mentioned4 ,place in a triangular form the six small petals in clusters of two2 the next two sets are attached in like manner at the intermediate spaces1 the rest of the petals are placed on singly1 five in each row1 the largest to turn back3 finish off with seed cup and calyx as before named4 ,it is particularly necessary that the smallest or internal petals should not be coloured too low down1 as the white in the centre gives great relief to the flower4 ,,sweet-,,scented ,,tea ,,rose4 7,,rosa ,,safrano47 ,charming4 ,the petals of this rose require to be cut in thick white wax1 coloured three parts down with my lemon powder2 shade lightly over this1 but not quite to the edge1 with a little of my second yellow1 and finish off by a light tint of crimson 7crimson lake in cake47 ,the petals are deep and few1 and require a great deal of cupping2 to assist in producing this rotundity of petal use the head of the ivory pin1 commencing to roll from the bottom to about half-way up the petal4 ,make a foundation of white wax1 rather large and cone-shaped2 colour it the same as petals2 place the latter on singly1 and press them forward to meet at the point and conceal the foundation4 ,they are placed on five in a row1 and the last two turned back3 the seed cup is rather small2 the calyx1 and the back petals are all deeply coloured with crimson4 ,the stem is also very red4 ,,yellow ,,rose4 7,,rosa4 ,,cloth ,,of ,,gold47 ,infidelity4 ,the rose is fragrant1 but it fades in time4--,,dryden4 ,cut the petals from light lemon wax1 colour them with deep yellow towards the lower end1 gradually shading off the same towards the upper end of each petal4 ,the first three sets of petals are placed on in clusters of five1 the others singly in rows of five4 ,the foundation is made similar to the damask rose1 and the stamina show from the front of the flower4 ,calyx and seed cup formed as usual4 ,illustration3 ,j4 ,gardner ,co4 ,lith4 #hf ,hatton ,garden4 ,,austrian ,,briar ,,rose4 7,,rosa ,,lutea47 ,mingled ,pleasure and ,pain4 ,this is a showy single flower1 and very easily and quickly accomplished4 ,there are but five petals1 cut from bright yellow wax2 colour them half-way down each with crimson3 cup them a little in the palm of the hand1 not using a pin at all4 ,the foundation is rather small1 and formed of green wax--one strip of stamina placed round1 cut in lemon wax1 tipped with orange powder4 ,calyx and seed cup formed according to previous instruction4 ,having given as many roses as my space will admit of1 and as will be required for the purpose of initiating learners in this kind of flower1 ,i will turn the attention of my readers to another class1 held in much esteem1 and which will afford a wide field of variety to copyists4 ,i allude to ,,the ,,carnation4 7,,dianthus47 ,pure ,love4 ,yon bright carnation--once thy cheek ,bent o'er it in the bud2 ,and back it gives thy blushes meek ,in one rejoicing flood6 ,this may be made in three varieties4 ,the flakes are striped with broad bands of colour1 the bizarres are striped with three colours1 and the picotees have a narrow margin of streaks and spots2 they are all painted with a sable brush4 ,to enable the wax to take the fine pencil marks1 moisture from the lips must be conveyed with the finger to the petal4 ,make the strokes or bands broad near the edge of the petal1 and gradually diminish them to a fine point towards the lower end4 ,the petals are curled as follows3--press each in the palm of the left hand1 and roll the head of the pin twice or three times down the painted side of the petal1 taking care to do so between1 and not upon the stripes4 ,roll the pin once up the back of the petal1 commencing from the bottom1 and not extending the same above half-way up4 ,cover the stem with green wax1 and place the petals on in rows of five4 ,the calyx is cut from double wax 7light green72 it is in one piece1 with five points4 ,it is shaded rather dark green in the centre1 and the points tipped with red 7very faint47 ,it is passed round the tube of the flower2 at the base of the same affix six small pieces of wax1 as scales4 ,the leaf is long and narrow1 cut from double wax1 and a fine wire covered and placed between to support it4 ,to give it the natural bloom1 pass it through the prepared arrowroot4 ,the leaves are placed on the stem two and two1 to face each other1 and a small piece of lemon wax passed round1 to represent the joint that is always visible in this flower4 ,,myrtle4 7,,myrtus ,,communis47 ,love4 ,this flower is always admired in a bouquet from its light and pretty appearance1 and is in nature very fragrant4 ,cut the petals1 five in number1 of double wax1 indent the head of a curling pin in each2 cut a fringe at the end of a thin sheet of white wax1 having previously folded a very small piece down to form the anthers4 ,wind this strip or fringe round the end of the finest wire1 taking care to double the latter down4 ,brush these filaments all out1 and tip them at the points with my lemon powder3 place the five petals round4 ,the calyx is a row of small points cut in light green wax2 the points are touched with a brush containing a little brown1 and then passed once round the flower4 ,the stalk is covered with a light green1 but partially coloured with brown also4 ,the buds are made very round1 of solid wax1 and a calyx affixed to them like the flower4 ,to make the foliage1 look at my instructions4 ,commence mounting the flower at the top of a wire2 four or six leaves must be attached first1 two and two1 then the buds in like order1 leaves under each1 and lastly the flowers4 ,about four or six make a pretty spray4 ,,honeysuckle4 7,,caprifolium47 ,devoted ,affection4 ,colour eight or ten blossoms with second yellow1 two or three are left white1 being all cut from wax devoid of colour2 shade them with crimson lake in cake2 cut a piece of fine wire1 two inches long1 cut a strip of white wax1 three quarters of an inch in length1 and pass it round one end of the wire4 ,this is to form the tube or foundation for the stamina to be attached to3 the latter are cut very fine from double lemon wax4 ,the anthers are tipped orange1 the pistil green4 ,affix the pistil and five stamina to each foundation1 and then enclose it in the tube or long part of the petals previously coloured1 as also in the white blossoms1 first having passed a small head pin twice or thrice down each4 ,the tube is coloured dark crimson1 gradually softened off towards the upper end of the blossom4 ,a calyx is attached at the base of the tube in the form of a small cup--a piece of double green wax1 cut very narrow1 and passed once round4 ,the buds are made solid3 cut the wax1 which must be double1 in a triangular form2 by so doing1 and winding the broadest end round the corresponding end of the wire1 the proper form will be easily accomplished1 without much assistance from the fingers4 ,unite all the buds together first1 and then place the blossoms round4 ,the leaves are placed on two and two4 ,,the ,,fuchsia2 7,,fulgens27 ,good taste3 ,will afford a pleasing variety to the flowers already described4 ,its blossoms hang pendant like a tassel2 it is both graceful in form1 and brilliant in colour3 its construction is simple1 being formed from two patterns only4 ,the smallest is cut in single lemon wax1 the largest in double wax1 the same colour4 ,the four points of the largest pattern are tipped with green1 and shaded off with light scarlet towards the upper part of the tube4 ,it is not1 however1 entirely coloured until it is made1 as it is always difficult to unite a tube flower if it is painted too close to the edge4 ,the head of the curling pin is rolled up each point upon the inside1 and the tube formed with the handle of a brush1 joining the wax neatly upon one side4 ,after it is united1 it is again painted with my scarlet powder and a small portion of the crimson4 ,the small or inner petals are coloured upon both sides with bright crimson only4 ,the head of a large curling pin is passed once down4 ,the stamina are cut from double lemon wax1 a whip1 as in muslin1 being first rolled to produce the anthers2 these are touched with gum water1 and1 while wet1 dipped into cream colour powder1 7produced by the combination of my lemon and white47 ,the pistil is the same as the stamina1 only that it extends to a greater length3 the stamina and pistil are shaded very light scarlet4 ,cover a piece of fine wire1 about four inches in length1 with light green wax1 mould to the end a strip of lemon wax1 to which affix first the pistil and subsequently the stamina4 ,pass the wire through the tube1 and fix it firmly at the end2 a narrow strip of double light green wax placed once round the base of the tube completes the whole4 ,the buds are made solid1 and formed similarly to the honeysuckle2 they are shaded green and scarlet1 like the flower4 ,,the ,,red ,,fuchsia2 7,,fuchsia17 ,taste3 ,is cut from white wax4 ,it consists of four purple petals1 and four crimson2 these are painted with the large brush upon both sides1 leaving a short space free from colour towards the base of each4 ,cut the pistil and eight stamina as previously directed1 and colour them with crimson4 ,to the end of these may be observed in nature small particles of farina1 this is produced 7as in the former instruction of fuchsia fulgens71 by dipping them while moistened with gum water into dry powder4 ,a foundation is formed at the end of a piece of fine wire1 the pistil attached1 and the stamina encircling the same4 ,the four purple petals are then placed on to form a square1 having the head of the curling pin previously rolled down each to cup them a little4 ,the crimson or outer petals are curled in like manner1 and placed precisely at the corners where the inner petals unite4 ,the flower is now complete1 with the exception of the seed cup2 but previous to this being placed on1 7which is merely a piece of green wax moulded into the shape of a small berry17 the flower is coloured again crimson1 softening it off towards the said seed cup4 ,,forget ,,me ,,not4 ,forget me not4 ,the very name is ,love's own poetry1 ,born of the heart1 and of the eye begot1 ,nursed amid sighs and smiles of constancy1 ,and ever breathing--',love6 forget me not4' ,,miller4 ,this little flower is cut in one piece from thick white wax4 ,a hole is pierced in the centre with the curling pin4 ,the finest white wire is used3 affix a small piece of wax to the end1 and fold it down with the wire2 it must be very minute4 ,pass it through the front of the flower1 and fasten it at the back by moulding it gently with the point of the pin4 ,it is painted after it is made3 the centre is touched with a sable brush--the colour1 second yellow4 ,the edges of the flower are coloured a brilliant blue1 for which use the light blue1 with minute portions of white and crimson4 ,the buds and opening flowers are more pink than the full-blown flowers4 ,,pink ,,geranium4 7,,pelargonium47 ,preference4 ,cut the petals in thick white wax2 there are three narrow and two broad4 ,mix a little white powder with some crimson1 and paint all the petals half way down lightly with this colour4 ,the brush must contain but a very small portion of colour1 or it would dry rough4 ,the broad petals are afterwards coloured as follows3--first vein the lower ends with cake smalt and crimson1 using for the purpose a fine sable brush4 ,then take a large brush1 containing crimson alone1 and form a large round spot1 gradually shading it off towards each edge4 ,when thoroughly dry1 apply in the same manner the colour first used for veining1 leaving a light margin of the rose colour previously laid on4 ,with a sable brush paint some very faint pink veins1 extending from the spot towards 7but not quite touching7 the ends of the petals4 ,some dark veins are laid on the spot also with crimson powder and cake sepia4 ,the middle size wire is necessary to support the flower4 ,commence its construction by affixing a strip of white wax about an inch down the same2 this is to represent the pistillum4 ,five very fine points extend beyond the end of the wire1 these are previously snipped with the scissors2 they are termed in botany the stigma4 ,at the base of the pistillum pass a strip of green wax2 this is the foundation to which the stamina and petals are to be attached4 ,the pistillum and stigma are painted entirely over with the same colour previously used for veining4 ,cut five fine stamina in white wax1 to the points of each attach an anther1 cut in deep orange wax4 ,they are placed across the end1 and united by pressing them together with the head of the curling pin4 ,curl the broad petals by laying the painted side next the hand and pressing the thumb into its centre4 ,upon the opposite side at the lower end of the petal indent and round it with the point of the pin4 ,the small petals are similarly curled1 although it is necessary to vary them a little according to taste2 for upon observing nature it will be found that there is no formality1 in fact scarcely two petals or two flowers are precisely the same upon a tree or stem4 ,attach the stamina to the foundation1 and then the two broad petals2 finally1 the three narrowest are placed immediately under the stamina4 ,the calyx is cut from light green wax4 ,the head of the pin is to curl each previous to its being placed behind the petals4 ,it is shaded rather dark green towards the stem4 ,wash the calyx over with a weak solution of gum water1 and sprinkle it with down4 ,in laying on the latter do not touch it with the fingers1 but throw it on from the bottle1 and shake off all that does not adhere4 ,,scarlet ,,geranium4 ,comforting4 ,the petals are cut from thick white wax4 ,colour them upon both sides with bright scarlet 7scarlet and crimson both in powders71 form a very small foundation of white wax to the end of a fine wire4 ,cut five fine and short stamina1 place them on the foundation1 and colour them red4 ,affix the five petals round1 the two largest placed uppermost1 the three smaller ones under4 ,attach calyx as in the former flower4 ,cover the stem neatly with light green wax1 and mount the flowers in clusters4 ,make some buds moulded in light green wax1 others in white wax1 painted scarlet at the points2 and the calyx placed round as in the flower4 ,,mignonette4 7,,reseda ,,odorata47 ,unconscious ,beauty4 ,it is a singular circumstance that in this country this fragrant production of nature is known by a ,french name1 the translation of which is the little darling1 while in ,paris it is only known by its ,latin appellation1 reseda1 7herb1 or dock cresses72 but ,i believe ,i am correct in stating that its seeds were first conveyed into ,england from ,paris4 ,it is not particularly difficult to form1 but requires extremely good sight1 and a light touch in its construction4 ,it is of course made without a paper pattern1 and ,i would recommend a natural flower always to be taken as a copy4 ,it is also necessary to be very particular as to the lemon tint used1 the orange1 and the shade of green1 for if the flower is formed correctly1 it still looks unnatural if these points are not materially considered4 ,take a sheet of lemon wax1 very thin and not too new2 cut directly from the corner six or eight fine filaments1 as pointed as possible2 roll them into a small cluster4 ,it requires two clusters of this size1 and two others nearly the same1 but shorter4 ,fold the end of a piece of lemon wax1 and snip 7very short7 a few stamina1 which appear1 when coloured1 like seed4 ,the colour required is a sort of pinky orange1 if ,i may be allowed to use such a term2 for which purpose ,i employ my second orange1 white1 and a minute portion of crimson powder3 of course it requires some judgment as to the several quantities4 ,commence the formation by attaching a small piece of green wax to the end of a stem made from white wire1 mould it round according to nature2 under this place the cluster of orange seeds1 on the top a small portion of lemon wax1 and at each corner the largest cluster of lemon stamina2 the smaller clusters place at the corners and under the orange seeds4 ,the calyx consists of five very narrow strips of green wax1 placed neatly and regularly at the back of the flower4 ,cover the stem with very light green wax4 ,,orange ,,blossom4 7,,citrus47 ,chastity4 ,this is cut in double white wax4 ,it consists of five petals4 ,the head of the small curling pin is passed up and down over the whole of each2 the petals are afterwards curled a little with the fingers1 to do away with any formality4 ,a middle size wire is used2 pass a strip of white wax round1 about half an inch in length2 press it broad at the end1 and then place a fringe of stamina twice round3 colour the end of the pistil and stamina with light orange4 ,the petals are next affixed1 and a cup or calyx is formed at the base of light green wax4 ,the buds are moulded solid1 round at the end1 and pinched up into rather an irregular form towards the base4 ,the calyx is finished off the same as the flower4 ,,seringa4 ,counterfeit4 ,the sweet seringa1 yielding but in scent ,to the rich orange4 ,cut the petals in white wax1 double or thick2 there are but four to form the corolla4 ,they are curled precisely like the orange blossom4 ,the centre is also similar to the last named1 only that there is no pistil or enlargement amongst the stamina4 ,the calyx consists of four points of double green wax1 indented with the pin1 and tipped brown4 ,each point is placed at the back of each petal4 ,,lily4 7,,lilium ,,candidum47 ,purity of heart4 ,observe the rising lily's snowy grace4--,,thomson4 ,the lily is an advantageous flower in a large group4 ,the one ,i am going first to notice is peculiar for its purity of colour2 it is very ornamental in a garden1 and is much revered in ,catholic countries4 ,painters frequently place it in the hands of the ,virgin4 ,the petals1 six in number1 are cut from double white wax3 the broad or inner petals are curled as follows3--pass the head of the smallest curling pin all over the petal to make it look slightly ribbed4 ,press the pin firmly up the centre to make a distinct crease2 turn the petal1 and press against the crease upon each side so as to form a groove4 ,return to the former side1 and again press the pin against the two outside edges of the previously made creases2 you will now have produced two ribs or ridges4 ,pass the head of the pin round the edge of the petal1 to render it thin in appearance and to stretch the same4 ,this will also enable you to curl the petal into form with the fingers1 without splitting the edges4 ,the outer or narrow petals are curled similarly2 but the slight difference there exists between the two will be better understood by taking a real flower to model from4 ,cover a piece of middle size wire with light green wax1 to represent the pistillum3 enlarge it with the same at the upper end to represent the stigma2 press it into a triangular form1 and indent it with the point of the pin4 ,six stamina are placed round2 they are each formed in the following manner3--cover a piece of fine white wire with white wax1 this is a filament2 attach to the end an anther1 formed of bright orange wax1 indent it strongly across with the point of the pin4 ,wash it over with gum water1 and while it is in a state of moisture plunge it into the orange coloured powder4 ,the three largest petals are placed on first1 the three smaller or outer petals at the intervening spaces4 ,,the ,,lilium ,,lancifolium4 ,generous heart4 ,the petals of this flower are curled similarly to the former1 but they bend back more in the form of a ,turk's cap4 ,there is a narrow strip of bright yellow-green wax placed in the centre1 and at the lower end of each petal4 ,the petals are painted light pink 7crimson and white71 and covered with rich crimson spots4 ,the roughness at the lower end of each petal is produced by cutting small pieces of double white wax1 and pressing them on with the head of the pin4 ,the pistillum and stamina are also formed in the same manner as the lilium candidum1 but vary in colour4 ,the filaments of the stamina are green1 the anthers rich brown1 produced with crimson and cake sepia4 ,,white ,,water-,,lily4 7,,nymphea ,,alba47 ,eloquence4 ,where will they stop1 those breathing powers1 ,the spirits of the new-born flowers8 ,they wander with the breeze1 they wind ,where'er the streams a passage find4 ,,wordsworth4 ,commence the foundation of this flower by passing five strips of double yellow wax round the end of a strong wire1 indenting the edge of each with the point of the curling pin1 and pressing the same into a flat surface3 this foundation must be about three quarters of an inch in diameter4 ,cut sixteen strips of very deep orange wax 7double71 about the tenth of an inch in width3 place them round at equal distances4 ,cut the pattern ,no4 #a1 in double yellow wax4 ,roll the head of the curling pin in the broad part1 and bend the point of the same back4 ,place these on in rows of eight1 taking care that each row is between those preceding4 ,the petals are cut in thick white wax3 cup them with the large head ivory pin1 to give them a rotundity of form2 these are all placed on in rows of four4 ,under the two or three largest sets it is essential to place a small piece of white wire 7covered with wax71 to support each petal4 ,the four outside petals are green externally and white within2 this is accomplished by pressing a sheet of thin green wax against the thick white4 ,they are shaded brown up the centre upon the green side1 using for the purpose the large brush1 slightly moistened with carmine and sepia4 ,the stem requires to be thickly covered with light green wax1 shaded with brown1 similar to the back of the flower4 ,,the ,,yellow ,,water-,,lily4 ,retirement4 ,is much more simple to form4 ,it consists of only five petals2 these are cut in double yellow wax2 colour them rather lightly with green upon both sides1 from the centre towards the base of each4 ,curl the petals with the head of the large pin until they become deeply cupped4 ,the centre is much smaller than that of the white lily--not exceeding in diameter the third of an inch4 ,the stamina are produced by cutting three or four narrow strips of double yellow wax1 and passing them round the foundation2 they must not extend above it1 but when brushed out form a full daisy-like centre4 ,the five petals are attached to the back of these1 and the stem finished off as the last4 ,,the ,,blue ,,water-,,lily2 ,warm affection2 ,forms a pleasing variety1 but is not so generally well known1 from the fact of its requiring care in cultivation4 ,those previously described may be seen blowing luxuriantly in common ponds2 but this ,i am about to give instruction upon ,i have never seen except in a hot-house4 ,cut the petals in thick white wax2 attach a fine white wire half-way up the back of each4 ,colour them upon both sides with light blue1 or more properly speaking with blue lavender4 ,it is a peculiar shade of colour produced by mixing the light blue powder with white and a minute portion of crimson4 ,curl the petals with the head of a large curling pin1 by passing it firmly once down each centre4 ,the four outside petals are green at the back1 and shaded rather darker up the centre with the same colour4 ,the centre is formed similar to the white lily1 but not so large4 ,the stamina are cut also in double yellow wax1 and arranged regularly round in rows of sixteen2 three rows of these are sufficient4 ,the petals are placed on four in a row throughout the flower2 the stem is moderately thick and green4 ,,dahlia4 7,,dahlia ,,purpurea47 ,instability4 ,cut the required number of petals from pink wax--colour them upon both sides with crimson4 ,when quite dry1 wash them over lightly with bright purple 7using for the purpose a large brush1 very moist47 ,when a second colour requires to be laid on1 ,i use a small portion of cake colour1 7in the present instance cake crimson1 lake1 with middle blue in powder47 ,to curl the petals press the pin once down the centre1 upon the shining side2 turn the petal1 and press against the same at the point1 forming a melon-shaped section4 ,fold the edges of the petal to meet at the lower end4 ,make a foundation of two strips of double wax1 taking care to double in the wire4 ,indent it strongly with the pin towards the point1 as it must be pressed into a conical form3 it must be one inch deep and as much in circumference4 ,cut three strips of double wax1 vandyke them with the scissors1 and indent each point with the pin1 bend the whole forward1 and paint them in the same manner and colour as the petals4 ,pass these strips round the foundation first1 keeping them exactly the same height4 ,place three rows of petals on1 seven in number1 then increase them to nine in a row1 and so continue until the flower is complete4 ,take care to place every petal between and not behind its predecessors1 and let each row fall back1 so that at the conclusion it has a globular appearance in front1 and flat at the back of the flower4 ,cut the calyx in double wax2 it consists of ten points1 five are light green1 attached to the back of the flower1 and five dark sepals which are pendant round the stem4 ,,the ,,salvia ,,patens4 ,rich and ,rare4 ,this flower is of so rich and lovely a hue1 that for its colour alone it deserves imitation4 ,there are but few decidedly blue flowers1 and ,i do not myself know any one that approaches this for brilliancy2 it is however useful in consequence of its form being light and spray-like4 ,the petals require to be cut in double blue wax2 the shape must be produced previously to the colour being laid on4 ,petals cut from pattern ,no4 #a1 are much rolled with the pin and neatly united up the back4 ,take a piece of middle size wire1 with a small piece of wax secured at the end1 and pass it through the opening of the tube just formed4 ,the under or banner petal is formed by pressing it in the palm of the hand2 turn up the edges of the broad end of the petal1 and turn down the edges of the narrow part2 at the same time ,i must mention that a small wire is placed between this petal1 by which it is affixed to its position4 ,the buds are formed in the same manner as the flower1 with the exception of the banner petal4 ,the calyx consists of two points or sepals1 attached one under and the other opposite the tube4 ,the whole is painted with deep rich blue1 produced by mixing cake smalt with the middle blue in powder4 ,they are mounted in a spray by placing buds and flowers down the stem1 two facing each other1 and arranged alternate ways4 ,a green leaf is placed under each bud and blossom4 ,,variegated ,,camellia4 ,unpretending excellence4 ,in eastern lands they talk of flowers1 ,and they tell in a garland their loves and cares2 ,each blossom that blooms in their garden bowers1 ,on its leaves a mystic language bears4 ,j4 ,g4 ,,percival4 ,as the limits of this little work will not admit of my giving instruction in more than one of these favourite flowers1 ,i select the variegated one1 considering it the most difficult4 ,the petals require to be cut in thick wax2 colour them upon both sides with bright crimson1 leaving white circular spots indiscriminately in various parts of two petals out of every five4 ,the largest petals are formed by pressing the thumb very firmly upon the shining side1 taking care that the edge inclines back without any wrinkled appearance4 ,a crease is made up the centre upon the opposite side4 ,each set of petals are painted and curled the same1 but the smallest are folded together4 ,the stamina must be prepared from pale lemon wax1 7cut double17 and the anthers at the end tipped with orange powder to represent the farina2 they are cut into small clusters of seven or eight4 ,use the large wire1--pass a piece of double wax1 the width of a sheet1 and half an inch in depth1 round the wire1--about half an inch deep2 bend the wire down1 and mould the whole into a cone shape4 ,affix a small cluster of stamina to the point1 and in various directions the five smallest petals2 insert among these two or three clusters of the stamina4 ,place in rows of five each succeeding set of petals1 taking care in each row to introduce about two of the variegated or spotted petals1 allowing such to be principally upon one side of the flower 7and this may be observed in nearly all flowers that are variegated47 ,the calyx is cut from lemon wax1 shaded green and also brown4 ,the head of the pin is rolled upon each to cup it3 they are placed immediately behind the flower in rows of three1 each succeeding set in the intervening spaces4 ,the stem is covered with a strip of light green wax1 moulded smooth with the thumb and finger1 tinged brown with the brush4 ,,the ,,passion ,,flower2 ,belief3 ,has become strangely interwoven with our faith1 from a fancied resemblance to a cross and a crown1 although it requires a great effort of the imagination to call up either the one or the other4 ,still its very name in some measure renders it sacred to faith and belief4 ,cut the petals1 ten in number1 from treble wax1 one of white and two of lemon2 colour the lemon side with light green1 leaving the edge rather lighter4 ,curl each petal in the following manner3 press it in the hand1 while warm1 that the three thicknesses of wax may be certain to adhere4 ,roll the head of the small pin once down the centre upon the white side1 and round the edge also4 ,this must be done lightly at first1 for if a pin is pressed too heavily it occasions the sheets of wax to separate and have a blistered appearance4 ,cut three triangular pieces of double wax1 one inch in length1 place the broad end to a piece of fine wire1 and mould them smoothly down1 small at the base and broad at the point2 these three are affixed to the end of a middle size wire1 and painted purple after they are attached4 ,a piece of light green wax is moulded round immediately under them2 about a quarter of an inch from this is attached the stamina1 cut in light green wax1 and touched round the ladle shape end with my orange powder4 ,a full inch from this is placed a small foundation1 formed of strips of green wax1 two of which are snipped and coloured purple4 ,the rays are attached immediately afterwards1 and are manufactured as follows3--cut a number of strips of white wax1 roll them between the fingers to incline them to be round2 place your pieces of marble in warm water1 and finish rolling the said strips of wax or rays between them3 this is a much quicker1 easier1 and cleaner process than by doing them entirely with the fingers4 ,cut a strip of double green wax to pattern1 place it about three quarters of an inch from the edge of a folded paper1 place each of the rays closely upon this1 taking care that every point extends only to the paper2 this method will enable you to place them perfectly even1 which is very necessary4 ,for a flower it requires two strips of these rays2 they are painted blue at the point and purple at the base1 leaving a corresponding space white between the two colours4 ,press the two strips neatly round the previously made foundation1 bending them back and regulating them with the point of the curling-pin4 ,i next attach five petals at equal distance1 the longest and narrowest of the two sets are placed on first1 the other five immediately between4 ,the calyx is cut in light green wax1 it consists of three sepals1 which are rolled with the head of the pin and attached to the back of the flower4 ,,lemon ,,hollyhock4 ,persuasion4 ,this flower should be constructed of very thin lemon wax4 ,it requires thirty small petals and seven large for a full blown flower3 each petal is shaded with the light yellow powder towards the lower end4 ,crimp each petal with the point of the curling pin1 and fold one end forward1 the other back4 ,pass a strip of double lemon wax round the end of a piece of middle size wire1 and mould the same to a point2 the thirty small petals are attached first1 so as to form a full rosette4 ,the large petals are affixed to the back1 and finished off with the calyx of double green4 ,half blown flowers are formed the same1 but cut from smaller patterns4 ,the early buds are moulded solid of green wax1 covered with lemon2 the calyx is placed on similar to the flower1 moistened with gum water and sprinkled with down4 ,pink hollyhocks may be made precisely the same1 the only difference being that pink wax and colour must be substituted for lemon4 ,,the ,,cactus4 ,warmth4 ,cut the petals in bright orange wax1 place a fine white wire half way up each1 and occasion it to adhere by attaching a strip of orange wax over it4 ,colour them upon both sides with carmine4 ,curl the petals by passing the head of the pin twice or thrice from each edge towards the centre1 and bend the same back4 ,fold down the edge or end of two sheets of thick white wax4 ,leave a quarter of an inch from the end quite white1 then paint a pink stripe half an inch deep2 leave again a quarter of an inch white1 and finally finish with a stripe of green4 ,cut the whole two widths into a deep fringe to form the stamina1 and colour the anthers 7produced by the fold7 with cream colour 7white and lemon powders74 ,take a piece of middle size wire1 pass round it a strip of white wax2 this is to form the pistillum4 ,attach to the end five fine points of white wax1 and paint them also cream colour2 shade the filament of the pistillum red4 ,divide the stamina1 attach half to the upper1 and the remainder to the three under petals4 ,join the pistillum to a strong stem1 passing white wax round to form a foundation4 ,affix to the foundation the six petals1 to which are attached the stamina1 letting the latter fall from the top petals over the lower ones1 and dividing it so as to enable the pistillum to pass through4 ,every set of petals are placed precisely between those preceding until the flower is complete4 ,it must be remembered that the largest petals are attached first1 and that they gradually decrease until you arrive at the smallest4 ,for not1 oh1 not alone to charm our sight1 ,gave ,god your blooming forms1 your leaves of light4 ,,charles ,,swain4 ,,grouping ,,flowers4 ,one of the principle rules to be observed is to avoid placing those flowers together which approach the same form or colour4 ,thus1 in arranging two round flowers1 ,i invariably break the formality by introducing some light spray4 ,to facilitate a taste for grouping is the cause of my introducing illustrations to this work4 ,it will be observed that ,i arrange spring flowers always alone4 ,i am not so particular with the flowers of every season1 for art in cultivation has done so much in furnishing us with specimens of various seasons1 that it is no uncommon thing to meet with a rose in spring that we should take for ,the last rose of summer4 ,in the florists' windows1 in winter 7,i mean in ,covent ,garden71 we may perceive such perfections of nature that our imagination might be tempted to suppose that the summer sun could alone have produced them4 ,i would recommend the early spring flowers to be arranged in flower pots or in wicker baskets4 ,in mixed groups1 as a certain guide to those who do not like to trust to their own taste for blending colours1 ,i would place lavender near pink2 blue to red2 white should approximate to scarlet1 and yellow to purple4 ,the small flowers particularly essential in separating the larger ones are white and yellow jasmine1 nemophila cineraria1 verbenas1 myrtle1 honeysuckle1 etc41 etc4 ,the pendent flowers give great ease and elegance to a bouquet1 and should be placed in first4 ,the neck of the vase should be well filled with dried moss1 which can be procured at the herbalists4 ,alabaster and glass vases are best adapted for the reception of wax bouquets1 except when they are intended for the centre of a table1 and then ,i prefer baskets of alabaster1 wicker1 or gilt2 glass shades are requisite to cover either4 ,all1 or any of the last-named articles1 ,i shall be happy to furnish to those who may kindly think proper to favour me with orders1 addressed to my residence1 #ce1 ,rathbone ,place4 ,,wax ,,flowers1 ,,as ,,ornaments ,,for ,,the ,,hair1 ,have become so generally worn at ,her ,majesty's balls and drawing-rooms1 that ,i deem it expedient to give some particular instructions respecting them1 so as to insure their durability and prevent their adhesion to the hair4 ,for the first point named1 ,i attach a fine white wire half way up the back of each petal2 this materially strengthens the flower4 ,all white flowers should be sprinkled with my prepared arrowroot1 this prevents the edges of the petals clinging to the hair1 and is a protection against heat4 ,in coloured flowers1 the paint has the same effect4 ,the stems are to be covered with narrow ribbon1 green or brown 7,china ribbon74 ,when the flowers are to be perfumed1 the perfume is to be placed upon the ribbon4 ,,instructions ,,for ,,modelling ,,foliage4 ,there are various ways of modelling leaves1 but ,i would recommend them to be made of sheet wax as much as possible4 ,take three sheets of green wax1 matching in colour the leaf you are about to imitate4 ,it is not material whether the middle sheet is the same colour as the upper or under sheet4 ,cover a wire1--the size must be chosen according to the proportion of the leaf1--place the said wire when covered under one sheet--cut the wax into the form of the leaf required4 ,plunge the real leaf into cold water1 and the wax into hot2 while in a softened state press it firmly and quickly upon the wrong side of the real leaf4 ,this will give a truthful imitation4 ,if a real leaf cannot be obtained of any particular flower1 they can be modelled from a plaister mould1 which ,i shall be happy to furnish4 ,another method is to melt a small quantity of green wax into a liquid state4 ,with a broad flat brush wash over the wrong side of a real leaf1 previously oiled with the best salad oil4 ,the latter method may be also adopted upon a mould1 soaked in warm water ten minutes previous to its being used4 ,the stalk must be attached afterwards1 and a second layer of wax placed over4 ,,the ,,victoria ,,regia4 ,there is a splendour in the living flower4 ,cut the petals from my peculiarly prepared wax2 attach a wire half way up each at the back2 colour the first sixteen petals with pale lemon4 ,the remaining petals require a faint glow of pink laid on from the base towards the centre4 ,they must be all much moulded with the large ivory curling pin1 as well as assisted by the thumb and finger4 ,the sixteen petals which constitute the two first rows1 and which have been tinted pale lemon1 have a deep pink vandyke or point formed at the lower end of each2 round the edge of this point must be laid numerous spots and strokes of rich crimson1 produced with crimson lake and minute portions of blue4 ,eight of the last named petals are shaded darker than the others1 and are placed on first4 ,the centre or foundation is formed by moulding wax into a solid substance1 two inches in diameter and three-quarters of an inch in depth4 ,the stamina are very numerous1 and cut according to patterns4 ,the points are crimson1 then shaded lemon1 and rich pink the lower end4 ,they are curled by passing the head of the curling pin firmly down the centre1 bending the points a little back4 ,the first four rows should fall down over the foundation1 the other stand erect2 by this means a direct crown is formed which contributes in a great measure to the beauty of the flower4 ,the petals are placed on in rows of eight1 with the exception of the last four1 or as they may be termed1 sepals of the calyx4 ,these are at the back or outside dark chocolate colour 7,i prepare a wax on purpose74 ,the large green seed cup that is finally attached is cast in hot wax1 and can be purchased either at my establishment1 or at my counters1 ,soho ,bazaar4 ,the calyx and seed cup are covered with prickles3 to form these1 roll some shreds or strips of light green wax between the marbles moderately warm2 sever them into small pieces2 hold the thickest end to a lighted candle1 and apply each quickly to its proper place4 ,in selecting this flower as the closing subject of my instructions1 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 character1 as also the place where this extraordinary production of nature was first discovered4 ,sir ,r4 ,schomburgk was travelling in ,british ,guiana1 in the year #ahcg4 ,it was in the ,river ,berbice he beheld it1 or ,i may say them1 for numbers were floating in all their pride and glorious beauty1 and at once struck him with surprise from the majesty of their form1 and brilliancy of colour4 ,this plant flowered first in ,england1 at ,chatsworth1 the seat of the ,duke of ,devonshire1 and soon after was named ,victoria1 by the gracious permission of her ,majesty4 ,mr4 ,paxton has publicly stated1 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 ,chatsworth4 ,thus its name will be immortalized in connexion with that of the ,exhibition till time immemorial4 ,i think it may be justly denominated an emblem of strength and power4 ,before ,i entirely leave this subject1 ,i cannot resist alluding to the circumstance of my withdrawing works of great magnitude 7and which ,i had purposely prepared for competition71 from the late great ,exhibition4 ,it is due also to the gentlemen who formed the executive committee that a true statement should be made respecting their exclusion4 ,a rumour having been circulated that they 7the gentlemen of the executive committee71 refused to give me adequate space1 ,i am anxious to repudiate such statements1 and to acknowledge that some of my best patronesses previously to the opening of the ,great ,exhibition1 and since that period1 have been various members of the families of those gentlemen and the ,royal commissioners4 ,ample space was allotted to me in the gallery1 and it was considered that as other wax flowers were to be arranged there1 mine would not suffer more than the rest2 but the gentleman1 and ,i believe the only person who had anything to do with the arrangement of mine1 was ,mr4 ,owen ,jones4 ,i acquit this gentleman of any invidious feeling towards me1 but can only regret that he did not personally inspect my works4 ,if he had1 ,i feel persuaded he would have been amazed at their magnitude and the bulk of labour executed by myself unassisted4 ,as it is1 it is more than probable that ,i suffer in the opinion of some1 to the effect that ,i showed some degree of temper or obstinacy in withdrawing them4 ,i am likewise anxious that it should be known that it was not the heat of the gallery entirely that intimidated me4 ,my plates of bent glass were much larger than any in the ,crystal ,palace1 and the groups were arranged upon thirty hundred weight of stone4 ,the whole formed such a huge mass that it was deemed by scientific men to be impracticable to be elevated to the gallery1 without jeopardising what had been produced by me by intense labour and profuse expense4 ,the truth of this statement can be testified by an examination of the works1 which may be viewed daily at my residence from ten till five o'clock 7gratuitously74 ,they have already been inspected by fifty thousand visitors2 and as a proof that they have excited some interest and much admiration1 ,i subjoin at the end of this little volume a few extracts from the public journals4 ,i have but little more to add-- ,now to the world my little book go forth1 ,with all thy faults4 ,i cannot expect it will escape the criticism and censure of some2 but if it meet the approbation of the discerning1 and carries out my cherished1 my promised views1 that of instructing the uninitiated--furthering the purposes of ,wax ,flower ,modelling--and refreshing the memories of my earliest pupils1 who may for a season have neglected so charming an occupation1 ,i shall be more than repaid for the trials and disappointments attending the various efforts ,i have made to satisfy all4 ,hoping the best--ready the worst to brook1 ,yet seeking friendly hearts--go forth1 my little book4 ,as life is then so short1 we should so live and labour that we may have pleasing remembrances to console and cheer us at its close2 let us work earnestly and diligently1 not only for our own good1 but for that of our fellow creatures3-- ,oh6 let us live so1 that flower by flower1 ,shutting in turn1 may leave ,a lingerer still1 for the sunset hour1 ,a charm for the shaded eve6 ,,hemans4 ,,exhibition ,,of ,,wax ,,fruits ,,and ,,flowers1 ,,by ,,mrs4 ,,peachey1 ,,artiste ,,to ,,her ,,majesty4 ,the following eloquent awards of the press are placed as nearly as possible in the order of their respective dates1 but the dates are necessarily omitted4 ,mrs4 ,peachey1 artiste to her ,majesty1 has now on private view at her rooms1 #ce1 ,rathbone ,place1 a superb collection of works intended for the ,great ,exhibition4 ,they consist principally of an enormous bouquet of flowers and a colossal vase of fruit1 both of which have been executed upon a scale never previously attempted in this country4 ,the flowers are so arranged1 that they appear to stand in a basket suspended over the surface of a pool of limpid water1 in which the ,victoria ,regia and other similar plants are already floating4 ,nothing can be more exquisite or artistic in effect than the manner in which the various flowers are grouped4 ,the bouquet comprises specimens of almost every flower known to the botanist1 from the simple honeysuckle of the cottage garden1 to the rarest and most valuable exotics of the ,east4 ,some idea of the dimensions of the two principal works may be gathered from the fact1 that the shades are nearly six feet high1 the largest ever blown in ,england1 and the flowers occupied nearly a year in modelling4 ,it was the intention of ,mrs4 ,peachey to forward these beautiful specimens of her skill to the ,great ,exhibition1 where a prominent place on the ground-floor was assigned to them2 but it appears1 that1 owing to subsequent arrangements1 another space1 in one of the galleries1 was allotted to her1 and not at all adapted to such costly and fragile productions4 ,the heat of the sun1 in such an exposed situation1 would have damaged the flowers irreparably2 and even if this objection did not exist1 it would be impossible to have the enormous shades1 with their delicate contents1 raised by any machinery at command into the desired position4 ,the exhibition is one of so novel and beautiful a character1 that it will well repay a visit4--,morning ,post4 99 99 99 99 99 ,the art of making flowers in wax has been brought to a very high degree of perfection by ,mrs4 ,peachey1 ,her ,majesty's artiste4 ,there is not a floral production that she cannot truthfully and delicately reproduce with her kindly material1 and she has lately executed a work which we believe defies competition in the department to which it belongs4 ,this is an enormous bouquet1 containing flowers of the most intricate structure1 and supported by a rock1 which peers from a lake of the brightest looking glass1 decorated in its turn with waxen aquatic plants4 ,all the flowers were modelled in the first instance from white wax1 and the beautiful colours are all produced by painting4 ,the whole group is enclosed by a shade1 composed of four glass plates1 so curved as to meet at the top4 ,the work in question is to be seen in ,rathbone ,place1 but it was the intention of ,mrs4 ,peachey that it should be seen at the ,crystal ,palace4 ,according to her statement1 she was led to believe that she would be allowed a ground-floor situation1 but was only allowed a place in the gallery1 so exposed to the sun1 that the first hot day would have performed a work precisely the reverse of her own labours4 ,under these circumstances she has deemed it better that her flowers should blush unseen1 than that they should melt away in a halo of visibility4 ,into the ,crystal controversy it is not our desire to enter1 but we would testify to the excellence of ,mrs4 ,peachey's work as being perfect of its kind4--,the ,times4 99 99 99 99 99 ,we yesterday inspected a beautiful collection of wax flowers by ,mrs4 ,peachey1 artiste to ,her ,majesty1 now on private view at #ce1 ,rathbone ,place4 ,we have seen many specimens of the elegant art of modelling in wax1 but without exaggeration we may declare that more magnificent and truthful imitations of nature it has never been our lot to witness4 ,the centre-piece is an immense bouquet of several hundred flowers1 of almost every description1 and every hue1 from the gorgeous scarlet cactus to the virgin-tinted snowdrop1 modelled with the closest fidelity1 and arranged with exquisite taste4 ,at the foot are models of the glorious water-lily of ,guyana1 the recently discovered ,victoria ,regia1 in several stages of its development1 from the close shut bud with its prickly calyx to the expanded flower4 ,some idea of the dimensions of this giant bouquet may be formed from the fact that it stands nearly six feet in height1 and that the bent plate-glass shade with which it is covered alone cost #bjj4 ,next to this in beauty as well as size is a vast group of fruit1 fifty inches in height1 the shade to which is itself a curiosity1 being we believe1 the largest for superficial dimensions ever yet blown in ,england4 ,besides1 there are a number of smaller groups of flowers and fruit1 all of singular beauty4 ,we understand that ,mrs4 ,peachey intended this collection for exhibition at the ,crystal ,palace2 but1 owing to some miscomprehension on the part of the commission1 they have been reserved for private view4 ,the place assigned to ,mrs4 ,peachey was1 we are informed1 in one of the galleries1 so close to the roof as to render the solar heat too dangerous for the extremely susceptible material of which these articles are composed4--,morning ,advertiser4 99 99 99 99 99 ,mrs4 ,peachey1 the artiste to her ,majesty1 has on view at her residence1 #ce1 ,rathbone ,place1 some new examples of her extraordinary skill in wax painting1 originally intended for the ,exhibition1 but not permitted to appear there in consequence of the locale assigned to them being at the top of the building1 where1 exposed to the action of the sun1 they would be in peril of dissolution4 ,the examples consist of two remarkable models--one an enormous and magnificent bouquet1 consisting of hundreds of flowers of the most intricate structure and beautiful colouring1 as well as the greatest diversity of character4 ,the violet and the ,cactus grandiflora1 with the water-lily of ,guiana1 and the newly discovered ,victoria regia1 form part of this exquisite group4 ,all the flowers were modelled separately from white wax1 and the colours afterwards superinduced4 ,the bouquet stands six feet in height1 and is covered with a bent glass shade4 ,the other model is a group of fruitage1 covered with a glass shade more than four feet high1 and nearly three feet across1 being the largest ever yet blown in ,england4 ,it was manufactured from designs supplied by ,mrs4 ,peachey herself1 and cost #bjj4 ,nothing can be more picturesque or artistic than these models3 full of wonderful detail which it is impossible to pursue1 and implying a marvellous amount of labour and ingenuity1 they lead us to regret that any misunderstanding should have led to their absence from the ,crystal ,palace4--,illustrated ,london ,news4 99 99 99 99 99 ,ever willing to extend our protecting gis to the weak and unsupported1 we feel ourselves called upon at the present juncture to step into the arena as the defenders of several meritorious individuals whom we conceive to have met with the most unworthy treatment in regard to the exhibition1 or rather the non-exhibition of their productions of art in the ,crystal ,palace4 ,we have received a number of communications from artists of first-rate talent1 complaining of the exercise of undue influence in official quarters1 but we have been more immediately led into an investigation of the circumstances connected therewith1 by a communication from ,mrs4 ,peachey1 of ,no4 #ce1 ,rathbone ,place1 ,oxford ,street1 artiste in wax to ,her ,majesty4 ,that lady's statement is nearly as follows3--that about twelve months ago1 when the erection of the building in ,hyde ,park was spoken of1 and the nature of its contents mentioned1 she1 feeling anxious to prove to the world that the very high and royal patronage she enjoyed was not unmerited1 sent in her subscription of five guineas towards the construction of the building1 and intimated her intention of sending in some specimens of her own works4 ,she was immediately assigned a most elegant site for her display on the ground floor1 in the avenue near the fountain4 ,nothing could be more consonant to her wishes1 and she forthwith sent in her pedestals and minor portions of framework1 etc4 ,some time since1 however1 on questioning this gentleman as to the certainty of her getting the desired position1 she was astonished at being told she must send her articles to ,no4 #bi1 in the gallery4 ,this she refused to do1 and the consequence has been that the ,exhibition has been deprived of some of its rarest specimens of art4 ,the reason ,mrs4 ,peachey assigns for not sending her works to the gallery is the impracticability of their being carried up stairs without being1 from their extreme fragility1 seriously injured1 perhaps mutilated4 ,even were they to be slung up by tackle1 she says they would be subject to the same risk1 and her two principal works1 viz4--an enormous bouquet of the most exquisitely modelled flowers1 and a gigantic vase of fruit1 she values at no less a sum than #ajjj4--,sunday ,times4 99 99 99 99 99 ,a visit to ,rathbone-place1 is a stepping from the ordinary exhibitions of mere art to a miniature garden1 in which may be seen grouped together the beautiful flowers and fruits of every season and every clime4 ,we shall not attempt to describe with too nice minuteness the wonderful creations of this gifted lady's hand1 but freely give our impressions as they came on our inspection of these completions--these perfections of art4 ,to name all the blushing subjects so fairly representing the rich and wide domain of ,flora1 would be far less easy of accomplishment1 of enumeration1 than to say that queen roses--the ,english rose--the delicate1 the beautifully clothed lily--the crimson fuchsia--the acacia1 and gorgeous tulip--the ,victoria ,regia1 in all its stages of development1 bud1 blossom1 flower1--were as the realities of stilly life1 which seemed to say1 in the expressive language of flowers--put aside from us our glassy veils1 remove our crystal shrines1 that we may nod kisses to the wooing zephyrs4 ,pomona1 too1 was there4 ,her thousand fruits clustered under transparent concaves4 ,grapes that might have moved ,bacchus to press them with his rosy lips--peaches1 melons1 shiny currants1 inviting strawberries1 and crowning pineapples--all worthy the pencil of a ,lance--glorious as the painting of nature1 mockingly tempted us to seize the fairy prizes--reminding us of an anecdote of ,swift4 ,the facetious dean1 with several friends1 was invited to walk the rounds1 and admire the delicious fruit bending the countless trees to the earth in the orchard of an old acquaintance1 who kindly pointed out to his most admiring guests the charming sweets by which they were surrounded2 but1 sour grapes to them--asked them not to make themselves at home1 nor offered pear nor apple4 ,this was too much for ,swift1 who had a happy knack of inventing scraps of poetry to suit his purposes1 and thus applied himself on the occasion2 ,i remember that my old grandmother had a saying3-- ,always take a peach ,when within your reach4 ,action suited to the words quickly followed4 ,the quick arch wit of ,st4 ,patrick's put forth his hand1 and his good example was followed by all the company1 who each took a peach1 when within his reach4 ,now1 we must confess that we were almost tempted to essay a similar feat of onslaught on ,mrs4 ,peachey's magic garden1 but were1 fortunately for all future sight-seers1 withheld by the consciousness that those many rainbow liveried sweets to the eye1 were not for ourselves or ,covent-garden1 but were the triumphs of a skilful artiste4 ,and are these the works that have been1 which are refused a fitting place in the high field of universal1 peaceful rivalry and competition in the ,crystal ,palace for the works of all nations8 ,what6 ,can this be possible8 ,here are the works of our own nation not there--excluded6 ,surely for the credit of the ,exhibition--for the honorable name of the ,executive ,committee1 there should be enquiry4 ,the works cannot be said to be excluded upon their merits1 for they have not been inspected by the authorities4 ,there was1 nay1 there is room enough in the building in ,hyde ,park for this peerless and costly challenge of an ,english woman as an artiste4 ,england in fair competition against the world6 ,we looked for these gems of art in the ,crystal ,hall--but found them only in the catalogue6 ,we asked where they were1 and the nymph ,echo answered where6 ,if there be any unworthy motive for this1 to us1 incomprehensible exclusion of native art1 let such be dissipated by the breath of public opinion4 ,but we would fain persuade ourselves that there must be some misapprehension4 ,the works of a lady--patronized by the ,queen1 to be excluded from an ,exhibition open to the people of all nations--we cannot comprehend it2 but for the honour and fame of the nation1 hope to see in their proper places1 works daily visited1 and admired by the aristocracies of rank1 wealth1 and refined taste4 ,mrs4 ,peachey has spared neither pains nor expense1 the glass flower-shade having cost her #bjj2 she has contributed to the ,exhibition1 and exhibits freely4 ,the press has noticed the emanations of her genius1 and we add our testimony4--,west ,kent ,guardian4 99 99 99 99 99 ,and before passing from the wax flower group1 we may add an expression of our regret1 that differences of some kind prevented its including the very magnificent case and bouquet which had been prepared by ,mrs4 ,peachey1 one of the artistes in wax to her ,majesty4 ,the stand itself1 which1 with its contents1 was on private view1 is externally1 more elegant than any of the cases in the ,exhibition1 and the flowers would have yielded to none in variety or brilliancy of tint4 ,the reputation of ,mrs4 ,peachey1 whose artistic talent is of a first-rate description1 would have justified the authorities in some concession1 and would have enriched this department of the ,exhibition with a feature of no ordinary beauty4--,illustrated ,london ,news4 99 99 99 99 99 ,we have inspected1 at the private residence of ,mrs4 ,peachey 7in ,rathbone ,place1 ,oxford ,street17 artiste in wax-work to ,her ,majesty1 one of the most remarkable specimens of ingenuity and industry which ,london at present contains4 ,this is an immense bouquet of wax flowers which that lady had prepared for the ,crystal ,palace1 but which are not at present within its walls1 for a reason to which we will presently advert4 ,let us first describe this really magnificent work4 ,on four sturdy stone columns1 tastefully designed1 and edged with gold1 is a looking-glass platform upwards of four-feet square1 and representing water4 ,from the centre of this fairy lake rises a glass column supporting a golden basket4 ,in this is placed a bouquet some two feet high1 and of proportionate girth1 in which are clustered all the flowers we ever saw1 and a great many which we never saw--from the humble favorites of our ,rigolettes and ,fleur de ,maries1 up to the floral aristocracy of the conservatory4 ,there they are exquisitely reproduced in all their graces of form and colour1 and arranged with the attention to contrast and general effect which bespeaks the superintending eye of the real artist4 ,we are afraid to say how many hundred wax flowers compose this splendid bouquet2 but we can safely say that1 after having walked round and round it1 and1 as we thought1 having completely examined it1 the eye continually insisted on detecting some new variety1 and we finally abandoned the hope of ever becoming acquainted with the whole4 ,from the corners of the imitative waters rise various superb specimens of water plants1 fresh1 cool1 opaque-looking1 productions2 and at the foot of the glass column1 as if planted by accident1 spring a few of our more common and very beautiful garden flowers4 ,the whole is covered by an enormous bent glass shade1 from the centre of which rises a pretty copy of ,her ,majesty's crown4 ,nothing can be more beautiful or in better taste than the object we have described4 ,near it is another vase1 not so large1 and filled with wax fruit of every kind--the bloom of the grape1 the blush of the apple1 the rich brown of the nut1 the velvet of the apricot1 the glow of the orange1 and the characteristics of a hundred other fruits being represented with a tantalizing fidelity4 ,we would have flogged the fellow who broke the ,portland ,vase1 but we did not feel so sure1 while gazing upon these admirable imitations of the most delicious fruits1 that we should have been so severe upon some earnest gourmand who might dash down the vase of which we speak1 in wrath that his eye and his palate had been so nobly cheated4 ,the two vases1 one of flowers1 the other of fruits1 are certainly the most sumptuous specimens of wax composition we ever saw4 ,as we have said1 these works were intended by ,her ,majesty's artiste for the ,great ,exhibition4 ,on her applying for a site1 that lady states that a very admirable one was assigned her upon the ground-floor of the building1 near the fountains4 ,upon her work being complete1 she was directed to place it in the gallery4 ,this1 ,mrs4 ,peachey considered would be to jeopardise it1 from the danger so fragile a production would probably sustain in being taken up stairs1 and still more from the heat of the sun1 to which the wax would in that situation be exposed1 and which would speedily produce ,icarian results destructive to the work4--,bell's ,weekly ,messenger4 99 99 99 99 99 ,two groups of flowers and fruit most tastefully and elaborately executed in wax by ,mrs4 ,peachey1 of ,rathbone ,place1 have1 we regret to say1 been withdrawn from the ,crystal ,palace in consequence of an inappropriate position having been assigned them by the ,committee4 ,mrs4 ,peachey1 who stands unrivalled in this class of ornamental art1 feeling herself aggrieved by the decision of the committee1 has appealed from it to the judgment of the public1 and with that view has placed her works in an apartment of her residence1 #ce1 ,rathbone ,place1 for inspection4 ,the taste1 the labour1 the time bestowed on these magnificent works1 must have been very great1 and we fancy the visitors to the ,crystal ,palace will be greater losers by their absence from that repository than even the fair artiste herself1 for they are deemed by all who have seen them the finest works of the kind ever executed4--,morning ,herald4 99 99 99 99 99 ,we have several times during the past week inspected1 with much gratification a magnificent bouquet of the most rare exotics1 as also a large collection of grouped fruits1 modelled entirely in wax1 by ,mrs4 ,peachey1 ,her ,majesty's artiste in ordinary in that department of feminine accomplishment1 and intended by that lady for competition in the ,world's ,fair4 ,we have often had occasion to witness the extraordinary skill displayed by this lady in imitating the beauties of nature from her kindly materials1 but we must confess 7although previously informed that the present works outvied all the previous attempts of the artiste7 that we were unprepared for designs and executions so exquisitely chaste and artistic1 and true in the imitation of nature4 ,what could have induced the executive committee of the ,great ,exhibition to decide upon excluding works of such elaborate labour and beauty1 and these the works of an ,english artist1 of the first standing1 we are totally at a loss to conjecture4 ,we say excluding1 for it is tantamount to exclusion to tell ,mrs4 ,peachey that she must place such volatile work in a top gallery1 exposed to the heat of a ,july sun1 or withdraw them1 although she had been previously allocated space on the basement of the building4 ,mrs4 ,peachey adopted the latter alternative1 feeling it detrimental to her works1 not only from the objectionable position assigned her1 but also from the impossibility of having her cases1 which are of a large size1 conveyed into the gallery1 without materially injuring designs of so fragile a nature4 ,it is to be regretted that ,mrs4 ,peachey should be thus compelled to adopt a measure which has deprived the ,exhibition of one of its rarest specimens of art1 specimens which we are certain would severely test1 if not outvie1--all other competitors in that department4 ,we are glad to know1 however1 that the artiste's credit will not suffer from this harsh exclusion4 ,the labour1 skill1 and expense she has bestowed are already duly appreciated by a discerning public1 thousands of the elite of the aristocracy and gentry having already visited ,mrs4 ,peachey at her residence in ,rathbone-place1 all of whom have expressed the most unequivocal satisfaction and delight at the beauty of the specimens1 which1 they allege1 are far superior to any in the ,exhibition4 ,we ourselves strongly recommend our fair readers to inspect these inimitable works1 feeling certain that they will continue to be pronounced the finest works of the kind ever executed4--,observer4 99 99 99 99 99 ,the complaints against the partiality and want of discrimination on the part of the executive committee of the ,great ,exhibition in the allotment of space to the would-be exhibitors are of daily and hourly recurrence4 ,among the grievances which are more especially injurious to the thorough development of ,british industry in the more delicate and refined art in feminine accomplishments1 we may mention the case of ,mrs4 ,peachey1 of ,rathbone-place1 the warranted wax florist to ,her ,most ,gracious ,majesty4 ,this lady1 one of the earliest claimants for pedestal space1 on the first announcement of the intended ,congregation of the ,industry of ,all ,nations1 we think1 has been most harshly dealt by4 ,her first application was duly answered1 and an allotment made her of space on the basement of the building near one of the fountains1 and amongst the other gems of art4 ,subsequently1 privately1 she ascertained that some alteration was made with reference to her contributions2 and1 on application1 it was intimated to her that1 in consequence of want of room1 the executive had determined on transferring her cases to class #bi1 situated in one of the galleries4 ,mrs4 ,peachey1 on inspecting the location1 objected1 on the just plea that wax flowers were liable to atmospheric influence from the great heat accruing from the glass roof and plate glass surrounding her flowers2 and also their material and serious injury from the impracticability of moving her compositions1 composed entirety of wax1 up staircases without injuring her designs4 ,the whole has resulted in the total exclusion of one of the most beautiful contributions1 designed and arranged by one of our most honoured and worthy ,british ,artists4 ,since ,mrs4 ,peachey's exclusion has been known1 her studio has been visited by the most aristocratic of the nobility and gentry1 who have expressed the utmost indignation at her exclusion from the great competition in the ,world's ,fair4 ,the contributions1 which occupy a small space1 consist of the most rare exotic and indigenous flowers and fruits1 which so closely imitate nature as nearly to deceive the spectator1 and give him a desire to take and taste of the luscious banquet4 ,altogether the cases1 which occupied her twelve months in completing1 are worthy of inspection1 a gratification which ,mrs4 ,peachey affords the public by throwing open her rooms for public inspection4 ,we recommend the admirers of imitative art to inspect these beautiful and artistic gems4--,expositor4 99 99 99 99 99 ,a visit to ,mrs4 ,peachey's ,studio1 in ,rathbone-place1 is like stepping into some garden of ,fairy ,land1 where flowers of all seasons1 and fruits of every clime present themselves at once to the eye in perennial bloom4 ,the rose is there in all its varieties1 the lily1 the drooping fuchsia1 the accasia1 the gorgeous tulip1 the dahlia1 the ,victoria ,regia in all its stages of development1 bud1 blossom1 flower4 ,grapes1 too1 that would have moved the jolly god to press them within his ruddy lips1 peaches1 nectarines1 currants1 strawberries1 and crowning pine apples1 in one rare trophy1 worthy the study of a ,lance4 ,our feelings at the moment recalled vividly an amusing anecdote of ,swift4 ,the facetious ,dean with several friends was invited to walk the rounds and admire the fruit in the garden of an old acquaintance1 who pointed out all the beauties of his orchard1 without1 however1 asking the company to partake of any of the tempting display4 ,this was too much for ,swift1 who having a happy art of inventing rhymes to suit his purposes1 applied it in the following manner on the occasion2 ,i remember1 said he1 stopping under a very heavy laden bough1 that my dear old grandmother had a saying which ran thus-- ,always pluck a peach ,when within your reach4 ,suiting the action to the word1 he quickly put forth his hand and took and ate--an example which was not lost on those who accompanied him4 ,now we candidly confess that we were in an unguarded moment tempted to essay a similar onslaught on ,mrs4 ,peachey's fruits1 but1 fortunately for all future visitors1 were withheld by the magnificent glass shades which protect these triumphs of art4 ,and are these the works that have been--that are refused a fitting place in that great field of universal rivalry1 the ,crystal ,palace6 ,what6 can it be possible8 ,here are works of our own nation not there--excluded6 ,surely1 for the credit of the artiste1 and for its own honorable name1 the ,executive ,committee should enquire into the matter1 and if there be any unworthy motive for this1 to us1 incomprehensible exclusion of native art1 let such be at once and for ever dissipated by the breath of public opinion4 ,there is still ample space for them in the great building2 and we hope yet to see them there in their proper place4 ,mrs4 ,peachey has spared neither labor nor expense to render her works worthy of her reputation1 and the continuance of that exalted patronage which she has long enjoyed in ,her ,gracious ,majesty the ,queen1 and the highest among the aristocracy1 and of the honor of her country4 ,we were glad to perceive1 on our visit1 that although excluded from their place among the nations1 these exquisite works are eagerly sought after and admired by crowds of the elite of fashion and taste4--,globe4 99 99 99 99 99 ,this highly talented lady 7artiste to ,her ,majesty7 has now on private view1 at her residence1 #ce1 ,rathbone-place1 ,oxford-street1 two splendid works of art1 which were intended to have been placed in the ,crystal ,palace1 but the space allotted to her in one of the galleries1 being not at all adapted to such delicate productions1 ,mrs4 ,peachey was compelled to refrain from carrying out her intention4 ,these beautiful productions1 the sole work of ,mrs4 ,peachey1 7who is self-taught17 comprise a monster bouquet of flowers1 and a large vase of fruit4 ,the former comprehends specimens of almost every flower known in this country1 from the simple violet to the full-blown magnolia2 whilst in the latter we have specimens of the principal ,english fruits1 including the luscious pine apples and the unpretending currant4 ,both groups are most tastefully arranged1 and an enormous expense has been incurred in the getting up of the stands and glass shades4 ,we advise our readers not to omit seeing ,mrs4 ,peachey's novel and truly beautiful works1 and we predict they will be abundantly gratified by their visit to her ,exhibition4--,reading ,mercury4 99 99 99 99 99 ,mrs4 ,peachey's group of wax flowers1 modelled for the ,glass ,palace1 is now on view at her house in ,rathbone-place4 ,mrs4 ,peachey1 it seems1 refused the space assigned her by the ,committee1 on the ground that heat and darkness would1 the one have destroyed1 and the other shrouded the marvels of her skill4 ,the bouquet 7which is in a glass case1 unsurpassed for chasteness and beauty of design7 is on a gigantic scale1 and contains among the rarest exotics the pride of the conservatory and the garden4 ,we were as much surprised as delighted1 on paying a visit during the past week at the skill which can imitate1 and even rival1 nature in her most attractive aspects4 ,conspicuous among the lilies1 and other water flowers lining the base1 is the ,victoria ,regia in its several states4 ,the botanist and the florist will dwell delightedly on the cric1 orchids1 cacti1 the night-flowering cereus1 etc41 besides numberless others more familiar to us4--,dispatch4 99 99 99 99 99 ,an exhibition of wax flowers1 at the residence 7in ,rathbone-place7 of ,mrs4 ,peachey the artiste1 is a perfect curiosity of its kind4 ,almost every variety of ,english flower1 exquisitely coloured1 is massed into an enormous bouquet1 surprising alike from the largeness of the conception and the minuteness of the execution4 ,this beautiful piece of art was prepared for the ,great ,exhibition1 but withdrawn by ,mrs4 ,peachey in consequence of her dissatisfaction with the place reserved for her4--,examiner4 99 99 99 99 99 ,we have inspected1 at the private residence of ,mrs4 ,peachey 7in ,rathbone-place1 ,oxford-street71 artiste in wax work to ,her ,majesty1 one of the most remarkable specimens of ingenuity and industry which ,london at present contains4 ,this is an immense bouquet of wax flowers which that lady had prepared for the ,crystal ,palace1 but were not within its walls1 for a reason to which we will presently advert4 ,let us first describe this really magnificent work4 ,on four sturdy stone columns1 tastefully designed1 and edged with gold1 is a looking-glass platform upwards of four feet square1 and representing water4 ,from the centre of this fairy lake rises a glass column supporting a golden basket4 ,in this is placed a bouquet some two feet high1 and of proportionate girth1 in which are clustered all the flowers we ever saw1 and a great many which we never saw--from the humble favorites of our ,rigolettes and ,fleur de ,maries1 up to the floral aristocracy of the conservatory4 ,there they are exquisitely reproduced in all their graces of form and colour1 and arranged with the attention to contrast and general effect which bespeaks the superintending eye of a real artiste4 ,we are afraid to say how many hundred wax flowers compose this splendid bouquet2 but we can safely say that1 after having walked round and round it1 and1 as we thought1 having completely examined it1 the eye continually insisted on detecting some new variety1 and we finally abandoned the hope of ever becoming acquainted with the whole4 ,from the corners of the imitative waters rise various superb specimens of water plants1 fresh1 cool1 opaque-looking productions2 and at the foot of the glass column1 as if planted by accident1 spring a few of our more common and very beautiful garden flowers4 ,the whole is covered by an enormous bent glass shade1 from the centre of which rises a pretty copy of ,her ,majesty's crown4 ,nothing can be more beautiful or in better taste than the object we have described4 ,near it is another vase1 not so large1 and filled with wax fruit of every kind--the bloom of the grape1 the blush of the apple1 the rich brown of the nut1 the velvet of the apricot1 the glow of the orange1 and the characteristics of a hundred other fruits being represented with a tantalizing fidelity4 ,we would have flogged the fellow who broke the ,portland ,vase1 but we did not feel so sure1 while gazing upon these admirable imitations of the most delicious fruits1 that we should have been so severe upon some earnest gourmand who might dash down the vase of which we speak1 in wrath that his eye and his palate had been so nobly cheated4 ,the two vases1 one of flowers1 the other of fruits1 are certainly the most sumptuous specimens of wax composition we ever saw4 ,as we have said1 these works were intended by ,her ,majesty's artiste for the ,great ,exhibition4 ,on her applying for a site1 that lady states1 that a very admirable one was assigned her upon the ground-floor of the building1 near the fountains4 ,upon her work being complete1 she was directed to place it in the gallery4 ,this ,mrs4 ,peachey considered would be to jeopardise it1 from the danger so fragile a production would probably sustain in being taken up stairs1 and still more from the heat of the sun1 to which the wax would in that situation be exposed1 and which would speedily produce ,icarian results destructive to the work4 ,we are not disposed to enter into the question in any spirit of censure4 ,we know too well the innumerable difficulties with which the ,executive ,committee have had to contend in arranging the contents of the enormous building1 to cavil at any decision they may have arrived at2 but we have now had the opportunity of seeing two very beautiful works of ,english industry which would have been a credit to the ,exhibition4--,morning ,chronicle4 99 99 99 99 99 ,those forms which our continental neighbours take such wondrous care in imitating in the perishable material of muslin1 ,mrs4 ,peachey1 ,her ,majesty's artiste1 of #ce1 ,rathbone-place1 endeavours to perpetuate in the more endurable materials of wax4 ,naturally afraid of jeopardising the work on which so much time and labour has been bestowed1 ,mrs4 ,peachey has withheld her contribution from the ,great ,exhibition2 whether wisely or not1 we are not here called upon to pronounce4 ,we can only bear witness to the evidently botanical fidelity of execution with which the forms and colours so lavishly spread throughout nature have been mimicked4 ,in wax work generally1 one is made painfully aware of the all-powerful presence of the forceps1 but here we notice little or nothing of the kind1 this is especially the case with the small blossoms1 which expand their petals throughout a monster bouquet in wax4 ,in thus perfecting the imitative arts1 however1 no sense should be left unsatisfied2 to the pleasure of seeing1 might be super-added that of smelling4 ,but in this further aim might be lost sight of that great object1 viz41 utility1 which at present is one of the aims successfully attained by ,mrs4 ,peachey4--,daily ,news4 ,,finis4 ,w4 ,n4 ,,horton1 ,printer1 ,london and ,greenwich4 ,transcriber's ,endnotes3 ,the following significant errors have been corrected3 ,pg4 xvi4 ,lilium ,lancefolium to ,lilium ,lancifolium4 ,pg4 xvi #db4 ,mignionette to ,mignonette4 ,pg4 xvi4 ,passa ,flora to ,passiflora4 ,pg4 xvi4 ,tulip1 ,vanthols to ,tulip1 ,van ,thol4 ,pg4 xvi4 ,cheiranthus ,cheri to ,cheiranthus ,cheiri4 ,pg4 #ac4 convolvolus to convolvulus4 ,pg4 #eh4 ,sir ,r4 ,scomburgh to ,sir ,r4 ,schomburgk4 ,spelling errors in the press extracts remain as printed1 but have been noted below3 ,pg4 #fi4 accasia should be acacia4 ,pg4 #gj4 cric should be crica4