,transcriber's ,note3 italic text is denoted by underscores and bold text by equals signs4 ,a ,,complete ,,guide ,,to ,,the ,,ornamental ,,leather ,,work4 ,entered at ,stationers' ,hall4 ,,london3 ,,published ,,by ,j4 ,,revell1 #bgb ,,oxford ,,street2 ,,sold ,,by ,t4 ,t4 ,,lemare1 ,,oxford ,,arms ,,passage1 ,,paternoster ,,row2 ,b4 ,,smith1 #ajg1 ,,fleet ,,street2 ,,and ,,all ,,booksellers4 ,half-a-,crown4 ,decoration ,,revell',s ,,complete ,,guide ,,to ,,the ,,ornamental ,,leather ,,work4 ,,general ,,remarks4 ,we feel assured that a long introduction is neither requisite to the reader or publisher of a ,work like the present1 and shall1 therefore1 merely say1 that the great success our former little ,works have met with1 has induced us to send forth this edition1 in which will be found every particular connected with this very useful source of amusement and fashionable department of practical art4 ,the illustrations are furnished by a late pupil of the ,school of ,design1 who obtained the highest prize for ,flower ,painting1 assisted by a student of the ,,royal ,,academy ,,of ,,arts4 ,every example given has been practically tested1 and1 in most instances1 the drawings have been copied from the models executed in leather1 and will be found to combine durability with beauty of design4 ,in order to make the leather modelling as durable as possible1 we have not departed from nature in the finished form1 but in the mode of construction2 for example1 we make several portions of a flower in one piece of leather4 ,the ,narcissus and the beautiful ,white ,lily have each six petals2 in both instances1 we make the entire corolla of the flowers in one piece2 thereby1 while losing none of the beauty of the natural form of the flowers1 we gain strength and solidity2 as1 were the petals of the ,lily or ,narcissus to be composed of six pieces1 one1 if imperfectly cemented1 might fall off and detract from the beauty of the entire piece of work4 ,by our method of proceeding1 it is impossible to do so3 we mention this1 as1 in our description of ,making and ,modelling ,flowers in ,leather1 we differ from the literally botanic construction1 while1 at the same time1 we arrive at perfectly correct and artistic formation4 ,in some flowers1 as in the ,hop1 ,dahlia1 c41 we have found it impracticable to combine many petals in one piece of leather2 where this is the case1 especial care must be taken to have good liquid glue1 and fasten each petal securely4 ,all leather to be used in ,modelling ,leaves1 ,flowers1 c41 must be first wetted1 and modelled while wet2 and as this is a general rule1 the student will understand that mention of the necessity of this operation will not in every instance be repeated4 ,amongst the many uses to which ,leather ,work is applied1 that of ornamenting ,pulpits will be found a capital field for the display of this art1 as it is capable of being moulded into any form1 and nothing can possibly have a more substantial and beautiful appearance4 ,glasses of varied form1 as jelly glasses and old-fashioned goblets1 as well as many of modern manufacture1 can be covered on the outside with ,leather ,work4 ,lilies of the ,valley1 and other such flowers1 being trailed round a groundwork of leaves1 and being either gilded or stained1 look exceedingly well2 and as they are capable of holding water1 become really useful as well as ornamental articles for bouquets of flowers4 ,fire-screens and scroll work are executed exactly in the same manner1 as described in the following pages1 for frames4 ,fire-screens are generally filled with ,berlin wool1 or some other fancy work4 ,those who would prefer to have an entire piece of ,leather ,work1 can paint landscapes or flowers upon white leather1 using the same medium which is used at the ,school of ,design for body colour painting1 mixed with finely powdered colours4 ,gold ,leather ,work looks remarkably well upon a blue or crimson velvet ground1 and makes very rich frames1 fire screens1 c4 ,when tastefully arranged1 the flowers and leaves upon these grounds have a very magnificent appearance4 ,amongst the numerous articles which admit of being ornamented with leather1 may be enumerated frames1 brackets1 vases1 pole and hand screens1 card plates and racks1 music and watch stands4 ,decoration ,decoration ,revell's ,complete ,guide to ,ornamental ,leather ,work4 ,,the ,,materials4 ,the principal ,materials required for this work are-- ,basil ,leather4 ,skiver ditto4 ,a ,bottle of ,oak ,varnish ,stain4 ,ditto ,spirit ,stain4 ,ditto ,shaw's ,liquid ,glue4 ,a ,bottle of ,stiffening4 ,a ,small ,hammer4 ,a few ,brushes4 ,some ,tacks4 ,a pair of ,nippers4 ,a ,veining ,tool4 ,a few hard ,steel ,pens4 ,bradawl4 ,pair of ,scissors4 ,a ,leather-cutting ,knife4 ,grape ,moulds4 ,ditto for ,passion ,flowers4 ,fine ,black ,lead ,pencil4 ,decoration ,,leather4 ,the kind of leather used for general purposes is basil2 it should be selected of an even texture and of a light colour1 as the lighter coloured basil takes the oak varnish stain better than the dark4 ,great care must be taken to select it soft and free from blemishes1 as if dark and rough leather is used1 the work when finished1 even by skilful hands1 will not have so good an appearance as the production of much less skilful artists1 where good basil leather is used4 ,the skiver leather is used for making grapes1 or very small leaves and flowers1 and can be obtained at the same place as the basil leather2 this kind is also very useful for thin stems and any minute portion of the work4 ,,directions ,,for ,,making ,,the ,,leaves4 ,illustration3 ,no4 #a4 ,sketch1 either from nature1 or from the example annexed1 the leaf you intend to copy1 upon pasteboard2 cut it out very carefully2 then place a piece of basil in cold water for half a minute 7not longer71 unless the leather is unusually thick2 the leather should then be taken out of the water1 and pressed in a linen cloth until the surface becomes dry4 ,being thus prepared1 lay it quite flat and place upon it the pasteboard pattern1 holding it firmly down with the left hand1 while with the right1 draw a line round the pattern with a fine hard black lead pencil or the veining tool3 while the leather is damp cut out the leaf with a pair of scissors or with the leather-cutting knife1 as occasion may require2 when smaller or larger leaves are required1 a reduced1 or enlarged1 sketch should be taken1 a pattern made of it in pasteboard1 and applied in the same manner as described above1 cutting out as many leaves as you require1 and generally making about four sizes of them1 as varying the sizes of the leaves adds much to the beauty of the foliage4 ,leaves all the same size would have a very formal appearance1 as they must be veined before they are allowed to dry2 too much leather must not be wetted at a time1 nor more leaves cut out than can be veined4 ,to vein the leaves1 mark them with the veining tool on the smooth side of the leather strongly1 by pressing heavily on the leaf1 where a thick vein is required2 and more lightly where only finer ones should be visible2 for raised veins employ the end of a fine pair of scissors for the large1 and a hard steel pen for the smaller veins4 ,being veined1 the leaves should be bent and moulded as they are to appear upon the work when it is completed3 they should then be dried rather quickly1 as it greatly assists in the hardening4 ,decoration ,,to ,,harden ,,them4 ,when the leaves are thoroughly dry1 brush them all over1 particularly the edges with the prepared stiffening1 applying it with a camel's hair pencil1 nimbly1 as it dries very rapidly1 apply it thin and evenly1 taking care to cover the edges2 when dry1 they will be ready for staining4 ,,to ,,stain ,,them4 ,pour a little oak varnish stain into a small vessel1 and brush the leaves all over1 using a hog's-hair tool for the purpose of laying on the stain1 taking care to cover the edges1 and brush it well out of the veined parts2 should the leaves1 when dry1 not be so dark as desired1 another coat can be given1 but in no instance apply thick coats of stain1 it will1 if put on thick1 most likely dry darker in one place than another1 and will never have so smooth an appearance as when two thin coats have been applied2 take care always that one coat must be dry before another is applied4 ,,to ,,make ,,stems4 ,cut strips of basil leather about one-third of an inch wide and as long as the leather will allow2 soak them well in water for a few minutes until they feel very soft1 take them out1 wipe the water from the surface1 then roll them round as tightly as possible 7the smooth side outwards7 on a table or any even surface1 and dry them2 if required very stiff1 add inside a piece of wire2 when very thick ones are required the leather must be proportionately wider4 ,,to ,,make ,,tendrils4 ,tendrils are made in the same manner as ,stems1 using skiver instead of basil leather1 dry them quickly1 and they will then be ready for use in the following manner3 take a tendril1 damp it and immediately wind it round a bradawl or a piece of stout wire1 taking care to fasten both ends of the tendril so that it does not fly off2 dry it by the fire1 then remove it from the awl and a delicately-formed tendril will be the result2 arrange it and cut to length and form wished1 and apply a coat of stiffening to keep it in shape4 ,stems and tendrils are to be hardened and stained precisely in the same manner as the leaves4 ,,grapes4 ,in order to produce grapes symmetrically formed a proper mould should be obtained2 then cut rounds of skiver leather the size required1 which must be wetted and placed in the mould the smooth side downwards2 then fill the leather in the mould firmly with wadding1 and tie the grapes securely with strong thread or fine twine2 when the grape is finished1 put a piece of wire through the part where it has been tied up to form a stalk4 ,or grapes can be made of deal or any soft wood with a hole pierced through the centre large enough to admit of a leather or gutta percha stalk being drawn through and fastened at one end2 they should now be stained and made into clusters2 wooden grapes may be covered with damp skiver leather if preferred2 it is necessary to observe1 in making the clusters that the tying should be entirely concealed2 all fruit and flowers must be stained1 c41 precisely in the same manner as leaves4 ,,to ,,ornament ,a ,,frame4 ,procure a deal frame of the size and form required1 taking care to have it made of well-seasoned wood4 ,size it all over with patent size4 ,leave it about an hour to dry1 then apply a coating of oak varnish stain1 and when dry it will be ready for use4 ,commence the process of covering by attaching the stem with small tacks all round1 in spaces of a few inches1 in a zigzag direction4 ,supposing the vine pattern frame is selected1 cover the wood with four or five gradations of foliage1 well arranged1 so as to preserve as nearly as possible1 the natural appearance of the vine4 ,too great a profusion of grapes should be avoided2 but as the number and size of the clusters can hardly be determined1 we must therefore leave it to the taste of the artist4 ,common pins can be used with advantage in keeping in its proper place that portion of the work where glue only can be applied for the permanent fastening4 ,when the work becomes firmly attached1 the pins can either be withdrawn1 or they can be cut off1 close to the ornaments1 with the nippers4 ,decoration ,,the ,,proper ,,kind ,,of ,,frames ,,to ,,procure4 ,illustration3 ,no4 #b4 ,the frames best adapted for the work1 we have found to be those levelled off on the outer edge to about half an inch thinner than the inner1 and formed as shewn in ,fig4 #a4 ,frames made in this shape greatly increase the beauty of the entire design4 ,a narrow gold beading we have generally added inside1 as the gold gives a more finished appearance to the frame4 ,,watch ,,stands1 ,can1 like one below1 be made by every carpenter2 they must be strong to bear the nailing and gluing on of the leather ornaments4 ,the design here given 7,fig4 #b71 we keep1 as well as other descriptions in stock1 but they can be varied ad infinitum2 and we shall be happy to make any design to order very promptly1 or1 as we have before observed1 almost any carpenter can make them1 if furnished with a drawing to work from4 ,illustration3 ,no4 #c4 ,decoration ,,the ,,white ,,lily4 ,illustration3 ,no4 #d4 ,this beautiful flower1 one of the oldest inhabitants of the flower garden1 has six petals1 which are formed of one piece of leather1 as in ,fig4 #a2 the three largest petals1 which1 alternate with the others1 are brought uppermost1 while the three smaller ones are placed behind4 ,our readers will at once perceive what is meant by referring to the finished flower2 they are to be veined and curled as in the natural flower1 and the petals will require to be glued to keep them in their proper places2 it is necessary1 if you have not our mould for that purpose1 to adapt something to place the lily upon while modelling it1 as near the shape of the interior of the flower as possible4 ,the lily has six stamina1 with oblong anthers1 which are made in the manner described for the convolvulus2 the pistil1 with its swollen base or germen1 lengthened style and heart-shaped stigma1 should be carefully imitated from nature1 being a very prominent feature in the flower2 the stamina should be placed round the germen of the pistil and fastened with liquid glue into the centre of the flower2 it must be recollected that the smooth side of the leather must be inside the lily as in the convolvulus2 some flowers require the smooth side of the leather inside1 and some outside2 it must depend upon whether the interior or exterior of the flower is most in sight1 and in some instances in the same flower some petals must be placed one way1 and some another4 ,the bud of the lily is formed by merely folding the whole corolla together veined4 ,decoration ,,fuchsia4 ,illustration3 ,no4 #e4 ,the calyx forms the external part of this flower1 and is made with one piece of leather cut as in the accompanying 7,fig4 #a74 ,the petals within this are four1 and are cut out1 the four in one piece2 in the form of the dotted line1 in ,fig4 #a1 they must be moulded into shape and glued to the stamina inside the calyx so as to alternate with its petals4 ,this flower belongs to the class ,enneandria1 having nine stamina2 they are to cut in one piece of leather4 ,to put the fuchsia together1 proceed as follows3--,cut the nine stamina1 and attach to them the wire1 to form the stalk2 then roll the four petals firmly over the stamina2 they must be moulded and glued round the stamina and stalk1 then take the calyx and roll round the whole2 the leaves must be expanded and moulded as in the engraving1 taking care that the stamina are left out as in the natural flower1 and that the inner petals alternate with the leaves of the calyx2 to make the buds1 roll up the calyx1 and turn the ends in1 not inserting any stamina4 ,,brackets4 ,illustration3 ,no4 #f4 ,the beauty of a bracket depends entirely upon the artistic skill displayed in ornamenting it4 ,the engraving here given is to illustrate the form of bracket best suited to give it strength and solidity1 and to aid the artist in bringing the work well out1 the strips of wood on each side of the piece in the centre will be found exceedingly useful to nail and glue the work upon2 they must be entirely covered with the foliage2 the centre piece can be hidden or not to suit the design2 the appearance of brackets are much improved by having the edge of the upper part gilded4 ,decoration ,,to ,,make ,,the ,,convolvulus ,,flowers4 ,illustration3 ,no4 #g4 ,the ,convolvulus1 termed1 by ,botanists1 ,monopetalous1 from its being composed of only one petal1 is exceedingly well adapted for leather work2 it is made by cutting a half circle of leather with a little piece cut out of the centre of the diameter1 as seen in the annexed engraving 7,fig4 #a74 ,the leather so cut must be wetted and veined1 then bent round 7the smooth side inside1 so that the smooth side of the leather form the inside of the flowers7 until the two edges on each side of the notch come together1 where they are to be joined by being either stitched or glued together2 it will then have a conical shape1 and must be moulded with the fingers1 or the mould1 until it assumes a natural appearance2 the top can be cut to shape1 and that part is finished2 cut the stamina1 as in 7,fig4 #b71 leaving a stalk of leather attached to it in the following manner3--take a piece of basil about a quarter of an inch wide and a few inches long2 cut the top as in ,fig4 #b1 taking care to preserve the form of the anther at the top of each stamen1 and rolling the stalk part up1 put it through the petal and glue it in its proper place4 ,the calyx has five leaves 7,fig4 #c71 and is cut in one piece of leather2 a hole is made in the centre1 it is strung on the stalk and attached with glue to the bottom of the flower outside as in the finished flower 7,fig4 #d71 so that the perfect convolvulus is composed of three pieces1 the petal forming the body of the flower1 the stamina inside1 and the calyx at the bottom of the flower outside4 ,,the ,,convolvulus ,,another ,,way4 ,another way to make the ,convolvulus is to cut a round piece of leather the size of the flower required1 and while wet1 moulding it over the mould for that purpose and bending it into shape2 the ,canterbury bell can be formed of one piece of leather in the same manner1 cutting the top into proper shape with a pair of scissors4 ,,hops4 ,illustration3 ,no4 #h4 ,the ,hop consists of numerous membraneous scales having the fruit within1 and at their base2 with the fruit however we have nothing to do1 as it is out of sight4 ,the membraneous scales are the petals of the flower1 and in the engraving 7,fig4 #a71 are twenty in number2 they are all the same size1 and are cut out of skiver leather1 the shape of the single petal 7,fig4 #b74 ,to make the ,hop1 proceed as follows3--,take a piece of wire and wind leather round the end of it1 as in ,fig4 #c1 fastening it well with liquid glue2 this inner body should be somewhat shorter than the ,hop is to be when completed1 and pointed at both ends4 ,cut out as many petals as are requisite1 and mould them into a convex form at the end of each petal1 then glue them alternately1 commencing at the bottom and finishing at the top of the flowers4 ,,passion ,,flower4 ,the ,passion ,flower is composed in leather of five pieces1 and when well made presents a very beautiful specimen of what can be accomplished in that material4 ,illustration3 ,no4 #i4 ,in making the ,passion ,flower cut out the calyx of five leaves--that is the part of the drawing in the annexed diagram with the pointed end2 then cut out the corolla of five petals with the rounded ends2 cut also a circular piece for the nectary1 which must be cut all round with the knife to form the radii1 the centre having many small cuts radiating from the central point2 when turned upward1 in putting it in its place1 forms the fringe-like appearance around the pistil seen in the flowers4 ,illustration3 ,no4 #aj4 ,the ,passion ,flower has five stamina with ladle-shaped ends1 or anthers1 and three stigmas a little elevated above and turning over the stamina2 the anthers and stigma are made of one piece of leather4 ,the involucrum is formed also of one piece1 and the three leaves are laid one over the other as in the annexed flower4 ,illustration3 ,no4 #aa4 ,to put together the various parts above described and form the ,passion ,flower1 begin by doubling a piece of wire over the angles of the stamina1 twisting it underneath2 roll a piece of skiver leather round the wire to form the style of the pistil and the stem of the whole flower2 then turn up the three stigmas and roll a small piece of leather round them close to the stamina and turn them over2 this being done1 place the nectary on the stem1 taking care that the cut portion in the centre be arranged upwards around the pistil4 ,the petals are next placed on the stem1 followed by the calyx2 the leaves of the calyx must alternate with the petals2 liquid glue must be inserted between each portion of the flower to give it firmness4 ,the involucrum1 which is a sort of calyx1 is put on the stem last a little way below the true calyx2 we may just add1 that all the leaves1 petals1 c41 with the exception of the involucrum1 must have the smooth side of the leather uppermost2 the petals and calyx must be hollowed out with the modelling tool for that purpose1 or if that is not at hand1 use the handle of the veining tool1 and laying the petals and also the calyx on a smooth surface1 rub them with the ivory end of the veining tool till they become hollow and smooth as in the natural flower4 ,illustration3 ,no4 #ab4 ,the above is the way1 as plainly as we can possibly describe it1 to make a ,passion ,flower4 ,we have repeatedly made the flower exactly upon the above plan1 and it has always been much admired4 ,decoration ,,camilla4 ,illustration3 ,no4 #ac4 ,camillas vary in the form of leaves1 and the petals vary in number4 ,to make a camilla1 cut out two pieces1 as in the annexed diagram1 containing four petals in each2 then cut out one or two larger pieces1 with six petals in each1 and one or more still larger1 with seven or eight petals2 then1 having a natural camilla at hand1 mould them all into form1 fasten all the pieces of leather together1 the smallest at the top1 and the largest at the bottom1 so that the petals alternate1 with liquid glue1 and put a piece of wire through the whole for the stalk2 cover it with skiver leather4 ,decoration ,,jessamine4 ,illustration3 ,no4 #ad4 ,to make the ,jessamine1 copy the corolla from the annexed design1 by cutting a star-like piece of basil1 into which insert the wire for the stalk as closely as possible4 ,as the stamina are not visible in this flower1 it is needless to make them4 ,the tube upon which the corolla rests1 can be made by rolling a piece of leather round the wire thickest at the flower1 and then add another piece of leather about an inch below the corolla1 which must have five fine pointed leaves for the calyx4 ,decoration ,,daisy4 ,illustration3 ,no4 #ae4 ,the ,daisy is formed by making two pieces of leather1 like the pattern1 one larger than the other1 and putting the wire1 for stalk1 through both of them4 ,the little golden centre of the daisy1 can be well imitated by placing a round piece of leather1 rather thick1 in the centre1 shaved off at the edges1 and marked with the veining tool full of dots4 ,decoration ,,roses4 ,illustration3 ,no4 #af4 ,a ,wild ,rose is made by cutting out two pieces of leather1 exactly as in the engraving1 putting the wire through two holes made in the centre of the pieces with a fine bradawl1 and pass a piece of wire through the holes1 leaving both ends of the wire at the back to be twisted for the stalk4 ,to form the stamina1 cut fine strips of leather as long again as the stamina are required to be1 and insert them under the eye of the wire which forms the stalk2 then cut the stamina1 and pinch them up into form2 the top piece1 containing five petals1 must be moulded and curved upward1 inclosing the stamina2 the bottom piece also1 containing five petals1 must be moulded downwards1 curving and bending them into form4 ,to make a larger ,rose1 cut out a smaller piece than is shewn in the engraving1 of the same form1 also the two in the engraving1 and a larger piece of the same form making four pieces1 containing twenty petals2 then proceed as before-mentioned1 and a fuller ,rose is produced2 thus the character of the flower and the number of petals can be regulated with comparative ease4 ,the rose leaves can be moulded at the back by pressing them into the grape mould with one of the pressing tools4 ,,oak ,,and ,,ivy ,,bracket4 ,illustration3 ,no4 #ag4 ,the ,bracket annexed is out of the usual run of brackets which have generally been ornamented with leather work4 ,the vine and the convolvulus pattern are much used with very beautiful effect4 ,we intended this design to exhibit old oak3 it should be stained very dark1 the oak stems being very thick1 while the stems of ivy can be formed of tendrils4 ,to make the oak stems get very thick wire1 and have it cut to the desired lengths1 then cover the wires with leather1 and bend them to resemble knarled oak2 attach1 as naturally as possible1 oak leaves and acorns at the back of the wires1 and on the wood work as shewn in the skeleton bracket in a former part of this work2 then attach the ivy tendrils1 leaves1 and berries around the oak stems1 and the bracket is completed4 ,we have found it much improves the appearance of any piece of work we have been ornamenting1 to give the whole when completed a slight coat of varnish4 ,decoration ,,watch ,,stand ,,finished4 ,illustration3 ,no4 #ah4 ,the design for a ,watch ,stand will illustrate one of the various modes of ornamenting this kind of work2 it is very light1 and better than too much crowding the ornamented parts1 which1 besides being a waste of time1 would not look so elegant as lighter work4 ,,card ,,racks ,illustration3 ,no4 #ai4 ,can be made in a variety of ways--the design here exhibited is novel1 and at the same time very useful4 ,the back is made either with wood1 or calf-skin leather2 and the leaves forming the rack are also made of the same material4 ,calf-skin dries very hard1 being treated exactly the same as the basil leather in the manner of working4 ,decoration ,,the ,,round ,,open ,,work ,,frame4 ,the beautiful design in the accompanying page is made with a round frame of any width desired1 having two rebates1 one inside and one outside the frame--the inside rebate being to admit the picture1 and the outside one to allow of the nailing firmly to the frame the open work1 which is to be made in the following manner3--,take a flat board1 an ironing board will do1 lay the frame upon it1 and with a black lead pencil or a piece of chalk1 mark the size all round1 making allowance for the rebate2 then having ready the stems1 work them in and out1 so as to form the open work as in the drawing2 when finished1 nail it to the frame1 and work stems and tendrils of the vine1 hop1 passion flower1 or any other beautiful creeping plant1 attaching the fruit or flowers in an artistic manner1 and the result will be one of the most elegant frames ever beheld4 ,the open or trellis work of this frame should have stout wire enclosed in the basil leather1 and in order that it may not appear formal1 wind pieces of leather round the naked wire at irregular intervals to resemble knots1 c4 then cover the whole with basil leather1--the stem and tendrils which are to wind in and out1 and are a portion of the plant1 are not to have wire in them4 ,fire ,screens are generally filled with ,berlin wool1 or some other fancy needlework4 ,those who would prefer to have an entire piece of leather work can paint landscapes or flowers upon white leather1 using the same medium as is used in body colour painting at the ,school of ,design1 mixed with finely powdered colours4 ,illustration3 ,no4 #bj4 ,illustration3 ,no4 #ba4 ,the basket ornamented with rose sprays outside1 can be lined inside with velvet1 and little pockets being made in the velvet lining1 they become a very useful article2 the outside is stained old oak4 ,illustration3 ,no4 #bb4 ,the running border here displayed can be adapted to ornamenting cornices1 poles1 frames1 c42 it is very easy of imitation1 and will well repay the artist4 ,we shall conclude our designs with the table1 which is made in four pieces1 so that one part can be done at a time1 and when completed1 can be removed until the whole is completed1 when it can be put firmly together1 and forms a solid example of the use and beauty of the ,ornamental ,leather ,work4 ,illustration3 ,no4 #bc4 ,,to ,,make ,,acorns4 ,acorns can be made in the following manner4 ,procure some natural acorn-cups 7which are to be found in great quantities in the autumn71 choose such cups only as are perfectly sound2 then pierce two holes through the bottom of the cup1 pass a piece of fine wire through the holes1 leaving the two ends long enough to be twisted into a stalk2 if the stalk is to be exposed1 it must be covered with skiver and made fast with ,shaw's liquid glue4 ,the most correctly-formed acorn tops are those turned in wood1 which can be firmly placed in the cup by the aid of the liquid glue2 this completes the fully-formed acorn4 ,,cherries4 ,cherries are made in the same manner as grapes1 and the stalk neatly covered with skiver leather4 ,,apples1 c4 ,apples and pears can be turned in wood2 they may be left bare1 or covered with skiver leather2 they look much better covered with skiver1 and are1 then1 leather work1 properly speaking2 or fruit may be moulded in plaster casts with gutta percha4 ,carved wood figures may be draped with tolerable success with the skiver leather1 but we have never seen any that looked well enough when finished to repay the time and trouble4 ,decoration ,recipes4 ,,to ,,make ,,size ,,for ,,stiffening ,,the ,,leather ,,work4 ,simmer #d oz4 of strips of parchment in #h oz4 of water till it is reduced one-half2 skim off any impurities that may arise to the surface1 then strain it through a fine sieve1 or cloth1 into a basin2 leave it till cold1 when it will be firm and clear2 when required for use1 cut off as much as you want1 and warm it4 ,use while warm4 ,,to ,,make ,,stiffening ,,which ,,is ,,not ,,affected ,,by ,,damp4 ,mix1 cold1 #b oz4 of ,australian red gum1 #f oz4 of orange shellac1 pint spirits of wine2 put all into a bottle1 and shake it up occasionally till the gums are dissolved2 strain1 and it is fit for use4 ,this is far preferable to the above size1 as it is more hardening1 dries quicker1 is always ready for use1 and is never affected by damp in change of weather4 ,,to ,,make ,,mahogany ,,varnish ,,stain1 ,,which ,,dries ,,in ,a ,,few ,,minutes4 ,mix1 cold1 lb4 ,australian red gum1 lb4 garnet shellac1 #a pint spirits of wine2 put them in a bottle1 and shake occasionally1 till the gum is dissolved2 strain1 and it is fit for use4 ,the above makes a capital varnish for leather of all kinds1 especially for the leather covers of old books2 it preserves them1 and gives an appearance almost equal to new4 ,,spirit ,,oak ,,varnish ,,stain ,can be made by adding to the above mahogany stain1 a small portion of vegetable black1 and shaking it up till well incorporated4 ,to use the spirit oak stain on larger surfaces we have found it preferable to apply it in the same manner as a ,french polish--namely1 let all dirt and wax be perfectly rubbed off with fine glass paper1 till quite smooth1 then make a flannel rubber in the form of a printer's dabber1 put a little stain on the dabber1 and put a clean calico rag over it2 apply a little linseed oil1 with your finger1 to the calico1 and commence rubbing over a small space1 in a circular direction 7never suffering the rubber to remain on any part71 till you feel it become tacky1 then apply a little more oil1 and so on1 till the stain on the rubber is exhausted4 ,should the stain become too thick to work freely1 add a few drops of spirits of wine1 and shake it well together4 ,when you have raised a fine polish over the surface1 let it remain a few hours to harden1 then take a clean bit of calico1 and just damp it with spirits of wine1 rub it lightly over the surface in a circular direction1 which1 repeated two or three times1 will clear off all smears1 and leave the most beautiful gloss ever seen4 ,in this latter process of finishing off1 you must be cautious not to damp the rag too much1 for that would instantly destroy all the polish2 also1 to change the rag often1 and not suffer it to remain on any part4 ,for carved work it is only necessary to clean it as before directed1 and apply the stain with a camel's-hair brush1 by a gentle fire1 letting it dry between each application4 ,the best oak varnish stain is that made with asphaltum2 but1 as the manufacturing is attended with great danger1 we think it best not to give the particulars2 and it can be procured cheaper than it could be made in small quantities4 ,,to ,,preserve ,,leaves ,,and ,,keep ,,them ,,in ,,form ,,for ,,imitation4 ,procure #a lb4 or more of white starch powder1 dry it well in an open dish before the fire1 put it on one side to cool1 when quite cool1 put a layer of half an inch at the bottom of a small box1 observing that the box also is dry2 gather the leaves1 if possible1 on a fine summer day1 and lay as many leaves gently on the starch powder at the bottom of the box as can be done without interfering with each other1 then sprinkle starch powder over them1 and shake it down so that the powder settles all round above and below the leaves until they are completely covered1 and about half an inch of the starch powder above them1 then put another layer of leaves1 and proceed with the starch powder as before until the box is filled1 then press the top part1 quite full of starch powder1 fastening the lid of the box firmly down until the leaves are required4 ,ferns and flat leaves can be preserved by placing them between sheets of blotting paper under a weight4 ,,to ,,gild ,,leather ,,work4 ,the materials necessary for gilding of this kind are-- ,a ,gilder's ,knife4 ,a ditto ,cushion4 ,some ,gold ,leaf4 ,a little ,cotton ,wool4 ,a few ,camel's ,hair ,pencils4 ,one or two ,hog's ,hair ,tools4 ,a ,tip4 ,oil ,gold ,size4 ,fat ,oil4 ,drying ,oil1 and a ,burnishing ,stone4 ,they cost only a few shillings1 and with care last a very long time4 ,size the wood work twice over with parchment size1 cut all the leaves1 and make the flowers in the usual manner2 size them all over twice with parchment size2 nail them down to the frame1 and glue them when tacks would look unsightly3 needle points are very useful in this work to secure it firmly1 and cut them short off when the glued parts are dry--all the flowers and leaves being attached1 go over the entire work again with parchment size very thinly2 the parchment size must be used warm2 when the size is dry1 mix well in a cup or any clean earthen vessel about an ounce of oil gold size1 and with equal parts of fat oil and drying oil thin the gold size to the consistence of cream2 take a hog's-hair tool1 and with it brush equally and very thinly all over every part that can be seen with this prepared gold size1 set it on one side for an hour or two or more1 until it has become almost dry1 and just sticks to your fingers when touched3 it must now be gilded all over1 and to do this1 take a book of gold1 handling it quietly1 and mind there is no draft1 as a current of air would blow all the gold away3 turn out of the book two or three leaves of gold upon the cushion1 and blow gently upon the centre of each leaf1 to make them lay flat on the cushion2 with the gilder's knife cut the gold leaves into the sizes required to cover the work1 and with the tip of the gilder's knife take up the gold from the cushion and lay it all over the frame till it is covered1 pressing the gold down with a large camel hair tool or a piece of cotton wool1 taking care not to rub it backward or forward1 but to put it very straight down on to the work2 should there be any holes left1 cut small pieces of gold leaf and lay over them1 pressing the gold down1 proceeding in the above manner till the frame is covered all over with gold2 it must then be left to dry an hour or two1 and when dry brush all the loose gold off with a large camel hair or badger's hair tool1 and the gilding is completed4 ,leather work gilded by the above process will bear washing1 and is the most durable kind of gilding known4 ,,to ,,burnish ,,gold4 ,acorns and any wooden part attached to leather work can be burnished1 which adds much to the variety of the work1 and is done in the following manner3--that part of the work intended to be burnished must be prepared exactly as above1 except that instead of using the prepared oil gold size take the white of an egg and give the work a coat of it1 let it dry1 then give it another coat1 and when nearly dry see that it lays on evenly2 apply the gold leaf all over2 leave it an hour or two to become hard2 then burnish it by rubbing it all over with a burnishing stone or any very hard and perfectly smooth substance4 ,this burnish gilding is far more brilliant than the oil gold1 but will not wash1 and is not so durable4 ,decoration ,,bee ,,hives4 ,bee ,hives can be made with leather stems1 as follows3--,cut a piece of wood to the shape and size required2 wind and glue upon it the stems1 beginning at the top1 and finishing off at the bottom4 ,to join the stems as you proceed1 cut each end to an angle1 so that they fit2 join them with liquid glue1 and tie a piece of thread round to hold them tightly together until the glue is dry4 ,when the hive is completed1 that portion of thread left visible can be cut off4 ,to imitate the tying seen in hives1 mark with a pen1 or a camel's hair pencil1 with the darkest stain1 lines and dots from top to bottom2 cut a small piece out of the lower tier to make the entrance1 and put a little handle at the top with a piece of stem4 ,when made as above1 on wood1 and well glued1 they can be sawn in halves1 thus making two4 ,placed amongst foliage1 frames1 c41 they are quite in keeping1 and have a pleasing effect4 ,decoration ,,to ,,paint ,,ornamental ,,leather ,,work4 ,use finely powdered colours1 and mix them to the consistence of cream1 with the following medium3--,mix the white of an egg with #b oz4 of pure distilled vinegar2 put them into a bottle and shake them well together whenever you are about to mix any colours with it3 or mix the colours with parchment size warmed2 use while warm3 or mix them with a weak solution of gum arabic2 and1 in either case1 varnish them with a quick drying pale varnish4 ,oil colours will not do for painting this kind of materials3 any of the above mediums1 properly prepared1 will answer well4 ,gilding may be interspersed with brilliant effect4 ,a ,,quick ,,mode ,,of ,,staining4 ,the quickest mode of staining the ,ornamental ,leather ,work is as follows3--,procure a bottle of ,,revell',s ,,chymical ,,oak ,,colour ,,stain4 ,this preparation will not soil the hands1 or the finest linen or woollen fabrics2 will not stain wood or any other substance than the leather to which it is applied1 to which it imparts the perfect appearance of old oak without any gloss1 at the same time hardening the leather without injuring it4 ,,directions ,,for ,,use4 ,having your leaves1 c41 cut out and dried1 pour some of the contents of this bottle into a saucer1 and apply it copiously with a camel's hair brush1 all over the leaves1 back and front1 particularly the edges2 bend them while damp as you wish them to appear upon the finished work1 then dry them rather quickly at a moderate distance from the fire1 or in a current of air2 when dry they are ready for use4 ,the leaves1 c41 can be attached to any form of work1 and it is completed4 ,when the entire work is complete1 it can be varnished at pleasure1 as follows3--,procure a bottle of ,,revell',s ,,oak ,,spirit ,,stain1 and give the entire work an even coat of it2 it dries in a few minutes1 and has the appearance of polished oak4 ,,to ,,stain ,,wooden ,,articles4 ,if all the work is to be left dull1 give the frame or bracket1 c41 a coat of ,,oak ,,spirit ,,stain1 which dries in dull if put upon new wood1 not prepared in any manner4 ,to prepare wooden frames1 c41 so that the ,,oak ,,spirit ,,stain shall assume a polished surface1 it is necessary to size the frame well and leave it to dry2 when dry1 give it one or more coats of ,,oak ,,spirit ,,stain4 ,those who prefer making the ,,oak ,,spirit ,,stain1 can do so by referring to the receipt in this book2 it is made with little trouble1 and is composed principally of ,australian ,red ,gum2 a new article to most of our readers2 and1 although many druggists1 c41 have procured it when they have received orders for it1 we are sorry to say1 in several instances1 they have said there was no article of that description2 or else have substituted a different kind of gum1 perfectly worthless for this purpose2 consequently1 disappointment has ensued2 and in order to protect the public from being imposed upon1 and ourselves the disgrace of publishing anything not practicable1 we are obliged1 in self-defence1 to state how we came to use it4 ,in the month of ,january1 #aheb1 the publisher was applied to for a varnish stain that would dry quickly1 and at the same time be the colour required3 he was making experiments for this purpose1 when1 taking up the ,,times newspaper of ,friday1 ,january #bcrd1 he found1 under the heading of ,,society ,,of ,,arts1 an epitome of ,professor ,,edward ,,solly's lecture1 at the above ,society on the previous ,wednesday1 on vegetable substances used in the ,arts1 c4 ,allusions were made to a fine red gum from ,new ,south ,wales3 he procured the lecture1 and then1 after a little trouble1 obtained samples2 they were tested1 and one was found to answer1 and he has now in stock several tons of the proper kind for making the stain1 and can supply it in any quantity4 ,we will now conclude by directing the student to an attentive observance of nature3 we have avoided1 as far as possible1 technical terms2 where they are used the illustrations will1 in most cases1 explain them4 ,the study of this mode of decoration has often led those who had not before observed the varied beauties of the floral world to do so with the greatest pleasure and the happiest results4 ,decoration ,,shaw',s ,,liquid ,,glue ,requires no preparation1 sets almost immediately1 will resist wet1 violence1 time1 and climate2 adheres to any surface or material2 cements china1 marble1 wood1 paper1 leather1 c42 is useful to shipbuilders1 carpenters1 bookbinders1 pianoforte1 brush1 and toy makers2 and is so easy of application1 that ladies and gentlemen may mend their own china1 ornaments1 toys1 veneers1 mouldings1 parasols1 book-covers1 and a hundred other little articles1 with the greatest ease and certainty4 ,price #f;d4 and #as4 per ,bottle4 99 99 99 99 99 ,,sold ,,wholesale ,,and ,,retail ,,by ,j4 ,,revell1 #bgb1 ,,oxford ,,street2 ,,messrs4 ,,barclay ,,co41 ,,farringdon ,,street2 ,,messrs4 ,,sutton ,,co41 ,,bow ,,churchyard2 ,,and ,,to ,,be ,,had ,,of ,,all ,,oilmen1 ,,chemists1 ,,fancy ,,stationers1 c41 c4 ,,list ,,of ,,materials1 c41 ,,for ,,the ,,ornamental ,,leather ,,work4 ,,sold ,,by ,j4 ,,revell1 #bgb1 ,,oxford ,,street4 ,basil ,leather1 of the first quality1 at #as4 #f;d4 and #bs4 per skin4 ,skiver ditto1 ditto1 at ditto4 ,leather ,leaves1 #f;d4 per dozen1 or #ds4 per gross1 assorted4 ,leather ,stems and ,tendrils1 #b;d4 each4 ,passion ,flowers1 ,roses1 c41 from #f;d4 to #bs4 #f;d4 each4 ,convolvulus and other less elaborate ,flowers1 from #b;d4 each4 ,holly and ,ivy ,berries1 #f;d4 per bundle4 ,acorns1 #as4 per dozen4 ,oak ,varnish ,stain1 #as4 per bottle4 ,spirit ,oak ditto1 #as4 ,spirit ,mahogany ditto1 #as4 ,revell's ,chymical ditto1 which possesses the property of staining the leather used for this work1 and will not soil the finest linen1 neither will it stain wood1 or any other material than leather4 ,it can be applied either cold or warm4 ,sold1 with full directions for use accompanying each bottle1 price #as4 ,this being the invention of the publisher1 purchasers are requested to observe his name and address on each seal4 ,stephens' ,wood ,stains4 ,stains and ,varnishes of every description4 ,saucers for the ,oak ,stain1 c41 #as4 per doz4 ,shaw's ,liquid ,glue1 without smell1 #as4 per bottle4 ,ditto1 ,old kind1 #f;d4 ,prepared ,stiffening1 #as4 ,veining ,tools1 #as4 #f;d4 each4 ,cutting ditto1 #as4 ,grape ,moulds1 #bs4 #f;d4 per set4 ,bradawls1 #f;d4 each4 ,hammers1 #as4 #c;d4 ,wire of different sizes4 ,hog's ,hair ,brushes1 #c;d4 to #f;d4 each4 ,camel's ,hair ,pencils1 from #a;d4 ,and a variety of ,brackets1 ,frames1 c41 for ,ornamenting4 ,decoration ,,printed ,,by ,s4 ,,odell1 #ah1 ,,princes ,,street1 ,,cavendish ,,square4 ,,list ,,of ,,various ,,articles1 ,,sold ,,by ,,james ,,revell1 #bgb1 ,,oxford ,,street1 ,,london4 ,oil ,colours in ,patent ,collapsible ,tubes1 ,of various sizes1 and in ,extra ,fine ,powder4 ,cremnitz ,white ,flake ,white ,nottingham ,white ,ultramarine ,ultramarine ,ashes ,cobalt ,royal ,smalt ,french ,ultramarine ,permanent ,blue ,antwerp ,blue ,prussian ,blue ,indigo ,yellow ,ochre ,indian ,yellow ,chrome1 #a1 #b1 #c ,italian ,pink ,yellow ,lake ,king's ,yellow ,lemon ,yellow1 #a1 #b ,dutch ,pink ,naples ,yellow ,lake ,purple ,lake ,indian ,lake ,crimson ,lake ,scarlet ,lake ,chinese ,vermillion ,orange ,vermillion ,red ,chrome ,carmine ,madder ,lake ,rose ,madder ,pink ,madder ,purple ,madder ,light ,red ,venetian ,red ,indian ,red1 #a1 #b ,brown ,red ,raw ,sienna ,burnt ,sienna ,brown ,ochre ,burnt ,brown ,ochre ,roman ,ochre ,burnt ,roman ,ochre ,vandyke ,brown ,raw ,umber ,burnt ,umber ,brown ,pink ,madder ,brown ,cologne ,earth ,bone ,brown ,cappa ,brown ,asphaltum ,bitumen ,mummy ,emerald ,green ,verdigris ,terra ,vert ,chrome ,green1 #a1 #b1 #c ,oxyde of ,chromium ,ivory ,black ,blue ,black ,lamp ,black ,sugar of ,lead ,gumption ,magylph ,sable ,hair ,pencils4 ,for ,oil or ,water4 ,large ,goose1 ,brown or ,red ,small ditto ditto ,duck ditto ,crow ditto ,small ,swan ,large ditto ,miniature ,lining or ,rigging ,writing and ,striping ,french ,sables4 ,,in ,,tin ,,for ,,water4 ,red or ,brown4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f4 ,sables for ,oil4 ,round ,flat4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #aa1 #ab4 ,french ,brushes4 ,flat ,round4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #aa1 #ab4 ,camel ,hair ,pencils1 ,all ,sizes1 ,long and ,short4 ,camel ,hair ,brushes1 ,in ,flat ,tins4 inch #a #a #a #a #b #b #c #d ,camel ,hair ,brushes1 ,in ,round ,tins4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h4 ,pencil ,sticks4 ,cedar1 ,ebony1 ,ivory1 #f1 #ab #ae in4 ,badger ,softeners4 ,round ,flat4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 #aa1 #ab4 ,palette ,knives4 ,horn and ,ivory ,steel1 with ,horn or ,bone ,handles ,do4 ,ivory ,handles ,do4 ,spatula ,shape1 ,horn ,handles ,do4 ditto ,ivory do4 ,port ,crayons4 ,steel1 ,albata1 and ,brass4 ,brush ,washers for ,turpentine4 ,nos4 #a1 #b1 #c1 #d4 ,oils and ,varnish4 ,spirits ,turpentine ,cold ,drawn ,linseed ,oil ,nut and ,poppy ,oil ,drying ,oil1 pale or strong ,fat ,oil ,japan ,gold ,size ,mastic ,varnish ,copal ,varnish ,white ,hard ,spirit ,varnish ,asphaltum ,magylph ,gumption ,extra ,fine ,cake and ,moist ,water ,colours1 ,,in ,,cakes ,,and ,,half ,,cakes4 ,permanent ,white ,constant ,white ,flake ,white ,chinese ,white ,ultramarine ,ultramarine ,ashes ,cobalt ,azure ,blue ,royal ,smalt ,french ,ultramarine ,permanent ,blue ,antwerp ,blue ,prussian ,blue ,indigo ,intense ,blue ,french ,blue ,gamboge ,yellow ,ochre ,indian ,yellow ,platina ,yellow ,gall ,stone ,lemon ,yellow ,chrome1 #a1 #b1 #c ,italian ,pink ,dutch ,pink ,yellow ,lake ,mars ,yellow ,king's ,yellow ,naples ,yellow ,patent ,yellow ,orange ,orpiment ,orange ,red ,mars ,orange ,orange ,vermillion ,lake ,crimson ,lake ,scarlet ,lake ,dark ,lake ,indian ,lake ,vermillion ,extract ,vermillion ,scarlet ,vermillion ,carmine ,burnt ,carmine ,dragon's ,blood ,madder ,lake ,rose ,madder ,pink ,madder ,pure ,scarlet ,dahlia ,carmine ,indian ,red ,light ,red ,venetian ,red ,brown ,red ,red ,orpiment ,red ,chalk ,red ,chrome ,deep ,rose ,raw ,sienna ,burnt ,sienna ,brown ,ochre ,roman ,ochre ,burnt ,roman ,ochre ,vandyke ,brown ,verona ,brown1 #a1 #b1 #c ,sepia ,warm ,sepia ,roman ,sepia ,raw ,umber ,burnt ,umber ,brown ,pink ,madder ,brown ,cologne ,earth ,bone ,brown ,bronze ,reuben's ,brown ,mars ,brown ,intense ,brown ,cappa ,brown ,bistre ,chalons ,brown ,payne's ,grey ,neutral ,tint ,purple ,indian ,purple ,purple ,madder ,purple ,lake ,sap ,green ,emerald ,green ,prussian ,green ,chrome ,green1 #a1 #b1 #c ,oxyde of ,chrome ,verdigris ,barber's ,green ,sea ,green ,dark ,green ,hooker's ,green1 #a1 #b ,olive ,green ,terra ,vert ,green ,bice ,lamp ,black ,ivory ,black ,blue ,black ,british ,ink ,inlaying ,black ,gold and ,silver ,shells4 ,indelible1 and ,bright's ,landscape ,crayons4 ,singly or in ,sets4 ,chalks1 ,crayons4 ,italian ,black ,chalk ,ditto ,red and ,white ,soft ,french ,black ,charcoal ,pastiles ,black ,square ,cont ,crayons ,ditto1 ,round1 plain ditto ,ditto1 ,glazed ditto ,velours1 7very ,soft and ,black7 ,round and ,square ,red ,cont ,bistre ,lead ,pencils1 ,extra ,prepared4 ,h4 ,hard1 for ,sketching ,h4,h4 ,harder1 for ,outlines1 c4 ,h4,h4,h4 ,very ,hard1 for ,architectural ,drawing1 c4 ,h4,b4 ,hard and ,black ,e4,h4,b4 ,extra ,hard and ,black ,b4 ,black for ,shading ,b4,b4 ,soft and ,black ,e4,b4,b4 ,extra ,soft and ,black ,f4 ,fine for ,general ,drawing ,earthenware4 ,palettes and ,saucers ,cabinet ,saucers in ,morocco ,case ,miscellaneous4 ,drawing ,pins ,indian ,ink ,indian ,rubber ,indian ,glue ,sponge ,ox ,gall ,lithograph ,chalk ,gilder's ,knives1 ,tips and ,cushions ,poonah ,brushes ,burnish ,gold ,size ,oil ditto ,gold ,leaf ,mezzotint ,brushes ,permanent ,ink ,velvet ,scrubs ,picture ,frames ,sealing ,wax and ,wafers ,pink ,saucers ,slate ,pencils ,tracing ,points ,burnishing ,stones ,bronze ,graining ,combs and ,tools ,revell's ,permanent ,brown ,ink1 ,,for ,,drawing ,,upon ,,basil ,,leather4 ,price #as4 per ,bottle4 ,pen and ,ink ,drawings can be made with this ,ink1 they have all the appearance of the so-called ,poker ,paintings1 7viz4 ,drawings upon ,wood1 executed with one or more red hot wires47 ,the ,ink is permanent1 and will be found advantageous as an adjunct to the ,ornamental ,leather ,work4 ,unprepared ,colours of the ,first ,quality4 ,colours of every description for ,house ,painting1 ,park ,fencing1 c4 99 99 99 99 99 ,transcriber's ,note3 ,punctuation has been standardised4 ,the following inconsistencies were normalised3 #c instances of #8color' were changed to #8colour' #g instances of #8convolvolus' were changed to #8convolvulus' #f instances of #8tendrill' were changed to #8tendril' illustrations were renumbered from figure ,no4 #ad onward 7some numbers were out of order_/duplicates7 ,a few additional original typos were repaired1 as follows3 ,page xii3 changed trailled to trailed 7being trailed round a7 ,page #cd3 changed ,,fuschia to ,,fuchsia 7,,fuchsia47 ,page #ce3 changed fuschia to fuchsia 7put the fuchsia together7 ,page #ce3 changed mnst to must 7they must be moulded7 ,page #ch3 changed viened to veined 7wetted and veined1 then7 ,page #da3 changed ,fig4 to ,no4 7,illustration3 ,no4 #h47 ,page #ej3 changed camillia to camilla 7make a camilla1 cut7 ,page #hb3 changed of to or 7with the tip of the7 ,page #hh3 changed qucikest to quickest 7,the quickest mode of7 ,page #ic3 changed ,,clue to ,,glue 7,,shaw',s ,,liquid ,,glue7