Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/householdelegancOOjone_0 
 
Entered according to Act of Congress, in the year one thousand eight hundred and seventy-five, 
 By henry T. WILLIAMS, 
 in the office of the Librarian of Congress, at Washington, D, C. 
 
 CLARK W. BRYAN & CO., 
 ELECTROTYPERS, PRINTERS AND BINDERS, 
 SPRINGFIELD, MASS. 
 
 m 
 
PEEFACE. 
 
 Home ! Is there a sweeter word in any language than that of Home ? What 
 can bring brighter pictures of joy ; what can give images to remain longer on the 
 mind ; what can we treasure more tenderly than memories of Home ; and where, 
 in all the earth, can happier hearts be gathered, but in the delightful precincts of 
 Home? 
 
 Let it be our cordial pleasure, then, to give some useful encouragement to every 
 lover of sweet, pure, tasteful. Home life, helping all to add to its attractions ; 
 to show them in many beautiful little ways, how to embellish its walls, im- 
 prove every I'Oom with fancy ornaments, and even decorate the windows with 
 the charms of art and refined taste. 
 
 To the ladies of America, lovers of Home decorations, and ardent imitators of 
 every hint and tasteful suggestion, we present you these pages, and offer our 
 greeting, with the cordial wish, that in every Home where enters this dainty 
 volume, there may be a welcome rich and long remembered. 
 
 The beaul^ies and attractions of Home can be none too pleasant or tasteful. 
 Here gather the young to learn for all years to come. Here social life gains 
 its lessons of utility and sense. And in these pages all may find a stimulus for 
 new thoughts, more active work, with pretty fancies, and aesthetic beauty to gild 
 the days for years to come — 
 
 Bright moments shall still brighter grow, 
 While Home becomes our Heaven below. 
 
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 Fig. 1. A Cross in Glass Transparency. 
 
HOUSEHOLD ELEGANCIES. 
 
 CHAPTER I. 
 
 TRANSPARENCIES ON GLASS, Etc. 
 
 Glass may be made to appear like ground " or colored glass, in several dif- 
 ferent ways. 
 
 One method is to cover with bobinet, or tarlatan, not fine, but of even texture. 
 If the glass is desired with a figured surface, procure figured net, or in lieu of 
 thi.s, work the material with a pattern, in fine embroidery cotton, run through 
 the meshes. 
 
 This will be found a pretty mode of adorning windows, or forming lamp- 
 shades, lanterns, etc., as will be hereafter explained. 
 
 The glass is first covered with clear varnish, that which is used for DiapJianie 
 being the best (but Demar will answer) ; after which, a piece of the white net 
 is cut to fit the glass, and coated with the same varnish upon one side. After 
 the net has absorbed the varnish sufficiently, it is applied to the glass (the two 
 varnished sides together). When dry it must have another coat of varnish, and 
 be dried until perfectly hard. By this simple process, plain glass may be made 
 to appear like ground glass, and can be washed equally as well. In forming 
 lamp-shades, six pieces of glass are cut, each four inches wide at the bottom, 
 and three at the top ; the corners rounded off, forming scallops, and bound 
 round the edges with ribbon, or galloon, then dried. After they become dry, 
 the pieces are sewed together, and strong galloon, or thick ribbon sufficiently 
 wide to cover the edges, glued over the stitched seams. Any tinman can make 
 a wire frame to fit such a shade, which will be found extremely ornamental, es- 
 pecially if the net is figured with a pattern corresponding with the shape of 
 each section of glass. 
 
 COLORED TRANSPARENCIES ON GLASS. 
 
 The glass to be- ornamented is laid upon the picture, and the outline traced 
 upon it (as also explained in Diaphanie). The transparent colors are used also 
 
6 
 
 HOUSEHOLD ELEGANCIES. 
 
 in the same manner, with brown or black paint mixed with mastic, or white 
 varnish ; going over each outline with the peculiar color, which is to form the 
 center. These outlines dry, turn the glass upside-down, and, taking very pale 
 blue, begin at the horizon and paint downward, the edge forming the zenith, 
 which should be deepened in tone. A medium-sized brush should be used for 
 this, and the color laid evenly. The clouds are next laid on of grays and white, 
 made soft and fleecy by using a " dabber," (or a camel's-hair brush cut off al- 
 most to the quill, will answer,) or the " blender " used in oil painting; a good 
 effect is sometimes produced by rubbing certain parts in with the tip of the fourth 
 finger; the fleecy parts of clouds, distant naountains. the cheeks of figures, etc. 
 When the sky is entirely finished and dried, the glass may be turned up, and the 
 mountains, hills, distant objects, may be painted, using a pale lavender, gray 
 and purplish white for the former ; the lights may be made by scraping off cer- 
 tain parts with a knife, or scraper, and afterwards touching up with a soft tint. 
 By using a transparent easei, the effect can be constantly watched, and certain 
 improving changes made. 
 
 As these transparencies are intended to imitate stained glass, it is best to use 
 the warm, bright colors ; the lakes, sienna, Prussian blue, and all the exquisite 
 greens produced with yellow, lake, and Prussian blue, in various quantities ; 
 making the bright emerald tints with the yellow, and the blue shades by allow- 
 ing the blue to predominate. In moonlight scenes, the brown, and grays, and 
 touches of black, with the cold greenish hues, given by terre-verte, in the foli- 
 age, are very lovely. Attention must be paid to keeping distant objects rather 
 indistinct, giving a sort of misty, hazy look to the objects, by using purplish 
 gray tints, while the foreground must be made bold and distinct, with touches 
 of opaque color. But the most important implement is the knife and stiletto, 
 with which, wonderful results can be produced, by judicious scraping and "pick- 
 ing out." By the use of these, high lights can be finely produced, and the very 
 form given to prominent leaves and flowers, by carefully scraping and picking, 
 followed by the brush and transparent tint in small quantities. There need be 
 no fear of using these means of producing effect, for, in case of any over-freedom 
 in the use of them, recourse may always be had to the paint again, which can 
 be applied and blended into the old paint by the " dabber" which will readily 
 cover all deficiencies. Touches of deep color, and a free use of the black paint 
 brush, will add greatly to the effect, by producing deep shadows and bringing 
 out prominent objects, and the point of a fine camel's-hair pencil must be used 
 with it, to outline all the fine parts. 
 
 For this style of transparency, various designs will apply, of which we give a 
 few illustrations : 
 
 Fig. 2 would be effective, painted thus :— Cap and mantle, ruby; doublet, 
 orange ; hose, green ; shoes, purple ; background, quarries of white, diapered 
 with tracing-color ; and border, deep blue, with yellow flowers. Fig. 3, Cap and 
 
8 
 
 HOUSEHOLD ELEGxiXCIES. 
 
 doublet, ruby or vermilion (use red with foil or gold stain behind) ; border, 
 gold ; hose, yellow (grayish) ; shoes, buff ; covering of chair, blue ; lectern and 
 floor, dark tracing-color; background diapered in light tracing-color; border, 
 vermiiion, with gold flowers. 
 
 TRAlSrSPAEENCIES FOR WINDOWS, LAMPS, Etc. 
 
 Trace figure 4 on 
 pieces of card-board, 
 in size about 8 x 10 
 inches, or of size to 
 suit the place designed 
 to accommodate them. 
 The tracing should be 
 by mere touches of the 
 pencil. Then, with a 
 very sharp and pointed 
 knife, cut out almost 
 the entire outline (lay- 
 ing the card on a piece 
 of s m o o t h b 0 a r d), 
 leaving only small 
 places attached, to 
 merely hold the parts 
 together. 
 
 The pieces are all 
 joined at some point, 
 and thus there is a 
 j continuous outline, 
 but none of the other 
 lines must touch it, or 
 each other. 
 
 The centers of the 
 leaves are cut through 
 in the middle, but the 
 cut must not extend 
 to the sides. Then 
 press the knife into the 
 broad lights, and cut short slits ; also prick the stems, grasses and other fine 
 lines with a No. 8 needle. Then color the portion of the card marked with dots 
 from E to G, on the opposite side of the card from which it is to be looked at, 
 from-B to C, and from D to E, with wide-sweeping strokes of the brush loaded 
 with green ; then from F to F with cobalt blue, and all the remaining parts of 
 
IIOUSEOOLD ELEGANCIES. 
 
 9 
 
 the edges within the dotted lines, with lighter tints of green. The part round 
 the vase is left uncolored. When entirely finished, bend the group of flowers 
 and vase, the very least bit possible, backward. 
 
 These transparencies, whether hung against the window, or placed as a shade 
 over a lamp, will be found very lovely. 
 
 GLASS TRANSPAEi^NCIES IN IMITATION OF STATUARY. 
 
 This style of transparency is extremely effective and chaste. It may be used, 
 as previously described, for permanent transparencies, or for lanterns, hall 
 lamps, or shades for candles, or lamps, or for window-screens ; also, as slides of 
 various kinds, in any position, being objects of striking beauty. 
 
 Ground glass, or plain glass, prepared as before described with a ground- 
 work of bobinet, must be used for this style. 
 
 Have the glass perfectly clean and dry, and fasten it (if possible) in a trans- * 
 parent easel, at least in front of a window, in order to notice the shades and 
 lights. Then draw the design carefully upon the glass, by picking the outlines 
 with a sharp, coarse needle, and, with a pounce-bag dust upon it either a little 
 pounded indigo, lamp-black, or chalk ; raise the paper carefully, and with a little 
 lamp-black rubbed up in white varnish, draw off the outlines of the figure or 
 group. Any statuesque designs are most suitable for these transparencies, 
 either in bas-relief or the full figures, which will appear as beautifully rounded 
 and projecting upon the glass, as if carved out of marble by the hand of the 
 sculptor. Proceed to shade with No. BB, B, F, HB, and H drawing-pencils, 
 using the buckskin stumps to rub down and soften any rough outlines, blending 
 and mellowing the shades, until the true effect is obtained of the marble statue. 
 This must be carefully done, and, where possible, a photograph of a graceful 
 group, bust, or single figure, will prove a wonderful aid in showing the shading, 
 and where the lights appear. The high lights are to be touched last, with mas- 
 tic varnish (made according to the recipe). Heavy strokes may be made with 
 a black crayon, and all parts must be touched and re-touched, shaded and 
 " stumped," until the desired effect is produced. 
 
 When the shading is satisfactorily finished, the ground-work of the glass is 
 to be filled in with opaque black, in oil paint or water colors. In going around 
 the edges of the figures, use a fine camel's-hair brush and the greatest care, that 
 the outline is kept perfectly clear and distinct. 
 
 Where it is not convenient to paint the black background, a beautiful effect may 
 be produced, by cutting out the outline of the statue from a piece of black or 
 dark-colored paper, fastening it on the glass, and shading the space within. 
 The paper should be fastened with the black side next the glass, and it has a 
 pretty effect to use clear glass for these transparencies, whether the ground be 
 painted, or covered with paper, preparing the space outlined for the design with 
 two coats of antique varnish, or Yacquerel's varnish, used in Dinphanie. 
 
10 
 
 HOUSEHOLD ELEGANCIES. 
 
 Where a colored, transparent picture is desired, the g'round may be laid with 
 any of the transparent colors, Prussian blue, any of the lake colors, or shades 
 made of different tints mixed, as the rich purple, made by mixing crimson lake 
 and Prussian blue, or the bright emerald green, from yellow, lake and Prussian 
 blue, etc. 
 
 These transparencies are exquisitely lovely, the statuary appearing to stand 
 out in soft, white, statuesque beauty, against the deep black, or brilliant tints 
 of crimson, blue or purple. 
 
 LEAE TEANSPAEENCY EOE HALL LIGHT OR WINDOW. 
 
 The exquisite transparency repre- 
 sented in figure 5 is made by ar- 
 ranging pressed ferns, grasses, and 
 autumn leaves, between panes of 
 window glass. The process is as 
 follows : 
 
 Take two panes of glass, cover 
 one pane with shire Swiss muslin ; 
 lay your muslin on the table, the 
 pane of glass on it, draw the edges 
 of the muslin over, and secure it by 
 drawing stitclies from side to side, 
 seeing that the threads of the mus- 
 lin run straight. Arrange your 
 ferns and leaves in the design you 
 wish, a wreath, cross or bouquet, 
 with the under side of the leaf on 
 the muslin. After they are ar- 
 ranged, confine them by just a 
 touch of mucilage or gum-traga- 
 
 O o o 
 
 canth, to the under side of the leaf, 
 carefully moisten the edge of the 
 Fig. 5. Leaf Transparency. muslin with the mucilage, and let it 
 
 dry on the glass ; lay the second pane of glass on, and bind the two panes 
 together by gumming on a strip of linen or strong muslin. Now trim off the 
 edges of the Swiss, and cover the binding with ribbon. 
 
 To form a loop for hanging the transparency, paste a binding of galloon 
 along the upper edge, leaving a two-inch loop free in the center, afterwards to 
 be pulled through a little slit in the final binding. 
 
 Some flowers retain their color well after pressing, especially the pansy and 
 little yellow buttercup, and work in well. Also the Lycopodiums, after being 
 pressed, are very desirable in arranging your transparency. A cross, arranged 
 
HOUSEHOLD ELEGANCIES. 
 
 11 
 
 in small maple leaves and ferns and lycopodiums may be hung in a sunny win- 
 dow, and be found very pretty. Covering the inside panes of glass with Swiss 
 muslin, after arranging your window with ferns and leaves, softens the light 
 and adds much to its beauty. 
 
 These transparencies may be either hung before a window, or, if prefeiTed, 
 secured against a pane in the sash. In halls, a beautiful effect is produced by 
 placing them against the side-lights of the hall-door. Where the side-lights 
 are each of only a single pane, it is well worth while to place a single transpar- 
 ency against each, filling up the e^itire space, thus affording ample scope for a 
 free arrangement of ferns, grasses, and leaves, while the effect of the light pass- 
 ing through the rich autumnal colors is very fine. Leaves so arranged will 
 preserve their beauty during the whole of the winter. 
 
 OENAMENTAL SCREEN EOR LAMP. 
 
 An exceedingly pretty standing- 
 screen for a lamp can be formed of 
 eight oblong transparencies (made 
 of glass and autumn leaves) tacked 
 together with strong sewing-silk, so 
 as to form an eight-sided hollow col- 
 umn, as shown in the accompanying 
 illustration. To hide the candle- 
 stick, the screen should be lined 
 throughout with oiled tissue-paper 
 — either white or of a delicate rose- 
 color. A better plan still, is to get 
 the effect of ground glass, by rub- 
 bing each strip of glass on a flat 
 paving - stone, plentifully covered 
 with white sand. The grinding 
 process, of course, must be per- 
 formed before the leaves are in- 
 serted, and then only upon the inner 
 sides of the glasses. The completed 
 ^ 6. Ornamental Screen for Lamp. screen may have a sim^^le border of 
 
 heavy chenille at the base, or be placed upon an unvarnished black-walnut stand, 
 decorated with acorns, pine cones, etc. The screen is, of course, left open at 
 the top. It must be set over a lighted candle — a small lamp to give it best 
 effect — though it is also a very ornamental object in the day-time. 
 
 FANCY SHADES. 
 
 Other fancy shades for lamps, screens, windows, etc., may be made as follows : 
 Take j^erforated card-board, fine white tarlatan, narrow ribbon, leaves and 
 
12 
 
 HOUSEHOLD ELEGANCIES. 
 
 ferns. The leaves and ferns should be mostly small ones. These have to be 
 pressed, and a very good way to do this is to lay them between fine blotting- 
 paper, and then put them either in a press or under some heavy weight. Care 
 should be taken to remove them once every day, while the papers are dried 
 over a lamp. This process should be continued until the leaves and ferns are 
 perfectly dry, when the leaves alone should be varnished. These two import- 
 ant parts of the work being finished, cut six pieces of card-board the shape 
 of that in the picture, and arrange the leaves and the ferns on each piece differ- 
 ently. A bouquet is very pretty for one piece, while on the next an anchor 
 made with ferns would look well, and on a third a short verse, such as " God is 
 love," made of very small ferns, or the leaves of ferns, is really beautiful ; and 
 so on, each piece having a new design. When they are fixed to your taste, 
 fasten them on by fine white thread, then cover the card-board on both sides 
 by the tarlatan, and bind them with ribbon, which is best should be green. 
 
 The only thing which now remains to be accomplished is to oversew the pieces 
 together with silk. 
 
 The effect is charming, the leaves and ferns showing off to great advantage 
 when over the light. 
 
 TEANSPAEENCIES ON GLASS, WITH EiTGRAVINGS. 
 
 Have the glass perfectly clean, and apply a coat of antique varnish, and when 
 dry apply another coat, thin and very smoothly applied; when this has 
 partially dried, or until a little sticky, apply the engraving, which has been pre- 
 pared as follows : 
 
 Lay the engraving between the folds of a damp cloth until it is thoroughly 
 moist (a little salt should be dissolved in the water), then place the engraving 
 upon the varnished side of the glass, absorbing all surplus water with blotting- 
 paper, and press every part of it smoothly upon the glass (as in direction for 
 Chess table). When the whole engraving has been firmly fixed, moisten the 
 finger and commence rubbing off the white paper, from the wrong side. Con- 
 tinue this until it is all removed, using the utmost care not to mar the engrav- 
 ing. When dry, rub any white spots again. The engraving should appear 
 perfect upon the glass. Then color carefully, or varnish with white varnish. 
 
 TRANSPAEENCIES ON MUSLINS. 
 
 For some purposes, such as window-shades, ornamental lanterns, screens, etc., 
 such transparencies as we are about to describe are finely adapted. And it 
 would appear unfortunate, that so little attention is paid to this mode of orna- 
 nenting windows, and forming various articles of use and adornment, inasmuch 
 as it is capable of high dioramic effect, when tastefully and artistically painted ; 
 by shading carefully, and using skill and judgment in lighting and touch- 
 
HOUSEHOLD ELEGANCIES. 
 
 13 
 
 ing, illusions of the loveliest kinds may be produced, so shadowy and delicate, 
 as to appear like some scene in fairy-land. 
 
 To produce these wonderful results on transparent muslin, however, requires 
 care in the more minute details, and some artistic skill, and to accomplish 
 which, the operator must devote a certain amount of time, patience, and energy 
 in making the preparatory arrangements, and in finishing up those last delicate 
 details, upon which so much of the true beauty consists. 
 
 The materials necessary for this work are : — The muslin, which must be with- 
 out seam, and of an even, fine texture (such as is called " soft-finish skirting " 
 is perhaps the best), size, made with gelatine, transparent colors, varnish, a 
 pounce-bag and a few" cards cut out as stencil plates, a frame such as is used 
 for quilting, with strips of webbing or muslin tacked tightly alofig the inner edge, 
 and holes along the two end pieces, for the pegs used in tightening the muslin. 
 The brushes used for oil-painting are best for this work, with a few camel's-hair 
 brushes for fine lines. 
 
 The muslin, sewed to the webbing of the frame, it is carefully stretched until 
 tight and smooth ; then coat it thoroughly with size, and when dry, if not per- 
 fectly tight, stretch again, moving the pegs to a suitable distance ; then give 
 another coat of the size, laying it on carefully and smoothly. When the last coat 
 is perfectly dry and the muslin quite tight, it must be rubbed smooth with pum- 
 ice-stone. (In preparing the muslin in the frame, at the same time size a piece 
 of muslin, upon which to try the effect of the colors, etc., before applying them 
 to the transparency, giving it the same number of coats and polishing in a sim- 
 ilar manner ; this will frequently prevent the marring of the picture, as, if the 
 colors sink into the fabric in spots, and blurred, running stains, it is a sign that 
 more size is required, and another coat must be given.) 
 
 The muslin properly prepared, the design is traced upon paper (if of extens- 
 ive proportions, in several sections), and pricked with a needle, then laid upon 
 the muslin and dusted profusely with any colored powder ; the design left upon 
 the surface in minute dots, can then be traced out with a soft pencil, or the va- 
 rious colors used in the design, made very light with megilp or varnish; in 
 painting leaves, flowers, and various other special parts of designs, the outlines 
 may be traced upon stiff card, and cut out with a sharp-pointed knife, then laid 
 upon the proper place, and the paint worked within the stencil. 
 
 The next step is to color the design, which is done as before described for 
 other transparent painting. 
 
 When very delicate tints are required, the slightest portion of color will be 
 found sufficient, and the deeper shades given by successive coats of color, 
 rather than one deep, heavy one in the commencement. For the high lights, 
 use the scraper and knife-point ; and in fine parts, the point of a stiletto, or a 
 coarse needle. (Use the trial piece of muslin constantly, in order to test the 
 various colors.) 
 
14 
 
 HOUSEHOLD ELEGANCIES. 
 
 The designs given for Diaplianie, or glass transparencies, will be appropriate 
 for this work, and where tastefully painted, the effect is capable of being made 
 yery imposing. 
 
 Persons are so apt to judge of muslin transparencies by the coarse designs, 
 roughly executed, which are seen in public exhibitions, that the art has greatly 
 deteriorated, but it is capable of being both a useful and elegant method of 
 adorning the windows of a dwelling, or, as was mentioned before, for various 
 articles of furniture, such as screens, lanterns, window-shades, etc. 
 
 STAINED GLASS WINDOWS. 
 In describing the various methods by which ladies may make the windows of 
 their dwellings highly ornamental, we explained the different modes of imita- 
 ting stained glass. 
 
 Now there may be some persons, who prefer the real article, and we have felt 
 inclined to describe two methods by which amateurs may make stained and 
 enameled glass of a fine kind for themselves. Inasmuch, however, as the proc- 
 
 
 
 ItLi LJ 
 
 
 Fig. 7. Elizabethan Windows. Stained Glass. 
 
 ess is somewhat tedious, and very few, perhaps, would have the facilities re- 
 
HOUSEHOLD ELEGANCIES. 
 
 15 
 
 quired for baking, leading, etc., and as Diaphanie affords a mode superior in 
 point of beauty, we have concluded to merely give one method by which genu- 
 ine stained glass may be used, when the taste leads any one to prefer it. 
 
 This method consists in cutting out and putting together pieces of variously- 
 colored glass, in such a manner as to form geometrical figm-es, more or less 
 complicated. 
 
 In figure 7 we give some designs for this style of work, of a window in the 
 Elizabethan style, which is thus filled with it. All the glass in the three upper 
 compartments are filled with colored glass, while the lower have only the 
 smaller pieces colored and the large plain, in clear or ground glass. Designs 
 of this description answer admirably for sash-windows; each pane may be 
 filled with a different figure in appropriate colors, all of which may be ob- 
 tained from any colored-glass establishment, where they can be cut as directed 
 by the purchaser, or large pieces can be obtained and cut with a glaziers' 
 ''diamond;" we would recommend the former plan, however, as the most 
 economical and satisfactory. The pieces all cut and arranged, are leaded in 
 the following manner : Strips of lead with grooves in the center are obtained 
 and the pieces of glass fitted into the grooves (which is readily done as the lead 
 is very pliable, and will adapt itself easily to any form) ; where a joint has to be 
 made, one strip is sharpened to a point and inserted into the groove of the other. 
 The surface is scraped bright, and a little powdered rosin sprinkled on, to act 
 as a flux. The heated " soldering-iron " is then rubbed on a piece of tin with 
 solder and rosin. The end of the strip of solder is next applied to the joint, 
 and melted down with the " iron." When the whole design is thus fixed to- 
 gether, it is cemented ; that is, linseed oil is poured over the glass, powdered 
 whitening sprinkled on, and the putty well worked into all the cracks ; lastly, 
 lamp-black is rubbed over all the lead, which, with the oil and whitening, forms 
 
 Fig. 8. Fig. 9. 
 
 a sort of black paste. The glass is then rubbed clean and clear with whitening 
 and a soft piece of chamois-skin. 
 
16 
 
 HOUSEHOLD ELEGANCIES. 
 
 One objection to stained glass, in our ordinary windows, is the very disagree- 
 able and unsightly appearance of the lead-lines ,• but in hall, vestibule, conserv- 
 atory, or stair-case windows, this is of little importance, and here such glass 
 as we have described, would be very ornamental. 
 
 In figures 8 and 9 are two samples of panes, in which the following colors are 
 appropriate ; figure 8, surrounding circles, blue ; straight strips, ruby ; curved, 
 yellow ; and the remainder, white glass, with the ornamental " rays " drawn 
 upon it in tracing-color; which gives, when finished, and against the light, a 
 gray. In figure 9, the center and border strips, purple; curved strips, yel- 
 low ; the four diamond-shaped spaces, on diagonals, blue ; the remainder, white 
 glass, with the vine in tracing-color, that portion within the curved lines being 
 gold-stained behind. 
 
 OENAMENTATION FOR WINDOWS OF HALLS, VESTI- 
 BULES, CONSERVATOEIES, Etc. 
 
 There is no reason why certain windows in our dwelling-houses should not 
 be made as highly ornamental as those of churches, or other public buildings ; 
 and there appears to be such a growing taste in this line, that we feel inclined 
 to take particular pains to aid and instruct those who desire to thus improve 
 their dwellings, by means of this particular branch of work, which is in itself an 
 art well worth all the time and money that may be expended on it. The vari- 
 ous kinds of illumination or imitation of stained glass, may be applied to win- 
 dow ornamentation, or to screens, etc., and may be successfully practiced by 
 amateurs ; being ^especially adapted to ladies, who will find each one of the 
 methods a delightful pastime, as well as a charming means of producing elegant 
 additions to tjie house. They may even go so far as to prepare and bake glass, 
 fasten together with leads, etc., and, indeed, carry through the entire modus 
 operandi " of preparing stained glass, or, pgrhaps, the rather easier method of 
 painting or enameling, by scientific processes. 
 
 DIAPHANIE. 
 
 As the new method of ornamenting glass, called DIAPHAISTIE (introduced 
 in France by Mons. P. E. Vacquerel), is so much more readily accomplished, 
 and is withal so brilliant and imposing, it appears scarcely worth while, how- 
 ever, to' attempt the more difficult and tedious process of staining or enameling. 
 
 Mons. Vacquerel, in calling attention to this branch of art, says, " This work 
 may be easily performed at small cost ; it completely supersedes all kinds of 
 blinds. It bears a close resemblance to the costly stained glass of the old proc- 
 ess, over which, however, it possesses some important advantages, and is ap- 
 plicable to windows of all kinds, church, stair-case, conservatory, vestibules, 
 library, etc., which may be decorated speedily and in any style. 
 
HOUSEHOLD ELEGANCIES. 
 
 17 
 
 The opinion of the English press, in its favor, is one series of high and en- 
 thusiastic praise, speaking of its beauty in various churches, public buildings, 
 and also in dwellings. 
 
 The designs, which come in sheets, are of various kinds, embracing designs 
 both ancient and modern, and of every character, from the elaborate figure- 
 pieces of sacred character, to the soft and delicately tinted bouquet, or gay and 
 dazzling bird or butterfly. 
 
 The various designs for this work consist of about three hundred different 
 kinds, of which we give a few samples, with their names. The sheets of designs 
 are 16 x 20 inches, some containing one, others twenty designs. We cannot 
 better describe this invaluable invention than in the words of Mons. Yacquerel 
 himself : 
 
 Fig. 10. Designs in Diaphanie. German Landscape Views. 
 
 " The invention is applicable to windows of all kinds and shapes ; also for 
 lamp-shades, fire-screens, and the many uses for which stained and ornamental 
 glass is ordinarily employed, completely superseding the clumsy wire and other 
 blinds. 
 
 As a pleasing occupation for either ladies or gentlemen, the work is one of 
 the most useful and beautiful of the elegant arts, now so much practiced. 
 
 Cleanliness, and the comparatively small cost of the materials used, also rec- 
 ommend it to the attention of those who have leisure, either for amusement or for 
 purposes of profit ; as windows in churches, halls, etc., may be decorated in any 
 style, ancient or modern, the unsightly views of the blackened walls, chimneys, 
 etc., from stair-case or other windows, so frequently an annoyance to the eye in 
 2 
 
18 
 
 HOUSEHOLD ELEGANCIES. 
 
 houses situated in towns, may thus be completely excluded without materially 
 interfering with the light, and that charming appearance given to an apartment 
 which stained glass always imparts. 
 
 The designs used are produced by new processes in lithography, and possess, 
 when transferred to glass, all the richness and fullness of color, as well as that 
 fin3 transparency, obtained by the old and expensive art of glass-staining." 
 
 Various artists and amateurs in painting, and also professional and amateur 
 glass-stainers, have expressed themselves satisfied that this work is destined to 
 fill a niche in window ornamentation, long left unoccupied, and which, strenuous 
 efforts have been used to fill. 
 
 The English are acknowledged to be exceedingly fastidious, and even hard to 
 satisfy, in regard to church ornamentation, yet various testimonials from En- 
 glish writers, show how perfectly satisfied and delighted they are with the art 
 of Diaphanie. 
 
 One writer, in speaking of a church-window recently ornamented with these 
 designs, says : 
 
 " With a view to moderate the light which streamed through the windows on 
 the south, and on the right and left of the pulpit, a trial has been made of the 
 new French process, knovm, in the trade, by the name of '■'■Diapliania" This work 
 has been carried out in the most artistic manner by Mr. Keet, of Renshaw street. 
 
 Fig. 11. Design in Diaphanie. 
 
 The pattern is singularly chaste and delicately worked dut, so much so that, 
 when standing on the pulpit stairs and looking close at the window, it will defy 
 detection from real stained glass, excepting, perhaps, by professional glass- 
 stainers, who will only be able to tell the difference by the fineness and deli- 
 
HOUSEHOLD ELEGANCIES. 19 
 
 Fig. 12. Design in Diaphanie. Charity. 
 
20 
 
 HOUSEHOLD ELEGANCIES. 
 
 cacy of the colors and patterns, and an absence of that coarseness which is 
 invariably observed in stained glass, by a close inspection. 
 
 The general appearance of the windows, with the sun upon them, is very fine. 
 When seen with the sun's rays off them, the colors seem to change, and assume 
 a soft and mellow clearness." 
 
 The action of the brightest 
 sun, or the most intense frost, 
 has no influence upon the col- 
 ors of these designs, and the 
 effects produced are really 
 charming. Old mediaeval de- 
 signs, with quaint figures and 
 curious borders, copies of not- 
 ed paintings by the old mas- 
 ters ; modern landscapes, and 
 groups of figures; graceful 
 wreaths and garlands, or 
 bright birds and gauzy-look- 
 ing butterflies, with soft, or 
 rich, bright background, and 
 surrounded by borders of 
 beautiful and complicated 
 figures, are displayed with a 
 richness of tone that is seen 
 only in stained glass of the 
 most rare and costly kinds. 
 The process by which these 
 results are obtained is exceed- 
 ingly interesting, emanating 
 in France, that school of bright 
 and gay art-work, and com- 
 posed of designs of all varie- 
 ties, in a kind of fine chromo- 
 Fig. 13. Charity. Diaphauie Design. lithograph, in transparent 
 
 color ; it is adapted to every variety of pattern, whether arabesque, geometrical, 
 or light fanciful designs in fruit or flowers. The effect, M'hen finished, is ex- 
 tremely chaste and delicate ; yet, in some patterns, the colors are gorgeous and 
 superbly beautiful. 
 
 MATEKIALS. 
 
 The materials required are tin-foil, or gold or silver paper, a roller, a set of 
 brushes, designs, and the glass. The materials may be purchased at about the 
 following rates : — 
 
HOUSEHOLD ELEGANCIES. 
 
 21 
 
 Subjects (per sheet only), |2 00 
 
 Borderings, ornaments and plain red, 1 75 
 
 Plain white, blue, green, yellow, etc., 1 50 
 
 Tin-foil, 25 
 
 Rollers, per dozen, 9 00 
 
 Yarnish brushes (small), . . . . . . . 1 00 
 
 " " (medium flat), 2 00 
 
 " " (large, for re-touching), .... 4 00 
 
 P. E. Vacquerel's Fastening Varnish, .... 3 00 
 
 P. E. Vacquerel's Transparent Varnish, .... 3 00 
 
 Wooden paper-knife, • 1 00 
 
 Materials may be obtained in these large quantities for any extensive designs ; 
 but a sufficient quantity can be obtained in a box, complete, containing 1 bottle 
 of fastening varnish, 1 bottle of Vacquerel's transparent varnish, 3 different 
 brushes, 1 roller, 1 knife, for $2.50 ; and single designs of all sizes at various 
 prices. 
 
 DIEECTIONS. 
 
 Where the design and glass are of equal size, no preparation of the glass is 
 necessary; but if the picture is smaller than the object to be decorated, the 
 space between the design and edge should be filled in with ornamental check or 
 diaper pattern, with stripes of plain colors, and a rich, ornamental scrolling, or 
 other border. To make the imitation still more like genuine stained glass, in 
 separating the picture from the ^'grounding" or the grounding'' imm the 
 " border," use tin-foil, according to the following directions : — " Take a sheet of 
 paper, the exact size of the object to be decorated ; put your subject or picture 
 on exactly the place where you wish to have it appear on the glass ; mark its 
 outlines with pencil on the sheet below, and draw parallel lines to these, as 
 wide or narrow as you mean to have the tin-foil. If you wish to have tin-foil in 
 other places, also, mark its directions on the sheet in the same way, and in the 
 proper places. This will give you a map, as it were, of the places where, on 
 the glass, the foil is to appear. Now, put the glass over your drawings, and, 
 of course, your pencil-lines will show directly through, and leave nothing to 
 be done but to mark the design out upon the glass with varnish, and apply the 
 gold-foil or paper, wherever required. Then^ the design or picture will fit 
 exactly into the net-work of foil. 
 
 . DESIGNS. 
 
 There are orer 300 designs published for this art-work, consisting of center 
 subjects, groundings and borders. The sheets are all IG 1-2 by 20 inches, and 
 when it is desired, several of one kind can be used, but they are cut in separate 
 
22 
 
 HOUSEHOLD ELEGANCIES. 
 
 parts, if desired, and can be procured either in large sheets, or in those only 
 three or four inches in length. By applying to the proper dealers, catalogues 
 may ba procured containing full descriptions of illustrations of all the designs. 
 In the description of lamp-shades, screens, etc., we have given directions for 
 some of the combinations that we have either applied ourselves or seen others 
 form, and we can assure our readers that those who have never seen this 
 elegant work have a rich treat in store ; for, without the slightest exaggeration, 
 W3 can say that we have never seen the beauty, softness and brilliancy of these 
 designs rivaled, even by the finest specimens of stained glass. 
 
 We give a few illustrations of different 
 styles of these designs ; but it must be 
 borne in mind that these are necessarily 
 small and indistinct, and no adequate idea 
 of the exquisite beauty of the work can be 
 given by any engraving, as it is the power 
 of light (as in stained glass) that brings 
 out either the peculiar brilliancy or sub- 
 dued softness of color in the perfectly 
 transparent pictures. 
 
 We have recently adopted another 
 method of applying these pictures, which, 
 we understand, is now practiced in Europe 
 altogether, and gives even greater satis- 
 faction than the one already described, 
 inasmuch as in the former mode the tissue- 
 paper remaining with the color upon the 
 glass, intercepted (in a measure) the clear Fig. U. Design of Group of Flowers, 
 light ; whereas, in the improved plan, the color is transferred alone upon the 
 glass (as in Decalcomania), and the tissue-paper removed. The latter course 
 requires both skill and judgment, but we believe we may say " it pays ;" and 
 as we desire to describe everything that is pronounced new and beautiful, we 
 will, at least, describe the more artistic method, and leave it with our readers to 
 choose for themselves, — either mode producing pictures sufficiently lovely to 
 give satisfaction. 
 
 In the first place, be very certain that the glass to be ornamented must be 
 faultlessly clean, and free from all spots and blemishes ; then lay it flat upon a 
 folded cloth, and trace the outline with a pencil-line ; the portion above the 
 central design and border are to be cut out as before explained. The lead-foil 
 we then cut into strips about one-eighth of an inch in width (though this 
 depends upon the size of the panel or glass). This foil, we would here observe, 
 is to give the effect of white glass, which forms the border to the majority of 
 fine stained-glass windows, and, when put on clear glass, is quite transparent. 
 
HOUSEHOLD ELEGANCIES. 
 
 23 
 
 Then place the glass upon the pat- 
 tern, as shown in figure 15, and ce- 
 ment upon it the strips of tin-foil 
 with clear gum mucilage (Traga- 
 canth). For circles and other such 
 shapes, the strips are cemented (or 
 gummed), and, when almost dry, 
 stretched with the fingers of one 
 hand and pressed down with the 
 thumb of the other. The folds and 
 creases need cause no uneasiness, as 
 they can be made perfectly smooth 
 Fig. 15. by pressing the handle of a knife, or 
 
 any other smooth article, over the foil, until flat and even. Having arranged 
 the foil, proceed to place the design, which should be rather larger than the 
 foiled spaces, made ready for their reception, so that the foil may overlap the 
 edges. Use the utmost care and caution in the part of the work to be now de- 
 scribed, for on this depends the success of the operation. In placing the designs, 
 make the uncolored part 
 quite damp, with a sponge or 
 soft cloth, and paint the glass 
 and colored part with the var- 
 nish ; then place it directly in 
 position, press carefully with 
 a damp pad by patting it 
 gently over the whole sur- 
 
 face; then, placing the roller 
 in the center, pass it down to 
 the edge; then, replacing it 
 again in the center, roll up- 
 ward, and continue this over 
 all four sides until every air- 
 bubble is expelled and all sur- 
 plus varnish. (Great care 
 must be taken that no air- 
 bubbles remain between the Fig. 16. Border and Circles, 
 glass and the paper, and the latter must be kept damp while the operation is 
 carried on, for if the cement becomes dry the transparency will be destroyed, as 
 soon as the clearing varnish is applied.) 
 
 After rolling perfectly flat, set the work away for two or three days. 
 
 The next step is to remove the paper, and this requires the utmost care. 
 Take a damp napkin and lay on it ; then, with a spoon, add sufficient water to 
 
24 
 
 HOUSEHOLD ELEGANCIES. 
 
 make the whole wet, but not sufficiently so to drip. Now lift the napkin, and,with 
 a soft rag or sponge, commence wiping off the paper, using a rolling motion, keep- 
 ing the work damp. This part requires unusual circmnspection, lest any undue 
 pressure destroys the colors, at that particular time when the paper is removed 
 from directly over the colors, as they are then liable to be scratched or rubbed off. 
 
 All the paper removed, dry thoroughly, and apply a thin coat of clearing var- 
 nish ; allow this to dry, and then re-foil the work over the edges of the trans- 
 ferred picture, following the lines of the first foiling, and proceeding as before 
 described. Then allow the work to become perfectly dry ; when give a coat of 
 finishing varnish, and, when dry, repeat it, and allow to become dry and hard 
 before putting in position. This work is lovely on silk, as screens or shades ; also 
 on muslin for window-shades, the material being stretched tightly on a frame. 
 
 Fig. 17. Design for Window. Fig. 18. Design for Window. 
 
 If the learner of the Diaphanic Art pays close attention to the directions 
 here given, and is exact in following the rules, there will be no trouble in 
 obtaining perfect results and becoming proficient in this elegant art, which 
 affords such rare facilities for adorning the tasteful home. 
 
 METHOD OF APPLYING THE DESIGNS. 
 
 Apply a thick, even coat of " Yacquerel's 
 Fastening Varnish " to the right side of the 
 design, fasten it once on the inside of the 
 glass, and, to prevent the design's breaking 
 or cracking, cover it with a piece of blot- 
 ting-paper, which must be slightly moistened. 
 Now, place your left hand on the center of 
 the covered design to prevent its moving, 
 take the roller into your right hand and 
 press the picture down wdth it, commencing 
 at the center, proceeding to the corners, etc., 
 which causes the superfluity of varnish to 
 
 Fig. 19. Applying tlie Design. 
 
HOUSEHOLD ELEGANCIES. 
 
 25 
 
 ooze out at the edges, and so removes all the air-bubbles. Do this thoroughly. 
 Then, remove the blotting-paper carefully, and leave the picture to dry thor- 
 oughly. 
 
 This done, apply a coat of Vacquerel's Transparent varnish with a flat 
 camel's-hair brush, and the work is completed. 
 
 yiTEEMANIE. 
 
 We have spoken in enthusiastic praise of the art Diaphanie, and, for various 
 purposes, it will be found unexceptionable ; but, as regards the decoration of 
 windows, the recent introduction of Vitremanie is still more likely to super- 
 sede it. 
 
 This, like DiapJianie, is the art of ornamenting glass windows by the applica- 
 tion of colored designs, so as to resemble stained glass of the finest quality ; and 
 is at once so brilliant and useful that we feel confident it will become popular 
 in every home of taste and refinement. Those of cultivated taste, who take 
 delight in adding to the attractions of home by works of ingenuity and beauty 
 of their own production, will find the art of Vitremanie, as now to be described, 
 a most valuable and desirable acquisition. First, as regards utility, Vitremanie 
 may be applied as a means of excluding unpleasant views, as an ornament for 
 transparencies, to cover the deficiencies of an otherwise homely window, or to 
 adorn glass shades for lamps or lanterns. There can be no question of the 
 superior advantages of this mode of forming a screen, compared to the ordinary 
 blind, which " lends no enchantment to the view," obscures the light, and must be 
 frequently renewed ; whereas this art presents to the eye any amount of variety 
 of ornamentation, whether of glowing landscape, gorgeous mosaic, blooming 
 flowers, etc., and from the mediieval designs of ancient times to the conven- 
 tional bouquet, etc. ; or groups and scenes of the present day. It is, also, so clear, 
 that the sunlight pierces it unobstructed, and is, besides, so durable that, once 
 transferred, the pictures are there forever. For churches, and other public 
 buildings, this art is fast superseding that of stained glass ; but our object in 
 writing upon this subject is to induce ladies to adorn their homes by means of 
 these charming designs. "Pictures have voices that the soul can hear," and 
 these window-pictures may be a daily word of wisdom that will speak openly 
 to every member of the household "on sacred or historic themes, or the 
 beauties of creation." 
 
 MATEEIALS, Etc. 
 
 These consist of the sheets of designs, like those of Diaphanie, sheets of lead- 
 foil, a bottle of glucine, a bottle of enamel varnish, a roller (or pad) and vessel 
 of water. 
 
 PEEPAEING THE DESIGNS. 
 
 Coat the face of the designs you propose to use, with glucine, using the flat 
 
26 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 20. Tlie Lord's Supper. Church Window. 
 
HOUSEHOLD ELEGAKCIES. 
 
 27 
 
 hog's-hair brush (care beiiig taken not to touch the plain side), and allow them 
 to dry for three days, when they are ready for use. 
 
 The designs, after this preparation, remain good for any period of time. 
 
 DEAWING THE PLAN AND APPLYING THE LEAD-FOIL. 
 
 Make a drawing on paper, of the exact size of the pane or panel of glass, 
 drawing a pencil line wherever a join takes place, either in a border, grounding, 
 or subject, as a guide for putting on the lead-foil. 
 
 The foil is sold in sheets, and is cut with a sharp knife into strips of about 
 a quarter of an inch in width. The glass is then placed flat upon the outlined 
 paper, and the operation of leading commences by the application of the strips, 
 coated with strong gum, to the glass, over all the lines marked out in the plan. 
 
 This completed, the glass should be left for about an hour, to allow the foil 
 to become thoroughly cemented to it. The creases, occasioned by the curves 
 and other shapes, may be flattened by smoothing down with the handle of a 
 molding tool, or head of the pin, using it wet. An agate burnisher, however, 
 is much more effective. The foil, being pliable, may be stretched into almost 
 any shape, with the fingers of one hand, and pressed down to the glass with the 
 thumb of the other. 
 
 We next come to the placing on of the designs, which in all cases should be 
 slightly larger than the spaces prepared for them, i. e., they should be so cut, 
 that the edge of the paper just reaches the center of the foil. 
 
 APPLICATION OF THE DESIGNS. 
 
 Wet the foiled side of the glass, and both sides of the picture, with clean, cold 
 water (for, when practicable, as in small pieces, it is better to immerse the de- 
 signs in water, for a moment), and press it firmly down to the glass by means 
 of the roller or a pad, and after allowing it to remain thus for a few minutes, in- 
 sert the point of a penknife under one corner of the paper, when it may be re- 
 moved entire, leaving only the colors upon the glass (it is easier with large 
 designs, to carefully scratch a hole in the center, and commence taking the pa- 
 per oft: from there). The film of color on the glass should now be washed with 
 the camel's-hair brush and cold water, and the superfluous moisture taken up, 
 by placing a sheet of fine tissue-paper over it, and, by rolling and patting it out 
 well, the film of color will be found to have adhered to the glass. 
 
 When dry, extra strips of lead-foil are again cemented over the first ones, 
 thiis placing the edges of the designs between the two strips. 
 
 When this second application of foil is dry, with the other hog's-hair brush, 
 varnish the whole of the covered surface with enamel varnish, and, when this 
 has become hard, the work is complete, and ready for fixing. After the varnish 
 has become dry, a second coating of the same increases the brilliancy of the 
 work ; but this is optional. 
 
28 
 
 HOUSEHOLD ELEGANCIES. 
 
 Figure 20 shows a sample of the church-window designs. The subject, " The 
 Last Supper," surmounted by an angel. The shape, size, etc., may be altered 
 to suit certain circumstances. 
 
 A set of sheets, twelve pictures in each sheet, three and a quarter inches in 
 diameter, are specially adapted to the magic lantern ; some of sacred character, 
 others of landscapes, scenes, groups, and grotesque representations, such as, 
 " Old Mother Hubbard," " The House That Jack Built," etc. 
 
FANCY WORK 
 
 WITH 
 
 Leaves, Flowers and Grasses. 
 
 CHAPTER II. 
 
 PHANTOM LEAVES, FLOWERS AND BOUQUETS. 
 
 The old and unpleasant name of " skeleton " has been applied to these beauti- 
 ful objects for so many years, that some persons know them by no other title ; 
 still we believe that the more beautiful appellation of " phantom leaves " will 
 soon become popular, and, therefore, give it at the head of this section. 
 
 Though but little known until the past six years, this art is not a new one ; 
 which statement will doubtless prove a surprise to many of our readers. Yet, 
 as early as the year 16 io, an anatomist in Naples published a figure of a skeleton 
 leaf, which, even in that day, created great interest and curiosity ; and many at- 
 tempts were' ineffectually made to discover the secret, which, upon the death of 
 the artist, was for the time entirely lost. 
 
 About seventy years after, however, a Dutch anatomist turned his attention 
 to the subject, and, having obtained skeletons of animals by allowing insects to 
 eat away the flesh until only the frame was left, he made an attempt to obtain 
 vegetable or leaf skeletons in the same way, but, of course, failed. He then tried 
 other methods and finally succeeded in procuring some specimens by mascera- 
 tion, which were so beautiful that others began to experiment, in order to dis- 
 cover his secret ; which, finding he could no longer keep hidden, he finally pub- 
 lished in 1727 ; and this is the old method (and perhaps best one) which we now 
 use. We will give this process first, both on account of its age, and also be- 
 cause it is the safest and most likely to prove successful. The first step in the 
 process is the gathering of the leaves, which is best accomplished during the 
 
30 
 
 HOUSEHOLD ELEGANCIES. 
 
 months of J une and J uly ; as at this season they are in the most perfect condi- 
 tion. Still, there are some varieties which must of course be collected at other 
 periods, and the seed-vessels and those blossoms and other parts of the plant 
 which are used to make variety, must be gathered at the time when they are 
 in the most proper condition. 
 
 As these collections are made, the leaves should be at once laid between the 
 leaves of a book ; and, as soon as possible after, subjected to a certain amount of 
 pressure. A large number of leaves should be gathered in preference to a few, 
 and care must be taken to select those that are quite perfect, as, unless the speci- 
 mens are perfect, the result will not be satisfactory ; indeed, such care is neces- 
 sary in this particular, that, even a scratch or broken edge, or a blotch or small 
 perforation, will render the skeleton imperfect. The leaves must also be well 
 matured (young leaves should be, with few exceptions, entirely rejected), and 
 they should be picked from the lower part of the branch, not at the top, where 
 they are not perfectly developed. Notice, too, whether, from the effects of the sun 
 and wind, the edges are curled or otherwise imperfect ; and those that have a 
 tough, leathery texture, will not answer. A good plan for determining the state 
 of a leaf is to hold it up to the light, when a defect is very readily seen. Ever- 
 greens are good, and may be picked late in the Autumn, though due regard 
 
 must be had to the age of the 
 leaf. It is almost impossible to 
 give a list of leaves available for 
 this purpose, as the numl)er is 
 "legion." We will suggest a 
 few, however, and beyond that, 
 the woods, fields, gardejns, and 
 green-houses will constantly af- 
 ford fresh subjects. All poplar 
 leaves may be said to be easy 
 to make ; the silver poplar, Fig. 
 2, is especially so ; the aspen, also, 
 Fig. 3. The apple and pear of 
 the orchard, the crab-apple of 
 
 I the woods, and the various ivies, 
 
 Fig. 1. Leaf of Poplar. 
 
 Fig. 5, are as beautiful as easy. 
 The willow, Fig. 8, requires some 
 care, as it is very delicate ; gath- 
 ered early, it decays quickly. 
 The maple, another exceedingly 
 beautiful leaf, must be gathered 
 young, and carefully mascerated ; 
 watching it closely, and cleaning 
 
HOUSEHOLD ELEGANCIES. 31 
 
 with a stiff brush and the tapping motion. The Camellia, Orange, and Lemon, 
 Abutilon, Wisteria, and some Rose leaves, form a fine addition; also, Holly, 
 Lilac, and Honeysuckle. Various seed-vessels are extremely beautiful, and easily 
 prepared; but they must be treated by themselves. The Stramonium, Garden 
 Poppy, Winter Cherries, Thorn Apple, Fig. 4, the Wild Poppy, Canterbuiy 
 Bell, the Columbine, African Hibiscus, etc., are all lovely, when well prepared 
 and gracefully arranged. 
 
 Scotch Grass and Ferns, and many of our wild, as well as cultivated grasses, 
 Ferns and Lycopodiums, when bleached (after growing brown in the fall), are 
 lovely. Take, also, brown, dry, and well-formed twigs and branches of delicate 
 trees, and bleach them perfectly white, as additions to some of the stemless 
 leaves, and seed-vessels. 
 
 Another charming addition to such a collection is a quantity of thistle-dov/n, 
 which must be gathered into little bunches, and placed within a clover-leaf ; first 
 touching the base with a drop of size or paste, and fastening the leaves around. 
 Another object which produces a light and fine effect are those seed-vessels, 
 which contain downy seed, and are of small size ; such as the Lettuce, Cacalia, 
 and many other garden and wild flowers, which may be secured before the seed 
 is carried away by the wind. After gathering, either paint with flake-white, 
 or bleach by applying chloride of lime with a brush, and then rinsing. The col- 
 lections of all the various specimens 
 having been made, next proceed to mas- 
 cerate the leaves, by placing them in an 
 open vessel, — a tub or pan, or other con- 
 venient receptacle, covering several 
 inches above the leaves with rain water, 
 and placing in the open air and full sun- 
 light. Place a pane or two of glass, Or a 
 light china plate over them, with a 
 weight sufficient to keep them well down 
 in the water, the loss of which by evapo- 
 ration, must be made up, by adding a 
 new supply from time to time, as re- 
 quired. In about two weeks they may 
 be examined, and, if any are found soft 
 and pulpy, these must be removed. After 
 this, those that remain should be ex- 
 amined once or twice a week, removing 
 the soft ones each time, and proceeding 
 to cleanse them. This is the most un- 
 pleasant part of the entire operation, inasmuch as when the water is disturbed 
 for the purpose of examination, the odor of the decaying vegetable matter is 
 
 Fig. 2. Silver Poplar. 
 
32 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 3. Aspen. 
 
 most unpleasant, and the leaves themselves 
 are absolutely so disgusting in their filthy 
 sliminess, that if it were not for the exqui- 
 sitely beautiful results to be accomplished 
 by persevering in this unpleasant operation, 
 one would determine at once to "have 
 done with it." But it is so well worth all 
 the disagreeable parts of the experiment 
 to possess in the end a collection of those 
 gossamer leaves, that we feel "in duty 
 bound " to urge upon our readers the im- 
 portance of persevering in this work, 
 which, we can assure them, they will never 
 regret. After arriving at this stage of the 
 proceeding, the finding the leaf in a pulpy condition, it is to be removed to a 
 vessel or basin of clear water, which should be done most carefully, to pre- 
 vent breaking or marring them, and this is best accomplished by slipping a 
 card beneath the leaf, and causing it to float upon it, by leaning the vessel 
 to one side, and inducing the leaf to float to the deepest part of the water, 
 
 when it may be easily rested upon the card, 
 and thus removed. Then, when immersed 
 in the basin of clear water, it will float off 
 uninjured. Without using this precaution, 
 the typo, in the art of skeletonizing, will be 
 almost certain to allow the leaves to break 
 by their own weight. 
 
 The cleaning part of the operation now 
 commences, for which, two or three brushes 
 and a sharp-pointed knife are necessary ; a 
 soft, but thick camel's-hair brush, a stilf 
 bristle brush, and a tooth brush. A leaf is 
 lifted out of the water upon a card, and slid 
 of£ upon a piece of smooth glass, or, perhaps, 
 floated directly upon the glass ; then, with the 
 soft brush gently passed over the surface, 
 all the pulp is removed, aiding the brush- 
 ing with a stream of water, poured carefully 
 over. Slip the leaf again into the water, turn it, and again float upon the glass, 
 cleaning the opposite side in the same manner. The green surface must be en- 
 tirely removed, until nothing but the skeleton of fibrous veins remain. If this 
 is not accomplished by using merely the soft brush, the stiffer one, or the tooth 
 
 Fig. 4. Thorn Apple. 
 
HOUSEHOLD ELEGANCIES. 
 
 33 
 
 brush must be applied ; and in case of 
 soma strong leaves, a sort of gentle scrub- 
 bin// becomes necessary, and does not in- 
 jure the texture of the skeleton, but this 
 is rare. The motion used in cleaning 
 must not be a sweeping one, but rather 
 a downward tapping, which breaks up 
 the connection of the epidermis, without 
 destroying the fibers. As the leaves are 
 cleaned, they must be immersed in an- 
 other basin of clear water, and left until 
 the remainder are all cleansed, or until 
 a convenient season arrives for bleach- 
 ing them. This, however, should be done 
 as soon after the cleansing as possible. 
 
 Some experienced operators prefer the " Quick Method," as it is called, of pre- 
 paring these skeleton leaves. This consists in using a caustic to destroy the epi- 
 dermis of the leaf, and is used thus : Dissolve four ounces of sal-soda in one 
 quart of boiling water, adding two ounces of air-slacked quick-lime, and boiling 
 fifteen or twenty minutes. Allow this to cool, and, straining off the clear liquid, 
 boil it again, and add the leaves, continuing to boil briskly for an hour or more, 
 adding boiling water if required. Remove a leaf, and put it into a vessel of water, 
 
 rubbing it gently with the fingers ; if the epider- 
 mis and parenchyma separate easily, the remain- 
 der of the leaves may be removed ; but if not. 
 the boiling in the , lye must be still further con- 
 tinued. 
 
 By either process, the leaves are now ready for 
 the bleaching, which is done in various ways. 
 The best, perhaps, is with a solution of chloride 
 of lime, and immersing them, for a day or two, 
 in a covered glass dish, placed in a dai k closet, 
 covering closely with a folded towel. The solu- 
 tion of chloride lime is made with one table-spoon- 
 ful of chloride of lime in a quart of water, adding 
 a few grains of citric acid, shaking well, until 
 entirely dissolved, then decanting the clear liquid, 
 and bottling for use. 
 Some experienced operators prefer using chloride of soda as a finer prepara- 
 tion. Any scientific druggist will be able to prepare a fine solution of this, but 
 for those who have not the opportunity of obtaining the article already prepared, 
 we give the formula, as furnish 3d us by a practical and successful pharmaceutist : 
 
Fig. 7. Group of Skeleton Leaves for a Glass Shade. 
 
HOUSEHOLD ELEGANCIES. 
 
 35 
 
 Obtain twelve ounces of carbonate of soda, chlorinated lime, six ounces, water, 
 three quarts ; dissolve the soda in a pint and a half of water, with the aid of 
 heat ; triturate the lime gradually with water, until a smooth, creamy liquid is 
 formed ; into this stir the remainder of the water, and put aside for twelve hours, 
 until perfectly settled. 
 
 Fig. 8. Willow Loaf. 
 
 The following day, pour off the clear liquid, and turn the residue into a muslin 
 bag to drain, adding a little water from time to time. When sufficient liquid has 
 passed off to make altogether two quarts, mix with it the solution of carbonate 
 of soda, stirring it until thoroughly blended. Transfer this mixture to a fun- 
 nel, lined with paper, and allow it to drain until five pints of liquid have perco- 
 lated through the paper. Pour this into an opaque bottle, which, keep tightly 
 corked. 
 
 When using this bleaching fluid, which is extremely powerful, it should be 
 diluted with from three to six times the quantity of water (soft), according to 
 the texture of the leaves to be bleached. 
 
 After bleaching the leaves, by either process, they should be placed in a vessel 
 of clear, cool water, for twenty-four hours, floated off upon a card, and turned 
 over upon a soft napkin, gently pressed with some old soft linen, until all moist- 
 ure is absorbed, and then curled gracefully, or pressed between the leaves of an 
 old book, under pressure. They are now sufficiently strong to bear handling, 
 with ordinary care, and can be arranged to suit the taste, either on a stand under 
 a glass shade, or in a deep recess frame. In case the latter mode is adopted, the 
 recess should be lined with dark-colored velvet. A black cross, covered with these 
 leaves, is a lovely object ; a beautiful arrangement of these leaves, seed-vessels, 
 etc., are shown in the illustration ; and it is very beautiful at the base of a ctoss, 
 or in a frame. In the former, a delicate vine of Ivy should extend from it up 
 over the body and arms of the cross. 
 
 We would observe, before closing, that leaves containing tannin should never 
 be placed with others. The Oak, Hazel, and many others, are of this class. A 
 method sometimes adopted with some of this class, the oak especially, is to place 
 a number of the caddis worms with them, which eat away all the soft green 
 part of the leaf, leaving the skeleton entire. 
 
 Holly leaves are beautiful, but must be also prepared alone, on account of the 
 spines. Ferns and fine grasses are very difficult to arrange, as their feathery 
 fronds are liable to curl, and must be most carefully coaxed into position. The 
 best mode of accomplishing this part of the business, is to float the leaves off 
 
\ 
 
 Fig. 9. An Ivy-Leaf Cross. Design in Skeleton Leaves. 
 
HOUSEHOLD ELEGANCIES. 
 
 37 
 
 upon pieces of card ; then, while damp, with a needle and camel's-hair brush, so 
 arrange each tiny leaflet, placing the sprays in natural position, and so dis- 
 tributing the various fronds that they form graceful and natural groups. Then 
 lay them under folds of soft paper, pressing gently upon the surface, to extract 
 the moisture ; as soon as sufficiently dry, lay each card between sheets of tissue- 
 paper, place newspapers over and under, and place under weights. This is a 
 good method of drying any fine leaves. 
 
 When dry, the papers may be removed by pressing upon the under side, and 
 raising the edges with the point of a knife. 
 
 Clover-leaves, of various sizes, will be found to form beautiful bells, imitating 
 Lily of the Valley, by fastening the edges together with a white stamen in ths 
 center. Very small ones are necessary for this purpose. The large ones, used 
 singly, may be made to appear like Lilies, Campanula, etc. 
 
 The long feather-like grasses, when bleached, are a fine addition to these bou- 
 quets, and, by placing parts of them as centers, with certain small leaves around 
 very many varieties of flowers and buds can be imitated, that will prove ex- 
 tremely effective. 
 
 These arrangements of Phantom flowers are not only charming in themselves, 
 but, on account of the difficulty in making them, are of inestimable value. 
 
 We introduce here a beautiful design. Fig. 9, which is constructed as follows : 
 Get a plain, wooden cross made in form like the one here figured, but of as large 
 -size as yoii choose, and cover it with black velvet. This part of the work must be 
 done very neatly, indeed. The velvet must be cut exactly and evenly. A cor- 
 rect measurement should be made, previously, of the width required, and then 
 the velvet should be stretched, tightly and evenly, over the wood. No wrinkles 
 should ruffle the flat surface, and this blemish you will find difficult to avoid if 
 the material is not cut straight, and if the right way of the stuff— is, the sel- 
 vedge way — is not taken for the length. When the cross is ready for further 
 adornment, twine a wreath of ivy-leaves around it, and let ferns lie at the base. 
 Now, how can this be done ? Twigs won't bend ; bleached branches will be too 
 brittle for this purpose. We must have recourse to a little deception. Get 
 some very coarse croche^ cotton, and stiffen it with gum. When dry, this will 
 be pliable enough for your purposes, and will suit the requirement admirably- 
 well. Put the would-be stalk half way up the middle rib, at the back of the 
 leaf, and fasten it with the dissolved isinglass. The making of the wreath re- 
 quires great nicety, as you will perceive, but the effect of the whole work, when 
 completed, is very ornamental, indeed. 
 
 AUTUMN LEAVES.— PEESEEVATION.—PEETTY 
 AEKANGEMENTS. 
 Those who have experimented in pressing and preserving autumn leaves, by 
 means of varnishing, ironing, etc., are aware of the fapt of their work proving 
 
38 
 
 HOUSEHOLD ELEGANCIES. 
 
 unsatisfactory, from the fact of their changing color, becoming* spotted, curling 
 at the edges, etc. 
 
 Now, for the past year or two, we have followed a dilf erent course ; and our 
 success has been so signal, that we feel glad to mention our method to our read- 
 ers, in hopes of their testing it with as much satisfaction as we have done. 
 
 As soon as the trees begin to change their livery in the Autumn, begin mak- 
 ing collections of all the various colors and shades of color, as the leaves gathered 
 early always retain their color the longest. Gather as large a supply as possi- 
 ble, as it is always desirable to have a large number, and good variety, from 
 which to make selections. Large leaves work up well on large panels ; such as 
 foldbig-screens, tables, etc., in imitation of Japanese work; and small leaves 
 and sprays are valuable for fine work, and also for bouquets. 
 
 Old books are best as a receptacle for drying. We use old Patent Office Ee- 
 port books, and others of similar character ; and some files of old newspapers, and 
 magazines are invaluable. " Blank-book " paper is too stiff to answer well, still 
 such can be made available in case of nec^sity. Commence placing the leaves 
 at the back part of the book, laying each one smoothly, and never allowing them 
 to touch each other, nor placing too many on one page ; turn five or six pages 
 upon these, and place another layer ; continuing this until the book is full. 
 Then place in a cool, dry place, under a heavy weight for twenty-four hours, or 
 until the following day, when remove to dry books, and again place under press- 
 ure as before. This change is made three times in all, and after the last, they 
 remain in press for several days, when they will be found in beautiful condition, 
 and ready to arrange. 
 
 Then procure some cake-wax, such as is used for " fruit molding ; " put it 
 in a vessel, and set that in a pan of water upon the stove ; when melted, add 
 to it a few drops of turpentine or fir balsam, in order to render the wax pliable ; 
 by which means, the leaves can be bent into any form desired. If the wax is 
 in the proper condition, the process may be continued, and this is best ascer- 
 tained by dipping a leaf and drawing it over the edge of the pan upon both 
 sides ; hold it up by the stem with the face up, horizontally, when, if the wax is 
 at right temperature, the leaf will appear as if newly varnished ; if too- hot, it 
 will shrivel ; if too cold, w^ll cool in lumps, and present a dull, rough appearance. 
 When the wax is made of proper temperature, by more or less heat, proceed to 
 dip the leaves one by one, or spray by spray, and holding each until slightly 
 cool,; then placing upon newspapers to harden perfectly. These will present 
 the natural appearance of the leaf ; but, if a glossy surface is desired for any of 
 them, they may receive a thin coat of Demar varnish, applied with a camel's- 
 hair brush. 
 
 A friend writes us as follows of some pretty arrangements, which have been 
 made successfully by her : , 
 
 " To arrange single leaves into bouquets, get green thread wire, and cut into 
 
HOUSEHOLD ELEGANCIES. 
 
 39 
 
 pieces as long as you wish, for stems ; break the stem, nearly off the loaf, then pass 
 the end of the wire through the bottom of the leaf ; draw it through about an inch, 
 then bend it down, and twist around the remaining stem and long wire, so as to 
 hold the leaf firmly. After the leaves arc fixed, arrange them in bouquets with 
 a few pressed ferns ; these will be pretty for your small vases. For large bou- 
 quets, use large sprays of leaves, sumac and ferns, mix a few dried or crystallized 
 grasses and grain, black alder, black brier and bittersweet berries, and you will 
 have as handsome bouquets for your stands and mantels as you could wish. 
 Small clusters of autumn leaves and ferns prettily arranged on the picture- 
 cords look nicely. Blackberry vines twined on the cords and left to hang grace- 
 fully around the picture-frame, with a cluster of bright berries and ferns here 
 and there, are beautiful. A butterfly on a cluster of ferns is pretty on picture- 
 cords. A corner-bracket draped with Spanish moss may be filled -with autumn 
 leaves, and tvv^o or three butterflys among them. Ferns filled in around a bracket 
 form a pretty background for a vase of berries and loaves. You can make pretty 
 lambrequins by pinning autumn leaves and ferns in graceful forms on your lace 
 curtains ; and you can ornament your white shades with them in the same 
 manner. 
 
 Another pretty ornament is made of sticks about a foot high ; take three, and 
 cross to form a rustic stand, cover them with gray moss and a few berries and 
 leaves ; set a bird's nest in the hollow between the sticks, then get a pretty stuffed 
 bird and set it on the nest. 
 
 To make anchors, crosses, stars, and wreaths, cut the forms out of pasteboard, 
 and then sew autumn leaves on them, arranging the different colors and sizes 
 prettily ; these are very pretty to use in a great many ways. Sometimes we cut 
 the centers of the stars out and use for a picture -frame, inserting a photograph 
 or a small picture. They are odd and pretty. 
 
 The best time to gather ferns for winter use is September and October, as 
 then the frost turns them w^hite, and you can get thom from deepest green to 
 almost white, and they add so much to winter decoration. Also, collect all kinds 
 of wild grasses, of which you will find a great variety, and quantities of autumn 
 berries. A person of taste can think of many ways to arrange these bright 
 treasures of Autumn. 
 
 HOW TO AKEANGE AUTUMK LEAVES. 
 
 Take a piece of Bristol-board about 7x9 inches, and arrange a group of leaves 
 and ferns upon it ; sew them on, neatly cover;ing all the stitches with the leaves, 
 and finish at the bottom with a spray of tiny leaves ; frame in a passe-partout, 
 and you will find it as handsome as a painting. Another way is to take a sheet 
 of Bristol-board and cover with black velveteen ; get a small brown or black straw 
 basket, such as are used for wax fruit and flowers ; cut into and glue one-half on 
 the velveteen, then fill with the brightest leaves, sumac and ferns, grasses and 
 
40 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 10. Wreath of Autumn Leaves. 
 
HOUSEHOLD ELEGANCIES. 
 
 41 
 
 berries ; get a few small vines, such as you will find in the woods, and preserve 
 them ; then twine them around the handle of the basket, and arrange others to 
 slope gracefully over the sides ; frame in a deep frame, and it will win admira- 
 tion from all who see it. Another ornament that my friends admired, last Win- 
 ter, was a cross of black walnut, with carved base about fourteen inches high, 
 twined with a wreath of autumn leaves, berries and green moss, which you can 
 procure at the florist's. The cross, you can get a carpenter to make for you. Then 
 take your smallest leaves — I did not use any over an inch long — take a piece of 
 green thread wire, about three-quarters of a yard long, for the formation of the 
 wreath ; then take pieces of the wire about one and a half inches long, for stems 
 to the leaves ; prepare them as already described. When ready, commence by 
 fastening a cluster of the moss on one end of the long wire, with a small piece ; 
 then arrange the leaves on the long wire by twisting their wire-stems around 
 the long wire, taking care to bring the leaf near enough to the foundation wire 
 so that when the next is put on it will hide the stem of the first. Continue in 
 this way, arranging the colors with care, and interspersing a little moss here 
 and there to give a good effect. When done, fasten to the cross by means of 
 small black pins, twining the wreath around the cross, and bending the leaves 
 so they will look graceful. At the base of the cross, arrange moss, berries and 
 leaves ; also, fasten a spray of baves and moss near the ends of the arms of the 
 cross, so as to slope prettily, and the cross is finished." 
 
 IMITATION OF JAPANESE INLAID WOEK. 
 
 This method of decorating various articles of wood is not new, in itself, but 
 some additional improvements which have been made to it, will, perhaps, be at 
 least somewhat novel to a portion of our readers ; and, we hope, interesting to all. 
 
 The work consists in fastening upon a smooth wooden surface, in pleasing 
 and graceful forms (a la Japanese), variously-shaped and colored leaves, which 
 have been subjected to a heavy pressure, until perfectly flat and smooth ; and 
 which, after the surface has been so varnished and polished as to present a face 
 as smooth and hard as glass, will appear as if the whole were one unbroken sur- 
 face ; which is the high perfection of art in the Japanese work. 
 
 Fig. 11. Botanist's Press. 
 
42 
 
 HOUSEHOLD ELEGANCIES. 
 
 All persons who cany the collecting and pressing of leaves to any extent, 
 should provide themselves with the simple contrivance called,*" The Botanical 
 Press ; " and with such a convenience, a large number of leaves can be collected 
 and prepared for this purpose, in a very short time. The number, colors, and 
 size, should be as varied and extensive as possible, in order to have a sufficient 
 store from which to make selections ; and, in case of extensive borders, a number 
 of one size and kind must be prepared. 
 
 By the application of these pressed leaves, many worn and defaced articles, 
 such as cabinets, boxes, cases, frames, and sets of bed-room furniture, may be 
 renovated and made to appear like rich inlaid wood. 
 
 In forming the patterns upon the wood, regard must be had not only to tlie 
 form and size of the leaves, but also to the various colors and shades of each 
 particular piece, as it is applied, in order to produce that harmony or contrast 
 which is so effective. 
 
 Fig. 12. Fancy Box. 
 
 After pressing the leaves, which must be handled carefully on account of 
 their brittleness, proceed to arrange them in figures or borders, on a sheet of 
 white paper. 
 
 Then, having the woodon surface made perfectly smooth and stained in imita- 
 tion of ebony, proceed to apply each separate leaf, raising it carefully from the 
 paper, and painting the underside with very thin glue; should the stems remain 
 and appear too thick, split off ,the under section carefully with a sharp knife. 
 Having thus arranged the entire design upon one flat side, lay a weight upon it 
 until dry ; using the precaution to place a piece of oiled paper over the work, to 
 prevent its adhering and being dragged up, when the weight is removed. 
 
HOUSEHOLD ELEGANCIES. 
 
 43 
 
 After the whole 
 is done and dry, 
 wipe off any glue 
 which may have 
 oozed from beneath 
 the leaves, and fin- 
 ish with a coat of 
 best Copal varnish. 
 In some cases a lit- 
 tle transparent 
 color will improve 
 certain parts, if 
 " touched up " care- 
 fully, and lines or 
 bands of gold and 
 color between the 
 designs, as shown 
 in the screen, Fig. 
 13 ; which, as an ex- 
 ample of large leaf 
 work, is perhaps 
 one of the most ele- 
 gant articles that 
 could be desired ; 
 and such a folding- 
 screen is one of the 
 most usefuPand im- 
 posing articles of 
 furniture a house 
 can contain; if 
 upon castors, easily 
 moved from place 
 to place, and al- 
 ways ready to be 
 placed in front of 
 a bed, or in some 
 other position 
 where privacy is de- 
 Fig. 13. Screen Decorated with Leaf-Work.' sired, or a glaze of 
 light unpleasant. Plain pine wood sawed in four panels, six feet seven inches high 
 by two feet four inches wide, united with hinges and placed upon castors, it is not 
 a costly " affair " in the commencement ; but after the aforesaid ornamentation 
 
44 
 
 HOUSEHOLD ELEGANCIES. 
 
 is finished, upon a finely-stained ground, with lines of gilding and color, it be- 
 comes a piece of rich and elegant furniture. So, likewise, the wash-stand, Fig. 14, 
 which idea may be carried out upon the bureau, head and foot board of bed, 
 chairs and little stand, thus changing a plain, shabby set of bed-room furniture 
 into something more thaii merely tasteful, even elegant. We assure our readers 
 the result is well worth all the trouble, tune and patience, expended upon it. 
 
 Fig. 14. Wash-stand. 
 
 OENAMENTATION WITH INDIA INK. 
 
 The application of this mode of ornamentation is almost universal, being 
 adapted to the surface of a center-table, to that of a paper-cutter, or card-case. 
 
 The wood for this purpose should be of close grain, and hard, even surface, 
 such as satin-wood, white maple, white poplar, some specimens of pine, etc. ; but 
 with care any light surface may be made to answer. The design is first drawn 
 in outline with a lead pencil, very lightly ; the white parts filled in with cake 
 white, the black with repeated coats of India ink, and the intermediate shades 
 with sepia and shades of gray. Certain portions are left in the natural shades 
 of the wood, which point must be decided by the taste of the artist. We have 
 recently colored an oval table in this way, forming one of the most exquisite 
 articles of furniture, that can be imagined. A monogram or some other figure 
 or device may be placed in the center. 
 
HOUSEHOLD ELEGANCIES. 
 
 45 
 
 After painting in the colors with camel's-hair brushes, the line pencilings and 
 outlines may be gone over with a mathematical pen. 
 
 The most difficult part of the work is in the finishing. This is done, only 
 upon the painted parts, when there is sufficient skill to admit of it ; but for the 
 mere amateur, it will, perhaps, be best to paint the entire surface with fine De- 
 mar varnish, using the utmost care to lay it smoothly. When dry, give a second 
 coat ; let this dry, at least two days, in a place secure from dust ; then, with 
 great care, polish the surface, dipping a soft woolen, or chamois-skin pad, made 
 quite wet, into finely pulverized pimiice-stone, using only gentle friction. AYhen 
 the entire surface is thus gone over, rinse all the powder off thoroughly ; dry, and 
 again varnish and polish ; proceed thus, until a surface is obtained that is per- 
 fectly mirror-like ; then, give a final coat of varnish. Use great care in rubbing, 
 not to reach the paint beneatli the varnish, as this would ruin the entire work. 
 This mode of painting will be found exquisite upon white card-board, or paper. 
 
 DRYING FLOWERS. 
 
 The following directions for preserving flowers, we have seen in many differ- 
 ent periodicals, both European and American ; but, as the method recommended 
 by a correspondent of " The Ladies' Floral Cabinet" (Rev. Ed. Huber), embod- 
 ies all that the various journals have published, we copy his method precisely 
 as he has given it in that journal : 
 
 " In some parts of Germany, the business of drying flowers is extensively car- 
 ried on, and they have become quite an important article of export. Thousands 
 of tasteful bouquets, wreaths, and baskets of these flowers, are annually sent to 
 Paris, where they are in constant demand. The process is very simple, and with 
 a little experience, almost any one may successfully dry flowers, and keep them 
 in a state of perfection for a long time. 
 
 For a first trial, take a common cigar-box, or any box of convenient size. 
 You may also bore several holes in the bottom, and over these holes paste strong 
 stiff paper. 
 
 The next thing of importance is the preparation of the sand. Fine river-sand, 
 baked thoroughly dry, is the best adapted to this purpose. The leaves of many 
 flowers are so glutinous, that sand adheres to them with great tenacity, which 
 will spoil the dried specimens. To prevent this, the sand is prepared in the fol- 
 lowing manner : — To twelve and one-half pounds of well dried or baked sand, 
 take one ounce of stearin. Put the sand in a large flat -psm over a good fire, 
 heat it to such a degree that a small piece of stearin will immediately melt on it 
 (the stearin should be scraped into fine shavings) ; now scatter over one or two 
 teaspoonfuls of it on the heated sand, being careful to stir the whole thoroughly 
 and constantly. After the first portion has been well absorbed by the sand, add 
 another spoonful, and so on until the whole has been added. This requires care 
 
46 HOUSEHOLD ELEGANCIES. 
 
 and some patience ; do not get tired of stirring, and do not take the pan from 
 the fire until every grain has received its proper share of stearin. 
 
 Now pick out the flowers you wish to dry ; they should be free from dew or 
 any moisture ; through a fine sieve, sift a layer of sand a quarter of an inch deep 
 into the box ; now, lay carefully as many flowers and leaves on the sand as you 
 can ; the space between the larger flowers may be filled up by smaller ones ; on 
 
 Fig. 15. Bouquet of Dried Flowers. 
 
HOUSEHOLD ELEGANCIES. 
 
 47 
 
 this layer of flowers, carefully sift another layer of sand ; do not press the sand 
 down with your hands, this would spoil the natural shape of the flowers; but 
 knock gently, with your fingers, on the sides and bottom of the box, until every 
 little space, between and under the flowers, is well filled up ; then put in an- 
 other layer of flowers, and proceed as before, until the box is full. Tie down 
 the lid with good strong cord, and put the box in a warm place. If, in your own 
 house, there is not a place constantly warm, place imder or near a stove, take the 
 box to your baker's, and put it in a good warm position on his oven. In two to 
 four days, the flowers will be perfectly dry, if the situation is really warm. When 
 only placed in the sun, it requires a much longer time. 
 
 When you wish to take out the flowers, cut through the paper at the bottom, 
 and let the sand slowly run out. The flowers at first are so brittle that you 
 cannot take them out without breaking them ; put the box in a cool, moist place 
 in a cellar or a ditch, for several hours ; you may then safely remove the contents. 
 
 Do not expect to find every flower perfect ; some will be spoiled in shape and 
 color. With a little experience, you will soon learn to know that, and leave 
 them out in future trials. But others, you will find in splendid condition, and 
 these will amply repay you for all your trouble. After some practice, you will 
 learn to dry your favorites on a larger scale. 
 
 These flowers are very beautiful for winter bouquets, and will look well for a 
 long time, if protected from dust and the rays of the sun. 
 
 With flowers furnished with long, slender stems and leaves, you may always 
 be successful. Scabiosa, Pinks, Primulas, Forget-me-nots, Honeysuckles, Pan- 
 sies, Sweet Peas, etc., are very reliable, but experience will teach you best which 
 to select. Flowers with thick, full corolla, also Tulips, Hyacinths, etc., are en- 
 tirely useless for this purpose." 
 
 CEYSTALLIZING GRASSES, FEENS, ETC. 
 
 Although colored and crystallized grasses, etc., are strongly objected to by 
 many persons, still, we must admit, that in some cases, these methods of chang- 
 ing the faded, and generally, somber hues of dried natural productions, are 
 capable of producing beautiful effects. To obtain this result, however, the 
 work must be neatly and carefully prosecuted. 
 
 We have all seen the appearance of ground, and trees, and rocks, on some 
 winter morning when, during the hours of our slumber, the soft snow had 
 quietly fallen, and been quickly followed by a sudden change of atmosphere to 
 intense cold, with a slight sprinkling of sleet, which gave the whole landscape 
 before us that lovely appearance of being thickly dusted with " diamond pow- 
 der," gemmed with sparkling brilliants, crusted with "liquidized diamonds." 
 Well, this may be almost perfectly imitated by crystallization and frosting, and 
 we must confess we consider it, in many cases, a decided improi'ement" This 
 crystallizing with alum may be done in such a manner as to produce several 
 
48 
 
 HOUSEHOLD ELEGANCIES. 
 
 kinds of crystals. If alum is dissolved in cold water, it will take about fifteen 
 parts of water to one of alum, or a pint of water to an ounce of pure alum ; 
 but, by dissolving in boiling water, the pint of water will take up a pound of 
 alum, and it is by this i)rocess that the crystals are formed, and, herein is 
 where many persons fail ; that is, they attempt to crystallize by dissolving only 
 the amount of alum that cold water will take "; whereas, the proper method is to 
 continue adding alum until a saturated solution " is formed (or it will dissolve 
 no more), whenever large and heavy masses of crystal are desired ; but if deli- 
 cate and well-defined small crystals are formed, make a boiling solution of one 
 pint of water and only an ounce or so of alum, which will cover the objects 
 placed in it, while hot, with perfect crystals when it becomes cold. Por an 
 ordinary collection of grasses and ferns, sufficient for two bouquets, or a basket, 
 take a pound of alum and one gallon of water ; boil, until dissolved, and when 
 cool, having tied the grass in small bundles, pour the solution of alum into a 
 glazed jar or basin, and placing sticks across the rim, from side to side, sus- 
 pend the bunches from these so that they hang down, and are immersed in the 
 water ; then place the jar in a safe place, where it will not be distm-bed for sev- 
 eral hours, or, perhaps, during a night. 
 
 Do not expect that the crystals will be always formed* as soon as the solution 
 becomes cold, for it may- be twelve or fifteen hours, perhaps even longer, be- 
 fore the deposit commences ; this depends on the temperature of the room and 
 other causes. Frequently those crystals most slowly deposited are the most per- 
 fect and brilliant, so we may feel that "patient waiting is no loss." If you 
 should gi'ow impatient, however, and there is cause for haste, add more alum, 
 dissolving a quarter of a pound of alum in a very little boiling water, and add- 
 ing it to that in the jar. When the grasses, etc., appear sufficiently coated, 
 remove and hang them up to drain, and dry off. 
 
 Slender grass should not be too heavily crystallized, as it causes them to 
 bend too much to appear graceful ; this, however, will be learned by experi- 
 ence. 
 
 It is sometimes desirable to give the crystals a frosty appearance ; this is done 
 by placing them before the fire where they will dry off rapidly, which will give 
 them that white look, like crushed ice or frosted snow. 
 
 CEYSTALLIZED FLO WEES AND EOLIAGE. 
 
 Tie flowers and leaves of various kinds, such as Violets, Pansies, Geraniums, 
 Ivy, ISIyrtles, Ferns, etc., to stems of wire ; or, if desired, fasten upon the bottom 
 of shallow baskets or other receptacles, and dip them into a solution of alum 
 that has become perfectly cold. The solution should be what is termed a 
 " saturated solution that is, the water should dissolve all the alum it will. 
 When the alum has formed a clear, light covering upon the surface of the 
 flowers and leaves, and sufficient adheres to envelop everything with crystal 
 
50 
 
 HOUSEHOLD ELEGANCIES. 
 
 drops, remove them with great care, and allow to drip for several hours, until 
 perfectly dry, when the flowers will present the most charming appearance, and 
 be lovely ornaments for any apartment. The baskets thus ornamanted are very 
 beautiful ornaments, and will long retain their first and lovely appearance. 
 
 COLORING GRASSES. 
 
 In making rustic 
 pictures of various 
 kinds, also in arrang- 
 ing bunches of au- 
 tumn leaves, ferns 
 and other "winter 
 bouquets," it is some- 
 times desirable to 
 add grasses as a 
 means of producing 
 that softness, which* 
 Jine foliage alone is 
 capable of imparting 
 to any arrangement 
 of flowers. These 
 grasses may be dried 
 in such a manner 
 that a portion, at 
 least, of their natu- 
 ral, vivid green and 
 yellow coloring, may 
 be retained, but it 
 is impossible to pre- 
 serve it perfectly ; 
 and as this lovely, 
 natural color, is one 
 Fig. 17, Bouquet of Dried Grasses. of the most beauti- 
 
 ful characteristics of a collection of winter leaves, etc., it becomes a matter of 
 importance to imitate those bright tints of summer, which are so effective. To 
 do this, we must have recourse to dyes of various shades and colors. Now, any 
 one who has examined the beautiful collections of " winter bouquets," as they 
 are called, which have added such brightness to our homes and public exhibi- 
 tions during the past few years, must have observed the predominance of the 
 shades of yellow, brown and russet, which, even though the arrangement may 
 have been ever so tasteful, could not be perfectly satisfactory to an artistic eye, 
 which always seeks for imposing contrasts or perfect harmony. 
 
HOUSEHOLD ELEGANCIES. 
 
 51 
 
 Another striking feature in some of these flower arrangements, is a superabun- 
 dance of the vivid green, and orange-brown dyed mosses, which is sent us from 
 Germany ; and this is a still greater mistake, as they are so exceedingly bright 
 and unnatural, that they give an artificial appearance to that which should be 
 simply natural. 
 
 The finest and most artistic effects are produced by the addition of rose-shades, 
 contrasted with palest blue ; scarlet, and the light golden tints of some natural 
 grasses ; greens of various shades, but never the glazing dyed colors in grasses, 
 reserving these for the addition of a few bright leaves. 
 
 The best method of coloring grasses and leaves with flowers, also, is to 
 merely dip them into the various spirituous solutions of aniline ; these may be 
 procured in many beautiful shades of red, blue, orange, purple, rose, etc., and 
 the depth of color can be regulated by making the dye more or less strong by 
 the addition of spirits of methyl. After removing from the dye, they must be 
 lightly shaken out and exposed to the air, in order to dry off the spirit and re- 
 move any odor. 
 
 Another method of coloring certain parts is by using a pink saucer, which 
 may be obtained from a druggist, and will color sufficient flowers for several 
 bouquets ; and this will produce a finer tint than the aniline ; but for mauve, 
 violet and pm'ple, the anilines are preferable. 
 
 In dyeing some grasses, it is necessary to bleach them, especially if they are of 
 a deep, and yet disagreeable color. To do this, recourse is had to the chloride of 
 lime, or properly -speaking, chlorinated lime, taking two teaspoonfuls ; and 
 after letting, and mashing out all lumps, dissolving in a quart of water, 
 with a little acetic acid" added, suflacient to produce a decided odor of 
 chlorine, let it stand, and pour off the clear liquid, or strain through a tammy 
 
 Fig. 18. Basket of Grasses and Dried Flowers. 
 
62 
 
 HOUSEHOLD ELEGANCIES. 
 
 with fine perforations ; if kept for any time, decant into opaque bottles, and 
 cork tightly. In this liquid, suspend or immerse the grasses until white, or 
 almost so ; for some grasses will not bleach to perfect whiteness, while others 
 will do so in about ten or fifteen minutes. After bleaching in this manner, 
 remove from the lime, rinse through clear water, and hang in the sun or air, until 
 dry. If they are desired for bouquets, they should be placed in an upright 
 position while damp, with the heads drooping, in order to attain a graceful 
 curve. 
 
 In dyeing, the colors for grasses should properly be shades of green, brown, 
 and gold color, applied in the same manner as those for 
 
 DYEING FLOWEES. 
 
 When the everlasting flowers (or "Immortelles" of the French) are of a 
 homely color, it is desirable, perhaps, to dye them some pleasing shade; or, 
 again, as they are generally in a natural state, of only a few colors, such as 
 yellow, rose and white, and a variety is desirable in a collection, it is custom- 
 ary, in Europe, especially, to resort to coloring as a means of imparting bright- 
 ness and beauty to a bouquet, or other " arrangement " of these flowers. 
 
 The Ammobium, White Acroclinium, Pearly Everlasting, Xeranthemum of 
 one kind, and the white Gomphrena, are colorless in themselves, and, with some 
 little preparation of cleansing, may be dyed without bleaching, or fading. 
 Those which require the color changed must be placed in a solution of Castile 
 (white) soap and warm water, with a little borax added ; to an ounce and a half 
 of shaved soap, putting one quart of water and a piece of borax as large as a 
 filbert. Place the flowers in this while it is boiling hot, keeping them upon 
 the stove for a half hour or so ; then rinse in cold, clear water, repeating the 
 process until the color is removed. 
 
 White flowers and grasses may be dyed with the aniline dyes, as before men- 
 tioned ; or, for some shades. Brazil-wood, cudbear, cochineal, anetta, and other 
 old-fashioned dyes may be used, but will not prove so clear and brilliant as the 
 former. Some, too, may have the natural colors changed, spotted, striped, etc., 
 by using acids, alum, lye and other agents, and for some touches of transparent 
 colors, produce fine effects. In using the aniline dyes, aU that is required is 
 to mix the liquid or powder with boiling water, and soak the flowers or grasses 
 in this until sufficiently dyed ; or proceed according to the directions upon the 
 package, substituting the flowers, etc., instead of the silk or other fabric for 
 coloring, which directions are printed. 
 
 Ferns, for winter collections, should be carefully gathered, and immediately 
 put under press, or placed in water ; if, however, by any necessity this is im- 
 possible, and they become wilted, place them under water for a shoi-t time, when 
 they will revive, and must be laid upon a soft towel or napkin until dried off 
 somewhat ; then placed in a book, and pressed, using care to change, each day. 
 
HOUSEHOLD ELEGANCIES. 
 
 53 
 
 SEA-MOSSES. 
 
 Albums, or certain portions of scrap-books, devoted to the preservation of 
 these lovely sea-flowers, will be found a great acquisition to a " table collection " 
 of interesting "knick-knacks," and afford a vast amount of pleasure, as well. 
 The best time for collecting " Sea-Mosses and Grasses " is during July and 
 August, and perhaps the early part of September. They should be gathered 
 carefully, the utmost pains being taken not to break or tangle them. A tin 
 box or pail with lid, should be jfilled with sea-water, and into this the specimens 
 placed ; as, if merely thrown into a basket, in a dry state, they will wilt and die 
 very soon. When the tide is out farthest, visit the shore and search in all the 
 little pools, among the rocks and in the nooks and crannies along the beach, 
 turning over the collections of stones, shells, sand, etc., that have been thrown 
 up by the waves, especially after a storm. When you return from your quest, 
 take a basin of clear, fresh water, and carefully rinse each spray, passing the 
 pieces back and forth gently, through the water ,• then, slipping a piece of card 
 under each piece, float it off into another shallow pan or dish of clear, fresh 
 water, to allow it to assume its natural form. When each tiny fiber and shred 
 has washed up separately, take a piece of drawing-paper or fine Bristol-board, 
 cut to the proper proportion and shape, and, slipping it beneath the spray, with 
 a sharp-pointed instrument, lay every strand in proper position ; cutting out 
 all superabundant branches, and placing the various parts, so that a graceful, 
 gossamer-like spray appears lying upon the white card-board. Then, raising the 
 card, hold it up in a slanting position and pour off the water, using great care 
 not to disturb or misplace the various thread-like branches. Let these cards 
 dry off partially, and, while a little damp, lay soft folds of old linen or tissue- 
 paper upon them and place under a moderate pressure. Examine them every 
 day for one week, changing the papers or books used to absorb the moisture at 
 least once each day ; and when the specimens are large and rather thick, it may 
 be necessary to repeat this twice a day during the first three days. 
 
 In separating and examining the weeds, there will be found some which are 
 of a gummy or glutinous character; these must not be placed with the others, 
 but dried upon cards in the air ; then placed for a moment, so that the paper 
 beneath them rest upon a plate of clear water, wiped or rather patted with a soft 
 napkin and placed under a book or other light weight, until dry. 
 
 If any mosses or weeds are found that have not adhered to the paper while 
 under pressure, remove them, and paint over the whole surface with Demar var- 
 nish or turpentine, with a little gum-mastic rubbed into it, — about one ounce of 
 turpentine to two drams of gum. 
 
 The fine, fibrous mosses will be fit to remove to the album in about one week, 
 but the heavier pieces require two, and sometimes three weeks to dry — very much 
 depending upon attention to the changing of the papers. Some of the large 
 and branching pieces may be dried without pressing, and arranged in vases. 
 
54 
 
 HOUSEHOLD ELEGANCIES. 
 
 Various other arrangements may be made of these lovely sea-flowers, in which 
 taste and ingenuity may be extensively displayed. Crosses, lyres, harps, 
 anchors, etc., can be formed of the fine parts, and with the addition of floss silk, 
 zephyr, chenille, and a little " frosting," exquisite vines, with leaves and flowers, 
 may be arranged, while with sand and shells, a piece of mirror and fragment of 
 rocks, a lovely little piece may be easily formed, and will prove a fine addition 
 to an album or a charming ornament for a shell or coral frame. 
 
 The lovely little Swiss baskets, sold at the floral and fancy stores, also form 
 beautiful ornaments when filled with these exquisite sea-weeds. They are first 
 cut in two, longitudinally, and fastened to a white card-board foundation, by 
 touching the cut edges of sides and handle with strong gum-arabic mucilage, 
 and fixing in the center of the card. When dry and finely fixed, arrange a 
 background with the fine parts of the moss, fastened against the white card, 
 forming a fine tracery of brown and purple ^'■grasses mid ferns," imitated with 
 the weeds. Then fill in with the bright parts, formed into flowers and foliage, 
 with the aid of scraps of " floss silk," zephyr and chenille, using tiny pieces as 
 buds or berries, forming lovely little Moss-roses of the beautiful shades of rose, 
 pink and green moss, pansies of the purplish and yellow colors, white flowers 
 (by bleaching a few sprays with chloride of lime), pinks, geraniums, roses and 
 various other flowers of the crimson shades ; and long, feathery strands form 
 fine flowers by twisting them into form and fastening with silk or fine wire ; a 
 few tiny shells may be added here and there, and some strands of the tangled 
 weed, sand and minute shells, dusted with fine " diamond powder," and hung 
 from the bottom or sides of the basket. A monogram, or the Christian name 
 or initials, placed beneath, formed with the fine leaves of the mosses, makes a 
 beautiful finish, and such a collection, framed in shells or coral, forms a charm- 
 ing addition to a tasteful room. 
 
 In arranging Sea-Mosses in a scrap-book, the. beautiful enameled and painted 
 shells, which are now imported from Europe, and sold at the fancy stores, form 
 an appropriate and elegant addition ; and, as they may be procured for a com- 
 paratively moderate price, we would recommend them as exceedingly satisfac- 
 tory, thus applied. 
 
 WOOD-MOSSES. 
 
 Wood-Mosses and Lichens can also be used to beautiful advantage ; and a 
 friend, writing, thus describes some charming and inexpensive ornaments con- 
 structed out of the natural moss found in the forest : 
 
 " Mosses can be advantageously gathered in the woods at ahnost any season of 
 the year. I found beautiful specimens the other day deep under the snow, but 
 I generally succeed best in preserving the beauty of those collected in early 
 summer or in November. You scarcely can* have too great a variety either of 
 lichens or mosses in this kind of fancy work. Gather such as are to be found 
 
HOUSEHOLD ELEGANCIES. 
 
 55 
 
 on old rail fences, decaying logs or the bodies of trees in moist, shady woods, 
 and in patches under fallen forest-leaves. Let them dry in a dark, cool place. 
 The body of your frame should be of wood, cut either square or oval, or it may 
 
 Fig. 19. Moss Frame. 
 
 be rectangular at its outer and oval at its inner edge ; or better still, formed as 
 found in our illustration. (About Christmas times, I generally have half-a- 
 dozen at once cut out at the wood-turner's, at an expense of about fifteen 
 cents each.) Next make a paste by stirring flour in cold water and cooking it 
 very slightly, stirring all the time ; leave it as thick as it can be to work v/ell ; 
 apply it to the frame ; select and paste on the moss according to your fancy, 
 gradually covering the entire frame, and taking care not to press the moss down 
 any more than is necessary. In putting on the moss and lichens, let them 
 overlap each other as they do when growing, with various shades of green 
 
56 
 
 HOUSEHOLD ELEGANCIES. 
 
 blending together, and cool grays and pearly shell-forms creeping close upon 
 the bright, emerald tips. Use, mainly, the low, flat varieties, and ornament with 
 little groups of the taller sorts, introducing here and there a fern-like spray with 
 its livelier green. With taste and delicate handling, an exquisite picture-frame 
 may thus be produced at little trouble and almost no expense. For illuminated 
 texts, paintings of flowers or autumnal leaves, these frames are peculiarly 
 effective, though they look well on an engraving, or almost any style of small 
 picture." 
 
 Thanking our correspondent for her suggestions, we introduce in this connec- 
 tion a lovely style of moss wall-bracket, which can be made large or small, and 
 for hanging either upon the side-wall or in a corner. The top of the bracket can 
 readily be cut from any soft wood, and a flat stick as long as the bracket is 
 designed to be, securely fastened below it at the back at right angle, so as to 
 
 Fig. 20. Moss Bracket. 
 
 make the rear view of the frame-work not unlike a letter T. Next obtain a 
 barrel-hoop or two, cut into proper lengths and fasten on as many of these 
 pieces as taste may dictate, taking care to let each piece curve inward. These 
 pieces should meet at the bottom of the brace, and their other ends be secured 
 
HOUSEHOLD ELEGANCIES. 
 
 57 
 
 at equal distances around the front of the shelf. When all are made firm, your 
 bracket is ready to cover with moss, though for convenience it is well to cover 
 the back brace before the front ones are put in place. The general directions 
 
 Fig. 21. Wreath of Mosses and Grasses for Picture-Frames, 
 given above, for covering picture-frames, will apply for the rest of the work. 
 These moss-brackets have a charming effect when supporting a vase of graceful 
 
58 
 
 HOUSEHOLD ELEGANCIES. 
 
 grasses, or a growing ivy-plant, or a simple bouquet. In Summer they look well 
 on the walls of vestibiiles or piazzas, and afford convenient places for depositing 
 wild flowers, sprays of foliage, or any treasure collected in our rambles. 
 
 WEEATHS OF MOSSES AND GEASSES FOE PICTUEE- 
 
 FEAMES. 
 
 A pretty wreath for picture-frames may be made of different granscs, mosses 
 and flowers, dried and pressed between blotting-paper, and gimnned on a piece 
 of pasteboard corresponding to the frame of the picture intended to be wreathed. 
 Beginning at the middle of the upper part, arrange, first, one half, and then the 
 other, in such a manner that the stems of the grasses shall bo covered. Care 
 must be taken to arrange the colors harmoniously. The stems which come to- 
 gether in the middle of the under part must be covered with a large flowei-. 
 The wreath may serve, itself, as the frame for a picture — in which case it must 
 be glued on the edge of the picture, which must be mounted and furnished with 
 a glass. 
 
 MOUNTING MOSS. 
 
 The following is a good method for preserving the leaves of mosses, ferns, 
 etc. Wash them perfectly clean, draining off thoroughly and drying partially, 
 so as to remain flexible ; tlien arrange upon the center of a slide. Over this, 
 place a pane of clean glass, and fasten the two together by clamping or " clip." 
 Then taking hold of the slide and glass thus united, with a pair of forceps or 
 plyers, hold them in the left hand, and with the right, apply a little "jelly of 
 glycerine," which may be procured from an optician's, certainly, and perhaps 
 from other places, along the edges of the two, allowing it to run under the glass 
 by capillary attraction. When suflicient has passed, having a spirit-lamp turned 
 low, hold the forceps or clip {ice use a '''■spring clothes-pin") firmly in the 
 hand, and pass it backward and forward OA'er the lamp until the glycerine boils, 
 using care not to crack the glass by heating too rapidly. Clean the slide care- 
 fully, and varnish with gold-size. Mosses, mounted in this way, retain the 
 beauty of color far better than when simply dried. 
 
 SHELLS. 
 
 Fresh-water shells, such as muscles, snails, etc., may be bleached to a snowy 
 whiteness by placing them for a few hours in a solution of chloride of lime ; first 
 washing them perfectly clean, then placing them in a jar containing the lime. 
 Place the vessel in the sun, and when sufficiently bleached, remove, and wash in 
 clear water. Then, taking a soft woolen cloth and a little oil and finely-pow- 
 dered pumice-stone, proceed to polish the surface by continued rubbing ; after- 
 ward finish with a gentle rubbing with chamois-skin, which will produce a 
 snow-white shell with a highly enameled surface. • 
 
HOUSEHOLD ELEGANCIES. 
 
 59 
 
 LEAF PHOTOGRAPHS. 
 
 A simple and effective method of taking leaf photographs is as follows : Pro- 
 cure a few cents worth of bi-chromate of potash, with which make a saturated 
 solution. Pour some of the clear liquid into a shallow dish, and on it float a 
 piece of letter-paper till it is thoroughly and evenly moistened, placing it in the 
 dark to dry, when it should appear of a bright yellow color. On this, place the 
 fern leaf or leaves ; under it, a piece of soft black cloth and some folds of news- 
 paper. Place this between two panes of glass, and secure with chimps (spring 
 clothes-pins will answer). Expose to a bright, glaring sunshine, with the rays 
 falling as nearly in a perpendicular as possible. It will soon begin to turn 
 brown, and, in a few hours, a perfect and dark impression will be obtained ; 
 when it may be removed from the frame and placed in clear water, which must be 
 changed every few minutes, till the yellow part becomes perfectly white. Some- 
 times the figures will be perfect, every vein and mark distinct; and these photo- 
 graphs are most interesting and beautiful when collected into a book. 
 
 PEESERVINO WHITE FLOWERS. 
 
 Xo doubt many of our readers have looked with admiration and wonder upon 
 the chaplet or cross of pure white flowers, preserved as mementos of " friends 
 departed," or as treasured relics of the day when some fair bride stood under 
 the snowy " marriage bell " and carried the lovely bouquet of orange blossoms, 
 camellias, etc., which, within their glass cases, appear as perfect now as in the 
 hour they were gathered. 
 
 For many years the art by which these white flowers were preserved was kept 
 a great secret, and only those belonging to the " mystic circle " of the initiated 
 understood the operation ; and these reaped rich harvests from those wealthy 
 persons who were willing to pay fabulous prices for the flowers that had rested 
 on the breast of some loved, but departed friend, or graced the wedding of an- 
 other loved one ; but, by one of those accidents which, always in time, expose to 
 light the long-entombed secrets of the wise ones, this interesting process has at 
 last been made public ; and we learn that the following process will enable any 
 one to preserve the white and green flowers used upon special occasions, or, per- 
 haps, desired for their beauty of form or other attribute. 
 
 Let the flowers be freshly plucked, and of those kinds which have firm texture, 
 of pure white, or at least very delicate tints. If the collection is to be preserved 
 without separating the parts, the green leaves must be removed, as they require 
 a different treatment. This done, take fine parafline, that is, of the very best 
 quality, which melt in a clean, new tin vessel placed in a pan of boiling water, 
 which must be kept constantly hot around it, so as to keep the parafline in a 
 liquid state. Into this thin and transparent liquid mass, dip the blossoms ; or, if 
 found more convenient, brush each one quickly with a soft camel's-hair of small 
 size, so as to give them a smooth, thin coat that will cover every part of each 
 
60 
 
 HOUSEHOLD ELEGANCIES. 
 
 petal ; and this will form a casing about them that will entirely exclude the air, 
 and prevent their withering. The perfect transparency of the material renders 
 this coating entirely invisible, so that the flowers present that natural appear- 
 ance which constitutes the peculiar charm of this work. 
 
 Green leaves must be coated with green wax, or with paraffine colored with 
 green paint, in powder, tied in a thin, Swiss-muslin bag, and melted in it. 
 Chrome green is best, lightened to proper shade by the addition of chrome yel- 
 low ; or, if a blue-green leaf is desired, permanent blue added in very small 
 quantity. 
 
 We have experimented in this, during the season, by coloring the paraffine 
 with other colors, such as pink, lavender, etc., and have been quite successful 
 with a certain class of flowers. Those fond of experimenting will find this a 
 most interesting field in which to indulge their taste, as the flowers thus pre- 
 served are as perfectly natural as if freshly gathered. 
 
 Great care is necessary in having the paraffine perfectly liquefied, yet not so 
 hot that it will " cook " the blossoms ; for in this case, they will turn brown and 
 " sluff off ; " that is, become soft and apparently decayed. 
 
 PRESEKVING NATURAL FLOWERS OF THE SOFT-PETALED 
 
 VARIETIES. 
 
 Having described the method of preserving flowers by drying thsm in sand, 
 we will now give still another process, which has been kept a matter of great 
 secrecy, and, of course, excited a vast amount of curiosity in Europe for some 
 years ; but which the public periodicals in France and England have been mak- 
 ing public for a year or two past. The first flowers we saw preserved in this 
 way was a wreath, in a deep recess frame, exhibited in the window of an art 
 emporium in Chicago, in the year 1871, and we imagined, at the first glance, that 
 they were wax ; but, upon examination, found they were natural flowers, — the 
 tints rather lighter than in the fresh state ; still, quite perfect in form, and ex- 
 ceedingly delicate and lovely in appearance. Upon inquiry, we were informed 
 that they were imported, and were dried by the fumes of sulphur, though in 
 what manner was not known. From that time We felt greatly interested concern- 
 ing the process, but had no opportunity of discovering anything more concern- 
 ing the matter until some time after, when a scientific gentleman explained the 
 process to us ; and soon after, we read the same in different journals, and began 
 to make an attempt to preserve a few simple flowers, as an experiment, since 
 which, as we succeeded well, we have continued, increasing our collection ; 
 finding the process not only simple, but exceedingly interesting, we assure our 
 readers they can also do, if they will attempt it. 
 
 The only articles necessary for this operation are a close box, a pan for the 
 sulphur, and some stick sulphur. Any tight wooden or tin box will answer, with 
 
HOUSEHOLD ELEGANCIES. 
 
 61 
 
 a little preparation, made as follows : — Supposing there are flowers sufficient to 
 fill a half-peck basket ; a wooden box, about two feet square is taken (we find one 
 of the square tea-boxes convenient, as being light and easily handled, and also, 
 because closely papered), and upon the inside, two strips screwed or nailed on 
 opposite sides, upon which the rods holding the flowers are rested. As the box 
 is air-tight, the ignited sulphur would speedily consume the small portion of air 
 contained in the box, and be immediately smothered ; it is necessary, therefore, 
 to have a hole or two bored, or a little door with hinge made in one end of the 
 box, which may be opened or closed at pleasure, the former having plugs or 
 corks fitting them tightly. 
 
 Our course is this : — Having selected a number of Roses and buds, Fuschias, 
 Dahlias, Larkspurs, Orange Flowers, Camellias, Pansies, etc., we tie them in 
 loose clusters of from two to six or eight, according to size, and hang them upon 
 
 Fig. 22. Wreath of Preserved Thorns, 
 rods, which fit across the box upon the ledges, placing about four rows of them. 
 In an iron pan are some live embers of charcoal, which is set upon the bottom of 
 the box ; an ounce or two of crushed sulphur is sprinkled quickly over, and the 
 lid, which, in our case, slides, pushed into place. The little panel or door, 
 
G2 
 
 HOUSEHOLD ELEGANCIES. 
 
 which is on the lower part of one side and has a hinge, is held open for a few 
 minutes until, glancing in, we perceive all is progressing favorably and the 
 fumes are rising from the ignited suliDhur, when we close and hook the door, 
 which fits tightly. Throw a heavy blanket over the box, tucking it round closely, 
 and leave it until the following day, or about twenty-four hours, when they will, 
 if all has gone well, be found bleached to a dull white color. This, upon ex- 
 posing them to the air, in a dry atmosi)here, they gradually lose, and assume 
 their own colors, though not of such intense vivid shades, perhaps, as b'jforc 
 bleaching, but permanent. 
 
 It is of the utmost importance, in this operation, that the box be made per- 
 fectly tight and close by pasting muslin or paper over each corner ; and if the 
 lid closes down upon the top, to paste a strip around it also, as it can be easily 
 cut open along the crack when the box is to be opened. Some bleaching-boxes 
 are fitted with holes about an inch in diameter at top and bottom, fitted with 
 corks, in order to admit the air ; though we prefer the little door as being more 
 convenient ; and it consists in simply sawing out an inch square from the side of 
 the box, fastening in on the upper part with a hinge and below with a hook ; it, 
 of course, fits closely into the exact place from which it was sawed. Once the 
 sulphur is ignited, and the box should be kept as close as possible ; as upon this 
 depends the success of the operation, in a great measure. 
 
 The room in which the box is placed should be as dry as possible, for in a 
 damp atmosphere, the bleaching will not be accomplished so satisfactorily. 
 
 Flowers, thus preserved, if well arranged, and sealed hermetically under a 
 glass shade or behind a recess frame, will retain their beauty and perfection of 
 form and color for an indefinite time. 
 
 The materials necessary for this picture are white card-board, to fit and cover 
 a recess frame of any desired size (the one from which this is taken is one by 
 one and one-half feet), an oval or arched mat to surround the picture, a flat 
 wooden cross of size to suit the frame, white moss, such as is found upon old 
 fences and trees, green moss, dried grasses, everlasting flowers, the scarlet berries 
 or balls called Crabs Eyes, autumn leaves that have been pressed and varnished, 
 dried ferns, white frosting, mucilage of best white gimi-arabic, white glue, arrow- 
 root. The white stamens used for wax or paper flowers, and a few green leaves, 
 wax or paper, or dried natural ones, a few crayons of green shades, are serv- 
 iceable, but not indispensable. 
 
 The implements are a mucilage brush, a small sash-brush for glue, sharp knife 
 and scissors, two dredging boxes for arrow-root and frosting, such as are used 
 for pepper, etc., in the kitchen— the latter with large holes, and boxes to hold the 
 various materials, in order to keep them from getting broken and mingled 
 together, which causes much trouble and discomfort. 
 
 Having all these articles ready and the cross made, wet it well with rather stiff 
 glue, and place it upon the white card-board, back of the recess, the middle rather 
 
Fig. 23. Easter Cross. 
 
64 
 
 HOUSEHOLD ELEGANCIES. 
 
 above the center of frame, in order to allow for the ground-work, as seen in the 
 design. Cover the cross with white moss and bark, commencing at the top and 
 covering carefully, one piece slightly overlapping the other, until entirely covered. 
 Take a card box, about half as deep as the recess, cut away the one side and 
 make a hole in the bottom that will admit the bottom of cross, glue it to the re- 
 cess and cross, and when dry, cover with green moss. Place grasses, flowers, leaves, 
 etc., in tasteful groups around and on it, and train a piece of vine-like fern or vine 
 around the body and over the arms of the cross, with drooping sprays falling 
 carelessly from the arms. When dry, touch lightly with mucilage, dust a little 
 powder and a great deal of frosting upon it and it is done. After the frosting, 
 etc., dries, tap the back of frame lightly to remove loose particles of frosting, 
 etc., then frame carefully. 
 
CHAPTER III. 
 
 SPRAY WORK, OR SPATTER-WORK. 
 
 This popular style of ornamentation has become widely known. Many 
 of our readers, undoubtedly are acquainted with it ; yet others, with but an 
 ordinary knowledge of the art, are still unacquainted with a few recent improve- 
 ments that enhance the beauty of the work to a great degree. 
 
 This mode of decoration may be applied 
 to any material, and upon any color, pro- 
 vided the surface is smooth and even ; look- 
 ing well alike upon ebony of jet black, 
 hard surface, or upon a thin, transparent 
 piece of Swiss muslin ; in the one case, the 
 J " spray " being made of light-colored paint, 
 or dye ; in the latter, of India ink or other 
 dark tint. The ferns, or other leaves, used 
 for this work, must be pressed or flattened ; 
 and the foliage best adapted to it are the 
 kinds with deeply serrated leaves, such as 
 Oak, Maple, Fern, Geranium, Vine, Rose, 
 Ivy, etc. ; also, the graceful, waving grasses, 
 and such flowers as Lily of the Valley, Blue-bslls and Dicentra ; and many of 
 the sea-weeds are particularly well suited to it. A set of table napkins, with 
 tray-cover, etc., are made really elegant by having a small center-piece thus 
 adorned with a monogram, or initial, in the center, and a few sprays of foliage 
 surrounding it, with a little border dividing it from the remaining portion of the 
 article. In Fig. 1 we give a sample of such a set ; to form which, pour into a 
 saucer a quantity of good indelible ink, and, having cut out the monogram, or 
 initials, or name, from paper, spread out the article upon a table, or board, and 
 fasten each corner of the paper with needles, or pins, pressed through into the 
 wood, using care that each part rests closely down upon the linen ; then, place 
 
 Fig. 1. 
 
66 
 
 HOUSEHOLD ELEGANCIES. 
 
 around it sprays of ferns, 
 and a few rose-leaves (parts 
 of a spray) ; then, upon the 
 outer edge, some grasses and 
 ferns, all secured with small 
 needles, or pins, placed per- 
 pendicularly ; arrange, also, 
 a narrow border, by cutting 
 paper in tiny scallops, with 
 small holes cut at regular dis- 
 tances. The next step is to 
 take a piece of " wire-gauze," 
 or net, or a comb with fine 
 teeth, and, dipping the brush 
 into the ink, rub it gently 
 across the piece of wire, or 
 teeth of the comb, producing 
 a fine spray, which, falling 
 upon the surface, gives a clouded appearance to the material ; after thus covering 
 the entire surface, evenly and uniformly, remove one jmj't of the rose-leaves ; also, 
 a few of the finer parts upon the outer edge, and carefully cast another spray over 
 the surface ; after allowing the previous one to dry off, remove another section 
 from the sprays of leaves, and again " spatter," and then remove the border ; 
 spatter lightly, and, when dry, lift the monogram, which will, of course, appear 
 perfectly white. 
 
 Fig. 2 shows a design capable of adaptation to various articles, but is spec- 
 ially pretty upon Swiss muslin, for tidies, etc. We recently had the opportu- 
 nity of examining a set of these, which received a prize at a State fair, as the 
 most beautifully adorned fancy article. The set was colored with India ink, 
 upon very sheer muslin ; the edge, in waved lines of ivy-leaves, with berries of 
 deep brown ; the centers, all with different patterns, of clusters of leaves and 
 flowers, butterflies, etc.; then lined with thin pink Florence silk, and finished 
 with two rows, of narrow, and one wide Valenciennes edging (imitation) formed 
 round the scallops. These tidies were exquisitely beautiful, and well worthy of 
 imitation. 
 
 In Fig. 5 is a design for an antimacassar, which, being of large size (from one 
 to two and a half yards long), admits of the use of large leaves, and a central 
 group, such as is shown. These Cupids were traced and cut out of paper, and 
 placed in a similar manner to the monogram ; then, after raising it as the final 
 step, the shaded parts were put on with a camel's-hair brush, dipped in the liquid 
 used for the spray or spatter-work — sepia, or even indelible ink. 
 
 A lovely picture may be made upon white card-board, by proceeding as follows : 
 
HOUSEHOLD ELEGANCIES. 
 
 67 
 
 Draw a cross, with a graceful vine of ivy running up and trailing over it. Ar- 
 range it upon the paper with the parts shaded in observance of the perspective 
 effect. Then cut out all the parts ; the vine, the parts of the cross, with the 
 shaded parts upon the body — top and arms cut separately. The cross may be 
 straight, and the arms placed in a horizontal position, or the top of the body cut lon- 
 gitudinally, and the arms placed with the angle slightly acut^, as shown in Fig. 3. 
 
 The vine, and those grasses, etc., at the 
 foot of the cross, which are to appear in the 
 foreground, should be placed on the card 
 first; then the light parts of the cross cut 
 out, following the direction of the dotted 
 lines ; the three shaded parts are cut in sepa- 
 rate pieces, and are to be the darkest part of 
 the work, receiving more of the " spray " than 
 any other portion, excepting the ground- 
 work. Shade the whole surface of the card, 
 using the utmost care to have it as fine and 
 granular as the most highly executed photo- 
 graph ; never hurrying over the work, nor 
 taking up too much liquid on the brush, for 
 fear of blotting, and making the dots and 
 specks of uniform size. 
 
 The ground-work is an even, light hair- 
 color. !Next, proceed to remove the foliage 
 from the back, behind the cross, spatting 
 the entire surface uniformly, again, which 
 will make the foliage the shade of the ground. Fig. 3. 
 
 previous to this application ; and the ground one shade darker ; then remove 
 the strips, and again shade ; then the intermediate foliage, and again shade ; 
 
 then the remaining portions of the cross and the 
 ferns, grasses, and leaves in the foreground, and again 
 shade ; when the vine, being removed, will appear upon 
 the merely tinted side of the cross, in pure white ; vein 
 the leaves with a fine pencil or pen. 
 
 Allow the ink always to dry, after each shading, for 
 fear of soiling the other parts. The effect produced 
 by this mode of shading is really wonderful to those 
 who have never seen nor attempted this mode. Neat- 
 ness, care, and a willingness to " patiently wait," are 
 essential to perfect success in this work, and it affords 
 a wide field for the display of ingenuity and artistic skill in arranging and 
 shading, so as to produce the finest results. 
 
 Fig. 4. Initial G. 
 
68 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 5. 
 
 Upon a bright gi-een ground, this work affords a 
 beautiful means of ornamenting lamp-shades, the 
 foliage appearing in its own natural color ; and, where 
 it is desired to have the figures dark, if the sprays are 
 made by "spattering" with light colors, the effect 
 will be found exceedingly fine. We have seen a wal- 
 nut table shaded with buff paint, and, after drying, 
 varnished with Copal, which was wonderfully fine. 
 The leaves must be veined with the color used for 
 the shading, in all cases, and sometimes fine touches 
 of light tracing are also required. Fig. 6. Initial F. 
 
HOUSEHOLD ELEGANCIES. 69 
 
 As the " spatterinfj " frequently soils the sleeves and body of the dress, it is 
 well to protect the clothes by wearing an apron with waist and sleeves, which, 
 as we have previously observed, is a wise precaution in many branches of fancy 
 work. 
 
 Fig. 7. Section of Spatter-Work Lamp-Shade. 
 The effect of spatter-work varies with the texture of the material on which the 
 spattering is done, and with the depth of the shading. If it is done on card- 
 board, it is very pretty for lamp-shades, or, when the card-board is exactly the 
 right size, it looks well inserted in the panels of white doors in country houses. 
 Done on light shades of velvet, silk, or cloth, it is very pretty for sofa-pillows, 
 chair-bottoms, pin-cushions, or even neck-ties. These fern-forms look well on 
 
HOUSEHOLD ELEGANCIES. 
 
 71 
 
 any of the pretty white-wood articles now so common in our fancy-stores — glove- 
 boxes, fans, table-mats, paper-knives, fire-screens and card-baskets. After the 
 spattering, these wooden articles may be rendered more serviceable by a thin coat- 
 ing of gum-shellac dissolved in alcohol. On damask, the fern-forpis are beauti- 
 ful for table-mats, or on squares of Swiss muslin, bordered with fringe, for tidies. 
 ^ On white muslin pin-cushions and toilet sets, especially if they are lined with 
 colored silk, the effect is charming. In fact, there seems to be no end of the 
 uses that may be made of spatter-work. Some prefer to use violet, green, purple, 
 or red ink, instead of black. For things that need to be washed, indelible ink 
 may be used, but it is hard to work with, though, of course, more satisfactory 
 in the end. In making a card-board lamp-shade, you may first cut the pattern in 
 paper from any shade you prefer. Some are cut in a single crescent-like form, 
 and others are made of six pieces of the shape given in the illustration. The 
 pieces may be scalloped at the top and bottom, and small holes punched at the 
 side edges, through which to pass ribbons for lacing them together. Sometimes 
 it may be easier to bind the edges of the card-board and overhand them together, 
 though lacing is prettier. It adds very much to the effect to cut two rows of 
 little V-shaped slits around the upper and lower edges of the shade, letting one 
 V come in the scallop, the other about half an inch below, and on a line with the 
 lower point of the scallop. When these are cut, press the point of the V in, so 
 that the light may shine through. 
 
 Often, on wedding-cards, envelopes, or in magazines, we can find very pretty 
 initial letters or monograms ; these may be cut out and employed in the same 
 way as the ferns. If you have to design the initial-letter, make the edges re- 
 semble those of ferns as much as possible. These, or the monogram, will often 
 add very much to the effect of the glove-box, tidy, cushion, lamp-shade, or, in- 
 deed, any of the fancy articles of which I have spoken. Should you want merely 
 a letter without shading around it, cut out the form carefully, and spatter in the 
 stencil that is left. This, you see, works like a regular stencil-plate, and, with 
 indelible ink, is a very pretty and easy way of marking linen. After you have 
 used this stencil for spattering, it will be useful to keep for marking letters for 
 embroidery. 
 
 THE PEESSING OF THE LEAVES. 
 
 Almost any sort of foliage may be selected, excepting large, thick leaves. 
 For pressing, place the fresh leaves and twigs between sheets of gray blotting- 
 paper, or between the leaves of a book, curling the stems into graceful tendrils 
 as much as possible. The leaves and branches must be removed and put in 
 other dry places, three or four times, leaving an interval of twenty-four hours 
 between each time. This is done, in order that they may become quite dry ; for 
 only then are they fit for use. 
 
 \ 
 
72 
 
 HOUSEHOLD ELEGANCIES. 
 
 SPATTEK-WORK DESIGNS.— HOW TO PREPARE THEM. 
 
 The materials used 
 are dried and pressed 
 foliage, fine India ink, 
 white stuff (pique, silk 
 or velvet) ; use the same 
 brush and comb of 
 spatter-work. This 
 beautiful piece of work 
 may be executed with 
 a very slight knowledge 
 of drawing, sufficient 
 only to apj)ly shading, 
 here and there, or mark 
 a few outlines. Our 
 engraving represents 
 the full effect of the 
 Fig. 9. A Roll-Mat. work, as no colors are 
 
 applied to it, and it is produced by a graduation of tints, from black to lightest 
 gray. 
 
 LAYING ON THE COLOR. 
 
 For this, a brush (a nail brush with a handle is the best ; the brush, however, 
 must not be arched) is requisite, and, also, a fine tooth comb. Rub in a saucer 
 the India ink with water, until it has the thickness of thick ink ; this opera- 
 tion takes several hours. Then dip the brush into the ink, quite flatly, so that 
 only the tips of the bristles get wet, and beat it out well so that no moisture 
 remains in it ; holding the brush, bristles downward, over the work, in the left 
 hand, pass over it with the comb in your right hand, so carefully, that the fine, 
 black rain descends almost without noticeable effect, on the work. Always begin 
 at the center of the work, where the color is to be applied darkest, and proceed 
 carefully towards the edges, which must have a lighter tint. The comb may be 
 passed somewhat more forcibly over the brush, when the ink in the latter is 
 ahnost exhausted. Of course, the brush must be repeatedly dipped into the 
 
 ink, performing the beating-out process every 
 time. The finer the black points descend on 
 the stuff, the more beautiful will the eifect of 
 the work be. As already mentioned, the 
 black rain must be allowed to descend almost 
 imperceptibly on the foundation. If, never- 
 theless, too large a black spot descends any- 
 where, cover it, by means of a very fine brushy 
 
 Fig. 10. Inkstand. 
 
HOUSEHOLD ELEGANCIES. 
 
 73 
 
 with white paint. When the grounding is completed, remove the leaves, place 
 them in books, as heretofore, and then, with a fine brush and India ink, mark 
 veins, tendrils, etc., on the work. Fig. 8 serves as a model for the outlining of 
 veins, etc., but the worker's invention can not fail to apply what is requisite 
 
 for the completion of this beautiful piece of 
 work. As foundation, gray (ecru) satinet 
 is much to be recommended. 
 
 Fig. 9 is a pretty roll-mat, which is spread 
 out, and can be rolled up ; it will be found a 
 beautiful receptacle to hold leaves that have 
 been gathered on some excursion, and dried 
 for remembrance. The monogram is cut out 
 of paper, and tacked on the wood in the 
 same way as done with the leaves. Our 
 model measures nine inches in width, and 
 ten inches in length. 
 
 Fig. 15 is a screen, made with a bracket 
 saw, and ornamented with pressed foliage, 
 and spatter-work. This pretty screen is 
 composed of five slats, each eight and two- 
 fifths inches long, and three and thre-fifths 
 inches wide, w'hich are connected with bows 
 of ribbon, passed through holes bored for 
 this purpose. The slats are cut into a pat- 
 tern, at the top and bottom, by means of a 
 bracket-saw, and decorated in the center 
 with spatter-work. For the latter, besides 
 the usual dried and pressed leaves, butter- 
 flies may also be taken. When these are 
 raised from the wood, mark the outlines and 
 veins with India ink, and cover the whole 
 with a layer of Copal varnish. The carved 
 parts must remain white. 
 
 Fig. 16. The model consists of an eight- 
 sided, wooden plate, surrotinded by a black 
 margin, one-fifth of an inch wide, edged 
 with gold. The decoration of leaves is ar- 
 ranged in two layers. The upper layer is 
 sprinkled in the usual manner by means of a comb being passed over a brush, 
 with India ink first, then with gold ink. The lower layer, the one first tacked 
 to the plate, is sprinkled with gold ink, and, when the foundation shows a 
 somew^hat dark tint, it is removed ; leaves and branches are outlined with a pen, 
 
74 
 
 HOUSEHOLD ELEGANCIES. 
 
 dipped in gold ink. The mat is polished by means of a careful application of 
 Copal varnish. 
 
 Fig. 11 is made 
 of white cotton-sat- 
 in, bound with 
 gray silk ribbon. 
 It is twenty -one 
 and three- fifths 
 inches long, ten 
 inches wide in the 
 middle, two and 
 two-fifths inches 
 wid'3 at the sides, 
 and cut into scal- 
 lops around the 
 bottom. The dec- 
 oration consists of 
 Fig. 12. Tablet. various kinds o f 
 
 leaves, and ivy branches tastefully arranged. The work is executed with brush) 
 comb and India ink in the usual manner. When completed, the lambrequin is 
 lined with gray cambric, after which the binding is put on all around. 
 
 Fig. 12. The pretty tablet or.r 
 engraving represents is of wood, 
 oval in shape, provided with metal 
 handles, and having a margin four- 
 fifths of an inch high. It is deco- 
 rated in the center by a pretty bou- 
 (|uet, produced by an arrangement 
 of a double layer of leaves. The 
 process has already been described. 
 It is a most beautiful way of put- 
 ting dried leaves to use. 
 
 Fig. 13. The outer edges of the 
 key-rack are each six and two- 
 fifths inches long. We remind our 
 readers that the leaves which are to 
 have the lightest tint, must be tack- 
 ed on first. The outlines of the 
 Key-Rack. leaves, veins, and stems are to be 
 
 marked with India ink, and a slight shading will improve the look of the drawing. 
 
 Fig. 18 represents a very pretty box to contain ribbons, laces, jewels, and the 
 like. Our model is two and four-fifths inches high, eleven and three-fifths inches 
 
HOUSEHOLD ELEGANCIES. 
 
 75 
 
 Fig. 14. Paper-Cutter. 
 
 long, nine and three-fifths inciies wide, and the cover which is connected with 
 the box by means of hinges, has a rim, lapping four-fifths of an inch over the 
 box. The box is made of card-board, lined with wliite glazed paper, and covered 
 on the outside with wood-colored paper. As the corners are connected by means 
 of bows, holes being bored in them for the purpose of passing the ribbon 
 through, this box is quite easy to make. A similar bow, drawn through the 
 front rim of the cover, decorates it in front. The sprinkling-work is executed 
 in the usual manner. 
 
 THE AEEANGEMENT OF THE FOLIAGE OX THE 
 FOUNDATION. 
 
 For the latter, satinet is in most cases taken, stretched in a frame, and the 
 foliage gracefully arranged thereon. The arrangement is left entirely to the 
 
 Fig. 15. Table-Screen for Lamp, 
 worker's taste, though our engraving may serve as a model. The foliage must 
 not crowd each other, nor too much of it be used, so that the various parts stand 
 distinctly forth with spaces between them. Now and then it is necessary to 
 cut away a few twigs or leaves from a branch. When a satisfactory arrange- 
 ment has been attained, the leaves are fastened with fine sewing-needles to the 
 foundation, then tacked on with very fine thread. While doing this, care must 
 be taken not to sew throwjh the leaves, but close to their edges, through the stuff ; 
 
76 
 
 HOUSEHOLD ELEGANCIES. 
 
 the former, in order to preserve the leaves for further use, the lalter, because 
 tlie thread, lying on the stuff, would, after the application of the spatter- 
 work, present the appear- 
 ance of a white line. AVhere 
 the latter, however, can 
 not be avoided, as for in- 
 stance, in the tacking- on of 
 fine foliage where the tlnep.d 
 passes over several stems 
 at once, the white line is 
 obliterated with a fine 
 brush and India ink, after 
 the completion of the work. 
 
 Fig, 16. Mat. 
 
 PORTFOLIOS FOR PEESSED FLOWEES, GEASSES, ETC. 
 
 Figs. 19, 20, 21 and 
 22, represent the covers 
 and interior of some 
 pretty portfolios for 
 holding flowers, grasses, 
 ferns, or papers. They 
 are constructed of fine 
 Fig. 17. Glove-Box. white card-board, and 
 
 the outside cover is ornamented with spatter-work. 
 
 Arrange the leaves, in as pretty a group as your taste will find possible, on 
 the outside of the two covers ; tack them on with very fine needles, and then 
 proceed with the sprinkling. 
 
 Fig. 18. Toilet-Box. 
 
 When the foundation is dark enough, carefully remove the leaves, and mark 
 
HOUSEHOLD ELEGANCIES. 
 
 77 
 
 the outlines and veins with India ink. Careful smoothing over with a paper- 
 cutter on the wrons" side of the card-board, will obliterate the mark left by tlie 
 
 Fig. 19. Portfolio-Cover. Fig. 20. Portfolio-Cover, 
 
 needle. The two covers are now lined with moire paper, and cut smoothly off, 
 all around. Insert leaves of blotting-paper. The flowers are preserved as in a 
 herbarium, sewed to the leaves, and marked with dots, and placed where picked. 
 The Portfolios can also be made more useful and ornamental as covers for writ- 
 ing paper, correspondence, and a scrap-book or album for pretty pictures. Fig. 
 
 22 represents the interior 
 of one, with sketch of the 
 leaves, their fastening, 
 etc. 
 
 Fig. 21. Portfolio-Cover. 
 
 NEGLIGE POCKET. 
 
 The back part of the 
 pocket is covered on the 
 outside with gray linen, 
 and lined at the back with 
 white linen. Two pockets 
 also are set on the back 
 part. These are not lined, 
 and are decorated with 
 some pretty design in 
 
78 
 
 HOUSEHOLD ELEGANCIES. 
 
 sprinkling-work, for which dried leaves, etc., are used in the manner already- 
 familiar to the reader. The lin- 
 ing and covering, on the back 
 part, are connected all around 
 by means of button-hole stitches. 
 The little watch-pocket is edged 
 with black and white braid all 
 around the larger pocket be- 
 neath it, only at the top. The 
 whole is trimmed all over with 
 twisted white fringe one inch 
 deep, with a white and black 
 heading. A fancy hook is at- 
 tached to the top of the pocket ; 
 Fig. 22. Portfolio. , on this the watch is hung, while 
 
 the chain drops into the little pocket. A loop at the bag serv3s to hang up the 
 pocket, which is very handy beside a bed. 
 
 Pig. 23. Neglige Pocket. 
 
CHAPTER IV. 
 
 BRACKETS, SHELVES, MANTELS, ETC. 
 
 With the saw and other tools described in chapter on " Picture-Frames, Etc.," 
 many elegant and tasteful articles may be made wherewith to adorn the house 
 
 and surroundings of those who 
 love beautiful things; and 
 when added to fret-work, carv- 
 ing, etc., and the various 
 lovely objects of natural form- 
 ation, such as are used for 
 rustic work, and the exquisite 
 artificial wood-carvings just 
 described, it would appear al- 
 most a matter for censure for 
 any one who desires to make 
 home and its surroundings beau- 
 tiful, not to furnish themselves 
 with these " home-made " ele- 
 gancies, which are within the 
 reach of all, poor, as well as 
 rich. "W'e begin our (iescrip- 
 tions of these articles "u ith that 
 most popular addition to every 
 house, in this day, brackets ; and 
 will first explain the method of 
 rig. 1. I making a 
 
 CARVED WALKUT BRACKET WITH ARTIFICIAL 
 
 ORNAMENTS. 
 
 Cut a shelf 10 x 6 inches in semi-circular form, with five scallops on the front 
 edge, as shown at A, Fig. 1. Cut, also, two small braces 31-2x2 1-2 inches, as 
 
80 
 
 HOUSEHOLD ELEGAXCIES. 
 
 This is 
 but little 
 
 in Fig. 2. Then saw a back piece 
 shaped, see Fig. 2, as wide as shelf 
 is long (ten inches) and twelve 
 inches long. Rub perfectly smooth 
 and varnish; then put together 
 with the two little braces beneath 
 the shelf against the back at points 
 A and B, and one and one-half 
 inches apart ; on the top fasten the 
 shelf, and between the braces, 
 rather below, on the lower part of 
 back, place a prominent ornament, 
 which may be made smaller or 
 Fig. 2. larger, as desired, 
 
 a very rich and tasteful bracket, and may be handsomely gotten up at 
 cost. If desired, the ornaments may be carved by hand. 
 
 IMITATION MAEBLE BRACKET. 
 
 Tliese brackets are appropriate for marble or bisque statuettes, plaster casts, 
 
 Fig. 3. 
 
 etc., which always appear to greater ad- 
 vantage upon tasteful stands. To 
 have this work smooth and white, the 
 finest matei-ials are required ; and, in 
 
 order to have a perfect representation Fig. 4. 
 
 of marble, great care is required in executing and arranging. The brackets 
 here described as a. sample, are intended to hold statuettes four feet high. 
 They are made as follows : Obtain a rough pine skeleton of a bracket ; shelf, 
 eighteen inches long, twelve inches deep, and one inch thick, cut in ornamental 
 shape Fig. 3 ; also, a bottom piece sawed out of inch wood of the shape Fig. 4. 
 Cover these M^ith white muslin or linen, the whiter the better, tacked smoothly 
 over every part. Make a quart of nice smooth paste in which an ounce of white 
 glue has been stirred (after dissolving) ; paste three pieces of the muslin together 
 
HOUSEHOLD ELEGANCIES. 
 
 81 
 
 drying under a hea\'y weight, cut from it a number of rose-leaves of various 
 sizes, with the molds used for wax-work, pressing the nmslin while damp, upon 
 the wrong side so firmly that each vein and mark is plainly indented ; add white- 
 covered wire for stems, either sewing them or pasting between the layers of muslin. 
 Cut, also, as if for wax flowers, petals for three roses, three large and six small 
 buds ; also a number of rose-buds, and mold in the same way, rolling and curling 
 the rose-petals with the wooden or steel molding-tools in the same manner as for 
 wax flowers, fastening together 
 with white glue and a few 
 stitches. Screw the shelf firmly 
 to the bottom or back, and with 
 three pieces of wooden hoop 
 made smooth, form the supports, 
 cutting them to arch inward from 
 the shelf to the point at the bot- 
 tom of the back, as in Fig. 5 ; 
 cover with raw cotton, over 
 which place muslin, and wind a 
 white cord around them like a 
 spiral coil, as in Fig. 6. Mix a Fig. 5. 
 
 little at a time, of the finest " plaster of Paris," in which a little clear white 
 
 glue has been dissolved, and with this, 
 paint smoothly every part of the founda- 
 Fig. 6. tion. INIixing another quantity, dip into 
 
 it each leaf, the flowers, buds, etc. AVhen perfectly white and smooth, fasten 
 the small leaves along the edge of the shelf, commencing at each end and 
 making them cross in the center ; coil them, also, as a slender vine around the 
 braces or supports, and place a cluster of the roses, buds and leaves at each corner 
 and at the bottom. 
 
 CORNER-BRACKETS. 
 
 These admit of even a greater amount of ornamental work than those lor a 
 plain surface, inasmuch as they necessarily have side-pieces, for the support of 
 the shelf or shelves. The designs for carved corner-brackets are numerous in 
 number and variety. Some with a single shelf, others with two and three ; 
 some with solid sides, and ornamented with heavy work in relief; others so 
 carved as to appear like a mere net-work of intricate designs, or ^dnes, leaves, 
 and flowers. We offer some beautiful designs, hoping to induce some tasteful 
 person to practice in the Avork of wood-carving, and improve upon the mere sug- 
 gestions offered here. 
 
 GILT cob:ner-bracket. 
 
 Make a shelf one-third of an inch thick, rounded upon the front edge ; take 
 6 
 
82 
 
 HOUSEHOLD ELEGANCIES. 
 
 four stiff pieces of card-board, which cut to fit ths sides of the shelf, and run, 
 when placed together, to a point above and below the shelf. Cut the edges in 
 small scallops, and within these any pretty design, such as scrolls, stars, Maltese 
 crosses, etc. Cut a narrow strip for edge of the shelf, scalloping it upon each 
 edge. Take fine, heavy gilt paper, and damp the wrong side with smooth flour 
 paste, in which a little glue has been boiled ; cut all the pie3es a little larger than 
 the part they are to cover, in order to fold over the edges and fasten along upon 
 the " wrong side." Press every part perfectly smooth with a clean, soft napkin, 
 and edge with the narrow gilt paper, sold for a cent or two per yard, by the 
 dealers in fancy stationery. Make a gilt ornament for each corner, and the 
 points at top and bottom of back, by pasting'the gilt upon stiff brown paper ; 
 cut into rounded pieces, like the petals of a large, single round flower, gluing 
 them around a little circular piece of card, and placing a fancy button in the 
 center ; glue these firmly in their proper positions. This forms a showy bracket, 
 and is easily constructed. If the paper is varnished with Demar varnish it will 
 not tarnish. The shelf may be painted or covered with paper. 
 
 GILT LEAF-BRACKET. 
 
 Make two shelves, the lower one one-third larger than the upper. Cut stiff 
 card-board to extend above the upper shelf (behind) sufficiently to run up to a 
 graceful point, and continuing down between the two shelves ; run below, in the 
 same manner ; make strips to pass along the front of each shelf, the upper line 
 even with the top of shelf, the lower an inch below. Cover all the card with any 
 light paper. Cover some thick, brown paper with the best plain gilt-paper, 
 making it perfectly smooth. Cut from it, when dry, a number of square pieces ; 
 some one inch, others half an inch square, which, fold down the middle from 
 point to point ; then fold again, round off one corner and Hiake a plait in the 
 other end, thus forming a leaf ; commencing at the point above, glue these leaves 
 upon the back of the bracket, laying one row over the ends of the preceding, 
 until the bottom point is reached ; make gilt leaves of two sizes, laid one in the 
 other, and fasten all round the edge ; form full rosettes of the leaves by sewing or 
 gluing a number of the large ones upon the edge of a circular piece of card 
 with small ones in the center ; which, fasten at the points (top and bottom), also 
 at the corners of the shelves. Fasten a double row of leaves along the edges of 
 the shelves ; large ones below and small ones above, finishing with narrow gilt 
 paper. Screw the shelves against the back (through the wrong side of the back), 
 and hang by cords passed through holes in both shelves. 
 
 BOOK-HACKS. 
 
 Besides the tiers of shelves in the library, and large enclosed book-case in 
 the ordinary sitting-room, it is frequently » great satisfaction and convenience 
 to have a convenient place for the few books in daily use. And as beautiful 
 
HOUSEHOLD ELEGANCIES. 
 
 83 
 
 objects are always more pleasing than merely ordinary and " homely " ones, we 
 append descriptions of two or three pretty book-racks and shelves, which will be 
 found to be both tasteful and convenient. 
 
 MARBLE-CEOSS BKACKET. 
 
 Fig. 7. 
 
 The back of this cross must be made of hard white wood, in shape of an 
 ornamental cross painted white, and when perfectly dry sized with white glue 
 and covered with muslin. To this, fasten a shelf, cut from inch-thick wood, and 
 from edge to the bottom of the back which is cut as broad as the shelf at top, 
 and running to a point, lay the stiffened muslin (described in making the 
 " Marble Bracket ") in fluted folds, broad and deep at the top, and gathered 
 to a cluster at the bottom; pahit all with the plaster of Paris; make three 
 clusters of grapes by tying small white marbles in muslin, with stems of white 
 wire; also, vine -leaves of three sizes, from the stiff muslin; dip all separately 
 
84 
 
 HOUSEHOLD ELEGANCIES. 
 
 into the liquid plaster and dry- 
 Cluster a bunch of grapes and two 
 leaves with a spray upon the 
 lower point, and one likewise at 
 each corner, with a vine of small 
 ones along the edge of the shelf ; 
 ornament the cross with a delicate 
 vine. 
 
 Should this work become 
 soiled, a coat of the plaster will 
 restore it to its original pristine 
 purity and whiteness. Unless 
 examined closely, it cannot be 
 distinguished from genuine mar- 
 ble. The plaster hardening rapidly, only a small portion should be mixed at a 
 time. A coat of thin Demar varnish gives the marble a glossy appearance and 
 prevents its soiling so easily ; but should not be applied if at all yellow, as it will 
 mar the pure, snowy whiteness of the composition. 
 
 COTTAGE BOOK-EACK. 
 
 Obtain from a dry-goods store three boards, such as calico, etc., are rolled 
 upon, selecting graduated sizes. Bore holes through the ends, two at each end, 
 in such a manner that the cords will hang perpendicular. The first shelf will 
 thus have an inch or two of margin at each end ; the second only one, and in the 
 third, or top shelf, the cords will be at the edge. Cover these shelves with 
 brown glazed muslin, or stain and varnish them. From stiff brown paper, cut 
 several dozens of square pieces, which, round off at the corners, and fold in box 
 plaits, thus forming a leaf ; stiffen with thick flour paste and glue, and dip in 
 Japan, or Copal varnish ; when dry, tack along the edge of shelves, commencing 
 at the ends ; fold one over the other, ending in the center ; where place a rosette, 
 made by sewing the leaves, made in three sizes, upon a circular piece of paper. 
 Take strong twine, on which string spools (No. 40), placing button-molds be- 
 tween each spool, either two or more, putting the fiat sides together. Then, 
 having spools and molds upon four strings, pass one end of each through the 
 four holes in lower shelf ; securing with a knot, hidden by a tassel made of the 
 smallest button-molds. Sufficient spools placed upon the twine to make a proper 
 distance between the two shelves, place the second shelf in place ; and passing 
 the string through the holes, string spools of No. 50 upon them, and smaller 
 sized button-molds,— then place the third shelf in position in the same manner, 
 and string very small spools and molds upon the cords ; finishing with tassels 
 similar to those below. The spools and molds must all be stained and var- 
 nished. This forms a beautiful set of shelves. 
 
HOUSEHOLD ELEGANCIES. 
 
 85 
 
 BRACKET IN CONE-WORK.— MATERIALS. 
 
 Beech-nut hulls, j^ine cones, acorns, fruit-stones, etc., card-board, moire paper, 
 a small plate of wood, glue, and varnish. These brackets are especially pretty 
 on each side of a looking-glass. Our model consists of a little wooden shelf 
 eight inches long at the back, four inches wide, and rounded at the front ; to this 
 
 Fig. 9. 
 
 is attached the lambrequin of card-board covered with brown moire paper ; the 
 shape may be easily seen from the illustration. The cone-work is glued on in the 
 usual manner, tasteful bouquets being arranged of beech-nuts, pine cones, acorns, 
 
86 
 
 HOUSEHOLD ELEGANCIES. 
 
 apricot stones and the like. The points of the lambrequin are decorated with 
 acorns depending on a wire loop. When finished, cover with good varnish« 
 
 CHINESE SHELF. 
 
 This pretty hanging shelf, although simple in construction, is, nevertheless, 
 very elegant and tasteful in appearance. It is intended to be one of a pair, 
 with little stands beneath, made to correspond with the shelves. The shelf 
 being a corner one, is of course, a triangle ; the front of which should be a grace- 
 fully-rounded curve, and decorated upon the upper surface with the curious 
 figures and designs peculiar to Chinese adornments. These may be procured in 
 sheets, such as are sold for Potichmanie work. These must be carefully cut 
 around and pasted upon the shelf, which is then varnished ; along the edge is a 
 deep band of card-board, cut upon the lower part in square points, as seen in 
 the diagram below, thus : 
 
 Fig. 10. Chinese Slielf. 
 
 Upon each point is suspended, by a bright-colored,-delicate silken cord, a little 
 gilt bell, or button ; holes are made in the back and two front corners, through 
 which bright-colored cord is passed, for suspension. These should be long, in 
 order to hang gracefully ; a bunch of tassels is placed at the top where the cords 
 nieet. ****** Elegant shelves are made by covering the shelf with 
 velveteen, reps, brocatelle, or other rich material ; and ornamenting the edge 
 with pieces of the ornamental gilt and walnut cornice-moldings. With heavy 
 silken cords and tassels, these shelves are highly ornamental ; whether arranged 
 as side or corner shelves; especially with ''hour-glass stands'' covered with the 
 came material and ornamented in the same style, placed beneath them. Corner- 
 stands and shelves of this kind are particularly appropriate and beautiful for a 
 tastefully-furnished chamber, or morning-room. They are at once inexpensive 
 and tasteful when covered with light chintz, braided in bright colors ; or, with 
 deep-colored material, pink, blue, or crimson paper-cambric, and covered with 
 Swiss or tarlatan, with ribbon bows and quillings. 
 
 A CORNER BOOK-RACK. 
 
 Have secured two shelves, the lower one two-thirds larger than the upper one, 
 allowing the one, perhaps, to be eighteen inches on the sides, the other six inches. 
 
HOUSEHOLD ELEGANCIES. 
 
 87 
 
 Fig. 11. Corner Book-Rack. 
 
 Cut out two side-pieces of card-board, 
 thirty-six inches long and of the form 
 shown in the diagram; marking it off 
 into three divisions ; one part, twelve 
 inches, to be below the large shelf, and 
 to extend one inch beyond it, running 
 to a point in the corner ; the second ex- 
 tending between the two shelves, and, 
 diminishing in size upward, is eighteen 
 inches in length ; and the point above 
 the little upper shelf six inches. These 
 pieces are cut out in an ornamental scroll 
 on the edges as shown by the diagram. 
 The lower shelf intended for books, and 
 upper one for vase of flowers or pot with 
 vine or trailer, are stained with mnber 
 and varnished ; as, also, the card-board. 
 When dry, the shelves have holes bored 
 in each corner, and are glued to the side. 
 Cords are passed through the holes in 
 the shelves, and knots made beneath 
 each shelf in order to aid in supporting 
 them; and a bunch of tassels hangs 
 above the upper shelf, against the card- 
 board. This is an extremely graceful 
 and elegant shelf; especially, when a 
 pretty ornamental glass with trailing 
 vine is placed upon the upper shelf which 
 falls in long sprays almost to th3 one 
 beneath ; intended for books, w o r k- 
 basket or other articles, necessary in a 
 sitting-room or chamber. 
 
 RUSTIC COENER-BEACKET. 
 
 This frame may be made of pine boards for the shelves, and stiff pasteboard 
 sides. Paint or stain with umber or Vandyke brown in vinegar, then rubbed 
 smooth with sand-paper and varnished with Copal. When card-board is used for 
 th3 sides, it becomes necessary to have cords for suspending, passed through 
 the shelves, and secured with a knot below each sheK. Thin wood for sides 
 obviates this necessity. Form a beading along the edge of the sides or back, 
 with peach-stones, cut in two (these within the line), upon the edge, cherry-stones, 
 
88 
 
 HOUSEHOLD ELEGANCIES. 
 
 stained. Draw a design with crayon upon the surface of the sides ; which cover, 
 as the taste may dictate, with scales from pine cones, paw-paw, seed apple, water- 
 melon, musk-melon, and tamarind seed ; arranged in such a manner that the vai'i- 
 ous colors will contrast or harmonize well, as the case may be. By dusting black 
 pepper, or coal-dust upon the varnished surface, the various pieces may be glued 
 perfectly tight. Some parts of the design may be made more beautiful by imi- 
 tations creased upon the smi'ace of the wood with hot iron; which will give 
 various shades of black and brown that appear like inlaid wood. Small cones, 
 acorns, lichen, and pieces of bark, cut into shape and dried under press, may also 
 be introduced with good effect. 
 
 Another tasteful mode of ornamenting this bracket is by using nuts of various 
 kinds : thus, for the beading, the glossy brown " chinquepins," and smallest of 
 filberts, with pecans. Brazil-nuts, English walnuts, chestnuts, shell-barks, black 
 walnuts, and acorns, cut in two, and grouped upon the side pieces in fanciful 
 designs, filled up with scales from pine cones, or coffee berries ; and clusters of 
 whole nuts at the corners. 
 
 Shells, of various kinds, ai'ranged with artistic taste, form a beautiful corner- 
 piece, and these present so many fine shades and colors, that they can readily 
 be so combined as to give beautiful designs of mosaic patterns. 
 
 SHELVES WITH LAMBEEQUINS. 
 
 The highly-ornamental shelves, now so popular with draperied hangings are, 
 perhaps, more graceful and rich than any others. The modes of ornamenting 
 lambrequins are multiplied ; from a simple Swiss muslin, adorned in rustic 
 style with autumn leaves, to rich silk velvet with heavy gold embroidery. 
 
 A corner shelf, covered with green reps, and trimmed across the front with a 
 rich brown lambrequin, with application embroidery of green, is exceedingly 
 beautiful ; Oak leaves are cut from green velveteen, a cluster of large ones in 
 the center, with small ones at the sides ; the leaves fastened with stitching, done 
 in button-hole stitch, of silk of a deeper shade, and acorns in silk embroidery 
 with two shades of brown, darker than the foundation ; the edge finished with 
 fringe, and tassels at the corners, with long suspension cords and a bunch of 
 tassels at the top. Another handsome one is made of purple velvet, with an 
 embroidery of pearl and crystal beads. The design is drawn upon tracing- 
 paper, and pricked through ; then powder, dusted .upon it, will leave the design, 
 in white, upon the velvet. It is then traced around with working-cotton, and 
 various flowers and leaves raised with it, by stitching it loosely, backward and 
 forward, until of sufficient height ; the beads are then strung and sewed upon 
 the flowers, etc., which makes a deep hollow in the center, in which a large 
 pearl bead is fastened ; a heavy bead fringe, and silken cords and tassels 
 finish it. 
 
HOUSEHOLD ELEGANCIES. 
 
 89 
 
 Another mode of adorning these lambrequins is by means of pictures in 
 Decalcomanie. Exceedingly lovely scenes, bouquets, etc., are so printed that 
 when transferred to even dark surfaces, they appear perfectly distinct ; and a 
 fine view, or rich bouquet or basket of flowers, with lovely garlands around the 
 edges, or beautiful faces, and rich borders in mosaic upon a bright silk founda- 
 tion is, perhaps, as beautiful a mode as can. be employed. 
 
 CLOCK-SHELF. 
 
 As clocks vary greatly in size, as a general rule, the back should be about an 
 inch wider than the clock to be accommodated. Cut this in some tasteful shape, 
 and saw two triangular pieces as braces, upon which the shelf is to rest. Fasten 
 these to the back, which may i^roject very slightly above them, in order to 
 fasten against the shelf (B) ; make the supports six inches long at the back ; 
 
 screw the shelf securely 
 against the back and upon 
 the braces ; saw the back be- 
 tween the braces, and under 
 the shelf, in an arch. This 
 forms a secure foundation, 
 upon which any kind of orna- 
 mentation may be placed. A 
 pretty one consists of a bead- 
 ing, formed of the hard cir- 
 cular tops from dried poppy 
 seed-vessels, which, when var- 
 nished, look precisely like ex- 
 quisitely-carved wood. This 
 along the edge of shelf, around 
 Fig. 12. Clock-Shelf. the arch beneath (on back), 
 
 and upon the edges of supports; gi'oups of small leather -leaves and clusters of 
 berries, made from cherry-seed, or a group of nuts, upon the center of arch ; and 
 also, on the bottom of supports, smaller clusters of the same. When done orna- 
 menting, varnish with Copal. A combination of leather-leaves, nuts and acorns 
 is pretty ; also, the brown paper leaf -work, or shells and coral ; or an inlaid pat- 
 tern in mosaic ; chains of strung cloves, or sections of cherry-stones form a beau- 
 tiful addition, festooned around the shelf, hanging in long pendant loops and ends, 
 with a tiny basket cut from a stone, as a fij;iish on each. When such a shelf is 
 formed of pine wood, it may be made really beautiful by covering every portion 
 of it with the scales of pine cones ; forming a beading of small cones, halved, and 
 ornamenting with groups of large cones and leaves formed of scales glued upon 
 brown pasteboard, cut into appropriate shapes. 
 
 It is always in good taste to adapt the shelf to the style of clock to be placed 
 
90 
 
 HOUSEHOLD ELEGANCIES. 
 
 upon it. The ordinary walnut clocks may be ornamented to correspond with 
 the shelf; and thus a i^lain, and perhaps, liomel}^, piece of furniture maybe 
 changed into one of great beauty. AV'e have seen a clock of marble, upon a 
 scallop-shell, with statuette of Venus upon the summit, which had a lovely shelf 
 made for it, perfectly adapted to its artistic style. 
 
 It consisted of a shelf of pine, rather larger than bottom of clock, with piece 
 below the shelf at the back ; against which, two inches within ths sh?lf, the sup- 
 ports were placed. This back was covered with a layer of putty spread upon it 
 while damp with glue, upon which was arranged small shells, in flowers, leaves, 
 etc., filled in with tiny rice-shells. The roses were made of the pretty pink rose- 
 leaf shells, as described in chapter on Shell- Work, the leaves of long, narrow 
 shells, fastened upon card-board foundations. Each rose has in its center, a tiny 
 china doll-head ; the crimson ones with dark hair, the white and bluish-colored 
 ones with the golden or flaxen-haired bisque kind. A border or vine of these shell- 
 flowers was arranged around the arch, a large rose forming the center, the wreath 
 diminishing to the bottom ; a pretty border of shells Avas arranged along the 
 edge of the shelf, down the front of the brackets, etc. ; and a pretty, chubby 
 bisque doll placed upon the front, under the shelf, above the v/reath on the 
 arch, and formed into a little marine god, with wings of pretty shells of suitable 
 shape; and either seated upon a pretty shell or riding in a conch-shell, sur- 
 rounded by pieces of coral and rock with shells and other marine treasures. 
 
 Another elegant shelf for such a clock is made by covering a plain, pine 
 frame-work with white muslin, sewing loops of twine, candle-wick or crochet- 
 cotton upon it, and suspending it in a solution of alum, until handsomely crys- 
 tallized ; upon this arrange sprays of white and scarlet coral, shells, and pretty 
 pebbles and stones. Select two tiny bisque dolls, upon which place shell-wings, 
 and a girdle or sash of smallest rice-shells strung upon thread, using a sufficient 
 number of rows to hang almost to the knees ; fasten two shells of appropriate size 
 and shape at the termination of each brace, and fasten the little sea-gods in them 
 or upon them with cement. Form a sea-nymph of one of the exquisite blonde 
 dolls that may be found in bisque ; and fastening a cluster of beautiful pearl 
 shells upon the front of the under part of the shelf, arrange the nymph to appear 
 as if rising out of them. Among the shells in the collections for sale, some may 
 be found so delicate as to appear like silken scales ; others of pearl, with lovely 
 opalescent hu3s, that look as if the sun's rays were constantly shimmering and 
 quivering upon them with all the bright hues of the rainbow. These, and many 
 others should be selected as appropriate for the dress and adornment of the 
 figures. Strung (through the minute holes pierced through them) upon threads 
 of fine wire, they may be arranged to appear like dresses of opalescent pearl 
 woven under the sea-waves by fairy mermaids. Another suitable and exceed- 
 ingly lovely material for such part of the work are the bright, pearly fish-scales. 
 When a suitable figure can be procured, of a rather weather-beaten old sea- 
 
HOUSEHOLD ELEGANCIES. 
 
 91 
 
 voyager, Neptune may be portrayed riding in his chariot of shells, drawn by a 
 sea-monster, with trident in his hand, etc. As these clocks of ornamental char- 
 acter are costly, it may be well to suggest that a very satisfactory and tasteful 
 one may be formed by using an ordinary clock ; and, covering with shells, upon 
 a foundation of putty or shell cement. By placing large shells in proper posi- 
 tions, with beading of small ones, of uniform size, along the edges, larger ones 
 within, and clusters of flowers in conspicuous positions, an elegant clock is 
 formed, from rather homely materials. 
 
 MANTEL WITH LAMBEEQUIK. 
 
 As marble, or even iron man- 
 tels, are comparatively expens- 
 ive, it is desirable to form such 
 useful appendages to a room 
 in some way that will at once 
 be within our means, and taste- 
 ful, as well. When iron brackets 
 may be procured, they are per- 
 haps more desirable than any 
 others ; but those of wood may 
 be made more ornamental, and 
 can be so formed as to be quite 
 Fig. 13. as strong. The heavier and 
 
 longer the brackets, the more rich and ornamental may the work be made ; for a 
 mantel five feet long by eighteen inches to two feet deep, the brackets should 
 bo eighteen inches long and sixteen inches on the top. They may be sawed out 
 of hard wood, such as "svalnut or oak, or of pine, stained in imitation of dark 
 wood, or covered with veneering. Handsome mantel -brackets are made by cov- 
 ering the face with a vine of grape, ivy, or convolvulus-leaves of leather, with clus- 
 ters of grapes, flowers or berries at the base, to correspond with the leaves ; 
 cover the shelf with reps or moreen, to correspond wdth the furniture, placing 
 a row of fringe along the edge, fastened with gilt-headed tacks. 
 
 Another mode is to cut the brackets in graceful shape of pine ; rub smooth 
 with fine pumice or emery paper, and decorate with vine or " spatter-work ; " 
 screw the shelf securely on them, and cover with scarlet or any colored material 
 desired, finishing the front with lambrequin. This may be richly embroidered 
 with silk, or " ax^pliquc," upon the material, or canvas used for the lambrequin, 
 and embroidered in the German style. 
 
 For a chamber, these lambrequins may be made of chintz or cambric, corre- 
 isponding with the covering of furniture and bed ; and for summer, white pique, 
 or solid, gay-colored cambrics, with over-covers of Swiss, are deliciously cool and 
 
92 
 
 HOUSEHOLD ELEGANCIES. 
 
 tasteful looking ; and for dining-room, a lambrequin embroidered with designs 
 of fruit, game, etc., is appropriate and elegant. 
 
 For a tasteful but inexpensive parlor, an elegant mantel is made tluis : Cut 
 two semi-circles of pine wood, twelve inches long by eight inches dsep at the 
 broadest point, of "inch stuff." Make two triangles, sixteen inches long by 
 eight inches wide ; cover these with close, stout, white muslin, tacking it on 
 perfectly smooth. Have a strip of smooth board, five feet long and eighteen 
 inches broad, sawed out at the lower part, in two arches, forming a point in the 
 center ; cover this also smoothly with the muslin : also a shelf two inches longer, 
 and twelve deep, of "one-inch stuff." Nail the back in proper position 
 against the wall, then the brackets against it, placing them one "inch wdthin the 
 edge of the back, nt^iling the sheK upon them securely. Make a quart or more 
 of smooth, flour paste, boiling well, and adding a half-pint of clear, white glue ; 
 paste together three thicknesses of muslin, press perfectly smooth, and from it 
 cut a number of oak and ivy leaves — using the wax-flower leaf-molds — pressing 
 them upon the molds while damp, in order to impress the veins and markings 
 on the surface.* Take wire as thick as a knitting-needle, which cover with 
 narrow strip of the cotton wound neatly around. Make tendrils by twining 
 crochet-cotton around a knitting-needle. White-covered wire, such as is used 
 for the same purpose in wax flowers, will answer well for these leaves ; pieces 
 two inches long should be inserted between the layers of muslin, for fastening 
 them together. Obtain, also, a few clusters of acorns and pretty twigs, and make 
 bunches of berries by tying peas in muslin, inserting wire for stems, and forming 
 into clusters. These preparations finished, proceed to fasten the ivy along the 
 front edge of the shelf, connnencing at each end, and covering the stem of the last 
 by the point of the next, arranging them carelessly in double row ; when the two 
 vines meet in the center, form a cluster of the largest leaves, and arrange berries 
 among them ; place a few clusters of berries also among those along the edge. 
 
 For the under-piece, or back, beneath the shelf, which is shaped like Fig. 14, 
 cut a piece of the thick, three-doubled muslin, of the shape of the board, but 
 three times as long, which, fold into fluted plaits at the point, sewing them to- 
 gether longitudinally, not flat; then, securing to the point with a strong nail, 
 draw these plaits out to the points where the shelf and brackets meet it, in wide 
 
 fluted plaits. Make a quan- 
 tity of edging by plaiting 
 together long strips of stif- 
 fened muslin, which tack 
 with small gimp-tacks along 
 the edges requiring covering. 
 Fig. 14. At the point where tlie plaits 
 
 *The outside of the leaves might better be of fine jaconet or cambric, as this will retain the 
 impress better. 
 
HOUSEHOLD ELEGANCIES. 93 
 
 are collected, group a number of oak leaves and acorns, with a few sprays of ivy ; 
 the same, of smaller-sized leaves, etc., at the bottom brackets, with vine of ivy, 
 and clusters of berries along the face of same. AVhen all are arranged, having 
 some fine French plaster, mixed with a little white-glue water to the consistency 
 of thick cream, proceed to paint every part of the work with the wash ; using for 
 the i^urpose, a round, fine-bristled varnish brush for the leaves, etc., and a broad, 
 flat brush, for the flat parts ; a very small bristle brush may be required for some 
 fine parts. When finished, allow to dry ; then give a second coat, using the wash 
 thinner. 
 
 By using potters'-clay with glue, instead of plaster, the work will appear the 
 color of the celebrated " Roger's Groups " of statuary, and is beautiful for din- 
 ing-room or chamber mantel-shelves. 
 
 In any case, the work is intended to appear, as much as possible, like carved 
 marble or stone ; therefore, the ornamental parts must not be crowded nor added 
 too profusely, as this would not only spoil the effect, but appear artificial. 
 
 Should the work become soiled, it may be renewed by a coat of the wash. 
 The wash or paint should be used thin ; as, if too heavy, it will cover the beauti- 
 ful veining in the leaves, and otherwise mar the fine effect by appearing heavy 
 and rough. 
 
 An exceedingly dazzling white is produced by using the paint, the recipe for 
 which is given below. If, while damp, a slight sprinkle of the very finest 
 " diamond powder " is dusted lightly upon the surface, the brilliancy is greatly 
 increased ; and where rooms are desired very brilliant for an evening entertain- 
 ment, nothing can be conceived which will produce such an exquisitely lovely 
 effect as brackets, lamp or candle stands, flower- shelves, etc., made as here de- 
 scribed; which will appear like frosted marble, and reflect from the crystal orna- 
 ments, thousands of glittering sparks like gems of fire. Sprays of flowers, and 
 long garlands of leaves may be thus formed, and twined about chandeliers, or 
 festooned around windows, or wreathed about pillars ; and change an otherwise 
 plain and unpretending room, to a scene fairy-like in its array of fantastic and 
 glittering beauty, and ethereal in the purity and exquisite loveliness of the white 
 frosted ornaments. 
 
 For festivals, fairs, or other occasions, large flowers and leaves or other orna- 
 ments may be made as directed above, richly frosted and fastened upon various 
 parts of the curtains, walls or tables, and form an inexpensive and yet won- 
 drously brilliant effect. Small and delicate garlands, for ornamenting cakes, 
 fruit-stands, and other table decorations, are equally beautiful. 
 
 BRONZED MANTEL-SHELF. 
 
 This shelf is made of either black walnut or pine wood. The brackets (or 
 braces) are sawed out in an ornamental design as in Fig. 15. The shelf is 
 not cut straight along the front, but is curved as in Fig. 18, and finished with a 
 
94 
 
 HOUSEHOLD ELEGANCIES. 
 
 molding. There is a back slab beneath the shelf, which is 
 also cut in ornamental shape, with a point in the center. 
 The shelf and brackets sawed out, of suitable size, make a 
 paste of flour and common glue, with sufficient burnt umber 
 to color a brown. With this paste, fasten together from four 
 to six thicknesses of brown muslin, which, when partially 
 dry, press perfectly smooth with a warm iron ; cut from this 
 stiff muslin a number of ornamental leaves, similar to Fig. IG, 
 fluting them, and gathering together into a close cluster at 
 the bottom. Cut out, also, an ornament like Fig. 17, greatly 
 enlarged, making four of them five inches in diameter (the 
 smallest) ; pass these through a fluting-iron, and gather the 
 Fig. 15. narrow parts into a cluster; placing a cluster of leaves and a 
 
 flower in the center as a finish. The wood-work is rubbed very smooth, and 
 the brackets screwed against the back, wdth the shelf fastened securely upon 
 them. The entire work is then painted with the liquid 
 bronzing sold in bottles, at the art emporiums.* 
 
 This done, arrange the fluted leaves upon the edges of the 
 brackets, around the lower part of the back and upon the 
 edge of the shelf, which should be one inch wide below the 
 molded edge ; if it is not convenient to use a heavy inch 
 plank, a half inch one will answer, perhaps better, and an 
 edge may be made of the stiffened muslin, or a strip of heavy 
 pasteboard. 
 
 The fluted ornamental leaves must be fastened to the point 
 of back below the shelf, and clusters of leaves of smaller size 
 at the point of each bracket. When all the ornaments are 
 fastened on, they must be painted with the bronze, using a 
 large camel's-hair brush. 
 
 If preferred, large heads may be glued upon the center of 
 
 the fluted leaves, with small ones in the cluster of leaves on 
 the brackets, bronzing them to correspond with the rest of 
 the ornaments. This mantle is exceedingly beautiful and 
 chaste, and the imitation is so perfect, that many are entirely 
 
 Fig. 17. 
 
 deceived, supposing at a first glance that it is solid brt 
 
 Fig. 18. 
 
 Brackets ornamented 
 
 *It will require from a pint to a quart to bronze one mantle (according to size), but when fin- 
 ished, the work is so elegant and richly ornamental, as to fully compensate for the comparatively 
 trifling cost of the bronzing. 
 
HOUSEHOLD ELEGANCIES. 
 
 95 
 
 ill this style are very suitable for holding various elegant articles, such as statu- 
 ettes, cigar-holders, vases, etc., which are made of bronze. 
 
 If at any time the work becomes marred, a touch with the bronzing immedi- 
 ately restores it, and makes all bright and well again. 
 
 HANGING-SHELF WITH LAMBKEQUIK 
 
 This shelf is designed for a 
 corner, and will be found a most 
 tasteful as well as useful ad- 
 dition to a sitting-room or bed- 
 chamber, for the purpose of 
 holding a few favorite books, 
 a M'Ork-basket, etc. 
 
 The sheK A, Fig. 21, is of tri- 
 angular form, rounded outward 
 in front; dimensions, 14 x 18 
 inches; the side-piece B, Fig. 22, 
 is 8 X 14, and C, Fig. 20, is the 
 lambrequin, extending along 
 the front. The design is 
 worked in cross-stitch em- 
 broidery on coarse canvas ; 
 the ground-work of wjiich is 
 tilled in with crystal beads, one 
 on every thread — four to every 
 stitch of embroidery. The side- 
 »rig. 19. pieces are embroidered in the 
 
 same manner, with beads and zephyr, but upon much finer canvas. Cord finishes 
 the edges of the top, and a heavy bead fringe the bottom, of the lambrequin. 
 
 RUSTIC BRACKET. 
 
 This may be termed an "impromptu" bracket, as it is quickly made from 
 
 materials gathered about any country 
 home. The half of a keg or barrel cover 
 answers for the shelf, which must be 
 neatly "sandpapered" and painted. A 
 section of a hoop, or rather three of them, 
 will answer for the supports, treated in 
 the same manner; then nailed to the 
 Fig. 20. shelf and to the back, which is a 
 
 piece of thin board twenty-four inches long and as broad as the length of the 
 shelf, in the center sloped to a point, above and below, in a curve. Cover this 
 
96 
 
 HOUSEHOLD ELEGANCIES. 
 
 back entirely with pieces of thin bark, with the white silvery moss upon it, first 
 giving all the wood a coat of black pepper or coal 
 dust, sprinkled on with glue made of the consis- 
 tency of syrup. Nail little gnarled pieces of root, 
 branches and twigs, and pieces of vine, upon the 
 supports under the shelf, arranging them grace- 
 fully, and piercing holes for the nails; in some 
 places the pieces may be securely fastened by 
 tying with pliable wire. The pieces must not Fig. 21. 
 
 be crowded, but have the appearance of a natural branch, around which the vine 
 has twined, reaching each way and clinging to the two side pieces ; round the 
 shelf arrange, along the edge, the shell-like fungus growth found on the stumps 
 of old trees ; cut them off and place singly, with a thin piece of grape-vine just 
 
 above to cover any rough edges. Arrange 
 the solid wooden back with these fungi and 
 pretty branches, finishing the edge with the 
 single pieces arranged like shells ; place a 
 cluster also at the bottom where the three 
 arched supports join. Th3se dark pieces 
 against the silvery foundation of bark gives 
 Fig. 22. a beautiful effect. Varnish with D e m a r 
 
 varnish, using a rather stiff brush, and merely touching the parts, as draw- 
 ing the brush over them would have a tendency to drag the delicate pieces 
 of moss and bark. This frame must be seen to be fully appreciated, for no one 
 from reading the meager description here given, could form an idea of its 
 beauty and real elegance. No country girl, who loves pretty things, should be 
 without one. 
 
 CROSS BEACKET. 
 
 This bracket is suitable for holding a Bible or prayer-book, and is carved from 
 walnut of one-fourth inch size. Its beauty of form is greatly enhanced by hav- 
 ing the carving carefully and neatly done ; the leaves rounded off neatly, each 
 vein cut and scratched with the sharp point of the knife ; and the cross "-picked 
 out''' into an indefinite number of tiny lines and indentations, the shelf, also, 
 marked and cut in the same manner. Simple as this design may appear, the 
 workmanship is so fine that when finished it is one of the most exquisite pieces 
 of wood-carving we have ever seen. The design is copied from an imported 
 Swiss bracket. 
 
 ' CROSS AND GOTHIC WINDOW. 
 
 This is designed for the same purpose, and, being heavier, will hold a larger 
 book. The design can be seen from the Figure, and may be accurately marked 
 
HOUSEHOLD ELEGANCIES. 
 
 97 
 
 out and enlarged. The back is about eighteen inches high, twelve inches above 
 the shelf, which is cut square and carved out in ornamental scallops. The back 
 similates a Gothic window, and the mullions and delicate frame-work should be 
 cut out very carefully. Around the deep, plain margin make a narrow beading 
 
 Fig. 23. Cross and Gothic "Window. Fig. 24. Cross Bracket. 
 
 of wood, or stained coffee grains and cherry-pits, arranged alternately, upon the 
 outer edges ; within this, a row of figures, made by heating an iron circle, key, 
 or other device, and burning the wood slightly. The shape of the back, beneath 
 the shelf, may be seen from the Fig. 23, and the braces are carved out with a 
 circle in the center, filled in with ornameiital work, corresponding with the back. 
 
 GOTHIC BEACKET. 
 
 This bracket, Fig. 25, is intended to fasten against a window-frame for purpose 
 of holding vase or pot with plant. The design is an aerial window in three parts, 
 7 
 
98 
 
 HOUSEHOLD ELEGANCIES. 
 
 cut with Gothic arches upon the top of each, the center one two inches higher 
 than those at the sides. The mullions, or heavy division pieces, A, Fig. 26, 
 
 must be made to appear massive by 
 having carved strips fastened on upon 
 the broad flat pieces ; the last one should 
 be rounded and about as thick as a 
 straw. Button-molds, stained with umber 
 and cut in half, form a neat finish for 
 the top and bottom (C). Three sizes, 
 I>laced upon each other, the largest 
 below, appear like circular moldings. 
 Round ornaments are so difficult to cut 
 accurately that it is really a desideratum 
 !l to find so perfect a sub- ^ 
 stitute as these molds af- 
 ford. The lighter frame- 
 w o r k is cut out in fine 
 tracery, and may be made 
 very delicate and beau- 
 tiful by using the knife, 
 chisels, etc. The upper 
 arched part of the window 
 forms ornamented-shaped 
 openings, behind which 
 place various colored 
 stained glass, held in 
 place by strips of wood or 
 strong cloth glued across 
 the ends. The lower part 
 of the windows is made 
 by fastening long strips 
 of bright-colored stained glass against the three divisions, fastening as directed, 
 and marking olf the diamond-shaped panes with very slender strips of wood, 
 crossing each other regularly. 
 
 The shelf is cut with three sides to fit in the recess, of the stained glass window, 
 and has the front corners rounded off ; it is supported by three brackets, which 
 run together to a point, meeting the lower part of the back, which also ends in 
 in a point ; an ornament such as an acorn carved from wood or a fancy knob 
 finishes the point. The three points of the window-arches are finished with an 
 ornament also. 
 
 This bracket is a novel one, and is of such unusual beauty that it calls forth 
 praises and admiration from all who see it. The light, shining through the 
 
 Fig. 25. Gothic Bracket. 
 
 Fig. 2G. 
 
HOUSEHOLD ELEGANCIES. 
 
 99 
 
 stained glass gives a fine effect, especially if a lovely vine in a tasteful vase or 
 pot is trained over the high points and made to fall over the sides. 
 
 A CRYSTAL BRACKET. 
 
 As a piece of ornamental work, this bracket is, perhaps, the most chaste and 
 brilliant of any that has been described. It consists of a shelf about twelve 
 inches long, and eight inches deep, of pine wood one-half inch thick, the cor- 
 ners rounded off and covered with white muslin. The back is made precisely 
 alike, above and below the shelf, and is constructed thus : take whalebone or 
 thin canes, which form into circular pieces, like little hoops, about two inches in 
 diameter, and others bend together like a figure eight ; sew six of the circles 
 together, and then add five of the long pieces, which should be six inches long ; 
 upon these sew four circles ; then three of eight ; then two circles, then one cir- 
 cle ; add the same for the under part of the back. Upon these twist candle-wick, 
 covering every part closely, and sew tags of coarse white twine or candle-wick 
 upon every part, allowing them to hang in little loops a half inch in length. 
 Make a brace or bracket for supporting the shelf, of circles covered in the same 
 manner, using first four, then three, then two, finishing 
 with one. Place this frame-work in a strong solution of 
 alum until perfectly crystallized; when fasten the shelf 
 securely against the back, and upon the bracket-support, 
 by passing a needle, with strong thread through the cot- 
 ton cover of the shelf, and then through the back, back 
 and forth, until secured. The front edge of the shelf 
 should be covered with crystal gimp, and tassels of strung 
 crystal beads, with the same strung upon the suspension 
 Fig. 27, strings. The beads upon the suspension cords may be 
 
 strung in double rows and joined at every sixth bead, forming a chain — those 
 lined with silver-foil are the most brilliant. If well crystallized, this bracket 
 will, especially at night, sparkle like " frost-diamonds and with a wire basket, 
 crystallized in the same manner, filled with mosses, grasses and autumn leaves, 
 will be found a lovely article for parlor decoration. 
 
CHAPTER V. 
 
 PICTURE-FRAMES. 
 
 A PICTURE of great merit may have its beauty enhanced or curtailed by being 
 enclosed in an unsuitable frame. Thus an oil-painting, chromo, or colored 
 engraving looks best with gilding about it, and the brighter and more orna- 
 mental the frame, so far as consistent with the surroundings, the better ; on the 
 other hand, a crayon, or mono-chromatic, or an engraving, looks well in a walnut, 
 or walnut and gilded frame ; while rustic pictures require a more rural style. 
 
 Again, f rajnes should cor- 
 respond with the subject 
 which they surround (that is 
 t h e home-made " class) ; 
 for instance, a sea-view, have 
 a coral or shell frame; a 
 skating scene, a frosted one, 
 etc. Therefore, in describ- 
 ing various kinds of pictures, 
 we have mentioned the sort 
 of frames most suitable for 
 them. 
 
 Many persons condemn 
 the growing taste for home- 
 made adornments, branding 
 them with the epithets of 
 "common," "clumsy," "un- 
 tasteful," — and even "vul- 
 gar ; " but such persons must 
 be of that unfortunate class 
 who, having seen mere rude 
 specimens of careless, ill- 
 shapen workmanship, and 
 Fig. 1. Card-Board Frame for Picture and Mats. emanations of minds void of 
 
HOUSEHOLD ELEGANCIES. 
 
 101 
 
 that rare delicacy which creates only " a thing of beauty," let its component 
 parts be comx30sed of what they may. We will endeavor to show that by proper 
 and tasteful use of even rude materials, artistic frames may be formed. In 
 making rustic frames, certain general principles must be understood, and some 
 particular rules followed : Thus, never mass together an indiscriminate collec- 
 tion of incongruous materials, nor consider it imperative to crowd upon one 
 piece all the various ornaments at hand, simply because you possess them. At- 
 tention to these two important points will enhance the beauty and delicacy of a 
 picture to a wonderful degree. 
 
 The rules to be observed are: Before commencing, have all the materials 
 ready, and the implements in good order. Let the foundation be made firm, 
 and if there are corners, have them securely joined, fastening with glue. The 
 different strips may be carved or cut, if desired, and made very ornamental. 
 When finished, oil, or varnish with Copal. This is an unusually beautiful frame, 
 and appropriate for rustic cross, the picture of " Faith," or the numerous crosses 
 in chromos or paintings ; or for sacred pictures, such as " Ecce Homo," " The 
 Good Shepherd," " The Light of the World," etc., they are especially suited. 
 
 Fig 2 is made by carving 
 out the foundation-frame in 
 imitation of a trellis ; cut- 
 ting two long, slender pieces 
 for each side, and the same 
 for top and bottom, cross- 
 ing the corners, which bind 
 with strips or shavings of 
 the walnut, crossed over, as 
 if tied ; allowing a space be- 
 tween each two of the long 
 strips, upon which fasten 
 short strips across horizon- 
 tally, from top to bottom, 
 and across upon the ends. 
 This forms the trellis, which 
 may be varied in style, if de- 
 sired. Upon this fasten a 
 vine, with clusters of leaves 
 and flowers, berries or fruit, 
 as may be preferred; carv- 
 ing the leaves carefully from 
 one-eighth inch wood, cut- 
 ting the veins and markings 
 with the point of a sharp 
 
 Fig. 2. 
 
102 
 
 HOUSEHOLD ELEGANCIES. 
 
 knife. The fruit, nuts or flowers, require heavier stuif. These frames are 
 
 graceful and pretty, and appropriate for fruit and flower pieces, or any rui'al 
 scene. 
 
 EUSTIC FEAMES. 
 
 There is no class of ornamental work which requires so much neatness and 
 care as that of rustic work, inasmuch from the abundance of material and 
 readiness of accumulating the treasure, the tendency is to overcrowd. In fancy 
 work, as in dress, overabundance of ornamentation not only spoils the fine 
 effect, but hides the more delicate parts and looks clumsy and overdone. 
 As a general rule, dark colors are the most elegant ; black, the various shades of 
 brown, and if light hues are admirable, they should be the light shades of 
 sienna; or Bismarck and bulf, and these sometimes afford pretty contrasts. 
 When the bark is retained, and is mossy, no varnish should be used ; in using 
 materials such as nuts, seeds, etc., confine yom-self to only one or two varieties, 
 as a mixture mars the effect. 
 
 NUT-FEAME IN IMITATION OF WOOD-CAEVING. 
 (EOSE-WOOD.) 
 
 Make a foundation of pine wood, either oval or square, stain with a decoction 
 of Venetian red and vinegar ; when dry, rub smooth with emery-paper, and var- 
 nish with Japan varnish. Cut leaves from thick sheepskin, of kind to corre- 
 spond with the nuts to be used; of which none can surpass the English walnut, 
 Brazil, or pecan nut. Buckeye and filbert. Moisten the leather in clear, cold 
 water, and mold on the leaf -mold, used as a cutter ; when veined and 
 shaped, paint with the decoction of Venetian red, and dry in the sun or oven ; 
 pass the nuts through the dye, and dip both leaves and nuts in Japan varnish ; 
 when dry, arrange in tasteful groups upon the top, bottom and sides of an oval, 
 or on the corners of a square frame. Make the clusters thick, and broad in the 
 center, using the largest leaves and nuts, and running to a delicate spray at the 
 ends. This frame looks well in a dining-room, on pictures of fruit or birds. 
 
 VINE-FEAME. 
 
 Take four pieces of grape-vine, of length that will pass around an oval dish of 
 suitable size, and coil them in a boiler of hot water, boiling or soaking them 
 until pliable, when remove, and fasten around the dish ; securing the ends by 
 tying, and twining wire around the different strips, in three or four places, to 
 hold in proper position. Cut a number of vine-leaves from leather, using the 
 cutters or molds, sold for wax-flowers. Make grapes by tying small marbles 
 in chamois-skin, or old kid glove, fastening a piece of leather-colored vine in each 
 one. Paint these, the leaves and frame of light brown. Place a large, full clus- 
 
HOUSEHOLD ELEGANCIES. 
 
 103 
 
 tsr at the top, and make a vine to twine in and out, among the bars of the 
 foundation, arranging the leaves and fruit in tasteful groups. When done, 
 varnish with Copal. 
 
 The grape-vine picture-frame here illustrated in Fig. 3, is constructed as fol- 
 lows : Cut off four pieces of wild grape-vine, or cultivated, if you can get it, 
 each three, four, or five feet long, according to the desired size of the frame. 
 
 They can be cut in the 
 Winter or Spring better 
 than at any other time, 
 as the absence of leaves 
 will allow you to find 
 what you want. Strip 
 the loose bark from the 
 vines, but leave on as 
 many little twigs and 
 tendrils as possible. 
 Then coil the four 
 lengths in a vessel of 
 hot water, and leave 
 them until they are per- 
 fectly pliable. They 
 must then be placed to- 
 gether and arranged 
 around an oval mold. 
 A soujvtureen, or a large 
 vegetable dish, turned 
 upside-down, will make 
 a capital mold, for the 
 frame will slip off easily 
 when it is dry. The 
 vines must be tied to- 
 gether at the bottom 
 with a piece of vine 
 and all the tendrils and 
 Fig. 3. Grape-Yine Picture-Frame. twigs arranged as artis- 
 
 tically as possible on the outside of the frame. Those which will i:)roject on the 
 inside must be clipped off. Weights should then be placed on it, to keep it 
 down upon the mold, and it should be left to dry. When all parts of it are stiff 
 and hard, it may be taken from the mold, and a walnut " mat," or a piece of 
 Bristol-board or fancy pasteboard, with a suitable oval opening, must be fixed 
 to the back by small tacks. Then, a piece of glass, which may be rectangular, 
 if it is a little longer and wider than the oval 'opening in the pasteboard, must 
 
104 
 
 HOUSEHOLD ELEGANCIES. 
 
 be fastened behind that, and with a thin piece of board or a thick piece of 
 pasteboard for a back. Varnishing will generally improve its appearance. 
 
 SHELL-EJRAME. 
 
 Make a pine foundation, which cover with the composition of beeswax, rosin 
 and tallow, described in Shell- Work ; place large shells at the corners, grouping 
 them in clusters, diminishing towards the center of sides and ends. Put only a 
 small 23ortion of the cement on at a time, and press the shells upon it while 
 warm ; fill in with tiny rice and pearl shells, and arrange a few sprays of coral 
 among them, made by dipping raisin-stems in scarlet sealing-wax, dissolved in 
 boiling alcohol. Varnish, or not, as preferred. Demar varnish is the proper 
 kind, if used. This frame looks well on sea-views, or in a dining-room, on pic- 
 tures of fish, etc. 
 
 CORAL-FEAME. 
 
 Make the foundation for this frame by sewing strips of covered wire or hoop- 
 skirt springs together, either in square or oval form, holding the pieces apart by 
 small strips between. Cover the entire skeleton with strands of coarse crochet- 
 cotton, about two inches long, sewed quite closely together. Make a mixture of 
 two parts white cake-wax, one part rosin, and sufficient lamp-black, vermilion, 
 carmine, or flake-white to give the desired tint of black, scarlet, cherry color or 
 white. If preferred, the proper size and consistence may be given to the tags 
 of cotton by dipping them into a paste made of flour and glue boiled until of the 
 consistency of thick starch ; then, after twisting into shape, varnishing with red 
 sealing-wax, flake-white, drop-black, or carmine in spirits of wine, giving several 
 coats to the stiff sprays. Having the preparation of wax, etc., melted in a bak- 
 ing-pan, a portion of the frame must be dipped ; and when a little cool dipped 
 again, a second and third time ; and finally twisted and bent into fantastic 
 shapes, like stilf coral sprays, going over the entire frame until the whole is made 
 of j)roper shape and proportion. Sufficient wax must be melted to dip the arti- 
 cle into, though towards the last of the operation it will be necessary to hold the 
 frame, with the strands downward, and pour the wax over with a spoon. Black 
 coral, made in this way, is beautiful, and the crimson and light cherry shades 
 are scarcely to be distinguished from the natural sprays. Frames thus formed 
 are also suitable for the same class of pictures as those made with shells. 
 
 STEAW PICTUEE-EEAME. 
 
 Pick out from a bundle of straws those without flaws. It takes five for each 
 part of the frame. Arrange them thus : Put one long straw in the center, a 
 shorter one on each side, and a shorter again on each side of these ; sew them 
 together at the back with some strong cotton. When you have the top, bottom, 
 and sides ready, fasten them together at the corners in the form of an Oxford 
 
HOUSEHOLD ELEGANCIES. 
 
 105 
 
 frame, placing the top and bottom ones in front of the sides. Then make 
 fom- small pieces of three straws in each, the center one the longest, and fasten 
 them crosswise to each corner by means of a piece of ribbon tied round ; the 
 
 Fig. 4. Fancy Straw-Frame, 
 ribbon is to hide where the parts of the frame are joined together. The picture 
 is fastened in with narrow ribbon, crossed over at the back, and brought through 
 between the straws on each side of the frame, then passed over the center straw 
 through to the back, and firmly sewn ; this ribbon has a very pretty effect. The 
 frame is supported by three straws, which should be sewn to the back of the 
 top ; the straws should be bound at the bottom with ribbon to keep them firmly 
 together. If the frame is to be hung up, a loop of ribbon should be sewn upon 
 the top. 
 
 TO EENOVATE OLD PICTURE-FEAMES. 
 
 An old frame may be " rejuvenated " in several ways, and frequently present 
 a better appearance than the newer and more expensive ones surrounding it. 
 Take such an old frame and cover with white candle-wick wound closely round 
 it ; then dissolve a quantity of alum in boiling water, making a saturated so- 
 lution, and making sufficient to cover the front of the frame entirely, when it is 
 
106 
 
 HOUSEHOLD ELEGANCIES. 
 
 immersed in it. Immerse the frame in this, and allow it to remain in it until 
 the wick has absorbed all the alum-water it will take np ; when remove and 
 dry, and it will be found beautifully crystallized. Procure a quantity of raisin- 
 stems, bits of rough bark, small twigs, etc., which also place in the alum until 
 crystallized. When all are dry, arrange the sprays upon the frame and fasten 
 with white glue. Allow some drooping pieces to fall over the edges, like icicles ; 
 and dry some threads, saturated in alum-water, before a hot fire, which will 
 appear like crusted snow, and prove a beautiful addition when hung among the 
 icicles and sprays of icy moss and branches. This frame, placed around a win- 
 ter scene, of any description, will be found an appropriate and elegant surround- . 
 ing, appearing like snow and ice upon branches and bark of trees. 
 
 PUTTY-FEAMES. 
 
 Lest some of our readers should not understand the modus operandi of making 
 these now popular frames, we will give the full directions : 
 
 Take from two to seven pounds of putty, made perfectly smooth, using more 
 or less, according to the size of frame, and add Spanish brown or burnt umber 
 as will impart the right color, working it in until no specks or streaks can be 
 seen. Work this into appropriate designs or figures with the fingers, and lay 
 them on the frame ; grapes, leaves and scrolls are used more than other figures, 
 with bead-work upon the edges. 
 
 Logwood dye, with saleratus added, forms a rich color, washing the work with 
 it in order to prevent them from separating by warping. Us€ varnish, carefully 
 making it sufficiently thin to " flow " and not '* drag " under the brush ; for flat, 
 broad surfaces, the common flat varnish brush is best, but the round one will be 
 required for rough surfaces. Fasten the glass in securely before commencing to 
 put the ornaments on the foundation. For securing various ornaments on card- 
 board, glue is the best article, but as it will not adhere to wood or metal, it is nec- 
 essary when the foundation is made of these, to cover first with cement. When 
 large ornaments are fastened on with brad-nails, small holes should be pierced 
 through the ornament, and partially through the frame, to prevent their split- 
 ting. For leather leaves and flowers the sharp-pointed upholsterers' tacks, with 
 round heads, are very appropriate. Various materials are used as ground-work 
 where the ornaments do not cover the foundation ; for this purpose, rice, sago, 
 sand, small seed-shells, black pepper, powder, and coal crushed fine, will be found 
 suitable. For delicate work, white glue is best, but the dark-colored will an- 
 swer for any ordinary work ; whichever kind is used, however, use care in not 
 applying it too thickly, and keep it constantly hot. When a large " piece " is to 
 be accomplished, it will be found very satisfactory to use a regular " glue-pot," 
 hung in a vessel of hot water. Always have a brush in each pot, or perhaps two, 
 a large and small sized one ; the kind used by house-painters for window-sash 
 are best. 
 
HOUSEHOLD ELEGANCIES. 
 
 107 
 
 CAT-TAIL PICTURE-FKAMES. 
 
 A very pretty frame for an engraving may be made of the long, tough stem of 
 the common cat-tail, to be found growing in profusion by streams and in marshy 
 places. The cat-tails, after being dried, should be arranged as seen in our illus- 
 tration. The joinings at the corners may be ornamented with small pine cones, 
 or simply bound with grape-vine bark. The vine-work shown in the illustra- 
 tion is made of leather-work, directions for w^hich are given in other pages. 
 The leather and cones are of a uniform color when varnished. The frame of 
 the picture may either be left open so as to show the wall behind it, or it may 
 be formed upon a thin board with a border of maroon or crimson velveteen 
 showing through. In using a board-back, the picture, which should be smaller 
 
 Fig. 5. Cat-Tail and Leather Frame, 
 than the board should be first laid upon it ; over that a paper spandrel, to be 
 purchased at any photograph gallery ; and over that the glass. The whole may 
 then be secured in place by means of thin strips of wood so placed and fas- 
 tened that they shall form the frame. Velvet or velveteen should be glued over 
 this border, neatly covering the edge and folding at least half an inch over the 
 back ; and the cat-tails may be arranged over this, allowing them to project at 
 the corners, as seen in the engraving. 
 
 GILT FRAME. 
 
 Make or obtain from a manufactory r.n oval or square frame. Having a 
 quantity of plain and fancy gilt paper, cut the pieces of suitable sizes to cover 
 the frame. Should the frame be large and the sheets of paper comparatively 
 small, use great care in joining the pieces ; and in case of their showing, en- 
 deavor to cover them with the ornaments. These may be made of various styles 
 
108 
 
 EOUSEHOLD ELEGANCIES. 
 
 and materials, neatly covered with the gilt paper or with gold-foil, liquid gold 
 paint, or in shells. A very handsome frame is made as follows (the one used as 
 the model was a square, 18 x 24 inches and four inches wide) : A flat edge runs 
 around the outside ; upon this a preparation of two parts white wax, one of 
 glue, and a little rosin is sjjread ; on M'hich is arranged a beading of large, 
 brown coffee grains, placed closely together, and when dry, varnished with Copal. 
 Next to this beading, fasten a grooved molding, such as is used for window or 
 door facings, which cover wdth plain gilt paper, as also the two and a half inches 
 of flat surface still remaining within, but ornament it thus : leaving a narrow 
 line next the strip of molding, fasten on with size a strip of richly-enameled 
 gold paper, about half an inch wide ; then a double row of brown, varnished 
 coffee grains ; then a strip of figured gilt paper ; then another narrow strip of 
 molding covered with plain gilt paper ; finishing with a double beading of the 
 coffee grains, arranged as before, and a narrow margin of gilt. The sheets of 
 gilt paper being much smaller than the frame, it will require two or three 
 of them to cover it ; when, if the connections show, arrange the paper in such a 
 manner that all the connections commence in one place, which hide by making 
 walnut and gilt ornaments, and arranging to fall gracefully over them, thus : 
 cover wire with the gilt paper, to which fasten vine-leaves of three or four sizes, 
 cut out of sheep-skin, and either covered with the paper or painted with gold-size ; 
 and when so dry that it will stick to the finger, lay on the gold-leaf or gold- 
 bronze, pressing it gently and carefully with a soft cloth. Make a bunch of 
 grapes by tying small marbles in chamois-skin ; then varnish with Japanese 
 varnish. Make clusters to correspond for each corner ; varnish with clear, thin, 
 " finishing varnish." Such frames are exceedingly handsome, and suitable for 
 paintings, chromos or fine engravings, or for mono-chromatic or pastile pieces. 
 
 EUSTIC FRAME IN" IMITATION OF EICH WALNUT. 
 
 The foundation for this frame may be of pine wood, and should be covered 
 with a coating of some one of the materials mentioned as " adherents," also 
 stain it with umber scalded in vinegar, and rub gently with flannel. Prepare 
 a number of leather leaves, by obtaining leaf-molds of hickory-nut, oak and 
 chestnut, and cutting from slieep-skin which has been made damp ; stain with 
 a decoction of burnt umber, and after shaping and veining upon the molds, 
 dry in the oven ; then dip in Japan varnish. Obtain a quantity of English 
 walnuts, pecans and acorns, or chestnuts, hickory-nuts, etc., which also dip in the 
 varnish ; make a pretty beading around the edge of the frame with the halves 
 of filberts and cherry-stones, arranged in rows, and varnished. Cluster the nuts 
 and their respective leaves in graceful groups, not crowding, and yet sufficiently 
 close to appear rich and heavy. The leaves may be fastened to stems of wire 
 covered with soft leather, and . arranged on natural branches that have been 
 stripped af bark and Tarnished. The acorns should have the nut formed of 
 
HOUSEHOLD ELEGANCIES. 
 
 109 
 
 putty, colored with umber, and glued into the cups. In order to make the frame 
 look rounded and full, putty, or the composition of wax, etc., may be built upon 
 the center and rounded off towards the edges ; then, when dry, covered with the 
 adherent (black pepper or coal-dust) sprinkled on glue. The clusters arranged 
 upon such a foundation will appear full in the center, instead of flat. This style 
 of frame is suitable for rustic pictures, crayons, lithographs, etc. ; a gilt molding 
 should always be placed around the inner edge of all frames, and may be easily 
 made by covering a strip of card or thin board with plain^ilt paper. 
 
 PICTURE-FRAME IK LEATHER-WORK. 
 
 Picture-frame with decoration of ivy leaves, Fig. 6. Materials: a piece of 
 
 Fig. 6. 
 
110 
 
 HOUSEHOLD ELEGANCIES. 
 
 thin, tanned sheep-skin, very fine flower-wire, a frame of thin slats of wood four- 
 fifths of an inch wide, pincers, thick gum, Copal varnish, batting. 
 
 This frame imitates a tree-trunk grown over with ivy. A thin, wood frame 
 seven and one-fifth inches high, and six and two-fifths inches wide constitutes 
 the foundation ; the frame is covered with a layer of batting, pasted on. To fit 
 this frame, cut another of leather, taking care to add as much as the slight 
 rounding given by the batting requires, and a little to lap over to the back of 
 the frame. To give^the leather the appearance of bark, moisten it and run 
 along it, lengthwise, with the pincers; the rounding of the stems is likewise 
 effected by smartly running the pincers along the middle of the moist leather. 
 Four branches, whose stems are quite pliant, are fastened each to a corner of 
 the frame. Eight smaller branches, cut exactly like the large ones, with the 
 exception of the two biggest leaves, complete the decoration. The ivy branches 
 are tacked to the frame by means of exceedingly fine wire-stems attached to the 
 middle of each leaf, and passed through small holes bored for that purpose into 
 the leather-frame ; these give the leaves a raised appearance. The small crosses 
 in the ivy-leaves, designate the spots where the wire-stems are to be attached. 
 When the branches have been gracefully fastened in the manner above described, 
 paste the leather-frame to the wood covered with batting. The number of coats 
 of Copal varnish must be decided according to the lighter or darker color desired 
 that the frame should attain. 
 
 SQUARE CARVED WALNUT FRAMES, 14 x 18 INCHES. 
 
 These may be formed in various 
 styles, and can be made very elegant 
 by skillfully using the saws, made 
 especially for such purposes. A good 
 style of carved frame is made by 
 sawing an ornamental strip half an 
 inch deep, to pass around beyond the 
 gilt margin A. An open pattern, 
 marked out upon it, is sawed out upon 
 the edge, and cut out in mosaic figures 
 through the center B (a strip of gold 
 paper laid under this gives a beautiful 
 appearance) ; upon this a thick, nar- 
 row strip is placed, cut with two 
 beveled edges, forming a ridge; be- 
 yond this a strip one-fourth inch thick, 
 and two inches deep, is placed with 
 the edge out, which shows the margin 
 back, in a recess, as it were; these 
 
HOUSEHOLD ELEGANCIES. 
 
 Ill 
 
 strips must be cut out in ornamental pattern through the center, and upon the 
 edge a beaded strip should be fastened, while across the corners, clusters of 
 leaves and scrolls are placed, carved 
 of walnut. The edge without is 
 finished with strips of carved bead- 
 work, and the whole oiled or var- 
 nished. 
 
 FOP-COEN PICTUEE- 
 FRAME. 
 
 Have a little frame made of thin 
 wood, the shape of the pattern, or if 
 not that, take strong pasteboard; 
 then with white glue, fasten a border 
 of cherry-stones on the outer and 
 inner edge. In each of the eight 
 corners put an apricot-stone or a 
 hazel-nut, and then place plum-stones 
 as shown in the picture ; lastly, fill 
 the spaces that are left with red pop- 
 corn. It might be better to varnish rig. 8. Pop-Corn Picture-frame, 
 the stones and nuts before putting on the corn. 
 
 FRAME OF BEANS AND CORN. 
 
 Fig. 9. Frame of Beans and Corn. 
 Make your frame of good, smooth pine wood, of any size to suit the picture to 
 be framed ; paint it a good black. Select good, clear, even-sized kernels of corn 
 
112 
 
 HOUSEHOLD ELEGANCIES. 
 
 for the rosettes, making the center of a small acorn. Ornament the frame with 
 white beans split in two, in the form of diamonds, with an acorn between each 
 diamond. Any other pattern will do, to suit the taste of the maker. Paint the 
 whole black and then varnish. This is easily made, and makes a very neat 
 frame. 
 
 CAEVED FEAMES. 
 
 Another carved frame is made of fom- long, square pieces, cut in grooves with 
 the penknife, each of the eight ends made to taper gradually from the center. 
 These carved sides may be made exceedingly handsome, by having used the 
 knife skillfully, and cutting innumerable small grooves lengthwise, then fill- 
 ing in with fine work called " picking out," done with the point of the knife. 
 Cut a pair of large leaves and a flower, for the center of the top and bottom, 
 and notch out sockets for the admission of the side-pieces upon the four ends, 
 about an inch and a half or two inches from the end ; making them to cross 
 each other, and project at the corners. At the point of intersection, place an 
 ornament cut from the wood, a star| or round flower, or a button ; make the 
 margin as usual. 
 
 Another, pretty mode is to or- 
 nament upon the corners instead 
 of the centers ; a group of carved 
 leaves and natural nuts var- 
 nis-hed, or a combination of 
 leather leaves, acorns, and a gnarl- 
 ed branch on the corners or at the 
 top and bottom, or three carved 
 leaves on each corner, are all 
 pretty modes of adorning. An 
 unusually tasteful frame is made 
 in the Gothic style ; making a 
 margin of gilt and walnut, then 
 cutting six pieces for the sides, 
 four twenty-two inches and two 
 twenty-four inches long ; the top 
 and bottom, four twenty inches, 
 two twenty-two inches long, and 
 all of them one -half inch wide 
 (of one-fourth inch wood), mor- Fig. lo. 
 
 ticed together at the corners, and projecting, — the short ones outside one inch, 
 the center ones tw^o inches. Cut or saw, also, tw^elve pieces three inches in 
 length, pointing the ends, both of these and the main pieces ; also, six pieces 
 — the first pair four inches long, the second six, the third eight ; cut, also, six 
 
HOUSEHOLD ELEGANCIES. 
 
 113 
 
 small strips two inches long; the twelve pieces are to be crossed one over an- 
 other in six pairs, three on each side ; the six pieces in graduated pairs, must 
 be arranged upon the top ; the small ones crossed at the top, and placed low 
 down upon the top rails of the frame ; the second in front, arranged in the same 
 way ; the third in front, crossed over above the other two pairs ; carve an orna- 
 mental cross and place upon the apex of the arch ; arrange the three small pieces 
 along the bottom in three crosses. Fasten all pieces together with little black 
 buttons, making holes for the eyes. 
 
 FEAME OF CONES. 
 
 Cut the frame from bookbinders' pasteboard. Select good, clear, hard pine cones. 
 Dissect *those which have large, fair scales, and sew a double row of the scales 
 round the inside and outside of the frame. Make rosettes as in the pattern of 
 the scales of soft pine cones, with a small acorn for center ; the leaves at the 
 
 Fig, 11. Frame of Cones. 
 
 corner of frame to be made of soft pine scales, with a small cone or acorn for 
 center. Fill up the entire ground-work with hard pine scales, fastened with 
 glue ; lapping one neatly over the other, then varnish. 
 
 FRAME OF EICE OR PEARL BARLEY. 
 
 Make your frame as in Fig. 9. Melt sealing-wax of the desired color (red is 
 to be preferred as it resembles coral) in first-proof alcohol. Spread thickly over 
 frame. Stir rice, sago, and small bits of tapioca into the vessel of dissolved seal- 
 ing-wax ; spread the same over the frame ; dry thoroughly. Pearl barley can be 
 
114 
 
 HOUSEHOLD ELEGANCIES. 
 
 used the same way. If not entirely covered, touch with red paint. Card re- 
 ceivers or baskets are very handsome, made this way. 
 
 Fig. 12. Frame of Rice or Pearl Barley. 
 
 ERAME OF BEAKS AND RICE. 
 
 Fig. 13. Frame of Beans and Rice. 
 
 The frame to be made of wood, plain, and painted, as in Fig. 9. Rosettes in 
 the corners, of beans ; in the centers, of corn. Glue a double row of split beans 
 on the inner and outer sides of the frame, or more rows if the size of the frame 
 requires it. Cover the open space with hot glue, upon which sprinkle rice 
 enough to cover it thoroughly. Paint the beans black and the rice red, or any 
 other colors that the fancy may dictate. Varnish with pure white varnish. 
 
HOUSEHOLD ELEGANCIES. 
 FRAME OF CONES. 
 
 115 
 
 Fig. 14. Frame of Coiies. 
 To be made as in Figs. 14 or 15, as regards the cones, rosettes and scales, but 
 can be ornamented with small cones, acorns, seeds or anything pretty to suit the 
 taste of the maker. We can not give the dimensions of any of these frames, as 
 they will depend entirely upon the size of the picture to be framed. 
 
 The glass and picture should be secured by 
 strips of cloth pasted over the edges to hold 
 them firm. Then cover the entire back with 
 cloth or paper, taking care that none of the 
 paste touch the picture, so as to soak through. 
 This will keep glass and picture perfectly 
 firm in its place. 
 
 FRAMES OF CONES. 
 
 Cut the frame of heavy pasteboard (if 
 this is not handy, pasteboard boxes, such 
 as can be obtained at any store will do). 
 The center of each scallop in these patterns 
 to consist of soft pine scale rosettes, the 
 centers td be acorns or hard pine cones, cut 
 off at the base to make them the required 
 size. Sew at least two rows on the outer and 
 inner edge. This makes the frame stronger 
 and more durable. Fill up the ground-work 
 as stated in Fior. 11, and varnish. 
 
 Fig. 15. Frame of Cones. 
 
116 HOUSEHOLD ELEGANCIES. 
 
 Some place an even coating of putty all over the frame and insert the scales 
 into it ; but it is not as good as the sewiiig and glue. 
 
 Fig. 16. Frame of Cones. 
 
CHAPTER VI. 
 
 FANCY LEATHER-WORK. 
 
 Leather-Work, as applied to the ornamentation of furniture or lighter ele- 
 gancies, is not, as generally supposed, of recent invention. 
 
 So far from this, it is one of the most ancient 
 modes of fine decoration, and those who have 
 visited the British Museum, that great storehouse 
 of antiquities, will have noticed the specimens of 
 richly-embossed leather in the room of Egyptian 
 specimens, which are said to have been made 900 B. 
 C. Over the door is also an ornamental cross, which 
 is of great interest and of fine workmanship, taken 
 from the robes of a Coptic priest, in the year of our 
 Saviour, 640. Then, at a later date, during the 
 early part 17th century, this work became popular 
 in England as a means of decorating curtains, 
 testers, and other hangings, and was carried to a 
 high state of perfection. Of late days it has been 
 chiefly applied as an imitation of various kinds of 
 wood ; and where lightness and graceful cofiibina- 
 tions of fine tracery or thread-like finishing upon* 
 Fig. 1. A Parlor Lectern. groups is desired, its superiority over carved, or 
 even molded wood, will be found very great ; not taking into account the economy 
 of cost, that it does not break, shrink, warp nor chip, and, besides, damp or heat 
 having no effect upon it, it improves in tone and color by age. 
 
 As an imitation of old carvings in dark oak, walnut, mahogany, it is 
 extremely elegant, and can be brought to great perfection upon objects re- 
 quiring bright coloring or metallic luster ; to cover it with gold, silver, or the 
 transparent paints, upon a plain or "foiled" ground-work, is to produce the 
 most charming ornamentation conceivable. Nor, as we have before observed, is 
 
118 
 
 HOUSEHOLD ELEGANCIES. 
 
 this means of ornamentation, comparatively, expensive ; and yet it is so exceed- 
 ingly elegant that we feel desirous to explain the method of making it properly, 
 
 Fig. 2. Wall Ornament in Leather-Work. 
 
 to those who admire beautiful furniture, and are willing, at the expense of 
 patience and perseverance, to produce a decoration as rich and elegant as the 
 most costly carving. 
 
 The materials are glue, size, varnisli, soft uncolored sheep-skin, chamois-skii^, 
 old kid, wire of two or three sizes, and, if colored work is desired, paints in fine 
 powders and dye colors. The implements are scissors and knife, molding-tools, 
 such as are used in wax-work, leaf -molds, small gimp-tacks, a veiner, brad- 
 
HOUSEHOLD ELEGANCIES. 
 
 119 
 
 awl, cutting-pliers, and brushes for glue, varnish, etc. Fir§t decide upon the 
 materials and the particular kind of ornamentation ; also, whether the imitation 
 is to be of walnut, rose-wood, or other wood. For instance, if the article to be 
 adorned is a frame for a picture, are the materials to be of a kind to imitate 
 black-walnut, or light ornamental-work, which is to be gilded or bronzed and 
 painted in colors ? For, in the one case, a dark dye and varnish will be required, 
 and in the other, fine-powdered colors, gold and silver foil, and bronze powders ; 
 and as it is requisite, in order to accomplish the work with satisfaction, that all 
 things should be in readiness before commencing operations, the necessity for 
 determining the style of ornamentation will be at once understood. 
 
 In making leaves, etc., in imitation of dark wood, use sheep-skin, and rolling 
 it in a damp cloth until thoroughly moist, cut from it a sufficient number of each 
 size wanted to cover the frame ; then full them into shape, and while quite damp, 
 press them on the leaf -molds until each vein and all the fine tracery is distinctly 
 marked upon the upper side, as in making wax leaves. Grapes are made by 
 tying marbles in soft chamois-skin, clustering them upon a piece of stout wire 
 wrapped with kid. Berries are made from peas or other round bodies tied in fine 
 kid. For stamens to certain flowers, cut a strip of thin sheex3-skin into fine 
 fringe and fasten around a pistil, more or less thick and long. But of these 
 points we shall speak more particularly, hereafter. Elegant baskets for work or 
 other purposes, can be made of wood and ornamented with various designs in 
 leather-work, with lining of bright-colored velvet or quilted silk, and form both 
 handsome and useful articles. Trellises and poles for flowers are thus made 
 vary ornamental, and a running border of any pretty vine forms an exquisite 
 addition to a plain wooden mantel-piece ; while a chimney-board, which we have 
 had the privilege of examining, was one of the most elegant specimens of this 
 work that we have ever seen. It consisted of a half basket of fanciful shape, 
 constructed of wire covered with leather and woven together like Mdcker-work ; 
 this fastened in the center of a board, which fitted in the " fire-place," and was 
 filled first with walnut shavings, upon which leather-flowers of various kinds 
 were tastefully arranged : Passion-flowers, Roses, Convolvulus, Pansies, Bpuvar- 
 dias, Jessamine, and numerous small blossoms, such as Forget-me-nots, Blue- 
 bells, etc., with sprays of various vines falling over the sides and twined around 
 the handle. Ivy, Hop and Maurandias ; while a few nodding blossoms of Cycla- 
 men and drooping sprays of Fuchsia finished the collection, which was so ar- 
 ranged that each one was beautifully displayed without any ungraceful crowding. 
 Around the edge of the board was a narroW vine of small ivy-leaves and berries. 
 The whole was stained to resemble wahiut, and was as elegant as the richest 
 carved work. 
 
 Each flower or leaf, or clusters of them were fastened to long, strong pins of 
 wire, which, dipped in thick glue and fastened down into the bed of shavings, 
 was held very securely, and when dry, formed a compact mass. 
 
120 
 
 HOUSEHOLD ELEGANCIES. 
 
 Furniture otherwise plain and of conventional form can, by this ornamenta- 
 tion, be made to appear like costly-carved wood. 
 
 The objection made by some, that such work collects dust, is scarcely a just 
 one, as ornamentation with leather does not collect dast to a greater degree than 
 carved wood ; and a common " painter's dust-brush " readily removes any collec- 
 tion of dirt, and a little kerosene makes all as bright as ever. 
 
 MATEEIALS FOR ORNAMENTAL LEATHER-WOEK. 
 
 Oak-stain (a spirit preparation), Flemish oak-stain, asphaltum, stiffening, 
 burnt umber, Vandyke brown, spirits tupentine, liquid glue, prepared size. Co- 
 pal varnish, Russian glue, best upholsterers' tacks, Basil-skins, skivers, molding- 
 tools, grape-molds, convolvulus-molds, berry-molds, veiners, double veiners, scis- 
 sors, copper wire, pincers, pliers and wire-cutters, boxes of materials complete, 
 Johnson's gold, silver and copper paint. 
 
 We will now proceed to describe certain articles that are made very elegant 
 by this mode of decoration : 
 
 A handsome bracket is made as follows : Have a frame made of pine wood, 
 ten inches high, eight wide, and projecting six inches ; it is made with a back 
 piece, sloped from the shelf to the point in the center, ten inches below ; the 
 shelf, 8x6 inches, is fastened to the back piece, upon which it rests at the top; 
 curved strips, like sections of a hoop, three in number, extend from the center 
 and sides of the shelf to the point at the bottom. Supposing this bracket is to be 
 of rosewood (imitation), stain all this wood-work with Venetian red scalded in 
 vinegar, using a small soft brush. When dry, rub smooth with pumice-stone or 
 fine sand-paper, and varnish with thin Japan varnish, which gives a fine imita- 
 tion of rosewood. Cut out a number of convolvulus-leaves, and while damp. 
 
 Fig. 3. 
 
 mold them on the leaf -molds, making three different sizes ; stain thdse with the 
 Venetian red, and form into proper shapes, then place near the fire or in the sun 
 to dry ; and when dry, dip each one in the Japan varnish ; form a few convolv- 
 ulus-blossoms in the same way, molding them on the flower-mold used for wax- 
 
HOUSEHOLD ELEGANCIES. 
 
 121 
 
 flowers. The buds are made by winding a piece of leather on a tapering piece 
 of wood or putty, molded between the fingers into the proper form, like Figs. C, 
 D, E. Fig. B shows the shape of the leaf, second size. Fig. H is a tendril, 
 made by winding strips of thin leather around a knitting-needle, drying, 
 staining and varnishing. The flower, with all its parts, is shown in Fig. A. 
 The calyx. Fig. F, is made by cutting five points in a circle ; the stamens, Fig. 
 G, are four long, thread-like pieces, about half an inch long, which are wound 
 round the end of the wire-stem. The flower, which is cut from one piece of the 
 shape of Fig. I, is caught together with a few stitches, the edges having been 
 touched with glue. When molded over the flower-molds, the leather should be 
 quite damp and soft, and the edge turned over with one of the molding-tools. 
 
 If the leather is not sufficiently heavy to make the flower 
 and leaves stiff, they must be dippped into the prepared 
 size. 
 
 Slip the flower on the wire up to the stamens, and wind 
 strips of Basil-leather around the wire, up to the flower, 
 where secure it by slipping on the calyx ; wetting the inner 
 ^.^ J surface with glue, and holding it firmly around the base oi 
 
 the flower; or it may be tied with thread, which can 
 be subsequently removed. Arrange a number of flowers in this manner; 
 then sufficient leaves of the three sizes, to cover the under braces and edge of 
 the bracket, when mixed with the flowers and buds. Stiffen the leaves likewise 
 with glue. Mold the buds of putty, and wind leather around, as before men- 
 tioned ; likewise form some tendrils. When all are finished, arrange the gar- 
 lands upon wire, one for each of the braces, and around the edge of the shelf, 
 and place a cluster at the point at the bottom. 
 
 It is better to stain and varnish each piece separately, previous to fastening 
 them on. 
 
 If the leaves do not appear veined deeply enough, the marks may be deepened 
 with the point of the veining-tool. The flowers, also, may be marked with the 
 same instrument. This bracket, when finished, is exceedingly beautiful. 
 
 Several different flowers are shown in Fig. 4, which are formed as shown 
 in Fig. 4, sections 1 and 2. When a leaf is desired, of which a mold cannot 
 be obtained, it must be notched out on the edge with sharp scissors, and the 
 veins made with the tool. The petals of A and B, Fig. 4, are cut by a pasteboard 
 pattern, cut in the shape of 1 and 2, five of each forming a flower, while the aster, 
 C, requires twelve, and may be made double or semi-double, by cutting one or 
 more rows of smaller-sized petals of the shape 3. The stamens are composed of 
 a long, narrow strip, 4, one-eighth of an inch deep and tM^o or more inches long ; 
 cut into fine fringe on one edge ; then wound closely around the pistils which are 
 made for A, of three long, thread-like pieces, stiffened and curled, and tied one 
 inch below the ends into a knot; and slip the ends below through a hole 
 
122 
 
 HOUSEHOLD ELEGANCIES. 
 
 ill the corolla and calyx, which is similar to the one described for the con- 
 volvulus. 
 
 These flowers, arranged on a wooden frame, appear like richly-carved walnut, 
 if stained with burnt umber scalded in vinegar, and varnished with Copal. 
 
 ALYX 
 
 Fig. 4. 
 
 A frame for a picture, to be covered with flowers like these just described, is 
 made of well-seasoned wood. Size it all over with glue-water. When dry, 
 apply the stain of Venetian red, burnt umber, turmeric, or any other desired ; 
 polish and varnish ; then arrange the leaves and flowers, attaching them with 
 glue and tacks. The ornaments may be arranged to cover the whole as a gar- 
 land, or in clusters, at the corners and sides ; or, if the form is oval, with clusters 
 above and below, and at the sides, narrowing as they meet each other. One of 
 the most beautiful frames we have ever seen, was an oval, made thus. 
 
 The oval or round frame is made with two pro- 
 jecting pieces of wood ; one around the outer edge, 
 the other around the inner part, as shown in the 
 section of the frame. Fig. 5. These pieces are for 
 the purpose of holding the trellis-work and vines ; 
 which, being thus supported, are held away from the 
 body of the frame, forming an open-work of leaves 
 and fruit upon a lattice trellis. 
 
 The one here described is formed of grape-vine 
 leaves, fruit and tendrils, but we have seen one 
 equally beautiful, of passion-vine ; and another of 
 the hop-vine, which was peculiarly rich and ele- 
 gant. 
 
 The frame is stained with burnt umber ; rubbed 
 smooth, and varnished ; polished with a wet pad 
 dipped in pulverized pumice-stone ; washed clean and re-varnished with a thin 
 coat of Copal. The leaves are of three sizes, cut while damp, from sheep-skin, 
 
HOUSEHOLD ELEGANCIES. 
 
 123 
 
 pressed upon the molds until perfectly marked; 
 then painted with size made of fine flour paste 
 and white glue, dried, painted with the umber 
 stain, and dipped in varnish ; then drained upon 
 a coarse sieve and dried. The grapes are made 
 by tying small marbles in soft chamois-skin, fas- 
 tening leather-covered wire in the opening, and 
 forming clusters by fastening them upon a piece 
 of stout wire ; make tondrils of thin strips of kid 
 or fine leather twined around coarse knitting-nee- 
 dles ; stiffen and color as for the other parts. The 
 trellis -work is made by covering a number of Fig. g. Filbert, 
 
 pieces of heavy wire with leather, making each piece to reach diagonally across 
 the frame from one edge to the other, as shown at A and B, Fig. 5 ; at each end 
 the leather is carefully fastened, and a piece of leather allowed to project a little 
 
 beyond the wire, in 
 order to allow the ad- 
 mission of the tacks 
 which fasten each piece 
 to the projecting 
 pieces; the wire s 
 should be slightly bent, 
 as shown at A and B, 
 Fig. 5. 
 
 The heavier stems of 
 the vine are to be made 
 of very thick wire, 
 wound first with yarn 
 or twine and then cov- 
 ered with leather, or of 
 canes so covered. Let 
 a -piece of wire exteiud 
 around the outer edge ; 
 through which, tendrils 
 and small delicate 
 pieces of the vine may 
 be twined, as will be 
 seen in the design, 
 Fig. 7. 
 
 Fig. 7, Leather Picture-Frame. As it is always desir- 
 
 able to have an appropriate table or desk upon which to place the " Family 
 Bible," we give a design for a parlor-lectern, which is made of walnut ; or, if pre- 
 
124 
 
 HOUSEHOLD ELEGANCIES. 
 
 ferred, of pine wood stained in imitation of rosewood. (The Japan varnish 
 should be thin in order to show the scarlet wood.) The most appropriate orna- 
 mentation for this piece of furniture is the (Passiflora) Passion-vine, which is 
 made as follows : Cut the shapes of leaves and various parts of the flower first, 
 from card-board. 
 
 The corolla is formed of five petals, shown in Fig. 8, W. Take a stiff wire, 
 which cover for stem, and fasten on it, two inches from top, a circular piece of 
 soft leather like Z. The inner circle of petals is placed within the outer one of 
 the calyx (X), in such a manner that the points of the outer ones show between 
 those of the inner, as shown in Fig. 8. 
 
 The petals and calyx cut and curled, next form the nectary (Y), which is a, 
 circular piece of leather, half an inch in diameter, finely cut upon one edge ; an- 
 other circular piece (O), an inch and an eighth in diameter, is cut into long, 
 
 Fig. 8. 
 
 thread-like pieces, which form the " rays " peculiar to this flower ; the involu- 
 crum is three-lobed, and cut in points. The pistil in a leather Passion-flower 
 consists of the wire of the stem, as described before, covered with soft leather, 
 wound around almost to the point, where five pieces of leather, cut like the 
 figure at A, are placed around' it; the leather wound round once or twice to hold 
 them in place and form the club-shaped style (B), which then has the three 
 anthers (C) fastened upon it in the same manner; turning the strip of leather 
 used in winding, across the top between two of the anthers, with another, wind 
 
 Fig. 9. 
 
 around the style and across between the other anther, and fasten it just below 
 with glue or a tie of thread or fine wire : this winding of the pistil gives the 
 club shape to the style below the three anthers (B). The leather used for these 
 stamens and pistil must be made stiff in order to retain the proper form when 
 curled. The pistil and stamens arranged, the circular piece (Z) is slipped on the 
 
HOUSEHOLD ELEGANCIES. 125 
 
 stem up to the pistil, allowing it to be a half inch from this point to the slender 
 part of the anthers ; gather the edges together and fasten aromid the stem be- 
 
 Fig, 10. Bracket in Leather-Work, 
 low (see d) ; then slip the fringed circle (Y) on the stem, and touching with glue 
 on the leather ball, turn the fringe up on it and press firmly with the fingers ; a 
 circular piece of stiff leather, a half inch in diameter, with a hole in the center, and 
 
126 
 
 HOUSEHOLD ELEGANCIES. 
 
 the edge chipped around in a tiny fringe, is then slipped on the stem and pressed 
 closely against the bottom of the upright fringe (F) ; then the " rays " are put 
 on, and finally the petals (X) and calyx (W) are arranged, and the tri-lobed in- 
 volucrum, which must be molded into shape with a molding-tool, havirg it 
 damp and pressing the round end into the center of each leaf ; making them 
 rather cui>shaped. Prior to putting each separate i^iece upon the stem, it must 
 b'j moistened with glue in the hole and around the upper part, in order to hold 
 all firm when dry. The petals must all be carefully molded and creased with 
 the molding-pin. The rays should be taken, strand by strand, and after moisten- 
 ing the fingers with size, curled and bent into an arching form. 
 
 The buds are formed of tlie 
 E \ / lllll D 111 F stem, upon the end of which a roll 
 
 ^ ^ ™ ..-^.-4\f--:^ of the leather covering forms a 
 
 knob, with the petals and calyx 
 pressed into compact form and 
 surrounded by the involucrum. 
 Fig. 11. arranged as before described, for 
 
 som3 ; others may be smaller, composed only of the involucrum and three pieces 
 of painted leather within it ; while 
 some may be j ust opening, disclosing 
 the stamens and pistil. The leaves 
 should be of two or three sizes, and 
 of the shape figured in the design. 
 The tendrils are formed as before 
 described. All the pieces must have 
 the smooth or dressed side of the 
 leather uppermost, excepting the in- 
 volucrum, as the petals iind calyx are 
 to be rolled over, outward ; the roll- 
 ing and molding of the petals is one 
 of the most important features of 
 the operation, as in the proper forma- 
 tion of these the principal beauty 
 consists ; unless we except the form- 
 ing of the pistil, with its style and 
 anthers, and the spade-shaped sta- 
 mens. The formation of these, nor, 
 indeed, of any part of the work, is 
 not in the least difficult, requiring 
 merely neatness and a little skill in 
 arranging. In this and all leather- 
 work, we would urge persons to ayo/c? Fi''. 12. Readino'-Stand. 
 
HOUSEHOLD ELEGANCIES. 
 
 127 
 
 over-crowding. This will greatly enhance the beauty and that imposing effect, 
 which is so beautiful in rich carving. Let each separate part be so arranged as 
 to show its particular and distinctive beauty; and never pile one piece upon 
 another, for the sake of putting upon one article as many leaves and flowers as 
 would tastefully ornament three or four. A few handsome and well-made flow- 
 ers, artistically arranged, will afford greater satisfaction than a half dozen, 
 clumsily-made and carelessly arranged articles, combining an incongruous mass 
 of many kinds, without either taste or fitness. 
 
 The size requisite for this work is prepared as follows : Mix, cold, two ounces 
 of Australian red-gum, six ounces of orange shellac, half-pint of spirits of wine; 
 put into a bottle and cork tightly. Shake frequently, and when all the gums 
 
 Fig. 13. Mantel-Basket, 
 have dissolved, strain, and re-bottle. We might mention, before proceeding, 
 that some persons use regular molds for grapes, etc., wetting round of skiver- 
 leather, and pressing into the molds, then filling with wadding or liquid plaster, 
 inserting the stem in the opening at the top, where the ends are gathered, and 
 
128 
 
 HOUSEHOLD ELEGANCIES. 
 
 clustering on a larger stem of wire covered with Basil-leather. For filberts, 
 acorns, and large, hard berries, use the fruit itself, and cover with damp 
 Basil or skiver leather. (Basil is sheep-skin tanned ; skiver consists of the soft 
 pieces on the edges, or the shavings from the currier's bench.) For large speci- 
 mens of fruit it is advisable to have molds, filling with any substance to preserve 
 the rotundity. A peach, for instance, is made thus : select a hard, unripe speci- 
 men, take the impression of the two halves, cut a piece of leather larger than the 
 mold, dip it into cold water, and with the fingers press it well into the mold, 
 then allow to dry ; proceed in the same manner with the other ; then pour liquid 
 plaster, mixed with glue-water into the two, until full up to the edges, which 
 must be kept perfectly even and horizontal ; touch these edges with dissolved 
 glue, and, lifting the halves from the molds, which they should leave readily, 
 place them together, rub down the edge where connected, and when dry and 
 perfectly connected, brush over with size, and varnish. Pears, lemons, etc., may 
 be made in the same manner. Filberts or hazel-nuts are very effective made 
 thus : crack the finest nuts so as to halve them, which is done by passing a 
 knife around ; first smooth the edges with a rasp or knife, and wiping out the 
 inside, you have the tiny and perfect molds ready. Cut Basil, or soft leather of 
 any kind, from these shells, allowing each piece a little larger ; dip in water, and, 
 oiling the inside of each shell a little, press in the leather, paint with size, and 
 place away to dry. When dry, fill up as described for the peach ; remove from 
 the molds, and proceed as with the peach. 
 
 The bract shown in Fig. 6 is made by laying the pattern on the leather, and 
 cutting, always minding to make clear cuts and perfect edges; then curling 
 and pinching, while moist, and painting with size. The nut is then placed in 
 the center and glued fast, the ends of the leather being brought round, as in the 
 
 Fig. 14. 
 
 natural nut. When several are formed, fasten together in a tasteful and natu- 
 ral manner. These form very beautiful ornaments. Strawberries are formed 
 
HOUSEHOLD ELEGANCIES. 
 
 129 
 
 Fig 
 
 like grapes, and the leather is pinched up into points with tweezers and knife- 
 point, and a calyx formed ; raspberries, blackberries, etc., are formed in the same 
 manner, with long, pyramidal-shaped pieces of leather, and dotted with pieces of 
 soft leather, wet with size, and rolled into balls ; always arrange with calyx and 
 proper leaves. Wheat is formed by rolling leather strips into a long oval, size of 
 the grain, then covering with concave pieces of similar form, to which colored 
 horse-hair is glued ; then arrange on a long roll of leather, size of the ear ; stiffen 
 and varnish. 
 
 Figures are made in plaster-molds, as described for fruit, fUhng m with any 
 substance convenient ; such as scraps of leather, 
 wool, cotton, or better still, common plaster of 
 Paris. 
 
 There is no prettier flower in leather than 
 the rose, whether the conventional wild rose, or 
 the full, double-hybrid varieties. As it is al- 
 ways best to cut the petals, or the entire corolla 
 in one piece, when possible, this rose is best 
 formed in the following manner: Cut six or 
 eight pieces of the shape of A and B, which are 
 the smallest and largest sizes, the remaining 
 four or six to be graduated in size from A to B ; 
 C shows the third size, one coming between it and A ; 
 where eight sets are used they are larger than B. The size depends upon th?, 
 piece of furniture to be ornamented ; for a frame, bracket or other small article, 
 the smaller-sized flowers must be used ; for a large table, sideboard or any heavy, 
 massive piece of furniture, the flower may be of the size of the natural one. 
 The corolla of the double rose is arranged with the petals, as they ajppear in B, 
 with the second set of petals upon the divisions of the one previously placed, 
 '^.''he stem is covered with leather, and the end bent over ; the small circle of 
 petals are then put on the stem, slipped up to the bend of the wire, then 
 crumpled, and pressed closely around it (the first two circles might better be 
 made of a soft part of the skin) ; the second circle is theji slipped on, and 
 folded around the first one, one petal overlapping the other. Great care must 
 be taken to mold and curl these petals ; rolling the edges upon a smooth board 
 with a round molding-tool, and pressing the ball-end of the tool into the center. 
 The two or three outer circles must be curved outward. The calyx is found as 
 shown in D, molded and fastened with glue. The rose-leaves should be molded 
 upon a deeply-marked gilt leaf-mold, and a wire stem with cover of thin kid fast- 
 ened to each one, then the cluster formed upon a larger and stronger wire. 
 The buds are formed of circles, like the smaller petals, pressed upon wire-stems, 
 in the same manner as the flower ; the calyx then cut and molded, and arranged 
 around the petals. For small, close buds, cut pieces and cover with calyx ; be- 
 low this wind a fine thread of leather into the form of an ovary, and cover with 
 
 15. Veining the Ijoaves. 
 two between it and B ; 
 
130 
 
 HOUSEHOLD ELEGANCIES. 
 
 soft leather ; or, better still, mold a little lump of putty into the desired form 
 around the stem, and color with the stain used upon the leather. A handsome 
 table thus ornamented is shown in Fig. 18. 
 
 A beautiful hanging-basket is shown in Fig. 10 ; it is composed of a wooden 
 bowl, such as is used in any kitchen, stained with a decoction made of gamboge, 
 put in ale or vinegar, or curcuma 
 boiled in water ; and when dried, 
 subjecting to the fumes of am- 
 monia ; or, by brushing over with 
 vinegar in which a few pieces of 
 rusty iron have been placed for a 
 few hours. Great care must be 
 taken not to apply this too strong, 
 as there is danger of turning the 
 article black instead of yellowish- 
 brown. 
 
 The ivy and oak, Fig. 16, com- 
 bined, have a very fine effect. 
 The bowl being stained of a dark 
 " old-oak " color, and highly pol- 
 ished; the oak-leaves and stems 
 can be formed of tiny, gnarled 
 branchlets of real oak, and the 
 acorns may be formed of the nat- 
 ural cups, with nuts of putty, or 
 the half of small pecan-nuts, 
 glued into the cups. Or the 
 
 Fig. IG. Hanging-Basket. 
 
 stems may be formed of thick wire, covered with leather, and the nuts of the 
 
 acorns, also made of kid, over a turned 
 wooden foundation, and glued in the 
 acorn-cups ; but the first method will be 
 found the most natural in appearance. 
 The ivy-vines may be formed of covered 
 wire, bent to the proper curve; or, the 
 pliant vines and tendrils of dried vines 
 may be used; the natural tendrils will 
 be found more graceful than any arti- 
 ficial ones can possibly be. 
 
 After making the stems and cutting 
 and bending them to resemble gnarled 
 oak, attach, as naturally as possible, oak- 
 Fig. 17. ivy-Leaf. leaves and acorns, fastening them on the 
 
 back part of the wire ; then attach the ivy-leaves, berries and tendrils to 
 
HOUSEHOLD ELEGANCIES. 
 
 131 
 
 wire-stems, and a garland of the same for the front edge of the bowl. Tack the 
 branches of oak tastefully upon the bowl, and twine the ivy among them. 
 
 There should be three shades of oak in this piece of work. The bowl, a deep 
 brown ; the oak, the natural " old-oak " shade of brownish yellow ; the ivy, a 
 
 Fig. 18. Table Ornamented with Leather-Flowers. 
 
 light oak ; the acorns should be their own natural color. Mold and shape the 
 leaves carefully. 
 
 Fig. 19. 
 
 Fig. 24 shows another pretty plant-basket of oval form, adorned with the hop- 
 vine, which is extremely beautiful in this kind of work. The blossoms are 
 
132 
 
 HOUSEHOLD ELEGANCIES. 
 
 formed by fastening- a number of petals around a piece of covered wire, and 
 arranging them in loose, graceful clusters. The leaves are of beautiful form. 
 
 Fig. 20. Clock-Shelf. 
 
 and the gilt molds may be obtained at the wax-flower establishments. The 
 form of the petal is shown at A A, and the completed corolla at B, with the 
 leaf, C. 
 
 Each petal must be made concave by roll- 
 ing upon the inner surface with the 
 rounded end of a proper-sized molding- 
 tool. The blossoms should vary in size, 
 the buds being quite small and close ; but 
 as every one is familiar with this beauti- 
 ful vine, it is useless to describe it more 
 minutely. 
 
 The most elegant sample of it we have 
 ever seen was stained jet black ; a high Fig. 21. 
 
 polish given to the oval, wooden bowl, and also to the leather, by means of black 
 
HOUSEHOLD ELEGANCIES. 
 
 133 
 
 varnish and polishing with pumice-stone, in fine powder, and a wet, woolen pad. 
 The stain was made by first painting with a decoction of log-wood chips, made 
 
 strong by boiling ; this dry, the va- 
 rious parts are blackened by paint- 
 Jng with vinegar in which pieces of 
 rusty iron have soaked for several 
 days. After the parts are all finely 
 polished, the leaves are veined and 
 touched with gold, and the blossoms 
 edged and marked with it. The 
 effect of the black, glossy surface 
 and gilding are exceedingly rich 
 and striking. At Fig. 22 is shown a 
 watch-stand made of light wood or 
 heavy pasteboard, and ornamented 
 with sprays of the fuchsia. The 
 calyx, of course, forms the external 
 part of this flower, and is cut from 
 one piece of leather as shown at D, 
 Fig. 19. The petals, four in num- 
 ber, cut separately, as showed at 
 E. They must be molded into 
 shape and glued to the stamens (F) 
 inside the branching calyx, so as to 
 alternate with its four lobes, and 
 folded one under the other. The 
 Fig. 22. Watch-Stand. stamens are eight in number, long 
 
 and gracefully bent, as also the one pistil (F). It is put together, thus : To the 
 covered wire-stem, of rather stiff but not thick wire, attach to one end a piece of 
 
 Fig. 23. Shelf Trimmed with Leather-Leaves. 
 
 slender wire, or stiffened leather rolled into a round form (F) ; make an anther 
 upon the end of putty or fine leather. This wire should be an inch long ; around 
 
134 
 
 HOUSEHOLD ELEGANCIES. 
 
 it arrange the stamens, cutting them like fine threads from one piece of leather, 
 four of them three-fourths of an inch long, the other four, slightly shorter ; cut 
 the end with a little rounded tip to represent the filaments ; stiffen them with 
 glue and curve each one gracefully ; then having the petals molded and shaped, 
 
 Fig. 24. Basket in Leather-Work, 
 roll them around the stamens and fasten with thread, fine wire or glue ; then 
 take the calyx, and touching the edges with glue, fasten it around the petals, 
 and to hold it together, tie a thread, temporarily, around it. The flower must 
 be formed as shown in the design, with the calyx rolled out and expanded; the 
 petals, surrounding the stamens and pistil ; the buds are formed of the calyx 
 curved around the stems, not inserting any stamens. The leaves are of beauti- 
 ful form, and the molds are readily procured. 
 
 This watch-stand is very ornamental when made of white-wood, painted with 
 
 7S the highly- glossed 
 enameled paint, the 
 leather work of the 
 lightest, finest leather, 
 painted in bright 
 
 Fig. 25. Pattern of Frame. colors of the natural 
 
 hues of the flowers and leaves. 
 
HOUSEHOLD ELEGANCIES. 135 
 
 Use finely-powdered colors, mixing them to the consistency of cream with 
 white of egg with a little distilled vinegar. This mixture must be kept tightly 
 
 Fig, 26. Hanging-Basket, 
 corked, and used as required. The colors may be mixed with parchment-size, 
 gelatine or gum-arabic, in solution. After coloring, give a thin coat of Demar 
 varnish. 
 
136 
 
 HOUSEHOLD ELEGANCIES. 
 
 When carefully painted in natural colors, and tastefully shaded and tinted, 
 and touched up with lines and marks of gold, leather-work of this style is ex- 
 quisitely beautiful. For various articles it is particularly appropriate ; frames, 
 brackets, baskets, card-receivers, letter and paper racks, etc., appearing like en- 
 ameled carving, such as we see in the imported work from France and Germany. 
 
 HANGING-BASKET WITH OENAMENTAL LEATHEE 
 LEAVES, ETC. 
 
 This is truly an exquisite basket, and with the instructions given in the previ- 
 ous lessons, may be easily made. 
 
 The skeleton or case of the basket. Fig. 26, is formed of the springs from 
 " hoop-skirts," which will be readily formed by examining the diagram. 
 
 Take four strips twenty-five inches in length ; tm'n two inches over at the top, 
 in the manner shown in Fig. 27 ; then, cut five lengths of eighteen inches, 
 which bend into arches ; turn or coil up two inches at the bottom, and fasten the 
 five arches together closely at the bottom, spreading them to a circumference of 
 twenty-four inches at the top ; where fasten them four inches from the top with 
 bands or hoops of the heaviest spring, allowing two inches between the upper 
 and lower one. Finish with an inner hoop crossed below the lower hoop, and 
 bound to the outer lengths with fine copper wire. Fasten a strip of the hoop 
 spring around the coils at the bottom, and give the whole a coat of brown 
 paint, then of bronzing. The cover of the hoops should be retained. 
 
 The leather ornamental-work is fully described in the pre- 
 ceding part of this chapter, as it consists of leaves, which, 
 after being cut, veined, and stiffened, may be colored to imi- 
 tate wood-carving ; or still more beautiful, receive a coat of 
 transparent gums upon foil, afterward veining and marking 
 with gold. In this case, color the wire-work a rich trans- 
 parent brown on foil, and gild parts of the arches and coils. 
 The flowers, color a deep crimson, put on in the same way. 
 Gutta percha flowers and leaves will be lovely on this bas- 
 ket, which is handsome, however ornamented. 
 
 Very many other useful articles may be ornamented by 
 groups of flowers, berries, leaves and tendrils, made of scraps 
 of leather. Brackets, wall-receivers, picture-frames, corner- 
 shelves, tables, watch-cases, shaving-paper holders, and glove- 
 boxes are only a few of the hosts of things to which leather- 
 work may be appropriately applied. 
 
 Ivy, grape and oak leaves furnish the prettiest patterns, 
 but it is well to collect specimens of various kinds, in order 
 to have an assortment. Certain flowers, such as the convolv- 
 ulus, are easily made by cutting circular pieces of leather, 
 
 u , if 
 
 Fig. 27. 
 
HOUSEHOLD ELEGANCIES. 
 
 137 
 
 and pressing the center, while wet, into a thimble ; keeping the smooth side 
 uppermost, and curling the outer circumference over the rounded edge of 
 the thimble, until the required shape is obtained. Stems are provided by- 
 cutting narrow strings or strips of leather, widening somewhat out at one 
 end. A small hole being pierced in the bottom of the flower-cup, the stem is 
 drawai through and a ball formed by rolling up the broader end, which will re- 
 main inside and prevent its being 
 pulled out again. Buds are made by 
 cutting out star-shaped pieces, some- 
 what in the form of a white jessa- 
 mine-blossom, and having threaded 
 the same kind of -stem through the 
 center ; in this case keeping the rough 
 side uppermost, it can be twisted 
 while still wet into a very well-shaped 
 bud. Real acorns may be effectively 
 introduced among leather oak-leaves ; 
 grapes may be formed by covering 
 small marbles with very thin, wet 
 leather, and gluing them together in 
 clusters, when dried; and for iA'y- 
 berries, smooth peas may be glued in 
 place, and painted brown. Pine 
 picture - frames may be cheaply ob- 
 
 Fig. 28. Watch-Pocket. 
 
 Fig. 29. Leatber-Bracket. 
 
138 
 
 HOUSEHOLD ELEGANCIES. 
 
 tained at any wood-turner's, and after being stained brown, are ready to be cov- 
 ered with leather-work, as taste may suggest. So, also, with brackets and aU 
 the other articles named. The leather leaves and -flowers must be fastened on 
 securely with small gimp-tacks, which, if managed rightly, will not be seen at 
 all. A little glue may also be used to ensure firmness. It is well not to attempt 
 to combine a variety of leaves on one article, but rather to let ivy predominate 
 in one, oak in another, grape in another, and so on, thus producing unique ef- 
 fects. Well-secured leather ornaments are extremely durable, and will bear 
 daily dustings for years ; if, in course of time, they become shabby, a little 
 varnish will renovate them. The bracket and watch-case. Figs. 28 and 29, ex- 
 plain themselves. One has only to obtain pine frame-work, and stain and dec- 
 orate it according to directions already offered. The bracket should be more 
 thickly covered with leaves than is indicated. 
 
 Some persons like to dust a little fine bronze-powder over their leather-work 
 while the varnish is still sticky. 
 
CHAPTER VII. 
 
 WALL-POCKETS. 
 
 Probably no one article of modern invention and ingenuity has afforded 
 greater satisfaction than wall-pockets. Persons naturally incline to take ease 
 and comfort whenever it is possible, and to have a receptacle for various articles, 
 without the trouble of going to some inconvenient place to reach it, or with- 
 out having the trouble of opening it when it is I'eached. Hence, "wall- 
 pockets," "catch-alls," and all the numerous class of conveniences classed 
 under the head of "trouble-savers," are voted the most popular inventions 
 of the day. It is certainly a great comfort to a tidy housekeeper to have 
 all things in her abode in a state of perfect neatness ; and the opposite con- 
 dition, when from cellar to attic every article is out of place, or thrown care- 
 lessly down, because the place for it is not convenient, keeps things in that 
 state of chronic " unfixedness " which produces impatience and ill-temper as 
 well ; hence, these wall-pockets, and all their class of relatives, are blessings ; 
 and as pretty things are a " joy forever," we rejoice in their capability of being 
 made into really artistic house adornments. 
 
 The spacious proportions required by some of these articles, which are in- 
 tended to contain large articles, render it necessary to have the front-piece 
 large ; and hence, these articles are capable of being made unusually handsome, 
 as upon this large, front panel, a painting or other object may be displayed ia 
 size, that will render it very imposing. 
 
 WALL-POCKETS FOR HORTICULTURAL PAPERS. 
 
 Measure the size of the magazine or paper, and cut two pieces of walnut ; the 
 one for the back one inch wider upon each side, and as high again as the front- 
 piece, which must be one inch higher than the paper, and as wide as the back ; 
 " one-quarter-inch stuff " is the suitable size ; cut the back in a high point, with 
 ornamental curves. With English walnuts and pecans, form a cluster of nuts, 
 with leather-leaves at the top, and graceful branches of smaller leaves, forming 
 
140 
 
 HOUSEHOLD ELEGANCIES. 
 
 a spray upon each side. Obtain a Decalcomanie picture, with gold covering for 
 dark surface, of rich fruit and flowers, or a scene of some rural kind, sufficiently- 
 large to cover the space between the pocket and the cluster or half-wreath of 
 nuts, and place around it a wreath of flowers, in the same kind of work ; or, hav- 
 ing cut from the colored plates in flower and fruit catalogues, the bright flower 
 and fruit, twine them carefully, and arrange them in a graceful bouquet, basket, 
 or vase, obtained also from plates ; or, better still, a colored picture, of hay- 
 makers, fruit-gatherers, etc. Various modes of adornment will suggest them- 
 selves to a person of taste, and may be obtained in every household ; as even the 
 fruit and flowers upon fruit-cans, tastefully arranged, may be formed into many 
 
 Fig. 1. Wall-Pocket, Ornamented with Leaves, Nuts, Etc. 
 
 iSeautiful designs. After pasting any of these ornaments upon the back, the 
 front of the pocket is ornamented in the same manner, with scroll-edge, and 
 groups of nuts and leaves in the corners, and around the edges ; a landscape- 
 scene, or fruit and flowers in the center, corresponding with the top. When dry, 
 varnish with Demar or outside varnish, first staining the nuts with umber and 
 vinegar. Line the lower part of back, and inside of pocket, with scarlet muslin, 
 velveteen or marbled paper, and fasten small brass hinges between the back and 
 front ; or, make a muslin hinge, by gluing a piece of strong black cloth along 
 the bottom, putting it upon the inside. Obtain a yard of small brass chain, 
 which fasten to a screw in the back, and to ornamental buttons fastened on the 
 
HOUSEHOLD ELEGANCIES. 141 
 
 front, allowing it sufficiently loose to form a pocket for the accommodation of the 
 papers. For holding fancy paper, etc., this case may be made of light, fancy 
 wood, rubbed perfectly smooth with pumice-stone ; and a painting in oil, painted 
 upon the surface, and silken cords used as a finish, with bunches of tassels. 
 
 Fig. 2. "Wall -Pocket in Velveteen and Spray-Work. 
 
 The wall-pocket we show in Fig. 2 is made of white velveteen. The figures are 
 cut from paper, and fastened on with sfnall pins. There are two sets of these : 
 those leaving the surface pure white, and which constitute the flowers, stars and 
 figures, which fill in the scroll-work point. The scroll is cut separately. These 
 are placed in position, and the surface " spattered the scroll-work papers are 
 
142 
 
 HOUSEHOLD ELEGANCIES. 
 
 then removed ; the work again spattered slightly, then the flowers, etc., are 
 removed ; the black parts are then made with indelible ink and India ink 
 rubbed together. A pocket is made and lined on the upper part of the back, 
 with black velveteen, which contrasts with the white edge, and shows the beauty 
 of the work more distinctly. This same pattern looks beautifully on white 
 drilling-muslin, spattered with indelible ink, and is very useful in a chamber, 
 to hang beside the bed or wash-stand. An entire set, consisting of piano-cover, 
 table-cover, tidies, covers for chairs, sofa, etc., were made, with figures of various 
 sized fern leaves ; the sprays made with indelible ink, and India ink, equal 
 parts. Finish either with white fringe, cords and tassels. The exquisite 
 delicacy and beauty of this parlor-set can not be imagined ; and after several 
 washings, the beauty was not in the least impaired. We would advise our 
 readers to try such a one. 
 
 BEAD WALL-POCKET. 
 
 Obtain a quantity of large German beads, with silver-foil lining. Make a 
 skeleton case of hoop-skirt springs, retaining the cover, thus : Take the 
 stiff est spring, and sew two pieces, twelve inches long, together ; also, two other 
 
 Fig. 3. 
 
 Fig. 4. 
 
- HOUSEHOLD ELEGANCIES. 
 
 143 
 
 pieces sixteen inches long, in the same manner; in order to stiffen them fasten 
 the long piece securely to the back, thus forming a projecting front. Cut six 
 pieces, half a yard long, which fasten together at the ends ; the top sewed on the 
 projecting front, form the skeleton of the pocket; see Fig. 3, A, for- the back; 
 make fifty-seven circles of the hoops, two inches in diameter, which sew upon 
 the upper part of the straight piece of hoop; first seven, then five, ending at the 
 top with one; for the lower part use the same. Cover these with tlie beads, Fig 4, 
 and form festoons of them in double rows along the front, with a long tassel at 
 the point. Make a pointed bag of bright-colored silk or glazed muslin, with 
 which line the lower part ; and cover a piece of paste-board cut in shape of the 
 back for the lining of the back, covering it upon the back side with paper pasted 
 neatly over it. A cord of twisted beads or bright-colored silk finishes the edge, 
 and a loop of the same for suspension. This is a very ornamental pocket for 
 holding various articles in a sitting-room or parlor. Coral-work ornaments 
 these prettily. 
 
 PAPER-CASE.— FIG. 5. 
 
 Cut a piece of thin board fourteen inches long and eight broad ; round off the 
 corners and cut to fit around it a strip of card-board or stiff pasteboard, four 
 inches deep. Cut a piece of coarse canvas six inches broad, and sufficiently long 
 to reach around the sides and front of the bottom board ; embroider upon it 
 
 Fig. 5. 
 
144 
 
 HOUSEHOLD ELEGANCIES. 
 
 with double zephyr a Grecian pattern four inches deep, and fill in with German 
 beads, either white-crystal or silver-foil kind ; cover the strip of pasteboard with 
 this, and covering the wooden bottom with muslin, sew the strip around it. 
 Make a loop fringe with the beads and fasten around the bottom in double fes- 
 toons or loops ; make a thick cord of the beads, with which, finish around the 
 top of the fringe and around the edge. Fasten four heavy cords, two at the 
 back and one upon each side (front), for suspension, with a bunch of tassels at 
 the top. Make a case lined with bright -colored muslin, to fit inside. These 
 cases are much admired, and have been so popular at fairs, and public bazaars, 
 that the demand has far exceeded the ability to furnish them. Scarlet zephyr 
 and trimmings, with the silver-foil-lined German beads are handsomer than any 
 other combination. 
 
 WALL-POCKET TOE HALL. 
 
 This pocket. Fig. 5, is intended to hang near the hat-rack, for the purpose of 
 holding gloves, etc. The back is cut from heavy card-board, such as box-makers 
 use, twelve inches long, and fourteen high. A bottom as long as the back, and six 
 inches deep, with the front corners rounded off, and the front-piece cut suffi- 
 ciently long to pass around this ; these pieces are sewed together with strong 
 thread ; the whole is then covered either with bronze or other fancy paper, or 
 with muslin, velvet or silk, upon which are pasted bright pictures of heads, 
 views or scenes, in proper positions ; then varnish with Demar. The edges are 
 then covered with fancy gilt paper, and a loop of silk cord placed at the top. 
 
 NETTED WALL-BAG. 
 
 From the steel springs of a hoop-skirt cut two each of the following pieces : 
 twelve, sixteen, ten and fourteen inches ; sew each two together in order to 
 strengthen them. Cut, also, four strips eight inches long. Sew the twelve-inch 
 strips to the ends of the sixteen-inch one, which will project in a semi-circle. A, 
 Fig. 6 ; to these sew the four eight-inch pieces ; two upon the straight back-piece, 
 and two upon the front, securing, at the bottom, with the fourteen-inch piece. 
 
 12 in. 
 
 Fig. G. 
 
HOUSEHOLD ELEGANCIES. 
 
 145 
 
 which, fastened to the back, will, when sew^ed together at the ends, form a skele- 
 ton, Fig. 6. Net, with scarlet zephyr, a bag sufficiently large to fit easily around 
 the top, and tapering to a point about six or eight inches below the circular piece 
 at the lower part of the skeleton. Ornament with loops of large, pearl beads 
 around the front, and row of thick chenille ; at the bottom, a long tassel of the 
 pearl beads. Suspend by four chenille cords and bunch of tassels. 
 
 INIake a lining of white silk, fitting neatly and tightly around the top, of 
 length of netted cover, and gather into a point at the bottom ; sew within the 
 frame- work, and cover the stitches with chenille. This is a pretty bag for a 
 handsomely-furnished room, and useful for holding dusters, etc. 
 
 The round beads are pearl, with opal-colored bugles, and seed-pearl beads on 
 the points. 
 
 WALL-POCKET ORNAMENTED WITH SPRAY-WORK. 
 
 Procure two pieces of satin or other white wood ; the one for the back twenty- 
 eight inches long and sixteen wide ; and the other, which is front of pocket, 
 thirteen by fourteen inches. 
 
 The back is to be cut in a point in the center, and gracefully sloped dow^n 
 until sixteen wide at the point, which is fourteen inches from the bottom, saw- 
 ing it out in scroll-shape, as shown in Fig. 7, which is a miniature illustration of 
 the pocket. These pieces are to be rubbed very smooth with fine pumice-paper, 
 then polished, by varnishing and rubbing off with j)umice-stone and water, 
 as is described in section on varnishing, etc. The surface must present a 
 uniform, highly-polished finish. The next step is to 
 decide upon, the figures to be used in ornamentation, 
 which is to be entirely in black and brown, and may 
 consist of regular figures or natural ornaments, such 
 as ferns, leaves, flowers, etc.* Supposing geometrical 
 figures are used on the back and a scene on the front 
 of the pocket ; then cut the figures for the back from 
 paper, and with pins fasten it securely in place, and, 
 with India ink, proceed as directed in section on 
 Spray-Work. The front of the pocket is polished as 
 directed, but before the last coat of varnish is per- 
 fectly dry, having a landscape of suitable size, which 
 has been saturated with water and patted in a soft 
 cloth to remove superfluous moisture, it is placed 
 carefully in proper position upon the sticky surface. 
 Fig. 7. face down, and patted over the surface until it is 
 
 made to adhere in every part. Then, moistening the finger slightly, the white 
 paper upon the back of the engTaving is gradually rubbed off over the whole 
 back. When the first layer is removed, the picture is allowed to dry; after 
 10 
 
146 
 
 HOUSEHOLD ELEGANCIES. 
 
 which, it is again wet, and the remainder of the paper rubbed off until a thin 
 fihn alone remains, showing the engraving distinctly impressed upon the light 
 background. 
 
 A thin coat of fine Demar varnish will make the engraving perfectly trans- 
 ;:arent, when it will appear as if impressed or painted in India ink. After the 
 paper has been removed from the engraving, if any spots appear in the least im- 
 perfect, they must be " touched up " with India 
 ink and sepia. A narrow border may be cut 
 from paper and placed around the outer edge 
 of the landscape, with a line of \)lack upon 
 each edge, and the surface, between the lines, 
 painted with a small brush, in India ink. 
 Upon removing the papers, the designs re- 
 maining in the light color of the wood must be 
 touched up with India and sepia, to produce a 
 soft shading upon the edges, on the veinings of 
 the leaves, and on the prominent parts of the 
 border. Small brass hinges are affixed to the 
 lower edge of the pocket, by which it is affixed 
 to the bottom of the back. One-third from the 
 top of the front-piece or pocket, rings are fas- 
 tened upon each side, to which a chain with 
 hooks is affixed, which passes round the back, 
 thus holding the front in place. If preferred, 
 scarlet morocco, cut in shape of Fig. 7, may be 
 fastened between the back and front, as shown 
 at Fig 8 ; the edges should be pinked out or bound with narrow ribbon. 
 
 WALL-POCKET FOR SPONGES, BPUSHES, ETC. 
 
 Take a piece of heavy pasteboard, from which cut five pieces, as follows : the 
 front ten inches long, five high ;• the back fourteen inches high, and ten long; 
 the bottom ten long, and four deep ; the side-pieces five feet high at the front, 
 six at the back, and four deep. Shape tastefully by cutting curves in the back 
 and front, and sloping the sides in an arch ; cover with enameled table oil-cloth ; 
 ornament with pictures, and finish with a binding of galloon or ribbon, and 
 leaves of brown paper, stiffened with glue and dipped in Japan varnish. 
 
 WALL-POCKET FOR LETTERS.— FIG. 8. 
 
 Cut a piece of card-board ten inches high and eight inches wide, for back ; 
 the pocket eight inches high ; cut off the corners, and slope both back and 
 pocket in a graceful curve, as in diagram. 
 
HOUSEHOLD ELEGANCIES. 
 
 147 
 
 Cut scarlet or other bright shade of merino, to fit both back and pocket, and 
 line with colored muslin. 
 
 Embroider in white floss or colored silks, a bouquet or other design upon 
 each; bind both securely together, and finish with silk cords and ribbon bows. 
 Place a fancy button upon the top of pocket and back, with loops of cord, and 
 suspend by ribbons. 
 
 This pocket may be covered with velvet, and embroidered with beads or gold 
 or silver thread. 
 
 / 
 
 Fig. 9. 
 
 A SET OF WALL-POCKETS FOR TOILET. 
 
 These are cut from white Bristol-board, and may be ornamented- in any one 
 of various styles ; water-color paintings finish thSm beautifully, and pictures in 
 Decalcomanie, or the gelatine pictures, are equally lovely. They consist of four 
 pieces, viz., the brush and comb case, catch-all, sponge-basket, and hair-pin 
 case. 
 
 The first is made by cutting back, front, bottom and end pieces of proper 
 length and width, to accommodate the brush and comb. The back is cut in a 
 point, and in the center is ten inches high, curved downward to the point, where 
 the ends meet it ; from this point it is cut straight ; the front is about five 
 inches high, and corresponds in shape with the back ; the ends are also five 
 inches high at the front, rising in a curve another inch, where it joins the back ; 
 
148 
 
 HOUSEHOLD ELEGANCIES. 
 
 the " catch-all " corresponds with the above in style, and is over ten inches in 
 length, but wider, the bottom having the corners rounded off, which gives the 
 front a rounded appearance ; whereas that of the comb-case is straight, and the 
 front being longer than the back, precludes the necessity of end-pieces. These 
 are pinned around the edges, and ornamented with suitable pictures or paint- 
 ings, and bows of ribbon at the points of connection. The lower part of brush- 
 case should be lined with enameled table oil-cloth. The sponge-basket is 
 made of a bottom, cut in shape of a half-circle, lined with the oil-cloth; to 
 which are attached six pieces cut in shape of oblong pentagons, lined with oil- 
 cloth, and pinned around, excepting the ends, which are sewed to the bottom. 
 
 The back is formed like the other cases, the lower part as high as the front 
 pieces, five inches, lined with oil-cloth. A picture upon the front of back, and 
 one on each section of basket, completes it. The parts in each are sewed 
 together firmly and bound with gilt paper pasted over the stitches. 
 
 The hair-pin case is a cluster of cornucopias, pinked around ^tho edges, and 
 ornamented with pictures to correspond with the other articles ;. bright ribbon 
 bows ornament each, and all of them fastened on where fancy dictates, and at- 
 tached as suspension loops. This set is not only a tasteful but most useful ad- 
 dition to a toilet table. 
 
 The various articles may be covered with brown paper and leaves of the same 
 arranged as a border, and clustered in the center spaces in form of flowers ; then 
 varnish with Copal. This may not form as chaste and delicate a set, but will be 
 found more durable. 
 
 Fig. 14 is a wall-pocket suitable for either toilet or parlor use, made out of 
 fancy card-board, and ornamented either with spatter-work and Decalcomanie. 
 The specimen shown in the illustration is done in Photophanie work, which con- 
 sists in pricking patterns with a pin or needle through the card, and the raised, 
 pointed edge in front, together with the perforation of the holes, make a fancy 
 effect. The center of oval front is ornamented with flowers in Decalcomanie. 
 This can be used also for a portfolio on the table. 
 
 BED-POCKET.— EMBEOIDEEY OF COED-STITCH. 
 
 Materials : Gray linen, black i)raid three-fifths of an inch wide, black and yel- 
 low floss silk, a bar of wood, carved and varnished brown, ten inches long, one 
 and one-fifth inches wide, provided with two small yellow hooks. 
 
 This pocket is as serviceable as it is ornamental, in a bed-room. It is provided 
 with small pockets to contain handkerchief, flask and the like, and two hooks 
 on which to hang a bunch of keyes and watch. On the pattern for the various 
 parts of the pocket, half of the design for the embroidery is represented. Fig. 
 10 shows full size ; a center-piece of the embroidery, and the decoration on the 
 braid which binds the upper edges of all the pockets. The embroidery is exe- 
 cuted with back-stitches of black silk, wound about with yellow silk ; the veins 
 
HOUSEHOLD ELEGANCIES. 
 
 149 
 
 of the leaves are yellow, as are also the cross-stitches on the binding. The side 
 pockets are set on in connection with soufflels, pieces of linen four inches long, 
 and two inches wide. The upper edges of the soufilets and middle pocket are 
 bound with one piece of braid. A whalebone, covered with linen and fastened 
 
 Fig. 10. Embroidered Wall-Pocket, 
 at the back of the pocket, reaching from one side pocket to the other, gives the 
 back part firmness. Three loops of braid, decorated with cross-stitches of yel- 
 low silk, affixed to the back part, connect it with the bar of wood. 
 
 WALL-POCKET FOE, LETTERS, CARDS, ETC. 
 
 Take a piece of white card-board, or better still, the lid of a large handkerchief- 
 box, with handsome plate ; cut a piece of card-board of same width and half 
 again as high ; fasten together at bottom with muslin hinge, and pink entirely 
 around, perforating each scallop with one or more holes. Make end-pieces of 
 silk or reps, with elastic let into a shirred ruffle at the top and plaited closely at 
 bottom. Obtain four of the pretty card-chromos of flowers or views, which 
 pink entirely around, and making perforations at each side, tie them with bows 
 of bright-colored ribbons to each side of top and front of pocket for the recep- 
 tion of cards ; suspend by broad ribbons that match the bows. 
 
 WALL-POCKET FOR DUSTERS, ETC. 
 
 Take a piece of heavy pasteboard, eight inches high and ten inches long, 
 which cover neatly with brown linen, pasting colored paper-cambric upon the 
 wrong side ; cover another strip of the pasteboard, three inches longer and seven 
 inches high, with the linen, embroidered with scarlet thread. Make a bag 
 
150 
 
 HOUSEHOLD ELEGANCIES. 
 
 a half yard long, and sufficiently wide to be gathered with a shirred ruffle 
 around the case ; gather at the bottom, closely, and finish with a long scar- 
 let tassel made of zephyr ; sew heavy, scarlet woollen cord around the case with 
 tassels at each corner, and cord and tassels fastened at each end for suspension. 
 
 WALL-POCKET.— WITH A SMALL IRONING-BOAKD. 
 
 Materials : Gray linen, whits flannel, red worsted, medimn-sized cord, worsted 
 braid one and one-fifth inches wide ; red zephyr worsted, and silk. A board, four- 
 fifths of an inch thick, twenty inches long and eight inches wide. This pocket is 
 exceedingly handy in a bed or dressing room, as it contains a little ironing-board 
 on which little things, such as collars, cuffs, ribbons, etc., may be ironed. A 
 
 small pocket at the top contains an iron- 
 holder. Our model requires three pieces 
 of linen, eleven and one-fifth inches wide, 
 the one for the back part twenty-four and 
 two-fifths inches high ; that for the large 
 pocket twenty inches high ; that for the 
 small pocket seven and threa-fifths inches 
 high. The upper corners of the back part 
 and small pocket are slanted off, begin- 
 ning at a distance of four inches from the 
 top, and leaving it six inches wide. Both 
 pockets are rounded at the top into a deep 
 scallop, bound witli braid, and edged with 
 a ruching of braid. They are further 
 braided with soutache, in the manner rep- 
 resented in the engraving. The small 
 pocket is sewed to the back part first, and 
 then the long one ; the whole is then 
 bound all around with braid, and deco- 
 rated by a ruching of braid. Two loops 
 of red cord, each one inch long, are fas- 
 tened to each corner of the top, and serve 
 to hang the pocket up. Fig. 11 represents 
 the ironing-board, and shows the manner 
 in which a flannel cover, twenty-two and 
 two-fifths inches long, ten and two-fifths 
 inches wide, scalloped all round with red 
 
 Fig. 11. Wall-Pocket with a Small Ironing ^.Qrgted in button-hole stitch, is tied to 
 Board. 
 
 the board. The iron-holder consists of a bag, five and three-fiftlis inches long, 
 and four and two-fifths inches wide, stuffed with batting, and covered by a 
 piece of flannel, scalloped all round with red worsted ; the flannel must be cut 
 
HOUSEHOLD ELEGANCIES. 
 
 151 
 
 three-fifths of an inch wider than the holder all around, and fastened to it with 
 fine, invisible stitches. 
 
 BASKET WITH LAMBEEQUIN. 
 
 Colored embroidery materials. Green and white cloth, black, green, blue, red, 
 yellow, purple, and brown twist-silk, and silk braid, two silk tassels, green 
 ribbon, one inch wide. The basket is braided of shavings, and the three lam- 
 brequins are constructed of green and white cloth in the manner indicated in 
 
 Fig. 12. Basket with Lambrequin. 
 
 Fig. 12. The bouquet on the center-piece of white cloth is worked in the follow- 
 ing manner : the flowers variously of blue, purple, yellow and red silk, the leaves 
 of green, and the stems of brown silk. Surround with green, pinked cloth and 
 then decorate the latter with the embroidery, consisting of green star braid, 
 edged with black button-hole stitches ; green button-hole-stitch leaves, with black 
 veins ; black arabesques, green knots, dots, and stars. Tassels, one inch long, 
 made of green and white strips of cloth, and attached to silk cord, and bows of 
 
152 
 
 HOUSEHOLD ELEGANCIES. 
 
 green ribbon decorate each end of the basket ; and the lambrequin is finished off 
 by a ruching of green ribbon crossed at its center by a knotted green satin fold. 
 The cord and tassels for hanging up the basket are attached to it, with green 
 ribbon bows, and decorated at the top with a green bow, beneath which the tas- 
 sels hang. 
 
 VISITING-CAED POCKET.— FEET-SAW WOEK AND OEIEN- 
 TAL EMBEOIDEEY.— FIG. 13. 
 
 Materials : Red merino, white, black, blue, green, brown, and yellow twist silk ; 
 fine gold cord, green silk, nine green crochet buttons, oblong steel spangles, 
 crinoline, red moire paper, one brass ring, thick gum. 
 
 Fig. 13. Visiting-card Poclset. 
 
 Our model is a pretty wall-ornament ; a frame of fret-saw work surrounding 
 a rich Oriental embroidery on a scarlet ground. We cannot here explain to 
 our readers how to use the fret-saw; we give the design of the frame very 
 clearly, but our task is only to describe what belongs in a lady's department — 
 the execution of the embroidery. The frame of the pocket consists of two parts 
 
HOUSEHOLD ELEGANCIES. 
 
 153 
 
 of wood, the front wall, and the rear. Both figures show the design for the 
 fret-saw work and for the embroidery. Steel buttons and spangles are used 
 for decorating the white-wood frame. The embroidery is worked on a ground 
 of scarlet merino. The middle star of the design is blue ; the single scallops 
 cround it gold, and it is filled in with white and gold knots. The other stars 
 are worked alternately white and blue, black and yellow, blue and gold. The 
 leaves are worked in turn, green, white, and brown; the veins of gold. The 
 squares are of gold. The embroidered parts, when completed, are lined with 
 crinoline and red moire paper, by means of pasting, and then pasted at the 
 back of the wooden frames ; the paper being cut exactly the size of the latter. 
 Both parts are connected at the bottom by means of a strip of card-board, 
 one and one-fifth inches wide, covered with green silk, and on the sides by 
 green silk bellows, and fitted together at the corresponding letters. T^e inside 
 of the pocket is finished off with a piece of card-board, covered with green 
 silk ; thus hiding the place where the bellows and the strip at the bottom are 
 affixed. At the back the card-board lining is finished off at the top by green 
 crochet-buttons. A brass ring, attached at the top of the back wall, by means 
 of a piece of ribbon, an inch long, serves to hang up the pocket. 
 
 WALL-POCKET FOR KITCHEN. * ' 
 
 Every housekeeper knows how necessary it is, at certain times, to know where 
 to obtain various articles required in a hurried moment, such as string, holder 
 for iron or kettle, paper, or a towel or apron ; one or several pockets hung in 
 convenient place will be found a most comfortable addition to a kitchen. 
 
 The best foundation for these pockets is stiff floor oil-cloth, which cut a half 
 yard long and twelve inches wide, rounding off the lower corners ; cut to fit this 
 a piece of bed-ticking or brown crash, and a lining for back of calico ; cut, also, 
 a second piece of the outside, material rather larger than the foundation. 
 Work the ticking upon the white stripe with gay zephyi* in polka-stitch. Sew 
 the back and lining together, hemming the bottom, in order to slip it off and 
 on for washing when soiled ; furnish with buttons and button-holes, and sew 
 the pocket, held loosely, to the outside piece. Then finish with a piece cut in 
 scallops and worked in button-hole stitch upon the edge. The pocket is suffi- 
 ciently loose to receive various articles, yet not so much so that it will sway 
 open ; if desired, a flap or cover may be made to fall over the opening, fastened 
 along the top. 
 
 If preferred, a series of small pockets, made in this manner, may be fastened to a 
 long strip of covered oil-cloth, and each one appropriated to some special purpose. 
 
 If covered with Turkish toweling and trimmed with " Turkey-red chintz," 
 they may be made to look quite stylish, and are easily washed. As it is desir- 
 able to have such pockets held firmly without swaying, they should be fastened 
 to hooks by means of short straps or a little band with button-holes. 
 
154 
 
 HOUSEHOLD ELEGANCIES. 
 
 POETFOLIO. — IN PHOTOPHANIE. 
 
 Yellowish card-board, gold-colored varnish, etc. The margin of this elegant 
 portfolio, as well as that of the i30cket-cover, is decorated with photophanie, d'v 
 
 scribed in another chapter. The views, tendrils, stems, and dots are executed 
 with a fine brush and gold-colored varnish. In our model, the inner space of 
 the pocket-cover is filled up, by a bouquet of flowers embroidered in bright- 
 
HOUSEHOLD ELEGANCIES. 
 
 155 
 
 colored silk, or split zephyr on perforated card-board. The parts are best worked 
 separately, and then given to the bookbinder, who finishes them off neatly, and 
 provides them with a narrow gold binding. 
 
 BEUSH-CONTAINEE. 
 
 A very suitable place for this pretty ornament is beside the wardrobe. It is 
 carved of dark *v^ood, and decorated with an embroidered medallion. The latter, 
 in our model, is of green velvet, with a monogram embroidered in gold. A 
 bouquet of flowers also looks very pretty. 
 
 FANCY WALL-POCKET. 
 
 Fig. 16 represents a very pretty wall-pocket of crimson cloth embroidered with 
 fine jet beads. The body, made of pasteboard, is composed of three pieces : No. 
 1, the back, which should be cut ten inches long and five inches deep; sides and 
 bottom straight; top shaped as in illustration: No. 2, the bottom, a perfect 
 
 Fig, 15. Brush -Holder. Fig. 16. 
 
 half-circle, ten inches across on its straight edge : and No. 3, the front-piece, 
 fifteen inches long and six inches deep in center ; shape same as front in the . 
 engraving. 
 
156 
 
 HOUSEHOLD ELEGANCIES. 
 
 First, lay patterns Nos. 1 and 2 on the cloth, and with French chalk, trace the 
 outlines in order to establish the line where the embroidery is to go. After em- 
 broidering, cover the pasteboard forms on both sides with cloth ; overcast the 
 long straight edges of 1 and 2 together ; then cover one side of a straight oblong 
 piece of pasteboard, fifteen inches long and three inches wide, with cloth ; over- 
 cast this lengthwise to the curve of the bottom (No. 2), and fasten its ends to 
 the back-piece to form ths pocket. The ornamental front-piece«is then put on 
 over this narrow pocket-front, projecting above it, so as to give the shape seen 
 in illustration of finished wall-pocket, and its curved lower edge is trimmed 
 with fine cut-bead fringe. Nothing remains but to hang the receiver by four 
 crimson cords, as shown in the engraving in next column. 
 
 These articles are extremely pretty for Christmas gifts, and the blended mon- 
 ogram of giver and recipient can be embroidered in the center of the front piece. 
 They may be covered, embroidered, and trimmed in any color or style one's 
 taste may suggest. The cut-bead trimming is named here, because, in the first 
 place, it is pretty, and secondly, apart from that, it affords one an opportunity 
 of using up the quantities of cast-off jet trimmings, which most ladies now hold 
 as heavy souvenirs of a fashion passed away. 
 
 WALL-POCKET IN" CARD-BOAED FRET-WORK. 
 This pocket is made by cutting card-board for the back, and two strips along 
 
 Fig. 17. Wall-Pocket in Card-Board Work. 
 
HOUSEHOLD ELEGANCIES. 
 
 157 
 
 tlie front, in slits. These strips are twenty-one inches long and three inches 
 wide ; the back seventeen inches wide, by eight inches high, with a bottom of 
 stiff pasteboard seventeen inches wide, and sufficiently wide for the twenty-one 
 inch bands to fit around the front, after the front corners are rounded off. Cut 
 the card-board, with a sharp-pointed knife, into twenty uniform sections, and 
 bind each strip with scarlet ribbon. A strip of gray cloth, two inches wide, must 
 be marked out and braided with scarlet braid and gold-color, as saddler's silk, 
 in one figure, with white floss-silk chain-stitching and steel beads on the other, as 
 shown in the full-sized illustration. A crocheted edge finishes this band which 
 is joined, in the center of pocket, to the card-board strips ; through the lattice- 
 work of the strips is run scarlet satin-ribbon, and line the front, bottom and 
 back with glazed muslin, and sew the parts together. Finish the top of back 
 with the same fret-work used upon the front strips, running the ribbon through 
 in like manner. Finish with points of hoop-skirt spring crocheted over with 
 scarlet zephyr, and put on in points as shown in illustration. Fasten suspension 
 cords of scarlet and gray zejDhyr, with tassels, to the back. This is an unusually 
 beautiful pocket, and both easily and economically made. 
 
 WALL-POCKET FOE BED. 
 Cut a tastefully-shaped piece of stiff pasteboard eighteen inches broad and 
 twenty inches high, rounding off the lower corners, and cutting a large scallop 
 out of each side above, which will form a point in the center and at each end. 
 Cover with bright-colored cambric, pink, blue or green, lining the back with 
 white muslin. Cut a piece of white pique to fit the lower half of the pocket 
 after gathering in one-fourth its size ; also a piece of the same, fitted in the 
 same manner to the upper part, and upon this arrange three small pockets, cut 
 in small half circular pieces ; the center one arranged as a watch-pocket, with^ 
 open circle in the center. Ornament the edges of all the pockets with full 
 quillings of the bright-colored cambric, pinked out on each edge and inclosed 
 in the band, binding the tops of the two large pockets with a strip of strong 
 elastic. Fasten the upper pocket to the card-board back, a long the sides and 
 bottom ; then the lower pocket, which should extend two inches above the upper 
 one ; sew the pinked quilling around the entire edge, and form suspension cords 
 the cambric pinked out on the edges, with bows of the same. These pockets of 
 are very stylish hung upon each side of a bed, for holding night-clothes, watches, 
 handkerchief, necktie, collar, or other articles removed at night from the person. 
 Another pretty covering for them is quilted cambric, a very thin layer of cotton 
 or sof^flannel laid between, and quilted in diamonds upon the sewing-machine. 
 
 WALL-POCKET.— FIG. 18. 
 
 Materials : Gray yarn, green woolen rep, stout card-board, one small brass 
 ring. This wall-pocket, which is a handy repository for newspapers and the 
 like, consists of a back part eleven and one-fifth inches wide, twelve inches high 
 
158 HOUSEHOLD ELEGANCIES. 
 
 in the center, and slanting towards the sides, where it is nine inches high ; and a 
 front part nine inches high and of the same width as the back. These parts are 
 covered with green woolen rep, and the front part is decorated with a square 
 
 Fig. 18. "Wall-Pocket for Papers, 
 tidy, crocheted or tatted in some pretty design with gray yarn. At its top, the 
 front part is joined to the back by a strap of ruched merino three and one-fifth 
 inches long and one and three-fifths inches wide, crossed in the center by a 
 double cord of gray yarn. The lacing of gray cord at the sides prevents the pa- 
 pers in the pocket from falling out. Pinked ruchings of merino, and gray yarn 
 cord and tassels, arranged in the manner the illustration indicates, completes 
 the decoration of the pocket. A brass ring at the top of the back part seizes to 
 hang it up. 
 
HOUSEHOLD ELEGANCIES. 
 
 159 
 
 DUSTER-BASKET WITH LAMBREQUINS IN COLORED 
 
 stitch, with gold-color calyxes, one blue, one scarlet and one bluish-green petal ; 
 herring-bone stitches of black silk connect the flowers, gold braid completes the 
 embroidery. The smaller lambrequin scallops are oval in shape, of fawn- 
 colored cloth, pinked all around ; they are two and two-fifths inches long, one 
 and four-fifths inches wide at the top ; they are embroidered with long button- 
 hole stitches of gold-color silk, to represent an ear of wheat ; three long blu- 
 ish-green silk stitches along the center, held together by a cross-stitch, represent 
 the vein in the center. Each scallop is finished off by a tassel, two and two- 
 fifth inches long, of brown, crimped silk ; a brown bow on the cover, and 
 brown ruching around the top of the lambreqnins, complete the decoration. 
 
 EMBROIDERY. 
 
 Fig. 19. 
 
 Materials : White and fawn- 
 colored cloth, gold-color, scar- 
 let, blue, and blue-green twist 
 silk, gold braid, brown ribbon 
 one inch wide, brown crimped 
 sewing silk. This basket is of 
 simple wicker-work, and pro- 
 vided with a cover. The lam- 
 brequins are in two sizes. Fig. 
 19 represents the larger, full 
 size. It is of white cloth 
 pinked all around, the Chinese 
 flowers embroidered in satin 
 
CHAPTER VIII. 
 
 WORK BOXES AND BASKETS. 
 
 A TASTEFUL parloT is not completely finished until the useful little work-stand 
 is made, and furnished with box and basket. Both these necessary accompani- 
 ments to the corner devoted to the sewing machine, may be made of various styles 
 and shapes. Yery elegant articles of the kind may be purchased, of course, but 
 as with most elegancies, the majority of ladies do not possess the means to in- 
 dulge in expensive adornments, even though they be useful as well ; such are 
 glad to be able to fashion pretty and convenient articles for themselves. Work- 
 boxes may be adorned in various ways ; described in the chapters on Fancy 
 Painting, Inlaid Work, Rustic Work, etc., and can be finished in a manner, at 
 once so artistic and perfect, that they compare favorably with the most exquisite 
 imported work. A handsome rustic box may be made as follows : Procure one 
 of the long cigar-boxes, and loosening the edges, carefully take it entirely apart ; 
 preserve the long pointed nails, as they will be required in joining it again. 
 Cover each part of th3 outside with a composition of beeswax, tallow and rosin ; 
 while sticky, arrange upon the front and end pieces clusters of the smaller nuts, 
 such as filberts, chestnuts, pecans, etc., with peach and plum stones. Cut 
 card-board in shape of leaves ; cover with the cement, and arrange scales of pine 
 cones, or strips of bark, upon them to appear as leaves ; or these may be made 
 ■of leather, as directed in chapter on Leather-Work. Upon the top of the box 
 form a larger group of nuts, such as the English walnuts. Brazil-nuts, Buckeyes, - 
 etc., making a foundation with putty, colored with burnt umber. Let the leaves 
 for this cluster be larger, and towards the edges of the cluster, place the smaller 
 nuts and clusters of berries, made from cherry-stones, chinquepins, or seed from 
 various flowers. 
 
 Fasten the leaves, tendrils, etc., so that they will not be loose, and catch in 
 surrounding objects. Around the edge of each piece, place a row of the tops of 
 poppy-seed pods ; beyond these a row of plum seeds halved, by being baked in a 
 warm oven. Within this row, one again of the poppy ; fill in as a ground-work 
 
HOUSEHOLD ELEGANCIES. 
 
 161 
 
 with grains of the small, purple pop-corn" using those of uniform size, and 
 placing evenly in rows ; or the ground may be made of browned coffee-grains. 
 Stiff glue will be found necessary in fastening dowh many of the pieces, touch- 
 ing them slightly with it, and laying a weight upon them until dry. In the 
 corners, fasten small clusters of two or three nuts, halved or entire. AVhen dry, 
 varnish with Copal. 
 
 Cut strips of thin wood, one-sixth inch deep, to extend around the ends and 
 front of the lid ; fastening it firmly, first with glue, and then by passing thin 
 " wire-nails " through into the lid ; around the outer edge of the lid fasten a 
 beading of coffee-grains, which will extend beyond this strip. These narrow 
 pieces upon the inner edge of the lid, must be on the inside of the box when 
 closed. Upon the inner side of the hd, within this rebate, place a piece of mir- 
 ror or a tasteful picture, fastening with a narrow strip of card glued against the 
 rebate, and covered with narrow gilt paper ; line the bottom, sides and ends with 
 velvet, touching the edges with glue ; and fasten the pieces together with glue 
 and the nails previously extracted. Make proper divisions for the various arti- 
 cles, by covering thin strips of wood or pasteboard with the velvet, and fastening 
 in with glue upon the edges. The cards of thin wood, upon which lace, cord, 
 etc., are rolled, are appropriate for this purpose. Needle-book, pin-cushion, 
 thimble-case, scissors-sheath, emery-basket, cards for silk, etc., case for yard 
 measure and a little fancy basket for " trifles," should be tastefully made, and 
 arranged on the inside. The lid may be fastened on with little brass hinges, or 
 a strip of strong cotton covered with velvet, may be glued, first to the lid, and 
 then to the back, previous to putting on the lining. Three small round nuts, 
 with a larger one in the center, must be fastened to each corner, and will form 
 pretty feet. When neatly finished, this is a handsome box, and has been mis- 
 taken for carved wood. 
 
 Another elegant box is made of one of the plain pine boxes, to be obtained at 
 any drug store. This is rubbed smooth with sand-paper, then varnished, and 
 when perfectly dry, rubbed off again with fine emery-paper ; then, re-varnished 
 with black Japan varnish, dried and rubbed smooth again with rotten stone and 
 turpentine, with a hard pad, made of a roll of flannel. This rubbing and var- 
 nishing is continued until the surface is as smooth as possible ; wash perfectly 
 clean after each rubbing, that no particles of sand remain. The last rubbing is 
 performed with a clean flannel pad, dipped in clear water and then in finely- 
 powdered pumice-stone ; when finished, the surface must be as black and pol- 
 ished as the finest and hardest piece of papier-mache. This done, a design is 
 drawn upon paper pricked upon the outlines with a pin, and held in position ; 
 finely-powdered plaster is dusted upon it, which leaves a white outline upon the 
 black surface ; which is made more permanent by being gone over lightly with 
 a white crayon. The design is th3n painted with sealing-w^ax paint, in a scroll 
 design, similar to Fig. 1, for tha front, which is one-half the design. A num- 
 11 
 
162 
 
 HOUSEHOLD ELEGANCIES. 
 
 ber of wide-mouthed bottles are procured ; those used by druggists are admira- 
 bly adaj)ted to this purpose ; these are partially filled with various-colored seal- 
 ing-wax, aud sufficient " ninety-five per cent, alcohol " added to dissolve these ; 
 a small brush should be used for each color. The stiff-bristle brushes, made of 
 fine, flexible bristles, should be used for this style of painting ; and by shading 
 and arranging the colors with taste, this work may be made to resemble enam- 
 eled work. Pieces of pearl, gold and silver foil, and bronze, are all beautiful 
 additions, and may be applied as described in the respective chapters on Gild- 
 ing, etc. 
 
 The inside of this box has a case made to fit the lower half. The four sides 
 are covered with light blue silk, sewed together, and then to the bottom, which 
 is covered in a similar manner ; this is then fitted into the bottom of the wooden 
 box, forming a ledge upon which to rest the tray, though when made of card, it 
 
 Fig. 1. Decoration for Cover of Work-Box. 
 
 will be better to fasten a narrow ledge of wood above this case ; it may be painted 
 or covered with velvet or silk. The upper tray must be made of strips cut to 
 fit within the box above the aforesaid ledge, lined neatly with silk and divided 
 into various compartments. The various " knick-knacks " suitable for ladies' 
 work. Directly in the center, make a case with loose lid to be lifted by a rib- 
 bon ; upon the top of this lid, form loops of ribbon in which to place the bodkin, 
 stiletto, knife, etc. A neat case for the thimble is made by covering a strip of 
 card with velvet and sewing the ends together, leaving the velvet rather longer 
 than the card ; gather together at the bottom, and sew into a box with circular 
 hole cut in the center, hiding the stitches with narrow silk chenille. 
 
 The lid is finished upon the surface like the sides, painting similar flowers 
 and scrolls in the corners ; upon the center, as a handle W'herewith to raise it, 
 fasten a group of nuts, painted and gilded similarly to the other w^ork. 
 
HOUSEHOLD ELEGANCIES. 
 
 163 
 
 Tack a rebate around the front and ends of the under side, finishing in black 
 enameled painting. Place a mirror within this rebate, fastening it in with 
 strips of painted or gilded wood. 
 
 Another beautiful mode of ornamenting such a box is by painting groups of 
 flowers upon white satin ; two for the front, one upon each side of the key-hole, 
 one for the top, and one for each side ; fasten them by gluing along the edges ; 
 cut card-board to fit each piece of the box, cutting out recesses for the satin in 
 scroll shapes, binding the edges with gilt paper pasted neatly around, after cov- 
 ering with black or purple velvet or bronzed paper or morocco. A complete 
 case is thus formed for the box, which placed over and fastened with glue, 
 frames the pictures upon the satin, and has a beautiful effect. The lid must 
 have an edge formed around it with the card, which will cover the edge of the 
 board, as it is of heavy wood. The interior is finished as the former. 
 
 Still another tasteful mode is by covering with shells. A layer of putty is 
 first applied, then the shells, arranging them in tasteful groups, or forming into 
 flowers. In forming roses, tiny dolls' heads placed in the center form a beauti- 
 ful addition. The shells may be colored with water-colors, if desired. After 
 fastening on the flowers and large shells, the ground-work is formed of small 
 rice-shells. Small work-boxes, suitable for the sewing-machine, may be made 
 of the common oblong cigar-boxes, which can be covered with paper or chintz, 
 lined and arranged to hold the various spools, bobbins, gauges, etc., used daily. 
 The machines not furnished with tops, and consequently devoid of drawers or 
 cases, may have such boxes arranged and fastened upon the table, and thus save 
 many a long search for missing articles. 
 
 WOEK-BASKET. 
 Wicker-baskets of all kinds have become so popular and cheap, withal, during 
 the past few years, that almost every house is furnished with its work-basket, 
 more or less tasteful. Yet there are some, perhaps, who may be glad to own a 
 tasteful, home-made article, and to such the following directions may be of some 
 value, if merely as a guide. 
 
 BASKETS. 
 
 For the foundation, cut out an octagonal piece of heavy pasteboard, for the bot- 
 tom, ten inches in diameter, and eight pieces seven inches high, three inches 
 wide at the bottom, fitting each section of the bottom, and sloped out to seven 
 at the top, rounding off the upper corners. Cover all with bright glazed chintz, 
 buff, blue or pink, and sew neatly together. ]\Iake a pocket for the upper part 
 of each section, cutting the material wider than the section to which it is to be 
 sewed, in order to gather it in. 
 
 STANDING WORK-BASKET. 
 For the bottom of this basket, which is shown in Fig. 2, we have used an or- 
 
164 
 
 HOUSEHOLD ELEGANCIES. 
 
 dinary cheese-box," fourteen inches in diameter ; and this will be found to 
 answer as well as a more elegant article. Line this box neatly as a receptacle 
 for various articles, such as rolls of " pieces," trimmings, etc. Upon the lid 
 make a cushion, stuffed with wool or hair, and upholstered with merino, vel- 
 veteen, or other suitable material, fastening down in diamonds, with fancy but- 
 tons. Next form the uprights with "skirt- 
 springs," retaining the cover, sewing five of 
 them together. The two side-pieces are suffi- 
 ciently long to reach from, one to the other, as 
 shown in the illustration, forming an arch be- 
 tween each two, and are painted buff ; while 
 the center one is carried to the top of the bas- 
 ket, and must be three and a half feet in length, 
 painted black ; the two pieces betw^een these 
 are crossed over each other, and bound to the 
 black central strand, with fine flexible wire ; 
 then turned upward, and continued upward 
 along with the black one. The arrangement 
 of these strands will be plainly seen by the il- 
 lustration. Gather them closely together a few 
 inches above the point, where the inner strands 
 are bound, and fasten closely together with 
 strong, flexible wire, covering with a band of 
 the "hoop-spring," neatly painted, and wound 
 closely round. Strong, firm hoops are required 
 both at the top and bottom of the basket, cov- 
 ering theni with any bright-colored material ; 
 scarlet or blue look well in contrast with the 
 buff and black case. The lower one, fourteen 
 inches in diameter, is fastened to the hoop- 
 springs above the point of junction, from which 
 the side-pieces are crossed, and the center one 
 carried straight up; here the hoop is fastened ; 
 and the wire, side by side, carried up four 
 inches, bound together, and the side ones taken 
 and fastened in a point to the upper hoop ; the 
 black center one also fastened to it, midway between each point ; then the three 
 cut off closely, and the edge finished with a thick cord of silk or wool. The 
 basket is made of a circular box, covered with a bright shade of merino, or 
 tastefully painted or papered ; then lined and furnished. The lid is ornamented 
 with a square of the merino, scalloped around the edge, and a bouquet of 
 crocheted flowers fastened on the center. The handle consists of five strands of 
 
 Lady's Work-Basket. 
 
HOUSEHOLD ELEGANCIES. 
 
 165 
 
 " hoop-spring," corresponding with the cfise ; woolen cords and balls are looped 
 and knotted to each upright, around the basket. 
 
 Care must be taken to bend the wires into proper shape, and to facilitate 
 this, the central strand may be of heavy wire, if preferred, which is more easily 
 bent into shape than the stiff " hoop-springs." The painted work must all be 
 neatly varnished. 
 
 STANDING WORK-BASKET. 
 
 For this basket, Fig. 3, take four lengtlis of "hoop-springs," and two of strong, 
 heavy wire (or three canes may be substituted, if desired) four feet long ; sew 
 the " springs " together two and two, and the wire between them, using strong 
 thread, and sewing closely. In the 
 same manner make connecting 
 pieces for the feet, sixteen inches 
 long, binding them securely to the 
 lower part, and bending the legs 
 and these connections into proper 
 form as shown in the illustration. 
 Six inches from the bottom, restiiig 
 on the connecting arched pieces, 
 the lower basket is placed. These 
 baskets are made of heavy paste- 
 board, richly ornamented with en- 
 ameled paper and pictures, or cov- 
 ered with velvet or muslin, elegantly 
 embroidered. This lower one is 
 lined with quilted silk, and finished 
 with cord and loops. 
 
 The stiff wire feet are then contin- 
 ued up the center of the stand to the 
 top, where a strong hoop holds them 
 in place, and upon which the upper 
 basket is fastened. A long strand 
 of " hoop-spring" is sewed round this 
 covered hoop, and bent into loops 
 two inches apart. This basket is 
 furnished with a lid, with embroid- 
 ered or ornamental top, and neatly 
 lined with silk, and arranged with 
 all the paraphernalia of a lady's 
 work-basket. A number of tassels 
 with cords, are festooned around 
 
 Standing Work-Basket. 
 
166 
 
 HOUSEHOLD ELEGANCIES. 
 
 the lower part, and knotted through the wire loops ; also fastened in the orna- 
 mental rings upon the four corners of the uprights. 
 
 WOEK-BASKET WITH STAND. — FIG. 4. 
 
 Use gray linen, five yards of red worsted braid, one and one-fifth inches wide ; 
 four yards of red worsted soutache, three-fifths of an inch wide ; red thread, 
 coarse brass wire, pasteboard, etc. The frame of the basket, which rests in a 
 stand of simple wicker-work, is constructed of wire. Of the three rings of 
 
 wire, the one for the bottom is eight 
 inches round, the middle one thirty-two and 
 four-fifths inches, the top one nineteen 
 and one-fifth inches. The three length- 
 wise rods that connect the rings to each 
 other, are each ten inches long. All these 
 parts are soldered together. Fill up the 
 smallest ring with a circle of pasteboard, 
 taken double, of corresponding size, cov- 
 ered on each side with gray linen ; then 
 cover the whole frame with a piece of 
 linen thirty-three and one-fifth inches 
 wide, and ten and two-fifths inches long ; 
 sewed together, gathered in at the top and 
 bottom, and bound with red worsted braid, 
 where it is attached to the rings. The 
 upper half of the basket is decorated with 
 three somewhat raised pockets of linen, 
 rounded at the bottom, four and three- 
 fifths inches long, and three and three- 
 fifths inches wide ; decorated in the center 
 with an arabesque, braided of red 
 worsted soutache, and bound all around 
 with red woolen braid. The spaces between 
 the pockets are adorned with bows of red 
 braid. The cover of the basket is cut of 
 card-board, to fit exactly into the top ring, 
 and covered with a piece of gray linen, 
 passing smoothly over the inner side, and 
 gathered in at the middle of the outer side, where the gathers are covered 
 by a circular piece of gray linen, one and three-fifths inches in diameter, edged 
 with a ruching of scarlet braid. The cover is fastened to the basket with 
 hinges of soutache ; the means of fastening consist of a loop of soutache, and 
 a hook. The basket is decorated with ruchings of scarlet braid in the manner 
 
 Wicker-Basket. 
 
HOUSEHOLD ELEGANCIES. 
 
 167 
 
 the illustration indicates. The ruching for the bottom is sewed to a steel 
 spring, ten and four-fifths inches long, closed to a ring, and covered with gray 
 linen. 
 
 WOEK-STAND. 
 
 For materials, use green satin, four green chenille tassels, each four and two- 
 fifths inches long. This stand, which is twenty-eight inches high, is constructed 
 of cane, stained black and yellow, and contains two baskets, each twelve inches 
 
 Fig. 5. Work-Stand. 
 
 square and four inches deep. The upper basket is provided with a cover, fas- 
 tened on with hinges. Quilled satin lining, and the same color silk cord, and 
 chenille tassels complete the decoration of the baskets. An embroidered mon- 
 ogram and medallion, arranged in the manher the illustration indicates, make 
 it very suitable as a gift to present to a friend. 
 
 NEGLIGE BASKET. 
 A woven wicker-basket, oval in shape, about fifty-four inches wide at the top, 
 is provided inside and out with a thin layer of batting ; over this, draw some 
 
168 
 
 HOUSEHOLD ELEGANCIES. 
 
 bright-colored lining, and over the latter smoothly, with sprigged Swiss muslin ; 
 where this is sewed on, cover with a narrow insertion, run through with satin 
 ribbon. The hollow pockets at the sides of the basket, are made of colored 
 muslin, lined with stiff crinoline, and covered with a puffing of sprigged Swiss 
 
 Fig. 6. Neglige Basket. 
 
 muslin ; they are finished off at the top by plaited lace, about one and two-fifths 
 inches wide, and narrow insertion run through with satin ribbon. The outer 
 decoration of our model consists of a five-inches-deep flounce of tulle garnishad 
 with applique, and lace, one and three-fifths inches deep. Rings wound about 
 with colored ribbon do duty as handles ; a ruching of satin ribbon, one and one- 
 half inches wide, and bows of narrow and wide satin ribbon, comf)lete the basket. 
 
 BASKET WITH LAMBREQUIN. 
 
 Materials : For the foundation, black ; and for the applications, light blue and 
 red cloth ; white, golden, yellow, dark red, light blue, purple, black, and two 
 shades of green floss-silk, which is to be taken double. This elegant basket is 
 of brown varnished wicker-work, ornamented with yellow cane. The lambre- 
 quin is embroidered in oriental style, with chain, long, and knotted stitches, 
 and the applications, light blue side-stripes and red center-piece, are fastened to 
 the black ground by w^hite chain-stitches close to the margin. The three single 
 figures on the side-sfcripes are surrounded by golden yellow arabesques edged 
 with whits, and the long stitches within them are of red, while the elongated 
 branch and the five long stitches at the top, are black. A row of light blue 
 chain-stitches marks the lower edge of the lambrequin between the stripes, and 
 borders and crosses the red application, which, in its four curves, is embroidered 
 alternately with black and white, and black and green long stitches, and in its 
 center with black and yellows The interlaced ring below the application is of 
 yellow, with pui-ple knots, and the center star is of red and white. All the 
 
HOUSEHOLD ELEGANCIES. 
 
 169 
 
 arabesques are of dark green ; the clover-leaves purple with yellow veins and 
 lio-ht green stems ; the border is dark red, interspersed by white carves. 
 
 Fig. 7. Basket with Lambrequin. 
 
 KEY OR WORK BASKET. 
 
 This pretty basket of black, polished wicker-work rests on curved feet, and is 
 decorated on each side with a medallion of white cloth with embroidery of col- 
 ored silks. The inside of the basket is fitted with walls of card-board covered 
 with green silk on each side, sewed together with overhand stitches, and sewed 
 
 Fig. 8. Work-Basket. 
 
170 
 
 HOUSEHOLD ELEGANCIES. 
 
 to a card-board bottom, covered on the lower side with black, on the upper, vis- 
 ible side, with green silk. The bows on the handle and the ruching on the 
 inner margin of the basket are made of green ribbon, four-fifths of an inch 
 wide. Tassels of green twist-silk, each one and two-fifths inches long, complete 
 the decoration of the basket. 
 
 TOILET OR WORK BASKET. 
 
 Use black, polished, round wooden or bamboo rods, an inch in circumference, 
 two thin plates of wood four inches long and two and three-fifths inches wide, 
 white satin, green velours, shaded green, pink, purple, and brown twist-silk, fine 
 gold cord, green silk ribbon one-fifth of an inch wide, four white Venetian 
 beads, four bronze rings, stout card-board, small steel tacks, white sewing-silk. 
 
 The frame of our model is constructed of four pillar-like rods, each eight 
 inches long, and holding between them two boxes, each consisting of eight 
 
 wooden or bamboo rods and a thin, wood 
 bottom four inches long, and two and 
 three-fifths inches wide. The lower box 
 which is one and four-fifths inches high, 
 requires four rods five and three-fifths 
 inches long, and four rods four and one- 
 fifth inches long. The upper box, which 
 is two and one-fifth inches high, is of 
 exactly the same size at the bottom, 
 while for the top, which curves outward, 
 the two long rods must be each six 
 inches long, while the cross-rods require 
 a length of five and one-fifth inches. 
 Small steel tacks connect the various 
 parts ; those which are , arranged into 
 squares are notched where they intersect. 
 Each of these squares encloses a paste- ^. 
 board box covered with green velours on 
 Fig. 9, Bamboo-Basket. the inside, and on the outside with white 
 
 satin, decorated by an embroidery of colored silks. Tlie box is fastened at the 
 top to the rods l^y means of overhand stitches of gold cord, making the rod 
 appear as if twisted with the gold cord. The bows decorating the upper cor- 
 ners of the boxes are made of green ribbon, ten inches long, sewed to the rods 
 in the middle and then tied. The handle, which is fastened to the upper box 
 by means of steel tacks, and is decorated with two ribbon bows, measures fif- 
 teen inches in length, and is to be wound about with gold cord. The four 
 pillars are decorated at their tips by Venetian beads i-esting on bronze rings. 
 
HOUSEHOLD ELEGANCIES. 
 
 171 
 
 CASKET WITH PIX-CUSHIOI^. —FANCY WOEK. — FIG. 10. 
 
 Use gray linen, black oil-cloth, red satin and twist-silk, gray yarn, black sou- 
 tache, very narrow black ribbon, black braid two-fifths of an inch wide, cord elastic 
 thick card-board, batting, guni- 
 arabic. This casket is con- 
 structed of card-board ; the bot- 
 tom and cover are five-sided, 
 each side s i x and two-fifths 
 inches long; the five sides are 
 each one and one-fifth inches 
 high, and six and two-fifths 
 inches long; these parts are 
 covered on the side, which is to 
 be the inner, with black oil- 
 cloth, bound all around with 
 black braid, and the sides sewed 
 to each other and to the bottom 
 with overhand stitches. The Fig. lO. Casket, 
 
 cover and sides are now covered with gray linen — for the sides the stuff is cut 
 bias — and five arabesques cut according to Fig. 11 of black oil-cloth are pasted 
 
 Fig. 11, Top of Casket. Arabesque Patterns. 
 
 to the cover. Double arabesques constitute the decoration on the corners of the 
 sides. The latter and the cover are bound all around with a strip of black oil- 
 cloth fastened with gray yarn cross-stitches. The casket is arranged on the 
 inside into five compartments to hold the various sewing-materials, tape, cotton, 
 buttons, etc. ; the center is filled up by a pin-cushion made of batting and red 
 satin. The cushion is finished off all around by black soutache. The compart- 
 
172 
 
 HOUSEHOLD ELEGANCIES. 
 
 ments in the casket are formed of a strip of card-board of the height of the cas- 
 ket, covered on each side with oil-cloth, and tacked at equal distances to the 
 sides. Overhand stitches connect the cover to the casket on one side. Two 
 straps of black ribbon, each six and four-fifths inches long, sewed to the casket 
 in the manner the illustration indicates, hold the cover in an upright position. 
 The casket is closed by elastic nine and one-fifth inches long, sewed to the cover. 
 Instead of the arabesque on the front of the casket, a monogram, likewise cut 
 of black oil-cloth, has a very pretty effect. The latter is decorated with orna- 
 mental stitches. 
 
 TOILET-BASKET. 
 
 Any old basket may be arranged into the pretty and handy toilet-article Fig. 
 12 represents. The pockets at the sides are convenient for holding jewelry, 
 collars, cuffs, etc., taken off before retiring. The basket is covered inside and 
 out with white dotted Swiss, lined with colored silk or paper muslin. The 
 
 Fig. 12. Toilet-Basket. 
 
 pockets are cut of card-board, rounded at the bottom, and covered in the same 
 manner as the basket, to which they are sewed with very fine stitches. A deep 
 fall of lace decorates the basket all around, caught up at four places by bows of 
 ribbon of a color to match the lining. The pockets and top of the basket are 
 edged with narrow lace. A bow of ribbon decorates each pocket. 
 
 WORK-BASKET. 
 
 Use silver perforated card-board ; two shades of green and purple chenille ; 
 a piece of satin eight and four-fifths inches long, and six and one-fifth inches 
 
HOUSEHOLD ELEGANCIES. 
 
 173 
 
 wide ; catin ribbon, four-fifths of an inch wide ; thick silk cord ; sewing silk ; 
 one purple China button, strong card-board, etc. The frame of this basket is 
 
 Fig. 13. Card-Board Basket. Fig. 14. 
 
 constructed of strong card-board. For the cover and bottom, cut two ovals, each 
 seven and three-fifths inches long, and five and one-fifth inches wide. The side 
 is three and one-fifth inches high, and long enough to reach around the bottom. 
 The outer decoration of the basket consists of a strip of silver perforated card- 
 board, embroidered with a border eight stitches wide, consisting of green leaves, 
 purple flowers, and brown stems, worked in long stitches. When the inner 
 side of the cover has been provided with a strip of satin, divided into five 
 parts for thimble, scissors, needle-case, etc., bind all the parts with purple rib- 
 bon, and connect side and bottom by means of overhand stitches. The cover is 
 decorated on the top with satin, lined with perfumed batting, and quilted in 
 diamonds with white silk. At one of the long sides the cover is joined to the 
 basket with overhand stitches, making the seam about two inches long. The 
 cover is edged with a niching and decorated with two bows ; a ruching also 
 surrounds the lower edge of the basket. A small purple China button and loop 
 of elastic, serve as a means of closing the basket. The handle is made of thick 
 silk cord, or a strip of scalloped silver perforated board, decorated with ruching, 
 and may be affixed length-wise or cross-wise. 
 
 WORK-BASKET WITH STAND. 
 
 The model consists of a stand of brown cane, twenty-eight and one-half 
 inches high. To the upper basket, a cover provided with a catch is attached by 
 means of hinges. The latter, as well as the two baskets, the bottoms of which 
 are slightly wadded, receive a lining of lilac silk. To the upper side of the 
 cover a flat pincushion made of silk and batting, and five inches square in size, 
 is affixed. It is edged with a ruching of pinked silk, one and two-fifths inches 
 
174 
 
 HOUSEHOLD ELEGANCIES. 
 
 wide. The inner decoration of the cover consists of a piece of silk, shirred on 
 a round piece of card-board, four inches in diameter, and is edged with a similar 
 ruching, as are also the outer and inner margin of the cover, the outer edges of 
 the two baskets, and the two bottoms. Four bows placed as indicated in the 
 illustration, finish the pretty decoration. 
 
 Fig. 15. Work-Basket with Stand. 
 
 STANDING SCEAP-BAG. 
 
 This " modern improvement," designed to hold the many bits of paper and 
 scraps of waste material which otherwise would litter a sitting-room, may be 
 made quite ornamental at little expense. To make the standard, get six pieces 
 
HOUSEHOLD ELEGANCIES. 
 
 175 
 
 of rattan, fourteen inches long, a 
 one inch and a half wide ribbon- 
 spool, and six pieces of rattan five 
 inches long. Fasten two pieces of 
 rattan of the same size together 
 with tacks, until all are in pairs. 
 Now, notch these fourteen-inch 
 rattan sticks all around, at a dis- 
 tance of four and a half inches 
 from the top, so as to provide a 
 resting place for the cord which 
 fastens the bag to the standard. 
 Bore three holes near the center of 
 the ribbon-spool, in which glue the 
 double rattan sticks. The holes 
 in which the short sticks which 
 form the feet are to be inserted 
 must be farther from the center. 
 Color with black varnish. Fasten 
 black fringe, or of the same color 
 as the bag, on the round piece of 
 wood, with very small tacks, such 
 as are used by painters to tack oil 
 canvas on wooden stretchers. The 
 tacks will be hidden by sewing on 
 cord or chenille, same shade as 
 fringe, to the heading of fringe. 
 The bag is made of one or three 
 straight pieces of crimson silk, 
 cashmere, or any woolen material 
 which falls in graceful folds. To 
 Fig. 16. Standing Scrap-Bag. ^e serviceable, it should be lined 
 
 This bag opens with a drawing-string, and, as the 
 inside of the top shows, face with green or black silk — delicate colors would 
 soil too soon. Sew box-plaited ribbon all around the bag where it is fastened 
 to the standard. A triangle, or hoop of ratan or wire, inserted here, under the 
 silk, will give it firmness. Then sew crimson and white chenille cord, with a 
 crimson silk tassel at the ends, to the bag, and tie where the standard is notched. 
 Fringe, or a ruche of silk, fringed out, may be used instead of ribbon. 
 
 STANDING WORK-BASKET. 
 Obtain three circular pieces of wood fourteen inches in diameter, for the top 
 
 with strong twilled muslin 
 
176 
 
 HOUSEHOLD ELEGANCIES. 
 
 and bottom, and a center one seven inches. Fasten these together with a pole 
 through the center, like the hour-glass stands, the small circle midway be- 
 tween the top and bottom. Screw three of the common iron clothes-hoops on 
 the bottom, as feet. 
 
 Take a piece of ticking stripped sufficiently long to reach between the lower 
 
 two circles, and long enough to fit 
 round the bottom one. Embroider the 
 white stripes with bright-colored zephyr 
 in chain or " side-stitch ; " hem the 
 edges, from top to bottom, and gather 
 the top to fit around the center circle. 
 Cover or paint the top of the lower cir- 
 cle ; thus is formed a receptacle for va- 
 rious articles required by the seamstress. 
 Cover the small circle in the same man- 
 ner, and around it make a case or basket 
 for buttons, spools, etc. ; trim with che- 
 nille zephyr-cord. Cover the rod. 
 through the center, with scarlet chintz, 
 and twine a black or yellow cord around 
 it spirally. The top is finished by cover- 
 ing or painting; and^ furnishing with a 
 set of six pockets of the ticking, fastened 
 around the edge and hanging down to 
 within an inch or two of the bottom. 
 A basket of any desired kind is made for the top, to which it is securely fas- 
 tened by screwing from within on the bottom. 
 
 Fig. 17. 
 
CHAPTER IX. 
 
 WAX FLOWERS, FRUITS, ETC. 
 
 No work is at once so refined and ennobling as that which by imitating the 
 beautiful and lovely in nature raises the human mind 
 
 " Up to Nature's God." 
 
 And of all beautiful things in Nature, " flowers, sweet flowers," are admitted to 
 be of all things the most lovely. Next to adorning our homes with these ex- 
 quisite natural beauties, comes the art to form their counterpart in the most 
 perfect manner, which is done in no way more, accurately than by the use of 
 wax. Copies of flowers and fruit in wax are, undoubtedly, the most truthful 
 and life-like that can be conceived ; and as the contemplation of the beautiful is 
 always interesting and instructive, so the art of copying or producing faithful 
 imitations of the same, must tend to instruct and refine the taste and improve 
 the mind of the operator ; and it will be found that those persons constantly 
 engaged in copying the lovely things scattered by a munificent Creator, through 
 our woods and glens, will be ever on the' watch for beautiful objects ; this alone 
 would be a high recommendation in favor of teaching the art of forming the 
 flowers and fruit of our own and distant lands. 
 
 A few years ago the art of forming wax flowers and leaves was made a tedious, 
 and frequently unsatisfactory branch of fancy work because the operator was 
 obliged to make his own sheet wax. 
 
 At this time, however, this branch of the art is seldom prosecuted by the 
 mere amateur, inasmuch as the sheets are now prepared by means of mechanical 
 contrivances, and by those who, making this part of the work a business, incor- 
 porate certain articles with the wax to render it of proper consistency, and im- 
 part such a highly-finished polish to the surface, as to render the after part of 
 the work, that of the amateur, comparatively easy, and far more beautiful than 
 when the wax sheets were prepared in small quantities, and by his own inexpe- 
 rienced hands. 
 
 There are a number of manufacturers of sheet- wax, but the most celebrated 
 12 
 
178 
 
 HOUSEHOLD ELEGANCIES. 
 
 and finest article is imported under the name of " Madam Scheiffele's sheet-wax," 
 ■which possesses the advantage of being tough, and not drying out and crum- 
 bling, either while in the process of formation or subsequently, after time, patience 
 and labor have been expended in bringing the work to perfection. 
 
 The best materials and a good set of tools are essential to good wax-flower 
 making. The former consists in wax of different kinds, powdered colors, wire, 
 in assorted sizes, stamens of various kinds, arrow-root, sprig moss and frosting. 
 The tools are of hard wood, excepting the pins, which are iron or steel with 
 
 Fig. 1. Stand of Wax-Fruit. Fig. 2. Tools. 
 
 glass heads, or of ivory or bone ; besides these, cutters of tin and brass are re- 
 quired for some flowers, such as Lily of the Valley, Dicentra, etc., and leaf-molds 
 of brass or plaster, small sharp scissors, loose in the joint, with points, penknife, 
 spatulas, a palette, or tiny saucers, for mixing the colors, camel's-hair pencils, ^ 
 sable, veining, bristle (Poonah) brushes, a small spirit-lamp, and a few other 
 articles that will be mentioned in giving directions for certain parts of the 
 work. An ample-sized apron, and a wet sponge or cloth, and clean towel are 
 necessary, as the fingers sometimes become stained with color, when, in using 
 
HOUSEHOLD ELEGANCIES. 
 
 179 
 
 white wax afterward, the purity would be sullied, if not cleansed. A sheet of 
 clean paper upon the lap board or stand upon which the wax, etc., are placed, is 
 also a wise precaution ; and we would remark here that one great beauty of 
 wax-work is its perfect cleanliness ; and to keep it from being touched with color 
 or dirt, each piece, as it is cut, must be laid upon a piece of soft paper, and if 
 not directly used, covered from the dust ; the fingers, also, must be frequently 
 wiped, as also each instrument, and the scissors before using it. 
 ' The wax is of several varieties ; one kind, quite thin, called " single," selling 
 at ten cents per dozen sheets, which can be procured in various colors ; the mot- 
 tled varieties selling for eighteen cents per dozen sheets ; " extra double large 
 wax," for pond lilies, also the same for some leaves, in assorted greens, costs 
 eighteen cents for six sheets. 
 
 Molding-tools are sold by the single one, or the dozen, as preferred. Small 
 rosewood, assorted, various patterns, ten cents each ; or in assorted dozens, 
 
 Fig. 3. Tools for Wax -Work, Nos. 1 to 12. 
 
 one dollar per dozen ; large, with two knobs, fifteen cents each ; steel pins with 
 glass heads, white and colored, from five to fifteen cents ; tweezers and folder, 
 fifteen cents each. Wire is sold on spools or in coils. White and green cotton- 
 covered spools ten cents each ; white and green silk-covered, fifteen cents ; 
 " coils " of each, about the same price. 
 
 Flower, fruit and autumn gilt-molds, finely veined and molded from nature, 
 in various sizes, cost from five to twenty-five cents : extra fine gilt flower-cutters 
 and patterns are ten, fifteen and twenty-five cents each, according to the number 
 of petals. 
 
 The best colors for wax are sold in small Homo-phjals, and are in fine pow- 
 der. These are of every shade and tint, selling from fifteen to forty cents, 
 though pure carmine is the only color that costs as high as forty cents. 
 
 Camel's-hair pencils, in assorted sizes, $1.20 per dozen; Poonah bristle 
 
180 
 
 HOUSEHOLD ELEGANCIES. 
 
 brushes, twenty cents each, (|2.40 per dozen ; veining sable bruslies, five cents 
 each, sixty cents per dozen. 
 
 There are other materials that will be required in this work which some may 
 be glad to obtain ; such as arrow-root, sold in one-fourth pound packages, twenty 
 cents; sprig moss for buds and roses, sixty cents per dozen; packages dyed 
 moss, large and small packages, fifteen and twenty cents ; palette-knives twenty- 
 five to thirty cents each ; stamens, sixty cents per dozen packages. 
 
 When prepared to make wax flowers, by having wax and materials of other 
 kinds, and implements ready, place a sheet or two of clean paper or cloth upon a 
 table or lap board, and arrange the boxes of tools, wax, and other materials in con- 
 venient positions, also a lighted spirit-lamp, glass of water, and a saucer or finger- 
 bowl with sponge .and towel. The room should be warm or the wax will become 
 too brittle to work. 
 
 Having all things thus conveniently arranged, the work may be commenced; 
 and as pure v/hite flowers and leaves in imitation of sculptured marble are more 
 easily made than any others, we will describe th3 method of making 
 
 THE MxiRBLE CROSS. 
 
 Obtain a cross of suitable dimensions, which should have three stops at the 
 base. Paint pure white; giving a .sufficient number of coats to make a smooth, 
 close surface ; then proceed to cover smoothly with the heavy, double, white 
 wax, Uijing a spatula, and covering, first, the steps, then the body and arms of 
 the cross. When entirely covered with one layer, apply a second. Make clus- 
 ters of three rose-leaves graduated in size; the first and largest upon the corners 
 of the lowest step; the second set, three each, in the same manner, on the 
 corners of the second ; and the smallest on the top. The cross may, if desired, 
 be also ornamented to suit the taste of the operator. The cross finished, is 
 placed in some position clear from dust, and the floral ornamentation commenced ; 
 the most simple, being a graceful ivy-vine. 
 
 Take the three sizes of ivy-leaf molds, and dipping one of them into the 
 water, press upon the " wrong " (or under) side a piece of white wax, moisten- 
 ing the fingers and pressing every part ; then take one of the little strips cut 
 from the edge, and place it on the midrib; lay on it a piece of white silk- 
 covered wire ; place another narrow strip on the top, and then the lining of the 
 leaf, pressing it upon the front carefully, and cutting the edges off smoothly with 
 the fingers ; with the point of the knife raise one part of the edge gently, and if 
 the leaf does not immediately leave the mold, dip it for a moment in water. The 
 strips of wax under and above the wire, will prevent the difficulty generally com- 
 plained of, that the wire cuts through the wax. These directions will apply for 
 all leaves, unless they are of unusual thickness or size ; when the double wax 
 must be used, and in some cases a third layer of wax on the wire, will be found 
 
IIOUSEnOLD ELEGANCIES. 
 
 181 
 
 necessary. In many cases wo prefer to use the heavier wax, both white and 
 gresn, for leaves, inasmuch as it is not so liable to break, when j^ressed finuly 
 upon the mold. 
 
 Having mada a number of leaves of all the different sizes, proceed to form 
 few clusters of berries. Have the fingers perfectly clean, and take tlie pre- 
 caution to first roll a piece of refuse wax between the thumb and finger ; form 
 a few clusters of berries by rolling wax between the fingers, and fasten upon 
 
 Fig. 4. The Marble Cross. 
 
 slender wire-stems ; the next step is to form the sprays of leaves and berries 
 into a vine ; which is done by covering a piece of heavier wire with a strip of 
 wax, laying the wire in the center of the wax, longitudinally, pressing the edges 
 together and twirling it between the fingers, in the same manner we twist for 
 " lamp-lighters." This wire should reach from the base of the cross to the top. 
 and branches must be fastened to it ; one to twine around one arm, the other 
 to pass up the opposite side of the body, and over the arm; to these the sprays 
 
182 
 
 HOUSEHOLD ELEGANCIES. 
 
 of leaves and berries must be fastened in such a manner as to cling to the cross, 
 and hang in rich profusion from the arms and top. At the base of the cross, 
 the vine should be thick and the clusters of leaves larger and fuller than above. 
 
 When the leaves, etc., are finished, if it is desired to frost the work, take a 
 soft camel's-hair brush and carefully touch the surface of the cross, the leaves 
 and other parts with Demar varnish, of finest quality, and sprinkle with fine 
 " diamond-powder." This style of cross is extremely beautiful made with orna- 
 mental arms and top, with figures molded upon the face of the cross, in imita- 
 tion of carved work. At the base a profusion of flowers and leaves — Passion- 
 vine, calla-lily, rose and buds, and many smaller blossoms, and berries, with 
 grasses and fine leaves, a vine of convolvulus with its beautiful leaves and flowers, 
 climbing up the body and falling over the arms in graceful sprays. 
 
 Another is composed entirely of the passion-vine and its lovely flowers, which 
 in pure white wax, appears like chiseled marble. In making the last-mentioned 
 cross, the passion-vine and flowers are in miniature size. 
 
 Wax made to imitate marble is always made as glossy as possible, and in 
 any case, use care in putting the molds, patterns, etc., on the dull and not on the 
 glossy side of the wax, the latter being the " right side." 
 
 AUTUMN-LEAF CROSS. 
 
 The most simple device, after the marble cross, is one ornamented witli 
 autumn leaves. The beautiful mottled, spotted, striped and tinted wax, sold 
 under the name of autumn-leaf wax, is well adapted to forming almost all the 
 the leaves that are required for this purpose, but there are some shades that are 
 made more natural, if colored with the powder colors. There are several modes 
 of applying these powders, but we find none so effective, and that produce that 
 soft, velvety appearance, so beautiful in the natural leaf and flower, as the use 
 of the dry powder, applied with the tip of the finger, aided by a " pencil-stumper," 
 which is only a camel's-hair pencil with about two-thirds of the hair cut off, and 
 the aid of the breath or a very little warmth. 
 
 The first step in commencing this " piece," is to make a collection of the nat- 
 ural autumn leaves as guides, the gorgeous hues of which may be perfectly imi- 
 tated, either in the artificially-colored wax, or may be accurately copied with 
 paint. 
 
 A white cross is admired by many, and is unexceptionable ; but an imitation 
 of granite is, we think, in better taste ; but either will be found exceedingly 
 beautiful. 
 
 To form the granite cross the wood is painted in the proper gi-anite color, and 
 sanded with a mixture of " granite-sand " and " diamond-powder ; " a few pieces 
 of stone must be dipped in melted wax and sanded in the same way, to place 
 around the base of the cross. The leaves are then carefully molded, using green 
 
HOUSEHOLD ELEGANCIES. 
 
 183 
 
 wire for stems ; the large ones are grouped around the base of the cross, and a 
 vine trained up around the body and over the arms and top ; using small leaves 
 of some pretty vines, twined together with a few scarlet and purple berries. A 
 few clusters of ornamental grasses, that have been dried in such a manner that 
 they droop gracefully, are an improvement to the leaves grouped around the 
 base ; and some species of ferns, imitated in wax, should be made into clusters 
 and placed among the rocks. 
 
 This cross is extremely beautiful and always admired. 
 
 Collections of autumn leaves are very effective grouped in a tasteful manner, 
 and placed on a bed of moss, in a basket ; or a cross entirely covered with them, 
 is a charming object, as also a pure white cross with garlands of these in all 
 their richness of coloring. 
 
 BASKET OF WILD FLOWEKS. 
 
 Here is a fine opportunity for forming flowers and leaves of many beautiful 
 kinds, that can be found in woodland and field ; foi", as we are all aware, wild 
 flowers are always more beautiful when grouped together, unmixed with those 
 of a more gorgeous character ; and in the late spring, especially, these treasures 
 are to be found in such numbers, and are withal so lovely, that no maker of wax 
 flowers should consider their collection complete, unless they can exhibit these 
 modest beauties of the forest ; the violet, trailing arbutus, hepatica, dogwood, 
 blood-root, anemone, and dozens of others, that combine together to form one of 
 the most charming groups imaginable. 
 
 WAX-FLOWERS. 
 
 It is necessary in making wax-flowers to understand their component parts, 
 which are described by their scientific names. We give therefore a few concise 
 but clear descriptions of the terms used in forming different flowers, in order to 
 avoid mistakes. 
 
 A flower consists, when all the parts are present, which is not always the case, 
 of the calyx, corolla, stamens, and pistil. 
 
 The calyx or " flower-cup," is the extension of the peduncle or stem, and is 
 generally green and leaf -like ; the divisions are called the sepals. 
 
 The corolla is what is called the flower, but is the colored inner set of leaves, ^ 
 of other colors than green, and delicate in texture. The parts of the corolla are 
 called petals. 
 
 The stamens are the thread-like substances, generally placed within the co- 
 rolla, and consist of two parts, namely, a filament and an anther ; the filament 
 being the stalk, and the anther the little kno]b, ball or case borne on the top of 
 it. These are covered with the yellow powder, the pollen. 
 
 The pistils are the bodies in which the seed are formed, and stand in the 
 
 / 
 
184 
 
 HOUSEHOLD ELEGANCIES. 
 
 center of the flower ; the slender part is called the style, and connects with the 
 ovary below, and the stigma upon the top. 
 
 The receptacle is the part in which all the parts are united. 
 . The fruit is the ripened ovary ; it may be a berry, a stone-fruit, a nut, a grain, 
 or a pod. 
 
 The leaf has a blade, a footstalk, and a pair of stipules. The blade is gener- 
 ally the principal part ; the footstalk the part connecting the leaf and stem, and 
 the stipules the little leaves at the base of the footstalk. 
 
 TO MAKE STAMENS AND PISTILS. 
 
 These may be purchased of all sizes, colors and varieties, but there are times 
 when it is impossible, perhaps, to procure them from the stores, when they may be 
 made thus : Take sewing-cotton of any color desired, or in some cases Manilla 
 grass, which cut into lengths of suitable size, and stiffen with starch or gum : 
 when perfectly dry, dip in melted wax. Form the anthers by cutting tiny slips 
 of wax, rolling them between the fingers, snipping off the ends, and pressing 
 upon the end of the filaments; paint with mucilage, and dust with yellow 
 powder, pollen. 
 
 The pistils are somewhat longer, and the anther is generally formed of green 
 wax, shaped into an elongated ball with the fingers, pressed upon three sides 
 with the point of the molding-pin, and dusting with a little yellow powder. 
 
 LEAVES. 
 
 There are gilt and tin molds, and cutters for a large number of leaves, but it 
 may sometimes happen that these cannot be procured, or that some curious or 
 new leaf may be desired, the mold of which has not yet been made ; in such 
 a case the leaf may be formed as follows : Take the thick double wax, a dark 
 and light sheet, and after warming and softening them, press two of them 
 together with stem between, and while pliable, apply the leaf desired to the 
 surface, with the grain, then with the leaf still on the warm wax, cut the shape 
 of the leaf along the edge, and holding the leaf on the palm of the left hand, 
 press every part of it with the right hand fingers, the back of the leaf being 
 down upon the wax. Keep the wax warm, and press every part with the great- 
 est nicety. The edges must be carefully notched and serrated, to correspond 
 with the natural one. The leaf should be wet before applying it to the wax, oi- 
 better still, painted very carefully with the least touch of pure sperm oil. 
 
 COLOKING. 
 
 In making fine lines and minute tracery, the little camel's hair pencils will be 
 found most suitable for applying the color ; but for broad surfaces, splotches, 
 etc., the Poonah bristle brushes are best adapted, and they must be held in an 
 
HOUSEHOLD ELEGANCIES. 
 
 185 
 
 upright position while apj)lying the color. Where the petals are glossy, the 
 color may be used moist, and then dried and varnished ; but when a soft, velvety 
 surface is desired, the breath must be blown upon it, and powdered color up- 
 plied ; and if it is desired very thick in appearance, a little varnish may be 
 applied, partially dried, and dusted with appropriate color. 
 
 When it is desired to from a petal, which is white upon one side and colored 
 upon the other, cut a piece of fine muslin the shape of the petal, and place 
 between the two, pressing the edges closely. This applies also in other colors, 
 as the buif, and pink, and scarlet, and yellow in the honeysuckles, the white and 
 green in the Passion-flower, and white lily, etc. 
 
 Fig. 5. Trailing Arbutus. 
 
 V^arious materials may be used for stamens and pistils ; for instance in the 
 pink, sweet-Williams. and some other flowers, the feathers from a quill drawn 
 over a knife, will afford a very natural pair of stamens. Where stiff, slender 
 ones are called for, the grasses will furnish them; while for some the dried 
 centers of some of the everlasting-flower, will prove valuable. Again, cotton, 
 silk and thread, dipped in melted wax, and drawn between the fingers, is suit- 
 able for all those that are fine and thread-like. Verbenas, Drummond's phlox, 
 and many other flowers having varieties of many shades of color in which it is 
 frequently difficult to produce a sufficient change, fine changes of scarlet and 
 crimson may be made thus : With carmine or vermilion, mixed with thin 
 
186 
 
 HOUSEHOLD ELEGANCIES. 
 
 mucilage, two fine colors are given, and these upon a yellow surface, afford two 
 more ; while the same upon a light straw-colored ground will give another change • 
 by using a little judgment in thus applying colors, various tints may be produced' 
 which will add greatly to the beauty and variety of the group. 
 
 This flower will be found pretty for training around the handle, and over the 
 edge of the basket. 
 
 STAR-FLOWER. 
 
 .This is another spring beauty ; its long, glossy, light-green leaves, are cut from 
 Fig. 6, A, and arranged in a whorl upon the top of the stem, with the pure M^hite 
 and graceful blossoms shown in Fig. 6. The shape of the petal is shown at C ; 
 seven of these are placed in star-shape around a cluster of thread-like stamens, B. 
 
 Fig. 6. The Star-Flower. 
 
 DAISY. 
 
 The single wild daisy, although such a common flower, gives great brightness 
 to the collection ; it is so well known that a description is scarcely necessary. 
 A number of the narrow white circles like Fig. 7, A and B, are made and fas- 
 tened around a flat, button-like center, two rows of them forming a single daisy. 
 
HOUSEHOLD ELEGANCIES. 
 
 187 
 
 Blue-Bell. 
 
 The heart is made by molding 
 a piece of wax into a round 
 button-shaped heart, one-fourth 
 of an inch in diameter ; let the 
 upper sm-face be a little raised, 
 and prick it thickly over the 
 whole surface, then paint it 
 with gum, and dust with bright 
 yellow powder. This forms 
 that yellow center, seen in the 
 common single daisy of the 
 fields, also in single asters and 
 some other flowers. 
 
 BLUE-BELL. 
 
 These delicate, drooping 
 flowers, both the deep blue and 
 lavender variety, are formed of the thin wax cut in shape of C, Fig. 7, and mold- 
 ed upon the small end of tool 9 (Fig. 3), Lily of the Valley. The edges, D 
 and F, are placed together and pressed until flat and well united ; a small tool, 
 2 or 3 (Fig. 3), is then wet and the .bell is slipped on it, and the edges, G 
 and H, are united in the same manner, and closed over on the top, where a 
 slender wire is inserted, the center pressed closely round it. The open part, D, 
 is now rolled very thin and slightly crimped by pressing the pin gently on the 
 edge, making three or four little scallops, almost imperceptible. A few thread- 
 like stamens are placed on a little ball of wax, which is fastened on a stem of 
 thin wire, the point of which is tipped with a speck of green wax forming the 
 pistil; around this the bell-shaped corolla. is slipped and pressed into form. Six 
 or eight of these bells are fastened on a thicker stem of wire, and above them 
 as many smaller-sized ones with large and small buds at the top, the last ones 
 being bells of greenish-blue wax. 
 
 THE AEUM. 
 
 As a pretty change from the simple set of small flowers you have made, the 
 Arum, or as we familiarly call it, "Jack in the Pulpit," may be attempted, as 
 
 its formation is simple, though on a 
 more extensive scale. 
 
 To form this singular but beauti- 
 ful flower, take a stiff piece of wire 
 for stem, which cover with gi-een 
 wax ; form a pistil, as at D, Fig. 8, 
 which cover with yellow wax ; paint 
 with mucilage, and while sticky. 
 
 Fig, 8. 
 
188 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 9. The Arum. 
 
 cover thickly with chrome, in powder. Cut the; spathe, F, of the shape liere 
 shown, but half as large again, from light pea-green, or whitish-green wax, 
 double, molding the edges perfectly flat, and curling the point over toward the 
 front, as shown in Fig. 9. 
 
 Fasten the pistil to the wire stem by rolling a strip 
 of wax around them, after pressing the point of the 
 wire into the wax of the pistil ; place around this 
 the lower part of the spathe, with tho division in 
 front, folding it over and pressing it with a molding- 
 tool until closed ; curl the top over the pistil, grace- 
 fully, and it is finished, and will, if well done, be 
 found very beautiful and graceful. Fig. 9 shows 
 the finished flower. 
 
 THE IRIS. 
 
 The wild Iris are all beautiful ; the rich markings 
 of stripes and bands are easily made upon a white 
 wax-ground; and this is one of the most imposing 
 flowers. 
 
 If possible, a natural flower should be examined, as the markings upon the 
 petals, and the peculiar formation, are difficult to describe. The velvety appear- 
 ance of the rich purple petals is j^roduced by 
 breathing upon the wax, and powdering the pur- 
 ple powder upon the surface while damp. A 
 cluster of these, inclosed between two of its own 
 broad, graceful leaves, as shown in Fig. 10, is a 
 beautiful addition to a basket or bouquet. The 
 wild blossoms are smaller than the cultivated. 
 Bloom the M'hite part of each petal, to produce 
 the proper degree of softness, and upon the two 
 * lower fully-expanded blossoms, dust a very little 
 fine, yellow powder; in the formation of this 
 beautiful flower, much depends upon the care 
 used in coloring, which produces the lovely 
 effect. 
 
 To form t\ie Trailing Arbutus, Fig. 5, cut a set of patterns for the leaves, as in 
 Fig. 11, Nos. 1, 2, 3 ; also, for the flower, No. 4. The latter must be cut accord- 
 ing to No. 5, which shows the corolla split open. ILave the patterns ready ; first 
 form the leaves of the deep yellow-green shades, using the lighter colors for the 
 small young leaves ; if it is not possible to obtain a mold, or yet the natm-al leaf, 
 which wet upon the under side answers as a sort of mold, shape and vein with a 
 sharp tool or the pin ; touch all the leaves with raw sienna, rubbed on cai-efully 
 
 The Iris, 
 
HOUSEHOLD ELEGANCIES. 
 
 189 
 
 with the " stumper," and color the under side with the same, adding a very little 
 umber; when this is.done, cut some brown thread into fine scraps, and touching 
 the edges of the leaves and all the stems with gum, touch them to the threads 
 until they are covered with fine thread- like hair. The flowers are formed of the 
 " extra heavy " white wax doubled, according to No. 5, colored with light pink, 
 and spotted and striped with darker shades of ]-ose ; place a little pellet of wax 
 upon a green wire-stem, and shaping it like the upper part of No. 6, A, place 
 the corolla around it, with the wax pointed at the end of the wire, B, forming 
 the pistil ; cover this point with yellow-green wax. Make a number of these 
 
 Fig. 11. 
 
 rose-colored blossoms, with buds of several sizes ; then proceed to put on the 
 calyx, cutting each one like No. 7. Use thick wax of a light olive-gi-eeii color, 
 covering the wax with a woolly coating, made by chipping zephyr-worsted into 
 a wool-like powder. 
 
 Fig. 5 shows the flowers, buds, leaves and trailing habit of the vine, and will 
 serve as a good guide ; but, if possible, obtain a natural specimen, which will 
 show the true rose-color of the corolla, and the peculiar color and texture of the 
 leaf. 
 
 OXALTS. 
 
 The corolla of the Oxalis is formed of six petals like A ; the leaves cut from 
 B ; for these use bright green 
 wax and long green wire. Cut 
 a calyx such as that used for 
 star-flower; then taking a 
 piece of fine green wire, place a 
 small pellet of wax upon the 
 end with a few stamens of 
 thread pressed around it ; and 
 having tinted six petals of a 
 lilac color, or bright yellow, roll 
 
 them a little until nicely shaped Fig. 12. Oxalis. 
 
 and curled, and place them upon the wax, folding one in the other as seen m the 
 flowers, Fisf. 12. 
 
190 
 
 HOUSEHOLD ELEGANCIES. 
 
 WAX-EKUIT. 
 
 Many persons think that wax-flowers require fine wax, but that fruit or other 
 objects may be made with common material, inasmuch as they are entirely cov- 
 ered with color, and are large in form. 
 
 This is a great error. Fruit, especially the smaller kinds, require superfine, 
 white cake-wax, to give them the beautiful, velvety or satiny surface, peculiar to 
 the natural production. Waxen fruit may be made in groups to form objects of 
 great beauty and effect, especially for the decoration of the dining-room. 
 
 In giving these directions, our endeavor will be to reproduce the various speci- 
 mens in as pleasing a form as possible, and nothing is more beautiful than the 
 mingling of fruit and blossoms : thus, a spray of the w^hite cherry-blossom with 
 green leaves and the bright scarlet and yellow cherries ; or the beautiful pink, 
 rose-colored and white apple-blossom, with a handsome piece of fruit ; either a 
 golden-yellow russet colored, or rosy-cheeked apple. 
 
 We have frequently thought, when called upon to admire a collection of wax- 
 fruit, how much more effective and beautiful it would have appeared with the 
 blossoms of different kinds mingled with the specimens, and trailing gracefully 
 around the handles, and hanging over the sides of basket or vase, for here the 
 dalicate and refined taste of the true artist is displayed. 
 
 In arranging your fruit, therefore, place your bright oranges against the 
 waxen petals and rich green leaves belonging to them. The strawberry, with 
 its starry-eyed blossoms ; the blackberry, in long, trailing garlands of fruit, flow- 
 ers, and green and crimson leaves ; the yellow, velvety peach and its lovely pink 
 flowers, with all the other exquisite blossoms, of fruit, berry or melon. 
 
 COLOES. 
 
 Besides the particular directions given for each particular piece of fruit, there 
 are some general principles that may aid in giving a natural appearance, and 
 also in affording greater ease of formation. 
 
 The wax for casting lemons should be tinted with pale yellow chrome, and 
 varnished. 
 
 Walnuts must have the same shade, with a little raw umber added. 
 
 Strawberries and raspberries should have a slight tint of lake added to white, 
 and afterward colored of the proper shade. 
 
 Melons, filberts, must be cast green, and colored afterward, with the proper 
 markings added. 
 
 Greengages a whitish-green ; afterward tinted with bloom of blue-green. 
 The various shades of green are best obtained by a mixture of yellow chrome 
 and Prussian blue, lighter or darker, as required. 
 
 In casting, the following articles and materials are required : — 
 
 Two vessels of water — hot and cold ; a small china or other porcelain vessel, 
 
HOUSEHOLD ELEGANCIES. 
 
 191 
 
 with a spout (a cup such as is used for drinking in the sick-room is admirable, 
 but a teapot or pitcher will answer) ; a shallow tin saucepan, and a towel ; some 
 old soft rags ; wire of several sizes, and camel's-hair pencils of several sizes ; 
 some pieces of soft flannel, a little crochet-cotton, and some cloves; also, the 
 half-charred wicks of star or wax candles, for the blossom in the end of the 
 apple, pear, etc. 
 
 These colors must be of the best quality, either in powder or tube paints. 
 Those required are Prussian blue, light yellow chrome, raw umber, burnt umber, 
 lake, red lead, powdered blue and white for blooming ; a bottle of mastic var- 
 nish, turpentine, pale green, white and buff down. 
 
 CASTING. 
 
 Commence by placing the mold in water about as hot as can be borne by the 
 back of the hand, soaking it until saturated ; which will require about as long 
 as will take for the wax to melt in another basin, placed in a basin of hot water, 
 using care not to allow the water to run into the wax ; when melted, color of light 
 shade and stir with a bone spoon ; then take the mold out of water, and wiping 
 dry inside very gently, and while still warm, holding it in the left hand, dip into 
 it with the other the melted wax, using care not to let it run over the edge ; then 
 put the other half upon it, and press both firmly together; moving it about over 
 and over, so that the wax may cover all the mold alike. It may be held thus 
 until cold, or plunged into a basin of water, still holding it firm, until it will no 
 longer shake from side to side. 
 
 MOLDS. 
 
 Supposing the apple were the fruit to be molded, and it is perhaps the easiest 
 of any, the materials, etc., required for the molds will be : Plaster of Paris, of 
 finest quality ; a sheet of thin tin, cut into strips two, three, and four inches 
 broad ; soma fine, damp sand, in a small pan or basin ; a second vessel, such as 
 a china cup, for mixing the plaster ; a china spoon, if possible, and a knife and 
 some water. Then take the apple and sink it into the sand, placing the half 
 which has the stalk on it downward ; smooth the sand around it, and fix one of 
 the strips of tin in the sand, like a ring, one and half inches from the sides of 
 the fruit, and half an inch above the top of the apple; next take the cup 
 and mix into it sufiicient plaster to form a batter, rather thicker than cream ; 
 pour this carefully over and around the apple, covering it entirely. Place away 
 until hard, and then remove the ring and mold from the sand, disengage the 
 ring carefully, and holding the mold in the left hand, with the right gently dis- 
 engage the fruit, and trim the edges smoothly to the exact half of the apple ; 
 upon this flat edge cut out four holes, upon the ends and sides, to admit the locks. 
 This forms the first half. For the second, wipe the apple free from sand, and 
 
192 
 
 HOUSEHOLD ELEGANCIES. 
 
 place it back in the mold, in the exact position it occupied before; first 
 painting it with a very thin coat of oil and tallow, melted together. Clean the 
 cup and spoon perfectly clean, and fastening the ring of tin around the mold 
 tie it perfectly tight and secure, and mixing the jjlaster as before, pour it upon 
 the apple and mold. The edge and holes should also be painted with the oil 
 and tallow. 
 
 Molds for oranges, lemons, melons, etc., are formed in like manner. 
 
 Molds for cherries, pears, plums, strawberries, figs, raspberries, and all other 
 fruit, either too hard or too soft to remove from the halves of the mold, should 
 be well oiled before sinking into the sand, and when removed from the first 
 half, shonld be well cleansed from all grit, before setting it into the half again ; 
 the stems of cherries, plums, etc., must be removed before molding, and that 
 end sunk into the sand first ; great care must also be taken with all imperfec- 
 tions in the fruit, so that it may deliver from the mold, as when placed ; for the 
 
 Fig. 13. Molds. 
 
 curiously-formed or imperfect fruit is often more natural than those perfectly 
 symmetrical. Walnuts, peaches, apricots, nectarines, acorns, and nuts of all 
 kinds, should be well oiled before placing in the sand. 
 
 It is sometimes desired to form a half of a piece of fruit, and this is exceed- 
 ingly beautiful. The molds for such pieces are formed in a similar manner, ex- 
 cepting that they are marked either by cutting with a knife, or by tying a 
 thread round the desired half of the fruit, and sinking that half into the sand. 
 Take a cast of the other half to the line round the fruit, or rather beyond ; 
 reipove it as before directed, cutting the lock-holes, and after trimming and 
 oiling the edges, etc., well, put the fruit back into the mold again, in its exact 
 position, and then cut the half off with a sharp knife, replacing any seeds or 
 pips that have been cut or dislodged. Then oiling the top of the half in the 
 mold, place a ring of tin around this half of the mold, to keep it in position, and 
 pour the plaster upon it for the other half, which, when set will be found a true, 
 representation. 
 
 Some kinds of small fruit, such as raspberries, etc., are formed solid ; that is, 
 the two half-molds are tied together, and the hot wax poured intf^ a small hole 
 at the calyx-end of the fruit, shaken about for an instant, and then all the sur- 
 
HOUSEHOLD ELEGANCIES. 
 
 193 
 
 plus wax poured out again, and when cold, the halves are separated and the 
 berries come out whole and clear. Red, white and black currants, together with 
 grapes and other fruit of the same kind, are made by glass balls and not molded. 
 
 In dipping these glass balls, of any kind, proceed thus : Having stems of 
 wire covered with wax, or green silk-covered wire, cut them into suitable lengths, 
 and placing the tips into melted wax, insert into the hole in the ball ; in a mo- 
 ment the wax will cool and the stem be firmly fixed ; then dip each ball into 
 melted wax of proper color, and turn up so that any extra wax will run down 
 upon the stem. 
 
 Molds of more than two parts. — Among the fruits that require more than two 
 parts, are corn, melons, cucumbers, pineapple, pomegranate, etc. 
 
 The same principle is to be observed in these as in the two-part molds; but 
 it is sometimes necessary to have three or four part molds, owing to irregulari- 
 ties in the fruit. 
 
 The cucumber, for instance, requires three molds, as does also corn and many 
 other kinds of fruit, vegetables, etc. They are made thus : Place the object 
 into the sand, leaving about one-third visible, and then mold it, which will 
 represent one-third of the object ; C, Fig. 15. After which oil it and place it 
 
 Fig. 14. A Fig. 15. C 
 
 upright, both the fruit and the mold it is in, into the sand ; B, Fig. 15. Cover the 
 fruit-part with tin, and then pour in plaster and thus take a mold of the part 
 remaining. Do the other part in the same way, which will complete the three 
 parts, and form an entire mold like A, Fig. 15, which is the top view of it. Let 
 the plaster get well set before removing it, at each stage. 
 
 FOKMING THE FKUIT. 
 
 As we have observed, it is as necessary to use fine, pure wax for fruit and 
 other large objects, as for flowers. Procure the superfine, white cake-wax and 
 proceed to melt it in small, deep porcelain vessels placed in water over a moder- 
 ate fire ; at least it should melt slowly. When entirely liquefied, put in it a thifi 
 muslin bag containing the coloring-matter. For lemons, using deep chrome 
 yellow; apples, chrome or ochre; peaches, yellow chrome and flake-white, one- 
 fourth the latter ; for green fruit, green chrome, etc., varying and changing the 
 shades as the case requires. The wax must be merely melted, never allowed to 
 boil. The paint-powders must be carefully added, and never in sufiicient quan- 
 tity to make the wax thick and rough, for it is a far better plan to color with 
 13 
 
194 
 
 HOUSEHOLD ELEGANCIES. 
 
 the tube-paints than to add too much of the powder, which will certainly pro- 
 duce roughness. 
 
 We shall soon give, u.nder title of " plaster-work," full directions for forming 
 molds in plaster. These are what are now required. Supposing that a collec- 
 tion of fruit is to be made, such as a vase or basket for dining-room adornment, 
 we will proceed to describe the method of forming each separate piece, and 
 arranging it in suitable form for the object in view. 
 
 PLUMS. 
 
 Of these there are several different varieties, and a mold should be taken of 
 each kind, as it comes in season when the wax piece itself may be at once made, 
 or, if preferred, a written description made of certain peculiarities ; a leaf 
 pressed, and a twig preserved, etc. ; then these placed with the mold and pre- 
 served until such time as the collection is to be formed. 
 
 For the large, purple egg-plum, add to the melted wax sufficient drop-red pow- 
 der to color it a crimson ; add to this purj3le tube-paint until a rich, deep purple 
 is obtained. Oil the inside of the mold by gently " dabbing," or patting it with 
 a pad of soft, old cotton cloth, or cotton batting dipped in oil, in which a very 
 little tallow has been melted. Have the mold placad in such a position that the 
 locks may be closed together without any difficulty, or the least moving from 
 side to side ; holding the mold in the left hand, with the right, pour the colored 
 wax carefully into it, and quickly placing the lid down upon it, hold them 
 together firmly as possible without the slightest change, by pushing or sliding 
 it; then with the lid thus pressed closely down, hold the two parts locked 
 tightly together, and turning them from side to side, shake quickly until you 
 know by the sound that the liquid wax has hardened ; then set aside until per- 
 fectly cold, which will take place in about twenty-five minutes, more or less, 
 according to the size of the fruit ; but this is ascertained certainly by laying the 
 hand upon the mold, which, if cool, may be opened by drawing the bottom and 
 lid apart, with a steady pull, in order not to break the edges ; scrape the line or 
 seam of union with a sharp, narrow-bladed knife, cutting in a slanting direction, 
 and afterward polish with a soft cloth wet with turpentine. 
 
 The plum should be smooth, even, and without flaw or crack, the ridge upon 
 the side being carefully trimmed and rounded, as in the natural plum. The form 
 made perfect, proceed to paint the surface with a plum-purple ; for although the 
 color incorporated with the wax is necessary for the foundation, the touches of 
 color afterward applied, gives a wonderfully soft, natural appearance to the 
 fruit. In applying this color, use a small "stumper" brush, and the powder- 
 colors before recommended for wax-flowers, or the tip of the finger for small 
 fruit, is still more effective, producing a soft, blended appearance. In some 
 cases, however, it may be found necessary to use liquid paint; and where this 
 
HOUSEHOLD ELEGANCIES. 
 
 195 
 
 is the case, take a Poonah (bristle) brush, and dipping the tip-end into thin, gum- 
 arabic water, let a drop fall upon the palette near the powder-color ; then rub them 
 thoroughly until as thick as syrup and perfectly smooth. Never dip the brush 
 in water while painting, as it will cause the work to appear streaked. Holding 
 the brush upright, in any case, and applying the color with rapid, even strokes, let 
 the color merge into a carmine-purple towards the end, and make very deep and 
 blue upon one side ; to produce the bloom, breathe upon the surface or heat it 
 moderately and dust with purple powder. Then rub the end slightly to give the 
 polish seen upon some parts ; form a stem of wire covered with brown wax, as 
 described for flowers, and varnish, or use a natural one. The eg^-plum is fine 
 molded in wax, but must be of a blue-purple color. Greengages must be care- 
 fully colored with chrome-yellow, and a little green powder added ; then touched 
 up, after being molded, with the colors prepared, as described for the purple 
 plums. Peaches are colored in the casting with chrome; then taking a little 
 carmine, mix it as before described, and imitate as nearly as possible the pink 
 tinge upon the sides. To produce the down, place in a warm spot until the sur- 
 face is thoroughly heated, but not soft or melted, and, covering the palms of the 
 hands with arrow-root, in fine powder, roll the peach between the hands until 
 entirely coated, and handle as little as possible. 
 
 Color some peaches of a greenish-yellow, others yellow with very little pink, 
 others with a pui-plish tinge in the carmine upon some parts, and others again 
 of a rosy pink ; thus producing variety and imitating the different varieties. 
 Then mold only the one-half of one or two ; color the inside with yellow upon 
 the cut edge, and a deep carmine in the cavity holding the stone, having taken 
 a molded impression of the stone ; in one-half place a stone, and leave the 
 other without; then varnish the inner part with clear Demar varnish, and a 
 perfect imitation of a cut peach is obtained. Oranges and lemons, after being 
 colored, must be varnished with Demar varnish, or polished with a soft pad. 
 Grapes are not cast in plaster-molds, but are made by rolling the wax into balls 
 of the proper shape ; or else the " grape-glasses," to be purchased at the stores 
 where other wax-materials are sold ; these, of either kind, are then furnished 
 with stems, and each one dipped into melted wax, in which lake and Prussian 
 blue have been mixed, as for plums ; they are then touched up with paint, and 
 warming the surface a little, fine powdered paint of a proper shade is dusted 
 upon it, from a finely-perforated dredging-box. Besides the blue and crimson- 
 purple grapes, there should be some green ones, made with greenish-colored 
 paint. The grapes, all formed, are arranged in clusters, the smaller ones being- 
 placed at the end, and the larger gradually increased in size to the top of the 
 bunch; or several small clusters may be formed" into a large one as in the nat- 
 ural bunches. 
 
 Apples are of various colors and shapes, and might better be copied from na- 
 ture. The crimson ones are colored with carmine, and a bright, beautiful red 
 
196 
 
 HOUSEHOLD ELEGANCIES. 
 
 apple is made with vermilion or carmine upon a deep lemon color. Yellow ones 
 are colored with chrome or Naples yellow, according- to the shade required, and 
 a dull yellow is produced with yellow ochre and a touch of chrome mixed in it. 
 As this fruit requires a vast deal of finishing-up, the principal part of the color- 
 ing is done with the brush, a fine camel's-hair pencil answering best for the 
 streaks, and the " stumper " for blending the blush color upon the " warm side," 
 as the " red cheek " of the apple is termed. When properly tinted, give a nat- 
 ural spat here and there of brown, with a bruised appearance upon one or more, 
 by rubbing a little umber or raw sienna or ochre with the "body-color." The 
 coloring finished, give a coat of Demar varnish, and fasten the calyx in the en4, 
 using a tea-leaf, a piece of sere-colored leaf, a fragment of tobacco, cigar being 
 the best, a clove or piece of cotton, and m the other end a stem, using one taken 
 from the natural fruit. 
 
 Small fruit, such as strawberries, blackberries, raspberries, etc., are made of 
 tiny balls of wax, pressed, while soft, upon a large one of the proper form ; then 
 having inserted a little wire-stem into the large end, dip into melted wax, in 
 which carmine, vermilion, or lamp-black has been mixed ; touching up afterward 
 with moist color, and varnishing in case of blackberries ; in raspberries touching 
 with dry powder. See clusters for further directions. 
 
 Currants are made of balls of wax in which quite a large portion of fir-balsam 
 ii^ mixed, and sufficient carmine and -vermilion, mixed, 
 tied in a muslin case to impart a brilliant and clear 
 scarlet color. These are then finished with slender 
 little green wire-stems, and clustered on a larger wire ; 
 then varnished. 
 
 Pears are a beautiful fruit, and must be colored in 
 the same manner as apples ; then in case of some yellow 
 varieties, a fine hair-pencil is dipped in black color, 
 and minute specks dotted on the surface. Both pears 
 and apples appear well, cut in sections, and the inner 
 Fig. IG. Cluster of Currants, surface and ends exposed. Both outside and in must 
 be varnished, and the ends finished with calyx and stem. 
 
 Watermelons are exceedingly fine, when well formed and colored. Of course 
 it is almost imposible to take a plaster impression on account of the moisture, 
 but still, it may be accomplished ; and very fairly, and in some cases we have 
 succeeded in taking perfect impressions, we mean of a cut melon — a whole one 
 is readily formed. A longitudinal slice is the most beautiful, but a section cut 
 one-third through around the melon, appears well. Have the plaster thoroughly 
 mixed, and proceed as in other cases, using care to select a melon barely ripe, 
 for the heart may be formed afterward, with the knife and molding-tools, 
 making rough edges along the center of the heart, with indentations where the 
 seed have dropped, and pricking little fissures and small holes through the sur- 
 
 \ 
 
HOUSEHOLD ELEGANCIES. 
 
 197 
 
 face. Natural seed may be introduced in some parts, pressing the points into 
 the wax, or fastening edgewise with mucilage. In coloring, the skin is painted 
 a dark rich green, mottled with a lighter shads, and the light-green line showing 
 upon the white of the rind. The rind is painted with ivory or flake white, 
 which gradually becomes tinted witli pink, until upon tlie extreme edge, the 
 lovely and peculiar tint peculiar to the heart of the watermelon is obtained by 
 mixing. The whole is finally varnished. 
 
 Cantaloupes are cast .in the same manner ; select a firm green melon, and 
 remove the seed, some of which should be dried and varnished, and used 
 afterward upon the edge of the slice of wax-melon; this is colored in green, 
 white and yellow, upon the markings peculiar to the rind, and upon the cut 
 edges, with green upon the edge of the rind, merging into a yellow-green ; then, 
 to buff, with a few of the pretty seed upon the inner edge. 
 
 Small muskmelons are a beautiful addition to a collection of fruit. The im- 
 pressions should be taken entire, and if well done, each fine line and pretty curl 
 upon the rind, like the marks on some beautiful shell, will be clearly visible, 
 and may be painted so perfectly, that it will be almost impossible to tell the 
 natural from the wax melon. 
 
 Some persons admire tomatoes, cucumbers, etc., mingled with fruit, etc. ; but 
 we cannot think it good taste to introduce these vegetables in a collection of beau- 
 tiful fruit. Should any desire to form them, however, the molds are taken in 
 the manner we have described in the first part of this section, and the coloring 
 is applied in the same manner. AVe would remark here, that if an ear of corn 
 is desired (and it is really a pretty object), the mold must be in three or more 
 parts ; as it will be found impossible, if the grains are irregular, to get the ear 
 from the mold without breaking the one or the other ; to obviate this, make 
 the mold in three parts. 
 
 A collection of vegetables alone, corn, tomatoes, cucumbers, peas in the pod, 
 green and red peppers, carrots, radishes, etc., accurately molded and naturally 
 colored, when grouped together with leaves, tendrils, etc., and covered with a 
 shade, form a beautiful ornament for a dining-room bracket, and is well worthy 
 of being made. A stand of cake-jelly, ice-cream, etc., is likewise a most popu- 
 lar and appropriate companion to a fruit or vegetable wax-piece, and is more 
 easily made than would be supposed. The first collection the waiter ever saw 
 of the latter two was in the window of a confectioner's store, and the imitation 
 was so perfect that we supposed they were natural and wondered at tlieir being 
 covered with glass. 
 
 Cake may be molded either in an entire loaf or in the slices ; in our own 
 case, we prefer the latter. Supposing a stand of various kinds is to be imitated, 
 such as pound, white, sponge, marble, jelly and fruit cake, the slices are formed 
 of similar shape and size, with appropriate color added, and afterward painted 
 and cut into proper form ; the icing upon the upper part is formed upon the top 
 
198 
 
 HOUSEHOLD ELEGANCIES. 
 
 with purest white paint, which upon the cut edge must be pricked and indented 
 with a pointed tool, until the desired roughened appearance is produced ; the 
 figures, which it must be remembered, are but sections of a whole, as seen upon 
 a cut slice, are formed thus : Obtain a small metal syringe, which draw full 
 of liquid white wax ; wrap a woolen cloth around it, in order to retain the 
 heat, and that it may be handled without burning the fingers ; then holding 
 this in the left hand, in a perpendicular manner, with the point held directly 
 over the top of the slice, which has been painted white as explained above, 
 press the handle down and eject the liquid wax from the point in drops, which 
 must be allowed to cool slightly ; then another is dropped upon this, and so on, 
 until of the proper form and height ; figures, or parts of them, must be f orme'd 
 by passing the syringe over the surface in lines and circles ; or if a figure is 
 considered appropriate, where a broad slice is imitated, the icing may be formed 
 into flowers, leaves, and other devices . used upon cakes. AYhen these figures 
 become cold and stiff they must be painted white ; directly beneath this white 
 upon the cut edge, paint a line of dark-brown, shaded below into a yellowish 
 brown, produced with umber and sienna ; this forms the brown crust upon the 
 upper part of the cake, but may be continued upon the side and bottom of the 
 cake, gi'owing deeper until a line of deep purple-crimson shows the layer of 
 jelly, which again grows lighter until it blends with the next cake ; this jelly is 
 varnished, but the cake is marked into fissures. There should be about a half- 
 dozen of these layers ; the bottom is a brown crust. 
 
 Roll jelly-cake is formed in the same manner, but in circles — the smallest at 
 the center ; both cake and jelly forming a spiral line from the center to the iced 
 circle upon the outside. 
 
 Marble-cake is colored in brown and yellow, each spot shaded and mottled 
 with several shades of each color ; a few whitish-yellow streaks are an im- 
 provement. 
 
 White or delicate cake is colored with white, tinted with chrome-yellow. 
 
 Small cakes may be formed of various sizes, but from the explanations and de- 
 scriptions we have given, we believe a person of taste and ingenuity may be able 
 to form any variety of cake desired ; and when carefully formed and colored, 
 there is not a specimen of fancy wax-work, which elicits such enthusiastic praise 
 or is considered such a " wonderful achievement." Ice-cream is best formed by 
 using a part of one of the ten molds used for forming it when frozen ; the end 
 or side is well oiled with whale oil, in which a little tallDw is melted, and the 
 melted wax poured upon it ; when cool, this may be readily removed, and when 
 colored white or pink and placed upon a pretty saucer or glass, with some 
 shaved pieces colored to correspond and placed beneath it, will appear perfectly 
 natural. 
 
 Jelly is more difficult to form ; the melted wax must contain one-half its bulk 
 in balsam-fir, and sufficient carmine or chrome, in a bag, to color a clear ruby or 
 
HOUSEHOLD ELEGANCIES. 
 
 199 
 
 amber color ; these are allowed to become almost cold, and are then dropped in 
 large pieces, from the point of a spoon, into crystal jelly-glasses. A stand with 
 an ornamental tray upon the bottom, containing a stand with several slices of 
 cake, a saucer of two colors of ice-cream, and a glass with yellow and red jelly, 
 is a beautiful object. Supposing the first slice is pound-cake ; it is colored of a 
 deep, bright yellow color, and pricked and pressed into the proper honey-comb 
 appearance, natui-al. The yellow tint is started just below the lightest shade of 
 yellow brown upon the crust. The icing and crust answer for any of the varie- 
 ties, but as great a variety as possible should be made in forming a plate full ; 
 and it may be well to observe here, that in casting any large pieces, it is as well 
 to form the inner portion with plaster, clay or other inexpensive material, merely 
 dipping into liquid wax, colored or white, so that the outer surface is thoroughly 
 coated with wax. Where cost is a " desideratimi " this may be worthy of at- 
 tention. 
 
 Fruit-cake is colored of a very dark brown ; the currants are formed of wax, 
 colored black, twisted or turned between the fingers into little, rounded, irregu- 
 lar balls, pressed into shape with the pin. The raisins are formed of pieces of 
 wax rolled into proper shape and colored with burnt umber ; and a little carmine 
 rubbed into some, in order to impart a purplish hue ; the molding-pin will crease 
 and indent these into the natural form, seen by examining natural ones ; some 
 should be cut in half, and here a change is made ; the cut part being painted of 
 a lighter color and varnished, and seeds of natural raisins introduced. Citron 
 is made by cutting slips of wax and coloring the proper citron-green, varnish- 
 ing the cut part, and dusting the outer edge with white powder ; holes are then 
 cut in the cut-surface of the cake, and the fruit introduced ; after covering the 
 slice naturally, the surface must be held near the lamp until warmed sufficiently 
 for the whole to form one entire mass ; the fissures and honey-comb appearance 
 are then formed with the proper tools. 
 
 Jelly-cake is made like pound-cake and then painted in stripes, first yellow 
 with the crust and icing above, then a tinge of crimson upon the yellow, as when 
 the jelly soaks into the substance. 
 
 CLUSTEKS OF FRUIT AND BLOSSOMS. 
 
 Having formed the apples of proper variety, or perhaps several of them of dif- 
 ferent colors and sizes, in pale green, yellow, scarlet-streaked, etc., according to 
 nature ; tint each one according to taste witli raw umber and carmine, or lake ; 
 the flower-end may have a clove heated and pressed into the wax, using care not 
 to mar the cast ; then make a stem of covered wire dipped in wax colored green, 
 touching it up with burnt sienna. Next add the flowers and a cluster of leaves 
 of two sizes, and shades of apple-green. 
 
200 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 17. 
 
 The blossom is made by cutting a pattern A 
 from diagram A, for the petals, and for each ' \ ^ 
 
 blossom, cutting five of these from white wax. 
 Bloonpi them upon the upper part from the line 
 D, on each side, with a mixture of Chinese-white 
 and arrow-root; tinge with pink. Mold each 
 one carefully upon the finger, rolling the edges 
 until they crinkle, and hollowing them in the mid- 
 dle ; the lower half press with the pin on the wrong 
 side, thus forming a rib or fold. Tint upon some parts with a deeper color, 
 made by mixing rose-madder 'and crimson-lake, shading of£ to white or very 
 light pink. Then take a stem of green-silk wire ; put a little knob of wax on 
 the end, and press on it twelve stamens made like Fig. B, by dipping thread into 
 gum, and then touching the tips with yellow chrome ; bind them round with a 
 little strip of green wax, and then arrange the five petals at regular distances ; 
 this done, arrange the sepals of the calyx, cut Fig. C, from light green wax, 
 double, dusted with white or buff "down ; " place each one so that it will show 
 between the petals. 
 
 One or two of these calyxes should be without petals, and only the stamens re- 
 main ; others with a petal or two gone. Touch the stem with down ; and the 
 large branch stalk, holding the fruit, flowers and leaves, should be varnished and 
 colored with sepia. 
 
 The wild crab-apple blossoms, leaves, and charming clusters of fruit, of the 
 green and yellow colors, with the beautiful dwarf Siberian crab, with scarlet 
 and yellow fruit, hanging on long stems, will be found the most perfect speci- 
 mens that can be formed, and will add a charm to the entire group. The direc- 
 tions already given will be found an all-sufficient guide in making these, with 
 a branch of natural flowers and fruit to guide in giving color, etc. The j^eacli 
 and blossoms arranged in the same manner are likewise equally beautiful. Color 
 the petals with rosy pink, and place a number of buds, some closely shut, others 
 half expanded on the spray, as the buds are one of the prettiest features. 
 
 The orange and lemon are never so pretty as when united with their lovely, 
 waxy blossoms and rich foliage. 
 
 The strawberry, in clusters, is lovely ; the starry-white 
 / blossoms and scarlet or crimson fruit forming a charm- 
 
 ing contrast, mixed with the light, soft leaves. 
 
 After casting several clusters of strawberries in white 
 ^nlK-l^^, wax from the natural molds, making them of various 
 
 sizes, proceed to paint them with carmine, in fine powder, 
 mixed with turpentine or gum-water, shading off in some 
 places to almost white, or a delicate flesh-tint. The large 
 
 Fig. 18. 
 
 berries.*^^ Straw- ^^.^^^ varieties require one-half the berry to be colored 
 
HOUSEHOLD ELEGANCIES. 201 
 
 with a mixture of lake and crimson, the other shaded off to a yellowish flesh- 
 color, made by mixing chrome and red lead. The seed-specks upon the surface 
 are formed with bright yellow chrome put on in dots. When dry, varnish with 
 Demar. The stalks should be formed of silk or cotton covered wire, dipped in 
 green wax or covered as in flower-stems ; heat the end of the stem in the lamp, 
 and then insert into the large end of the berry. Then place on the calyx, one 
 cut like Fig. A, curl back the sepals and touch with down. Mold the leaves on 
 a gilt leaf-mold or from nature, painting all A ^ B 
 
 the little spots on leaves or stems. 
 
 The blossom is not difficult to form ; cut 
 from Fig. C the five petals, using clear white 
 wax, and cutting with the grain from top to 
 bottom, always. In some flowers there are 
 
 six petals, and to follow nature, this nmst be ^ Fig. 19. 
 
 imitated. When sufficient are cut, bloom them with Chinese-white and arrow- 
 root, well rubbed ; then mold the edges and roll the center into a slight hollow, 
 using the head of the small pin. Form he stamens of fine, white-waxed cotton, 
 dipping the tops into gum, and then in fine chrome, knocking off all that hangs 
 loosely ; mix these with half as many without the powder, and have twenty of 
 them, together, in the center of each blossom, placing them upon a little pellet of 
 wax placed on a slender stem ; then arrange the petals and calyx so that they 
 alternate, and the sepals of the calyx show between the petals. The calyx must 
 be bloomed with light green powder on both sides, molding each point and curv- 
 ing them naturally. The buds are formed of the same petals as the blossoms, 
 only curling them in a half-closed form. Tinge each one with a little green 
 mixed with white powder. Finish by mingling the fruit and blossoms together, 
 placing at the base of their stems several leaves, so that in groups or singly they 
 may imitate nature. 
 
 The blackberry is, perhaps, the most easily formed of any small fruit, and yet 
 is unrivaled in beauty and grace. With its pale, tinted blossoms, green buds, 
 and its rich berries so black and glossy, and with such a number clustered upon 
 a stem, it forms one of the most beautiful additions to a group of berries, or a 
 collection of fruit. To form a cluster, several natural berries must be cast from 
 white wax, colored with Prussian blue and lake, tinted to the natural color, add- 
 ing drop-black for the very ripe ones ; then varnish, and when dry stalk them as 
 described for the strawberry. Form the calyx from Fig. A, molding them 
 thoroughly and blooming with light green. 
 
 The blossoms are formed of six petals, cut like Fig. C, bloomed with white and 
 well rolled and molded. Arrange on a stem, as described for other berries, 
 placing the innumerable stamens formed of fine cotton ; place a number on the 
 wax ball and tip with green; surround by a number more tipped with sepia or 
 umber. Then place the six petals, blooming them again, in place, with purple- 
 
202 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 20. Raspberries. 
 
 lake added to the white. The stems bloom with green, and form thorns of fine 
 wire or wax ; bend the calyx towards the stem in fruit and blossoms. 
 
 Before closing these remarks, it 
 may be well to give some hints in 
 regard to certain points not hereto- 
 fore mentioned. In describing the 
 various flowers, we have endeavored 
 to select those whose formation 
 would be most likely to aid in form- 
 ing others of the same class ; and as 
 it is impossible in any ordinary work 
 to explain the mode of making the 
 innumerable host of beautiful flow- 
 ers that may be found, it is only just, 
 in offering a treatise upon this branch of fancy work, to endeavor to give such 
 general direction, as will enable a person to form them without particular speci- 
 fications. Where it is desired to make 
 any particular flower, not described 
 here, endeavor to obtain a natural one, 
 and, if possible, a leaf, bud and branch 
 or spray of the plant. Then laying the 
 petals upon a piece of soft paper, press 
 them, one after another, if of different 
 sizes and forms, upon it, marking the out- 
 lines with a pencil; the soft paper takes the form of a crimped or full edge 
 better than stiff material would. 
 
 Then transferring to stiff paper or Card, cut out each one, marking the num- 
 ber, also the color or markings peculiar to it ; next draw the figure of the sta- 
 mens and pistil upon a strip of card, marking their number and color of the 
 anthers and filaments. Draw the form of the calyx, also, and write upon a slip 
 of paper any peculiarity of the corolla or other parts of the flower. Cut the leaf, 
 also, and having marked a small envelope with the name of the flower, place all 
 the parts within it. A collection of such directions will be found invaluable to 
 the wax-flower maker. The writer has such a collection, the result of many 
 years' careful observation and labor, and the value of it, in teaching, has been 
 found immeasurable, as it describes flowers which, upon many occasions, when 
 a description of them was necessary, it was impossible to obtain. 
 
 Fig. 21. 
 
CHAPTER X. 
 
 INDIAN PAINTING IN IMITATION OF EBONY 
 AND IVORY. 
 
 This tasteful and artistic work may be applied to various decorative purposes, 
 being suitable for tables, stands, boxes, brackets, book and card racks, and many 
 other articles made of wood. A chess-table, and box for the chessmen are very 
 ornamental thus made. A smooth white piece of pine may answer for the 
 article, but white walnut or poplar, white-wood, satin-wood or maple, will make 
 a far handsomer piece Of work. 
 
 Patient care and neatness are all that are required to produce fine specimens 
 of work, which anyone, with a medium share of skill and taste, may readily 
 accomplish. 
 
 The wood, to be ornamented, must be rubbed perfectly smooth, and polisKed. 
 
 Patterns of leaves, flowers, 
 butterflies, birds, grasses, 
 shells, etc., must then be cut 
 from white paper, and af- 
 fixed to the surface of the 
 wood by means of pins, or by 
 pasting. 
 The surface is to be per- 
 Fig. 1. Decorative Border. fectly black ; which is done 
 
 by rubbing up in a saucer, lamp-black and turpentine, to the consistence of thin 
 cream; and painting the whole surface with a soft camel's-hair varnish-brush ; 
 commencing by painting around the edges of the design first with a small brush, 
 then continuing out upon the surface ; using care not to touch any parts a 
 second time, until the first coat has dried for ten or twelve hours. Paint until 
 perfectly black ; then dry and varnish with superfine Copal. When perfectly 
 dry remove the papers, if pasted, by moistening with clean water. When en- 
 tirely clean, shade with India ink, stippling in when required, and veining with 
 
204 
 
 HOUSEHOLD ELEGANCIES. 
 
 dark lines. Allow this to dry, and varnish the design with the fine Copal ; and 
 when dry rub down carefully but thoroughly with pumice-stone, finely pulver- 
 ized, using a wet, soft flannel, and going over the whole surface ; wash off with 
 clear water, and when dry, re-varnish, and again rub down, continuing this process 
 until a highly-jiolished surface is obtained, and using care when the last coat of 
 varnish is applied, to apply it evenly and smoothly, producing an enameled sur- 
 face of highest finish, equal to Japanese work. 
 
 Fig. i is a design for a decorative border which may be used for a variety of 
 subjects. The edges of deal book-shelves look very pretty when decorated in 
 
 Fig. 2. Chess-Board. 
 
 this way, and a pattern of the required kind may be made by first tracing a 
 waved line, and placing on this line, apparently springing from it, tracings from 
 a series of small leaves flattened out for the purpose. Such borders may be 
 adapted from other decorative work to be found in illustrated works of art. 
 
 Fig. 2 is a design for a chess-board. The easiest plan is to take a sheet of 
 cartridge-paper, cut the exact size of the table. Enlarge the design of Fig. 1 to 
 the size of the paper, by squares which must be measured Avith a pair of com- 
 passes to get them exact. Draw the lines across at right angles both ways. 
 
HOUSEHOLD ELEGANCIES. 
 
 205 
 
 When a correct drawing is completed on the paper, if there are many erasures, 
 go over the right outlines with pen and ink. When dry, trace this on clear oil- 
 paper, and transfer to the wood by means of blue, not black, tracing-paper — the 
 article is kept by most stationers, or may be ordered. With a clean, white rag, 
 rub the blue paper well, and remove much of the color before tracing with it. 
 Next with a camel's-hair brush, dipped in India ink, rubbed up in a saucer 
 with water, draw over the outline of the tracing on the table. Shade the flowers 
 or figures with India ink, and finish up with stippling them. The ground is 
 entirely black, put on with a camel's-hair brush charged with lamp-black and a 
 very little indigo mixed in it, to intensify the black. The color is rubbed up in 
 a saucer with water, and used moderately wet. It must not be put on very 
 black at once, but by degrees, never going over the same place a second time till 
 
 Fancy Box. 
 
 a day has elapsed. Care must be taken not to lose the outline of the design. 
 The ground must be jet-black when finished, and perfectly even in tone. The 
 design requires more shading as the work proceeds ; or the shading may be left 
 altogether till the ground is completed. Lastly, varnish it with pure Copal, 
 which should be procured colorless and genuiile. It is better, perhaps, to send 
 the ch^ss-board to an artist's colorman to be varnished. A stand and legs to the 
 chess-table may be made and painted black ; a cabinet-maker will provide them. 
 
 Fig. 3 is a box to be ornamented in the same way ; it is suited to. hold chess- 
 men, draughtsmen, and a pack or two of cards, and may stand on the table. 
 
 Both Fig. 2 and Fig. 3 must be varnished. A cover of wool, or fine, not 
 
206 HOUSEHOLD ELEGANCIES. 
 
 coarse, cotton, in crochet or knitting, should usually cover the top of the table, 
 to preserve the varnish from scratches. 
 
 The mode of decoration we have described may be applied to a great variety 
 of useful purposes, and many articles of the simplest and cheapest kind may be 
 made to assume a very ornamental appearance by its aid. Leaves and grasses 
 may be selected from the garden, and when flattened out and arranged, be made 
 to supply a large number of highly interesting decorative designs. 
 
 WATEE-COLOR DRAWING ON WOOD. 
 
 The application of this mode of ornamentation can be made almost universal, 
 from a card-table to a pen-holder ; the illustrations and explanations we give. 
 
 Fig. 4. Salad Spoon and Pork. 
 
HOUSEHOLD ELEGANCIES. 
 
 207 
 
 will show how the subjects may with the greatest ease and effect be treated in 
 this way. The wood chosen for coloring should be of as hard a quality with as 
 little grain as possible ; the former to reduce to a minimum the probability of 
 the color running, which, however, it will do under any circumstances if laid on 
 too moist ; and the grain, if prominent and handsome, destroying the effect of 
 artificial ornament, nature being in that, as in everything else, unapproachable. 
 The best surfaces are those of white maple, not the curled or bird's-eye, linden- 
 wood and boxwood. A very little practice will suffice to impart a correct judg- 
 ment of suitable woods ; but by taking pains any surface can be made to answer 
 the purpose. 
 
 Fig. 5. Top of Boxes 6 and 7. 
 
 We give here a suitable subject for the style of art in a salad-spoon and fork, 
 of which the parts painted are made of maple, the remainder of plumtree-wood. 
 The two parts are usually made to unscrew for convenience of washing. The 
 
208 HOUSEHOLD ELEGANCIES. 
 
 design is first drawn in outline with a good pencil, but not so as to injure the 
 surface of the wood, which must not be polished ; the spaces left light, and then 
 
 Fig, 6. A Bonbonniere. 
 
 carefully filled in with the best cake-white rubbed fine, and the black portions done 
 in the same manner with India ink ; while the shaded lines are tinted with sepia. 
 
 Fig. To Toilet-Box. 
 
HOUSEHOLD ELEGANCIES. 
 
 209 
 
 The remaining portion is either left the color of the wood, or, in the case of a 
 decided grain, is colored with a warm gray. When thoroughly dry, the pencil 
 lines are gone over with a fine mathematical pen and India ink. Should it be 
 found necessary to go over the black portion a second time, it should be done 
 before these final lines are drawn, as they give a finish and decisiveness to the 
 outlines not otherwise attainable. The last, but not least, part of the business 
 now remains, namely, the polishing of the surface that has been colored. This 
 requires extra care and mechanical taste, as the stability of the color depends 
 mainly on its being done thoroughly well, to resist the the action of the 
 moisture. 
 
 The polished surface may be cleaned by freely wiping it with a damp cloth, 
 and will sustain no damage thei-efrom, provided always that it be thoroughly 
 dried and re-polished with a dry one, or piece of wash-leather. Although we 
 should advise beginners to follow the pattern given herewith in their first 
 attempt, less formal ornamentation may advantageously be Substituted on future 
 occasions, such as a bouquet of flowers, a wreath, or rustic scene, etc., as the 
 fancy of each may dictate. 
 
 Fig. 6 represents a honhonniere made with a frame-work of cane-laths with 
 panels of lime- wood. The design for the top of both Figs. 6 and 7 is given 
 about full size in Fig. 5. The initial or monogram may be replaced by some 
 other design if desired. Fig. 7 is a small toilet-box or work-box, made entirely 
 of maple, and ornamented with painting in the same manner. 
 
 PAPIER-MACHE OR JAPAJSTESE LACQUERED -WORK, 
 PEARL INLAYI^sTG, ETC. 
 The exquisite, decorative art-work, introduced into England and this country 
 by the Japanese, has given rise to various beautiful modes of ornamentation, 
 which are unrivaled for profuse enrichment in gold and colors, mingled with the 
 iridescent luster of delicate pearl, and the opalescent hues obtained by silver- 
 foil, which, upon the hard, glossy, black surface, are exhibited in striking 
 beauty. 
 
 This imported work had for its foundation, a peculiar dark varnish, which 
 was laid upon hard wood ; but the materials of which it was composed, and the 
 secret of its manufacture remained a " sealed book." In order to obtain a sub- 
 stitute, the art of making papier-mache was resorted to, which was found to pro- 
 duce a surface almost equally hard, and capable of receiving as high a state of 
 polish as that obtained by the Eastern prototypes. 
 
 It would be impossible in this little treatise, to give a minute description of 
 the mode of manufacturing papier-mache as followed by the large manufacturers, 
 but as some may desire to make a small portion of the article, we add the meth- 
 ods of making an article, which, for all ordinary purposes, answers admirably, 
 and is not difficult to accomplish. The best papier-mache is composed of sheets 
 14 I 
 
210 
 
 HOUSEHOLD ELEGANCIES. 
 
 of heavy, porous, gray paper, pasted together until of the desired thickness, a 
 flat article requiring three or four sheets, which is then thoroughly saturated 
 with a strong size composed of flour and glue, and put under press until 
 perfectly solid ; then placed in a stove or oven and thoroughly dried ; the heat 
 being about two hundred degrees Fahrenheit. 
 
 If a vase or other cylindrical article is desired, it should have been put ii 
 mold while soft, and must, after baking, be sawed in two, the center cut out, and 
 paper like the preceding pasted over the line of connection ; coatings of the 
 mashed paper spread over the whole and baked again. 
 
 After the final polishing, the article is soaked in linseed-oil until it has ab- 
 sorbed all it will take up ; again dried in a hot oven ; when it is ready for its 
 final dressing with files and sand-paper ; after this, it is varnished with black 
 varnish, and polished with pumice. If panels are made, they can be sawed, cut, 
 etc., in the same manner as boards. 
 
 As in the establishments this work is performed by women, there is no rea- 
 son why any lady may not thus form a very good article ; we have done it with 
 good success. 
 
 A more recent method is to take the mashed material, of which paper is com- 
 posed, porous brown paper will answer, mixed with the size of flour and glue be- 
 fore-named, and pressed into oiled molds or shaped with the hands into desired 
 forms, placed under heavy pressure; baked, and rubbed smooth with sand- 
 paper ; then varnished with black varnish, and polished with powdered pumice- 
 stone. But the ornamental painting, pearling, gilding, bronzing, etc., which is 
 applied to papier-mache, may be used upon wood, metal, plaster or other hard 
 surface with almost equal facility. 
 
 The first step in this work is to obtain a perfectly smooth, flat and polished 
 surface, which is done by rubbing with the pad dipped first in water, then in 
 powdered pumice ; finishing with dry pumice and a soft silk-rubber, or the palm 
 of a smooth, delicate hand. 
 
 The colors for this work are mostly of the transparent class ; a few touches of 
 dead or opaque color, being occasionally added for effect. 
 
 The first step is to make a drawing of the picture or design intended upon 
 thin white paper, marking out the outline and principal lines ; prick this with 
 the point of a needle, and it is laid upon the " blank," which the article to be or- 
 namented is called, and a little powdered chalk or whiting is rubbed upon it 
 with a brush or piece of flannel, or a pounce-bag may be shaken upon it, which 
 will answer the same purpose. Upon carefully raising this paper, the design 
 will be found traced upon the blank in minute dots, and can be made more per- 
 manent by tracing delicately with an extremely-small camel's-hair brush, dipped 
 in flake or Chinese white. 
 
 The colors used in this work are precisely the same as those named in Ori- 
 ental painting, and the same stand will be found "available. With the white 
 
HOUSEHOLD ELEGANCIES. 
 
 211 
 
 paint greatly diluted, cover all tlie white flowers with a v^ery thin coat, and w heu 
 dry give another, and still another, until a solid coat of white is obtained ; 
 coat the yellow flowers in the same manner with chrome ; the scarlet with a 
 single coat of opaque-scarlet ; the leaves pencil with a mixture of chrome-yellow, a 
 little white, and some Prussian blue, using a medium tint first, adding shades with 
 more yellow and white, and touching up the lights with lighter tints of the same. 
 
 Having touched the surface of the opaque flowers, the next step is to lay on 
 the transparent shades, provided the former work is dry ; should there be roses, 
 pink geraniums, oxalis, or flowers of that kind, use rose-pink with crimson-lake 
 in the dark parts, and white touched upon the lights ; blue flowers, such as foi'- 
 get-me-nots, use light blue in the light parts, finished with the same darkened 
 with Prussian blue, in the shades ; deep crimson flowers paint crimson-lake ; 
 purple flowers make with rose-pink and a little pale blue, and for the deep, rich 
 purple of pansies or violets use crimson-lake and Prussian blue ; for lavender use 
 light blue and a trifle vermilion with a dot of white ; scarlet, use crimson-lake 
 darkened with a trifle blue in some, and lightened with white in others, and made 
 more or less strong with varnish' and turpentine ; white flowers must be shaded 
 delicately with neutral tint made of yellow-lake, crimson-lake, and blue weak- 
 ened with varnish, or with Vandyke brown and light blue likewise w^eakened, 
 but all colors must all be shaded and touched until the desired effect is obtained ; 
 leaves are coated over partially with yellow-lake and Prussian blue ; the tints 
 varied to suit the case ; for a yellow-green, yellow-lake must be added largely, 
 and for a blue-green, burnt sienna, crimson-lake, and a little yellow ; where cov- 
 ered partially with an overhanging flower, touch with Vandyke brown and Prus- 
 sian blue ; vein with Vandyke brown and crimson-lake added ; the stamens 
 the same ; the anthers touch with chrome-yellow, and dot them with burnt si- 
 enna; the veining is improved by lining with yellow against the brown. 
 
 Touch up some of the flowers with weak, neutral tints, and white weakened 
 with clear varnish. It is well for a person intending to make this work entirely 
 perfect, to practice in making various figures usually appearing in the course of 
 arranging a design. 
 
 Two sized brushes are required for the work ; the one with hair half an inch 
 
HOUSEHOLD ELEGANCIES. 
 
 long, and the other somewhat shorter ; with these and India ink proceed to make 
 a number of figures similar to the following : 
 
 The brush, dipped in the ink, is placed upon the paper, at the hair-line A ; 
 drawn slowly down, bearing on more heavily in the center, and gradually de- 
 clining to the point B ; a page or more of these should be made until perfect ; 
 then make the next one, C, commencing with a heavy stroke, and declining to a. 
 hair-stroke ; the three following are the same with heavier stroke, F ; these formed 
 into a triplet, G ; the little stroke made upon commencing a leaf, H ; a number 
 
 two formed 
 
 of these forming the half of a leaf, I ; the same reversed, J ; tl 
 into a leaf. K is commenced with a hair-stroke, gradually made 
 
 broader and 
 
 Fig. 9. Designs in Pearl Inlaying. Fig. 10. 
 
 heavier, and then slowly withdrawn into a graceful hair-stroke ; L is the same 
 manipulation, formed into a grass-leaf ; M, a cluster of the same ; N, a small 
 movement of the same character, arranged as compound leaves ; O is a section 
 of a scroll. Practice in forming these various forms and combinations, will 
 soon make it a comparatively easy thing for a person to paint any collection of 
 flowers, or form graceful and elegant groups combined with scrolls, check and 
 diaper patterns. The object in this practice is merely to educate the hand ; 
 therefore any ink or paint will answer as material, and the forms may be varied 
 to suit the design contemplated. The brush should be held easily between the 
 fingers, like a pen, and in an almost upright position. The bright colors 
 having been applied, the next step is to add the various ornamental parts, such 
 as gilding, pearling, bronzing, etc. 
 
 GILDING. 
 
 This branch of ornamentation is divided into bright and dead gilding. As- 
 the gilding is to be applied directly to the surface of the article, it must be made 
 
HOUSEHOLD ELEGANCIES. 
 
 213 
 
 as smooth and bright as, possible. For " bright-gilding " boil a few shreds of 
 isinglass in a half -pint of water ; let this cool, and with it paint over all those 
 parts of the work intended to be gilded ; while the surface is still moist, take up 
 one of the pieces of gold upon the " tip," and using care not to blow the breath 
 upon it, dextrously transfer it to the place it is to ornament, laying it smoothly 
 out, and pressing it upon the moist surface with the " dabber." If any cracks 
 or faults appear, wet first the end of a tracing-point with the lips, and tear off 
 from a leaf of gold a piece just large enough, and lay it over the crack, pressing- 
 it down carefully. 
 
 If the gold-size becomes too dry, it may be moistene'd by breathing on it. 
 When perfectly dry, the superfluous gold must be lightly blown off. Generally five 
 or six hours may intervene between the application and burnishing of the gold, 
 and the surface being smooth, the rubbing may be done with ease and rapidity. 
 
 Upon some articles it is a pretty change to have the gilding what is called 
 " raised," and a material called in technical parlance " Chinese-raising," is sold 
 in the art stores for this purpose ; but it may be made as follows : Two parts of 
 white lead, one part of litharge, and part of umber mixed with gold-size, a 
 little turpentine and varnish, rubbed in a paste (use merely sufficient turpen- 
 tine to form a paste). Put this on the surface with a small brush, having 
 traced the design as before described. When all the parts desired to be raised 
 have received a coat of this paste, let it remain until tlie following day, when 
 repeat the same again, continuing the operation until the parts are sufficiently 
 raised ; this should harden for a week, unless heat is resorted to, when three 
 days or less will suffice. The parts all dry, coat them with gold-size, and pro- 
 ceed with the gilding as directed before. Both kinds of gilding may be used 
 here — the " bright " and " dead " gilding, which will r>>quire two separate 
 sizings. Proceed next to touch various parts with gold-size again, and when 
 sufficiently dry, lay on some bronze with a dry brush. 
 
 A distinct piece of work may be done wdth this Chinese raising. The design 
 is traced as previously described, and the " raising " applied as described ; then 
 sized, and the bright gilding applied. Fine foliage, trees, shrubs, etc., can be 
 introduced and colored with fine opaque color, made with chrome-yellow and 
 Prussian blue. 
 
 A Chinese design is very appropriate and elegant done in this way; various 
 objects introduced, such as figures, buildings, scenery, etc., flowers and foliage 
 can be painted in with white and touched up with bright tints — red, blue, yellow, 
 purple, etc. The gold may be etched with black and shaded with neutral tints. 
 The bronze parts can be stained with transparent green and brown ; using 
 sienna in some parts, and shades of crimson bronze in others, with the lake 
 colors. Gold spangles are a fine addition to such a piece, and are applied with 
 varnish, making the work look brilliant and sparkling. Let this di-y for a week 
 and finish with varnish. 
 
214 
 
 HOUSEHOLD ELEGANCIES. 
 
 One of the principal and conspicuous beauties of papier-mache work, is the 
 ;-ilding ; and to have this as perfect as possible is of course very important. For 
 the bright gilding, a piece of soft cotton dipped in 
 turjDentine and rubbed briskly over it, will greatly 
 increase its brilliancy. Two or three washings with 
 turpentine will be necessary, before the gold will 
 appear perfectly bright ; a further polishing with cot- 
 ton dipped in fine whiting, lightly rubbed, will still 
 further enhance the brilliancy, and by these means 
 the most intricate designs, and the most delicate 
 lines in burnished gold, may be readily executed. A 
 variety of tints of gold, as well as of silver foil, may 
 ^ig- 11- be applied in the same manner, and this "bright 
 
 " is the croMaiing beauty of papier-mache ornamentation. 
 
 DEAD GILDING. 
 
 'J'his is the " oil-gilding " process, accomplished by using gold-size prepared 
 with oil, etc., and the leaf applied upon a dry ground. " Dead gilding " is very 
 satisfactory in combination with bright gilding, especially when executed in va- 
 ]-ious shades of gold. 
 
 Japanese gold-leaf is of two kinds or colors, " deep " and "pale; " the former 
 being alloyed with copper, has a ^reddish tint, the latter with silver, possesses a 
 yellowish white color. 
 
 In " dead gilding " the size is made with a proportion of chrome-yellow added, 
 which is done for two reasons ; gold-size being almost transparent, would not 
 show upon the black background, and, also, because the yellow color given by 
 
 dldins 
 
 I • • I 
 MM 
 
 Fig. 12. Fig. 13. 
 
 the chrome has a tendency to conceal cracks or flawfe in the leaf laid upon it ; a 
 small portion of fine, clear linseed-oil is added to prevent the work from drying 
 too rapidly. After applying this size to the surface, it is allowed to dry until it 
 is merely " sticky," when the leaf-gold is applied, pressed down firmly with a 
 soft pad, and the edges smoothed and brushed off. 
 
HOUSEHOLD ELEGANCIES. 
 
 215 
 
 A number of shades of gold, and also silver-leaf, may also be applied in the 
 same manner. As a means of imparting beauty and brilliancy to certain trans- 
 parent coloi's, the latter is most particularly valuable. The eft' ect it has in this 
 regard is, in some instances,, truly astonishing; for instance, in painting the 
 eyes " in the bronze spots on a peacock's tail, it imparts that peculiar metallic 
 bi'illiancy unattainable in any other way ; also, in the stained glass of windoM^s, 
 etc., it produces wonderful results. 
 
 VARNISHING. 
 
 As papier-mache work requires the highest polish and smoothest of surfaces, 
 great care and nicety are required in the finishing. Wipe the painting carefully 
 with a silk handkerchief of the softest texture ; and laying the article upon its 
 back, with a flat, soft, camel's-hair brush, entirely free from dust, apply a coat 
 of finest Copal varnish. The varnish must flow smoothly beneath the brush 
 without " dragging," and the entire surface be evenly covered ; allow it to re- 
 main in the position named, upon its back, until the varnish dries. AVhen en- 
 tirely dry, which will require a week, give another coat of varnish in the same 
 manner, drying for another week. 
 
 Then take a piece of soft flannel or cloth, and make a rubbing-pad, as l)efore 
 described, with which, using moisture and ]3umice-stone, rub the varnish per- 
 fectly smooth, but taking great care not to rub through to the work beneath. 
 Repeat this over and over until the surface is as smooth and glossy as the finest 
 enamel ; then, with a soft hand, or a piece of velvet or silk, and a very little oil, 
 burnish finally and effectually; when the surface should present the appearance 
 of a polished mirror. 
 
 In applying this style of ornamentation to various articles of furniture, it is 
 not necessary they should be composed of papier-mache, as this style of painting 
 is equally beautiful for wood, metal, plaster, etc. 
 
 Exquisite little fancy tables may be made by painting, varnishing, and polish- 
 ing any article of the kind. Frequently the old attic or lumber-room, or that 
 never failing resort, the " auction-room," will furnish treasures in this line, and 
 we have seen a suite of bed-room furniture, consisting of the complete set of 
 twelve pieces, purchased at an auction for fifty dollars, for which a lady refused 
 five hundred dollars, after finishing it in papier-mache style, and with exceed- 
 ingly simple designs ; for a set completed with gilding and pearling would be 
 worth four times that price, a small table costing fifty dollars. The examples 
 we give, Figures 8 to 14, are suggestive of many ways to decorate furniture, etc. 
 
 Then, again, the work is so fascinating, that we feel inclined to urge upon any 
 lover of the beautiful, to make an attempt to achieve some of the victories to be 
 won in this art, which is capable of such astonishing and satisfactory results ; 
 for the trophies they piay exhibit would prove sufficiently valuable to atone for 
 all the labor. 
 
216 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 14. Design for Pearl Inlaying. 
 
CIIAPTEE XL 
 
 CONE, SPRUCE, SEED, AND ACORN WORK. 
 
 An exceedingly complimentary article appeared in an English magazine not 
 long since, regarding the thrift and taste exhibited by our American girls, in 
 " turning everything to account," as well for ornament as use ; "and," it con- 
 tinued, " what has hitherto by ourselves, in England, been considered as of no 
 value, has, by American taste been converted into pretty and useful articles, 
 which make not only pleasing additions to one's home, but provide an accept- 
 able gift to a friend.'"' 
 
 This article went on to explain the various modes of applying the scales of 
 pine cones to various ornamental purposes, and as it is probable that some few of 
 our " American girls," and women, too, do not understand the best methods few 
 of making this cone-work into articles of real artistic beauty, we feel it would be 
 an unfortunate omission were we to pass this subject over without some atten- 
 tion ; especially after reading the flattering notice of our English neighbors. 
 
 The best time for collecting the cones, etc., for this work, is in the autumn ; 
 when go forth under the sweet-scented pine-trees, and gather cones of every shape 
 and size, besides many other treasures which will greatly enhance the beauty of 
 this kind of work ; such as the husks of beech-nuts, acorns, oak-apples, cedar- 
 apples, nuts of all kinds ; small knotted twigs, bark, and indeed, any and every 
 natural production that can be collected ; and which are scattered in rich pro- 
 fusion through the lengih and breath of the woodlands. 
 
 Having through the " fall " months secured a store of rich and varied treas- 
 rcires, sit down during the long and pleasant winter evenings and form them into 
 - things of beauty." 
 
 The first step is to sort out each thing to itself in little boxes or cases, which 
 will prevent much confusion, and greatly expedite matters. The largest of the 
 cones must be carefully separated with a' knife, each scale removed and laid 
 away for future use, keeping the little cluster upon the point entire, as it is fre- 
 quently of great use, looking like a little carved rose, M'bich is a very beautiful 
 addition in some parts of the work. 
 
218 HOUSEHOLD ELEGANCIES. 
 
 Having each article ready, obtain some Copal varnish ; a round camel's-hair 
 brush of medium size ; card-board or wooden foundation, according to the 
 article to be made ; strong needle and thread ; small gimp-tacks and hammer, 
 and a brad-awl. 
 
 Fig. 1. 
 
 Baskets are made? upon a card-board foundation, but brackets, wall-pockets, 
 etc., require wood of a dark natural color ; or stained in imitation of old oak, 
 walnut, or other wood. Card-baskets are pretty, covered with cones in the fol- 
 lowing manner : Form a basket of desired shape, of heavy pasteboard, cutting 
 an oval or round bottom with shallow side ; made to spread at the top, by using 
 four pieces, wider at the top than bottom, which should fit around the edge of 
 the bottom-piece ; make also a circular or oval brim around the edge, as shown 
 in Fig. 1. 
 
 KUSTIC OENAMENTS. 
 
 The pieces should all be covered with brown paper, the rougher the better ; 
 and stitched together with strong thread. The basket formed, commence by 
 stitching all around the edge of the brim the largest of the cone-scales, covering 
 the entire edge ; then, proceeding with a size a very little smaller, to cover the 
 stitches upon the first row, by making a second rovi^, and continuing this until 
 the whole surface is covered ; makiT^ ,the points of one row to come between 
 those of the preceding. Cover the sides in the same manner, placing the scales 
 at the bottom of the sides, and the upper edge of the brim, with their points 
 reversed ; thus forming a neat edge-finish. Make a handle in the same manner. 
 Proceed then to decorate the sides and rim with wreaths, formed of the various 
 woodland treasures, acorns, nuts, leaves cut from bark, and the fiat moss from 
 
HOUSEHOLD ELEGANCIES. 
 
 219 
 
 old tree-bark ; tips of cones, acorn-cups, tiny cones and burs, and berries of 
 various kinds, or, indeed, with any pretty rustic thing that has been collected ; 
 arrange dried tendrils, etc., in as graceful a manner as possible. 
 
 Care must be taken to entirely cover the the card-board, as spaces showing 
 the frame work would look bad. Many small things can be put in by means of 
 glue ; as, for instance, an acorn here and there, a tiny oak-apple, the extreme 
 point of a cone, besides other things which will doubtless easily occur to the fair 
 operator. A little ingenuity will suggest many ideas, which will all tend to the 
 perfection and beauty of the work. 
 
 The handle requires to be done in the same way as the other part of the 
 basket ; but one row of the scales stitched at each edge will be found to be suffi- 
 cient ; and in making the wreath, the smallest of the cones, etc., should be used ; 
 taking care to select the variety which has already been brought into use in the 
 
 basket. It is a good plan to stitch a 
 round bonnet-wire along the under 
 side of the handle, which will 
 strengthen it considerably, as well as 
 allow of its being bent to a prettier, 
 or the desired form. 
 
 Having proceeded thus far, the next 
 thing to be done is to varnish your 
 work, for which the best Copal var- 
 nish must be used, applied with a 
 camel's-hair pencil of a moderate size, 
 the utmost attention being paid to 
 insert the brush into every little crev- 
 ice ; do not omit any part. 
 
 Having thoroughly varnished your 
 basket, put it away in some place en- 
 tirely free from dust, and let it re- 
 Fig. 2. Acorn Leaf. Upper side. main a night, so that it may be per- 
 fectly dry before lining it. You may now make the lining, which should be of 
 silk or satin, the color, of course, as taste dictates ; some bright color looks best, 
 such as amber, brilliant green, rose, or blue. If intended for a gift, it is wise to 
 choose a color which will harmonize either by contrasting or matching the fur- 
 niture of the room it is going to be placed in. Amber does well for almost any 
 other color, and contrasts admirably with the brown tints of the cones. Having 
 made your choice, cut a piece of wadding the shape and size of the bottom of 
 the basket, and also of the strip going round. Cover these on one side with the 
 silk, and then stitch neatly together in the form of the basket. Put around the 
 top a quilling of narrow satin ribbon, the same shade as the silk, and after hav- 
 ing done the handle in the same way, and stitched it very strongly to the basket. 
 
220 
 
 HOUSEHOLD ELEGANCIES. 
 
 put in tliis lining, which will fit without any further sewing. The underneath 
 part of the basket must have paper pasted over it to liide the stitches, and ren- 
 der your work perfectly neat and tidy. The basket will now be complete. 
 
 Very nice spill cups can be made in precisely the same way, using empty 
 wooden boxes. Very handsome boxes for envelopes, stereoscopic slides, etc., 
 can be made by tastefully covering old cigar-boxes. Stands for hyacinth-glasses 
 or vases of flowers, can be produced by covering empty boxes in which gentle- 
 men's collars have been kept. In this case the cones must be stitched on, as 
 was done in the basket, using the " scales " as the foundation. In fact, the 
 cones may be applied to the decoration of a great variety of articles, which 
 would be otherwise useless, and perhaps meet the fate of household rubbish, 
 generally. 
 
 ALMANAC-FRAME. 
 
 Fig. 4 represents a mosaic pattern of fir-apples, pine cones, acorns, etc. A 
 frequent walk through the woods and forests, will bring all the materials di- 
 rectly within easy reach of every lady who desires to construct such a frame. 
 
 The leaves of the fir-apples, also of the pine cones, in their different shapes 
 and sizes, also the opened and closed fir-a]3ples, the shells of the beech-nuts and 
 acorns, are first cleaned in water, with a brush, before they can be used. The 
 whole material must also all be wetted, when required to be sewn on to form the 
 pattern. The frame-foundation is of a piece of thick card-board, fourteen and 
 Che-fourth inches deep in the middle, and on each side nine and one-half inches 
 and thirteen and one-half inches wide, 
 which is to be cut out in curves, as per 
 illustration. A space five and one- 
 fourth inches wide, two and one-fourth 
 inches deep, and four and one-fourth 
 inches from the lower edge, is left open 
 in the middle for the almanac. The 
 fir leaves are now sewn round this with 
 brow n silk ; one row of cone-leaves 
 finishes the outer edge of the frame, 
 but three rows of a cornet-like shape 
 go round the inner one. The space be- 
 tween these leaves is filled up with fir- 
 apple leaves, put flat over each other. 
 For the relief-like part of the frame, 
 all the acorn-leaves and acorns, the 
 different large closed and open fir-ap- 
 ples, the open shells of the beech-nuts, 
 with wire-stalks attached, and a few 
 
HOUSEHOLD ELEGANCIES. 221 
 
 curled wire-tendrils mixed in, are to be arranged in a wreath-like way and 
 bound on a thick wire-stalk. 
 
 The mode of making these leaves is best seen by referring to illustrations 2 
 and 3. In Fig. 3 is shown the plain foundation of the leaves cut out; and 
 then, in Fig. 2, it is shown all sewn over with the rows of the fir-leaves. The 
 
 Fig. 4. An Almanac-Frame. 
 
 thick, middle vein, is of wire twisted over, being continued as a stalk, but going 
 through the card-board at the upper point, is to be bent over at the back, as seen 
 in Fig. 3. Each leaf is pasted at the back with brown paper; after the diadem- 
 like mosaic wreath is finished it is sewn on the frame. 
 
 To hang the latter up is a wire loop, two and one-fourth inches long, covered 
 with fir-apple leaves, which is sewn on the top of the frame; this is covered be- 
 forehand, carefully, with brown paper, to hide the many stitches at the back. 
 
222 
 
 » HOUSEHOLD ELEGANCIES. 
 
 When the mosaic is perfectly dry, it is brushed over with good Coj)al vaniish. 
 In order to enliven the mosaic, a f ev^ of the leaves and tendrils are to be touched 
 with gold and silver, which can be bought at appropriate stores. A small place 
 must be cut in, across the frame, to slip in the almanac. 
 
 THERMOMETEE-FEAME. 
 
 Fig. 5 represents a new adaptation of this pretty and interesting work. The 
 usual materials, pine-cone scales, beech-nut hulls, alder catkins, acorns, etc. 
 
 Fig. 5. Thermometer-Frame. 
 
 Take the best flakes of large pine cones, fir-apples of different shapes and sizes, 
 empty husks of beech-nuts, the foliage of alders, commonly called lambs, whole 
 and half-cut acorns, and clean them, with a small brush, in water. The founda- 
 tion of the frame is of strong pasteboard, eleven and a half inches high and 
 eight inches wide, and cut out in curves ; the pasteboard being covered on both 
 
HOUSEHOLD ELEGANCIES. 
 
 223 
 
 sides with brown silk-paper. The different materials, still damp, are now sewn 
 with brown silk on the outer and inner edges of the frame, in a mosaic pattern, 
 edged on both sides with two rows of leaves, leaving a space in the center seven 
 and a quarter inches long and one inch wide for the thermometer. Group the 
 mosaic parts in any taste ; the illustration suggests a neat arrangement. A 
 brass ring, by which to hang up the frame, is fastened to it by means of a loop 
 of ribbon, ere the brown paper is pasted to the back of the frame. A bow of 
 brown ribbon is tied to the ring. 
 
 FLOWER-STAND. 
 
 This is a Jardiniere, also decorated with groups of fir-apples, etc. The frame of 
 this flower-stand consists of cane-rods. The thin bottom on which the flower- 
 pots stand, is made of tin, and can be supplied by any tinman, being put in 
 
 Fig. 6. Flower-Stand (Jardiniere) Decorated with Groups of Fir-Apples, Etc. 
 when the stand is finished ; almost any furniture or basket maker can furnish 
 the cane, w'hich should be of yellow color. A better stand, much more orna- 
 
224 
 
 HOUSEHOLD ELEGANCIES. 
 
 mental, yet requiring more skill and trouble to make, is composed of the^ 
 following materials : Black woolen rods, with white pearl beads, can be bought 
 at most fancy shops ; the stand is made of six posts, or sets of rods, which are 
 each six and a quarter inches high, and every two put behind each other and 
 joined by cross-rods : between these double rods goes the decorations to be made 
 as a stripe ; rods, put on crosswise, afford a bottom on which the round tin 
 drawer, eleven and a quarter by eleven and three-quarters inches large, rests ; 
 the decoration of this stand, also to be of a pattern worked on Java, or common 
 canvas, if desired, is especially worthy of attention, on account of its novel ele- 
 gance. The flower-groups seen are of fir-apple mosaic, put on en relief, raised, 
 which have a very tasteful effect, either on green, brown or scarlet cloth. The 
 carefully-cleaned fir-apple leaves, put on wire, are then formed into flowers, etc., 
 and these, with the addition of catkins, beech-nuts, small cones, and bunches of 
 juniper-berries, arranged in a bouquet on the cloth foundation, which is first 
 stretched over a piece of card-board. 
 
 After the bouquet has been sewn on, the places for the different flowers and 
 leaves having been, of course, traced out beforehand, they are carefully varnished 
 over with good brown transparent varnish, and the back of the card-board pasted 
 over with a colored or dark lining before putting the trimming on the stand. 
 
 i HANGING-BASKET WITH IVY. 
 
 Materials : Pasteboard and brown paper for the basket ; fir-cones, pine-cones, 
 alder-catkins, beech-nuts, acorns, etc. ; leather, not too thick ; green oil paint, in 
 two shades ; flower-wire, and green ribbon, a quarter of an inch wide. '1 he 
 frame of the hanging-basket. Fig 7, may be constructed with very little 
 trouble. The separate parts may be sewed or pasted together ; if pasted,, the 
 seams must be secured by strips of linen. The cone-work constructed of the 
 above-mentioned materials is sewed on. For the smooth surfaces the scales of 
 large fir-cones are employed ; these must not be longer than one-half or three- 
 quarters of an inch long, so that they may be arranged, lying smoothly, close to 
 each other. Six parts constitute the lower arch of the basket. When these 
 Iiave been joined at the sides, they are covered, beginning at the lower edge^ 
 with scales of fir-cones, sewed on in transposed rows up to within one-fifth of 
 an inch distant from the top, over which empty the space, the upper part of 
 the basket is then fitted. A row of scales of fir-cones, about one-half an inch 
 long, sewed over each other in such a manner that the bright heads protrude ; 
 mark the seams at the sides ; a large fir-cone, about two inches long, serves, as 
 may be seen in the engraving, for the tassel-like ornament at the bottom. On 
 the upper rim of this Jower part of the basket, rests a hexagon of card-board, 
 which must be fitted exactly to the shape, and for whose support a strip of 
 ])asteboard is pasted at an even height round about it. But before this is fitted 
 in, side-walls of pasteboard, four inches high, and covered with brown paper, 
 
HOUSEHOLD ELEGANCIES. 
 
 225 
 
 must bs fastened to tlie uncovered margin of each lower-side })art of the basket. 
 The sides must meet exactly. The cone-work covering for these parts is to be 
 executed on separate pieces of card-board, one-quarter of an inch narrower, 
 and as much longer as these very parts, and pasted over with brown paper; 
 
 Fig. 7. Hanging-Basket, with Ivy. 
 
 they are then fitted to the basket; where they are wanting in breadth, the- 
 overlapping scales cover the deficiency ; and where they are too long, they cover 
 the margin that was left bare below. As may be seen in the illustration, eacli 
 15 
 
226 
 
 HOUSEHOLD ELEGANCIES. 
 
 side-part lias a smooth margin of scales of fir-cones, and in the center, as varie- 
 gated a cluster as possible of the remaining materials. Three brass rings, 
 fastened to the side-parts serve for the cords to be passed through. After the 
 hexagon of pasteboard has been fitted in, and the inside of the basket neatly 
 pasted over with brown paper, the cone-work is covered with a layer of Copal 
 varnish. Our model, as may be seen in the engraving, is covered with vines of 
 ivy, which, though made in a 'most simple manner, of leather, not only success- 
 fully imitate fresh ivy, but are indestructible. The single leaves are cut in 
 various sizes from leather that is not too thick, and provided with wire stems, 
 covered with green ribbon. The hole through which the wire is to pass, may 
 be made with a needle in the center of the leaf, about two-fifths of an inch 
 distant from its lower end. The stems and both sides of the leaves are painted 
 an olive-green color, the smaller leaves a lighter shade, and this process is 
 repeated \^hen the first application is dry. The fine veins of the leaves are 
 painted with the lighter shade. For a model, it is best to take a natural ivy- 
 leaf. A thicker wire, as long as the vine, serves for the branches to be tied to ; 
 at the lower ends, the stem may be wound about with brown ribbon, and here 
 and there painted with the green paint. 
 
HOUSEHOLD ELEGANCIES. 
 
 227 
 
 KEY-HACK.— CONE-WORK. 
 
 This Rack is covered with the cone-work, leaving a space for the board that 
 contains the hooks, and which is about four-fifths of an inch wide, and ten and 
 two-fiftiis inches long. The board may be made by any carpenter, and is fur- 
 nished with brass hooks. A wire nail, bent over at the back, suffices to fasten it 
 to the card-board back. A brass ring at the top serves to hang the rack up ; 
 besides this, two cords, each eleven inches long, meeting beneath a circle of 
 pasteboard two inches in diameter, and covered with cone-work, further secure 
 the rack to the wall. 
 
 LAMBREQUIN IN CONE-WORK. 
 
 Materials : Pine cones, open hulls of beech-nuts, acorns, etc. ; card-board, 
 coarse wire covered with brown tissue-paper, thin wire, brown paper. Copal var- 
 nish, silver and gold dust, etc. The foundation of our model consists of card- 
 board; it is twenty-two and two-fifths inches long, seven and three-fifths 
 inches wide in the center, three and one-fifth inches wide at the sides, and 
 curved at the bottom as indicated in Fig. 9. This foundation is covered with 
 the scales of pine cones. Sew the first row all around the margin, then sew 
 
 Fig. 9. Lambrequin. 
 
 two rows of scales cross-wise at the top ; fill up the rest, beginning at the bot- 
 tom, with the scales pointing downwards. The raised decoration is made in the 
 following manner : The large leaves are cut of card-board and covered with pine 
 cone scales, beginning at the apex of the leaf ; the stitches on the wrong side 
 are pasted over with brown paper ; acorns, pine-cones, alder-catkins, beech-nut 
 halls, etc., are provided with wire stems, intermingled with tendrils of wire, 
 twisted into a bouquet with coarse wire, and the whole then sewed to the founda- 
 tion, with stitches as invisible as possible. The back of the lambrequin is 
 
228 
 
 HOUSEHOLD ELEGANCIES. 
 
 pasted over with brown paper. When the work is coniplet jly dr}', of course the 
 reader bears in mind that the materials must be cleaned with a brush in water, 
 and that they are more easily worked up while still moist; the whole is co^-ered 
 with a layer of Copal varnish. In our model, some of the leaves, acoi-ns, and 
 tendrils are sprinkled with gold or silver dust, which gives the whole a bright 
 appearance. 
 
 FAN OR CtLOVE BOX. 
 
 Only the cover of our model, which may bo used as a fan or glove box, is 
 decorated by the cone-work, and a monagram in the center; the box. vrliich is 
 ten and one-half inches long, four and four-fifths inches wide, and one and 
 three-fifths inches high, is made of card-board, lined on the inside with white 
 satin paper, and covered on the outside with dark velvet paper. 1'he cone-woi k 
 is worked on a separate piece of card-board, and then glued to the cover. The 
 piece of card-board, which must be the exact size of the cover, is bound with a 
 strip of the paper that covers the box ; then fasten in the middle the strip of 
 brown or green cloth on which the monogram has been embroidered with black 
 
 Fig. 10. Fan or Glove Box. 
 
 silk; in our model the space occupied by the monogram is three inches in 
 length and two in width. The cone-work is then sewn on in the usual manner 
 with black or brown thread. The mode of sewing the cone-work is much 
 preferred to that of pasting it, on account of its greater durability, and should 
 always be employed, Avhen soft substances, such as card-board, form the 
 fo:nidation. 
 
 WALL-POCKET.— CONE-WOEK. 
 
 Materials : Pasteboard, cherry-colored glazed paper, glue, varnish, pine cones, 
 beech-nuts, fruit-pits, acorns, oak-apples, etc. The decoration on this wall-pocket 
 is principally characterized by the employment of the hulls of beech-nuts, which 
 form the blossoms of the diadem on the front of the pocket. Each part of the 
 pocket, front and back, is worked separately. When both parts have been 
 
HOUSEHOLD ELEGANCIES. 229 
 
 cut of pasteboard, cover them on each side with cherry-colored glazed paper, 
 fastening a loop or ring to the back i^art by which to hang it up, and then 
 arrrange the foundation of scales. For the latter, separate the small leaves 
 from well grown pine cones, cut off the lower edge so that each leaf retains a 
 length of four-fifths of an inch, and arrange them on the pasteboard, which 
 has been thickly covered with glue, in the following manner : On the front part 
 
 Fig. 11. Wall-Pocket. Cone-Work. 
 
 place the scales in a line with the margin all around, leaving them to project a 
 little, and in transposed rows. On the back part, the scaly foundation covers 
 the pasteboard only so far as it is visible, and ends at the star in a slight curve, 
 whose middle point is nine inches distant from the upper edge. The first five 
 
230 
 
 HOUSEHOLD ELEGANCIES. 
 
 rows follow the outline of the margin, the inner remaining space is filled up by 
 cross rows, curving slightly as they proceed downward. The bouquet and 
 diadem are then arranged according to the model, or one's own fancy. The back 
 part of our model is decorated with a rosette consisting of half a pine cone, 
 surrounded by oak apples ; at either side is a spray of three leaves made of 
 apricot-pits, and- connected by a short natural stem. The center of the diadem 
 on the front part is arranged of pine cones, two lying opposite each other, and 
 one standing on end between them, over the latter half of a small pine cone, 
 and on each side of this a peach-stone. It is finished , off at the top by four 
 acorns, at the bottom by a chestnut, in the middle by two nutshells, two acorns, 
 and two oak-apples. Beech-nuts form a vine of blossoms on either side. Both 
 parts are now varnished with Copal varnish, and pasted together. 
 
 PICTURE-PEAME. 
 
 This pretty frame is made of the usual materials : pine cones, beech-nut hulls, 
 acorns, etc., sewed with brown thread on a frame of card-board. For larger 
 
 Fig. 12. Picture-Frame. 
 
 frames it is advisable to have them of wood, and to sew the cone-work on card- 
 board, and then fasten it to the frame with tacks and glue. 
 
 NEWSPAPER POETFOLIO.— CONE-WOEK. 
 
 The frame of the portfolio. Fig. 15, may be cut in any size of stout card-board. 
 The back part must be cut double, and one of the parts then cut around three 
 
HOUSEHOLD KLEGANCIES. 
 
 231 
 
 sides, so as to leave a frame and pocket flap. On the latter, fasten an embroidered 
 medallion in the center ; cover the remaining space, as well as the frame of the 
 back part, with brown paper. Arrange the cone-work of the usual materials, 
 which must be cleansed with water and a brush, and sewed on with brown silk 
 before they are quite dry. The frame is fastened to the back part with glue and 
 some invisible stitches, and the pocket-flap fastened to the back part by means 
 of side parts, soufflets, of silk or paper. ' 
 
 HAND-GLASS WITH DECOEATION OF CONE-WOEK. 
 The cone-work in Fig. 13 is enriched by an addition to the usual materials ; 
 
 this addition consists of juniper-berries, 
 
 Fig. 13. Hand-Glass with border of Cones. 
 
 which being strung on wire covered 
 with brown tissue-paper, may be ar- 
 ranged into pretty bunches of five or 
 six berries each. The cone-work is 
 sewed to a frame of card-board to 
 correspond with that of the glass ; 
 then glued to the latter or fastened 
 to it with tacks. The card-board 
 must be covered with brown paper, 
 before the cone-work is sewed to it. 
 
 ETAGERE.— CONE-WOKK. 
 
 Materials : Pine cones, acorns, 
 chestnuts, etc., two board shelves, 
 pasteboard, moire paper, varnish, 
 cord, etc. Our model, a pretty corner 
 etagere for knick-knacks, is hung up 
 on brown cord. It consists of two 
 boards cut in a right angle, the two 
 sides of which measure each twelve 
 inches, while the front is rounded off 
 until the distance from the center to 
 the corner measures eleven and one- 
 fifth inches ; that part of the boards 
 which is to be the upper surface, 
 cover with brown moire paper, as 
 also the sides of the edges : the 
 strong card-board foundation for the 
 cone-work, is glued to the rounded 
 front of the shelves. The card-board 
 is cut eighteen inches long, one and 
 one-fifth inches wide at each end, and 
 twelve inches wide at the point in 
 
232 
 
 HOUSEHOLD ELEGANCIES. 
 
 the middle ; it is then covered with brown moire paper and ghied to the shelves 
 in such ii manner, that the upper edge of the card-board projects about one-filth 
 of an inch over the shelf. When the glue is perfectly dry, and holes bave been 
 bored into the back corners and each side of the shelves, begin with the cone- 
 v.'ork. Loosen the brown scales from well-grown pine cones, and cut them off 
 until they have a length of four-fifths of an inch. With these execute the 
 vscaly foundation, by gluing them to the pasteboard in transposed rows ; the first 
 somewhat overtopping the pasteboai'd. The upper shelf in our model, has a 
 'y;arland arranged of large acorns and small pine cones. The lower shelf sIiona s 
 a decoration of pine cones in the center, and on each side chestnuts with the 
 husks of beech-nuts to represent blossoms. Each part of the work must be glued 
 very firmly. For the tassels at the points select large pine cones ; bore a hole at 
 the top ; insert a loop of wire, for which a corresponding wire-hook must be at- 
 
 Fig. 14. Etagere. Fig. 15. Portfolio. 
 
 tached to the point of the cone-work decoration. Larger pine cones prepared in 
 a similar manner, serve as tassels at the ends of the cord on which the shelves 
 hang, and the top of a cone constitutes the rosette which finishes off the loops 
 of cord. When the etagere is quite finished and completely dry, cover the sur- 
 face, as well as the tassels, with several coats of good wood varnish, applied with 
 a soft and large brush. 
 
HOUSEHOLD ELEGANCIES. 
 
 KNITTING OR KEY BASKET. 
 
 The frame of this basket, which is decorated with cone-work, lined with red 
 merino, and may serve as a repository for keys or any kind of work, is con- 
 structed of card-board. The bottom part, the corners of which are lopped off, 
 measures seven and three-fifths inches in length, and four inches in width. To 
 this is affixed a rim of card-board two inches high, and of the requisite length. 
 The card-board, when moistened very slightly, easily adjusts itself to the shape 
 of the bottom part, to which it is sewed or pasted. When the rim has been 
 
 Fig. 16. Basket. 
 
 bound at the top with red merino, the handle is to be attached to it. The lat- 
 ter, covered with brown paper, measures nine and one-fifth inches in length, and 
 is one inch wide, widening at the ends and in the middle about three-fifths of 
 an inch. ' Tlie smooth covering on the basket is made of the scales of pine-cones, 
 and the garland around it, and around the handle, is made of a tasteful arrange- 
 ment of acorns, alder-catkins, beech-nuts, etc., excluding such larger objects as 
 pine cones and the like. The cone-work is sewed on ; the stitches at the l)ack 
 are covered on the handle with brown paper, and inside the basket with a lining 
 of red merino, which is finished off at the top by a four-fifths-inch-wide frill of 
 fringed merino. Beneath this frill, a bag provided with a draw-string may be 
 attached, as seen in the engraving. 
 
 NEEDLE-BOOK.— FANCY WORK. 
 
 Materials : Stiff card-board, a piece of white velvet, cloth or silk, brown silk 
 ribbon an inch wide, fine white flannel, white and brown twist-silk, scales of 
 pine cones, dried field-flowers, etc. 
 
 Both covers of our model consist each of an oval piece of card-board three and 
 
234 
 
 HOUSEHOLD ELEGANCIES. 
 
 one-fifth inches long and 
 two and two-fifths inches 
 wide, covered smoothly 
 with white velvet, and 
 connected by a short strip 
 of ribbon to form th-j 
 back of the book. Edge 
 the cover with two rows 
 of even pine-cone scales, 
 seeing them on with 
 brown silk, and cover the 
 stitches on the back by 
 pasting over with white 
 cambric or glazed paper. 
 A tasteful arrangement 
 Fig. 17. Needle-Book. of dried field-flowers deco- 
 
 rates the center. It is best to paste these on. The white-flannel leaves to hold 
 the needles are button-hole stitched all around ; a bow of brown ribbon holds 
 the two covers of the needle-book together. 
 
 LAMP-MAT.— CONE-WOEK. 
 
 To construct this mat, cut a circle of card-board twelve inches in diameter, 
 and cut the margin into six equal ' scallops, each about one and one-fifth inches 
 
 Fig. 18. Lamp-Mat. 
 
 deep. Cover this smoothly with green or red cloth ; finish it off with rows of 
 pine-rcone scales, and arrange a bouquet of the usual materials in each scallop. 
 
 ft 
 
HOUSEHOLD ELEGANCIES. 
 
 235 
 
 By adding walnuts, hazel-nuts, poppy-heads, laburnum-pods, petrified bugs and 
 snails, the elfect will be greatly heightened. 
 
 SPEUCE-WORK. 
 
 Besides the beautiful ornamental value of the Noi-way spruce in the decora- 
 tion of our yards and lawns, or the grand feeling of admiration with which our 
 
 Fig. 19. Spruce-Frame. 
 
 minds are filled at their impressive appearance in forest majesty, there are other 
 ways in which they can, in their younger growth, be made to subserve admirable 
 household ornaments, and add to indoor luxuries and comforts. A lady friend, 
 
236 
 
 HOUSEHOLD ELEGANCIES. 
 
 equally in love with both phases of spruce beauty, says, in a pleasant little de- 
 scription of her achievement in household art : 
 
 " There are two ways of considering a Norway spruce : One way is to stand off 
 and admire its noble outline, as it rears itself, a pagoda of jiving green, against 
 the sky, with its story upon story of fringed branches, its beautiful, long, pend- 
 ent cones, and its delicate hue seeming dark because of the rich masses of foli- 
 age. The other way is to approach with a knife in one hand, the corners of an 
 upheld apron or the handle of a basket in the other, the head inclined a little on 
 one side, and a resolute, pursed-up, I'm-going-to-cut expression on the face. Alice 
 and I often regard our Norway spruces in this last pracncal fashion, and when 
 we do so, it is because, in our mind's eye, we see something hanging there be- 
 sides the beautiful long, brown cones. We see lovely easels and picture-frames, 
 and a host of pretty objects which will be just the thing for Christmas presents. 
 So, as resolutely as the sculptor begins to chip from his marble the fragments 
 that are hiding his imprisoned statue, we plung into the tree, intent upon free- 
 ing our brackets, easels, and what-nots from the concealing embrace of its long, 
 sweeping branches." 
 
 Fortunately we have several specimens of this noblest of all the firs, within a 
 few yards of our door. Some rear their grand old heads (that's a figure of 
 speech, of course, for the top is always the newest part) to a height of one hun- 
 dred and twenty feet, and some are not much taller than ourselves. Our great 
 care, at the outset, is to cut our wood in such a way as not to injure the tree, 
 but rather to serve the purpose of judicious pruning. The pieces must be froin 
 three to twelve or eighteen inches long, and should be taken from the leaders of 
 the branches or their latest growths. By doing this, we induce them to throw 
 out more side-shoots, and so increase the richness of the tree. Of course we 
 often manage to get a few little branches from the hidden recesses of the foliage, 
 giving the preference, when prudence permits, to the shoots which have the 
 finest clusters of wood-buds, for these will aid us very materially in beautifying 
 our work. The wood obtained, we carry our bristling treasure to the house, 
 and proceed to free it of its leaves — not feathery now, or fringe-like, that was 
 a " general-effect " quality ; but each branch a very fretful little porcupine in its 
 own right. The best method is to heat the pieces quickly, a few at a time, so 
 as to dry and loosen the leaves, and then to scrape them with a dull knife in the 
 direction of the foliage, taking care not to destroy the wood-buds. The pretty, 
 rough wood will soon appear, with a sort of Chaldaic writing on its surface, 
 which, being interpreted, saith : " Use me at once, or I will grow rigid and 
 unmanageable."* 
 
 Everything is ready. The glue-pot is on the fire. On a tray upon the bared 
 
 *It is practicable, however, to use spruce-wood that has been scraped and laid hy. It should 
 then be steamed slightly, so as to render it pliable. 
 
 * 
 
HOUSEHOLD ELEGANCIES. 
 
 237 
 
 table lie papers of pins (very small ones, and others of medium size), a small, flat 
 varnishing brush, a little coil of copper wire, a penknife, a tack-hammer, and 
 scissors which do not shrink from the duty of pin-cutting.* Thei-e are also 
 flat, square pieces of soft, pine board, on which we may arrange our work and 
 pin it into shape, by gently driving the pin through as yve would a tack ; alf o pine 
 bracket-frames, formed like a T, with a shelf-top, made of half a salt-box lid, 
 which we can cover with spruce-sticks, adding a front and back of fanciful 
 lattice-work, meeting in a cluster of wood-buds at the bottom of the T. 
 
 # PICTUEE-FEAMES. 
 In making one of these, we first pencil upon our board the exact size of the 
 inner and outer lines of our proposed frame, using a ruler and dividers, so that 
 our work may be perfectly true and even. Then we proceed to arrange our 
 wood according to our fancy, pinning it into shape, guided by the drawing on 
 the block as we proceed, until the whole general outlines are completed. This 
 done, we deftly part the sticks that are pinned together, just enough to enable 
 us to insert a tiny drop of glue ; then, when all is pressed back firmly in place 
 again, we proceed to enrich our work by gluing, or, better still, pinning on 
 whatever little clusteri:; of wood-buds we may have to spare. Sometimes we 
 
 rob fresh sticks for the purpose, but 
 often w^e find that in forming our frame 
 we have been obliged to cast some buds 
 aside, and these can now^ be put on in 
 clusters wherever taste may suggest. 
 Sometimes we fasten them on the ends 
 of the sticks with a long pin, and some- 
 times scatter them about wherever they 
 may be needed for the general effect 
 (see Fig. 20). The next process is, 
 wh'm the glue is stiffened, gently to dis- 
 engage the frame frome the pine board, 
 which can easily be done by inserting a 
 case-knife or paper-cutter between them ; 
 and then, pushing the heads of the pins 
 w^ell in, to cut off their points with the 
 willing scissors aforesaid. If requisite, 
 a little glue may be applied on the back, 
 just where the pin's points, are cut off 
 Xext, laying the frame front downward, 
 an extra spruce-stick may be fastened with little pins on the entire length of 
 
 Fig. 20. Picture-Frame. 
 
 * There is a stylo of pincers or pliers, which are so constructed as to cut wires and pins; but 
 we have not yet enjoj'ed the luxury of using them. 
 
238 
 
 HOUSEHOLD ELEGANCIES. 
 
 each of the four inner sides of the square, so as to fill the space in passe-partout 
 style, between frame and picture, whenever the latter shall be inserted. It can 
 then be laid aside ready for varnishing. It may be mentioned here that the 
 picture, or group of pressed autumnal leaves, or whatever is to be framed, should 
 be of a size to enable its edges to be hidden behind the solid part of the frame, 
 and it then can be securely fastened in place by means of copper wire crossed 
 over the back of the picture, and neatly wound around the inner corners of the 
 frame, where the spruce-sticks intersect each other. 
 
 EASELS. # 
 
 The easels are constructed in very much the same way as the frames, using a 
 board with penciled diagram for a guide, and taking care that the projecting 
 
HOUSEHOLD ELEGANCIES. 
 
 239 
 
 ledge on which the picture is to rest be made straight and firm. The easel pat- 
 tern in the illustration is a very beautiful one, and easy to make. The pattern 
 of the back piece explains itself. The bands of the latter and the hinges may 
 be formed of copper wire, which is very pliable, and matches the wood perfectly 
 in color, 
 
 MATCH-HOLDEES. 
 
 After the instructions already given, 
 it will be easy to make a lamp-lighter 
 or match-holder, like the above. The 
 frame of the box can be made of paste- 
 board, though if a wooden form can be 
 obtained it will be firmer and more 
 easily covered with the spruce-wood. 
 An interlining of bright-colored silk, 
 showing through, sometimes improves 
 the effect of the box. 
 
 I have but a few more particulars to 
 offer. It is well to use always as little 
 glue as possible, depending mainly 
 upon the pins, and if these are small 
 enough, the heads will not show after 
 the varnishing. For this we always 
 use gum-shellac varnish, as it dries 
 quickly, and gives a firmness and soft 
 luster to the surface preferable to the 
 unpleasant, shiny effect of other var- 
 nish. It can be purchased in almost 
 any paint-shop or can readily be made 
 by dissolving dry gum-shellac in good 
 Fig. 26. Match -Holder. alcohol, putting in as much as 'the lat- 
 
 ter will dissolve. All kinds of spruce- work should be re-touched with sTiellac 
 once or twice a year, in order to preserve its freshness and beauty ; though it 
 will last for many years without any such precaution. 
 
 PAMPHLET OR CARD RECEIVERS. 
 
 With a little ingenuity, beautiful hanging pamphlet-receivers can be made of 
 spruce-wood by following the general directions observed in other forms of 
 spruce-work. We have not made any yet, nor have we seen one except in 
 the mind's-eye view which we had of our dear old spruce-tree this morning. 
 Yes, there it hung all complete ! It had some sort of a high-arched back (the 
 easel suggests a form for that), and a kind of portfolio-pocket as wide as the 
 
240 
 
 HOUSEHOLD ELEGANCIES. 
 
 back, and reaching about half-way up. The outside of this pocket was a lattice 
 of spruce-wood, lightly and gracefully designed, and lined with crimson satin. 
 To-day it hangs, a suggestive phantom, in the spruce-tree. On Christmas 
 morning it shall hang, a beautiful reality on the walls of G 's sitting-room." 
 
 SPRUCE-WOOD WOEK. 
 
 We give also, illustrations of other styles of spruce-wood woik, in which 
 charming results are produced. Other kinds of wood may be used, but the 
 twigs and branches of the Norway spruce are best a||pted to the purpose. 
 Cigar-cases, match-safes, and fancy boxes for various uses', are made to resemble 
 a miniature cord of wood, stacked with perhaps a few gray lichens clinging to 
 it here and there. Pretty vases for flowers, ajh-receivers, napkin-rings, pincue'li- 
 ion-stands, and scent-bottle holders, also, can be made of spruce ; and made so 
 firmly and evenly as to quite do aw^ay with the old-time objection to spruce-work 
 — its "• tottery " home-made look. To prepare the wood, which may be gathered 
 in winter, lay each twig flat upon a piece of board, and scrape it lengthwise with 
 a strong knife, in the direction of its spike-like leaves, until they are all removed, 
 leaving the glossy, brown, prickly wood ready for use. 
 
 WOOD-BOXES, SAEES, ETC. 
 
 These are mado of any size desired. First, pile a number oi twigs together 
 evenly, gluing each one firmly in place as you lay it on, until the pile is of the 
 
 Fig. 27, Tobacco or any kind of Box. 
 
 required size. When the glue is thoroughly dry, saw the pile through crosswise 
 in slices, until you have a number of sheets of what, for the present purpose, 
 may be called log-veneering, as it resembles the end of a pile of logs. Now take 
 
HOUSEHOLD ELEGANCIES. 
 
 241 
 
 a plain pine-wood box, which can be easily made at home ; paint the inside, or 
 line it with tin-foil, or fancy paper, or silk, and cover its top and ends with 
 splitted spruce, glued on side by side. Then cover the front and back of the 
 box with the log-veneering already described, and the effect will be that of a lit- 
 tle pile of logs. Upright braces can be placed at the two ends of the pile to 
 complete the i*esemblance to a cord of wood ; scraps of gray and green lichen 
 may be glued on as taste may suggest, and the box may be set upon a card, the 
 projecting edges of which can be covered with moss, lichen, wood-buds, brown 
 earth, or twigs. Of coi^se, care must be taken to make the direction of tho 
 split spruce correspond appropriately with the position of the veneering, and, 
 when necessary, the front and back edges of the lid also should be covered with 
 the veneering. For match-safes, the cover can be simply a pine piece, of just 
 the size of the opening, covered on its under side with sand-paper, and on its 
 upper side with spruce twigs, the projecting ends of which will hold it in place. 
 
 UPEIGHT MATCH-STAISTDS. 
 
 Take a , toy churn, such as is sold in the shops for two or three cents, and cover 
 it with split spruce, tying it around about one third from the top with a band of 
 split spruce or of grape-vine bark ; handles can be placed at the side, and orna- 
 
 Fig. 28. Match-Box. 
 
 16 
 
242 
 
 HOUSEHOLD ELEGANCIES. 
 
 mental bits of moss or lichen added. 
 The cover of the churn, if left on, 
 should be cut away inside, so as to 
 leave the requisite o^^ening for the 
 matches. It can be neatly lined as 
 far down as needed with split spruce. 
 
 ASH-RECEIVEES. 
 
 Make the^rame of wood, of any 
 pattern desired ; line it with tin-foil : 
 fasten a strong copper wire across the 
 top, and cover the outside with spruce. 
 
 Fig. 29. Ash-Receiver. according to fancy. 
 
 FLOWEE-YASES. 
 
 Cover the entire outside of a wine-glass, vase, or goblet with brown paper- 
 muslin, sewed or fastened on with gum-tragacanth. Then cover the muslin with 
 
 Fig. 30. Flower-Vase. 
 
HOUSEHOLD ELEGANCIES. 
 
 243 
 
 spruce-wood, moss, and lichen, glued on as taste may dictate. These vases, 
 when filled with flowers, have a beautiful effect, especially in country houses. 
 
 A SPEUCE-WOOD CHAIR. 
 
 This " arm-chair " is made as follows : Take little bows from the Norway 
 spruce, and let them dry till the green will shake off ; then soak the sticks in 
 warm water a short time, so that pins will go through them easily. Leave the 
 
 Fig. 31. A Home-made Chair. 
 
 buds on the ends ; then choose or shape two of uniform size for the back and 
 legs, also two short ones for the front legs and the cross-rounds, as you see in 
 the picture ; fasten them together with common pins ; when completed, cut off 
 the points of the pins. Make the cushion of silk or velvet ; cut the upper part 
 
244 
 
 HOUSEHOLD ELEGANCIES. 
 
 larger than the lining, to make room for the stuffing ; cotton is the best for stuff- 
 ing ; you can have the cushion tacked or plain, according to fancy. Set the 
 cushion upon two cross-pieces, and fit it carefully to the bottom frame. Fasten 
 the cushion at the back by sewing. Other articles of furniture may be made of 
 spruce-wood in the same way. 
 
 NAPKIN-EINGS. 
 
 Take a strip of strong card-board or 
 Bristol-board, an inch and a half wide ; 
 cover it crosswise with split spruce sewed 
 or glued on closely side by side ; when 
 nearly the required length is covered, 
 join the ends so as to form a ring, and 
 fill up with spruce so as to hide the join- 
 ing. The ends of the spruce should pro- 
 ject- beyond the pasteboard, which, be- 
 fore the wood is laid on, should be lined 
 with bright silk or birch-bark, folded 
 Fig. 32. Napkin-Ring. over the edges. 
 
 All these articles, when finished, are improved by giving the spruce-wood a coat 
 of shellac varnish ; this gives a soft luster without having the disagreeable shine 
 produced by other varnishes. Where wooden frames are used, fine brads or very 
 small pins may be driven in to give additional security to glued portions. 
 
 PINCUSHION-STANDS. 
 
 Have them turned of wood, of any pattern you prefer, and cover with spruce. 
 A very pretty stand is made without a frame-work by placing six good-sized 
 twigs, of equal length and thickness, side by side, but about an inch apart, on a 
 piece of card-board covered with moss or plush ; then laying Six more uDon these 
 in the same way, but at right angles to them ; then, on these again, six more at 
 right angles, and so on till the desired height is obtained. This kind of stand 
 can be graduated so as to be small at the top. All the twigs should be glued in 
 place, except the foundation-row, which, though attached to the second row, 
 should be left free from the moss or plush base so that the entire stand may be 
 lifted from it for dusting. 
 
 A EUSTIC BOX. 
 
 We give, with Fig. 33, a picture of a very tasteful wall-box, made by a little 
 girl eleven years of age. In the first place she obtained an old cigar-box, lined 
 the inside with silk, and fastened an upright form of Bristol-board to the back. 
 
HOUSEHOLD ELEGANCIES. 
 
 246 
 
 This back-piece she covered with strips of grape-vine bark, neatly glued on ; and 
 in like manner covered the box with twigs of the Norway spruce, after first 
 scraping off their green spikes or leaves. This done, she ornamented it, as you 
 see, with acorns, parts of pine cones, and leather-leaves, secured to the box with 
 slender brads and glue ; and when all the parts were dry, she varnished the 
 whole with shellac varnish. You can make this varnish yourself. Buy at al- 
 most any druggist's or paint-store about ten cents' worth of gum-shellac ; bre ik 
 it up in pieces, put it in a wide-mouthed bottle, cover it with good alcohol, and 
 
 Fig. 33. A Rustic Box. 
 
 let it stand until you have a dark brown mixture, about as thick as New Orleans 
 molasses. If you find it too thick to make a fine, clear varnish, when applied 
 with a brush, you may dilute it by pouring in a little more alcohol and shaking 
 the bottle. The advantage of using this preparation is that it gives a fine, soft 
 gloss, instead of the hard, shiny effect of most other varnishes. 
 
 These boxes also are very pretty when made without the high back, and are 
 suitable for holiday gifts. It is best to ornament the box only with natural ob- 
 jects — not to mix leather-leaves among them. Leather-work is good in its way, 
 but it is not needed where you have real twigs, acorns, bark, and pine cones. 
 
246 
 
 HOUSEHOLD ELEGANCIES. 
 
 NUT AND SEED WOEK. 
 
 The exceeding beauty of some seeds and nuts have caused ingenious persons 
 to form them into objects of use and beauty, a few of which we will describe 
 and thus lead our readers to still further efforts in this line, which we believe 
 is capable of far greater results than have yet been accomplished, hi the first 
 place, we would advise om- friends to purchase many varieties of beans, and cul- 
 tivate them with a view to appropriating them to fancy-work ; for of the exceed- 
 ing beauty of some of these seeds, we believe few persons, comparatively, have 
 the remotest conception. Some of them are as beautifully mottled, spotted, 
 marbled and painted as the most elegant mosaic-work, while their symmetrical 
 form, and highly enameled surface render them well adapted for the purpose of 
 forming chain-work of every description. 
 
 Many nuts, too, such as the horse-chestnut, the little chinquapin, etc., have 
 shells of such beauty and capable of .taking such a fine polish, that when ar- 
 ranged tastefully they appear like highly-finished wood-carvings. 
 
 Acorns may be made the medium of holding ferns in a variety of pretty ways, 
 either in a room, or, still better, in a green-house, or small window-garden, open- 
 ing, perhaps, out of a back parlor or drawing-room. The acorns are soft when 
 new, and a hole may be readily made by slipping through them a large twine 
 packing-needle. Thread them on wire — a large, round cut white-glass bead be- 
 tween eyery one. The beads are sold by the row to milliners, at places where 
 such articles are vended. The German oblong beads should not be used, because 
 they have a clumsy, unfinished look for such a purpose. The holes in the beads 
 nmst be large enough to pass over rather strong wire. The wire is bought by 
 the piece, in a coil. 
 
 VASE OF COLOEED BEANS. 
 
 The vase here described may be made of any colored or sized beans desired, 
 but in selecting the beads which are combined with them, care must be taken 
 to produce a pleasing contrast or tasteful combination. 
 
 . The beans being soft when newly gathered, holes may be easily pierced 
 through them, either lengthwise or through the center from side to side. Thread 
 them through these holes on a wire, with a large round glass bead between each 
 one — not the large German beads, which would by their irregularity give a rough, 
 unfinished appearance to the work. 
 
 Make first a ring for the bottom of the urn or vase, and another for the toi?, 
 of any desired size, stringing the beans and beads upon them. The wire should 
 be as thick as a large-sized knitting-needle. After making two circles for the 
 top and bottom, proceed to form the sides by turning a hook over on the end of 
 the wire and fastening it to the top ring, between the beans. Pinch the wire 
 close, with pliers, to hide the joint. Thread this with the beans, etc., until it is 
 
HOUSEHOLD ELEGANCIES. 
 
 247 
 
 sufficiently long to form the ribs of the vase, as shown in Fig. 35 at A ; to cross at 
 the narrow part, to form the swelling part of the vase, B, and fasten again to the 
 lower ring. This wire is then cut oft' with "tin-shears," and the other part 
 * formed in the same manner, and both are then crossed by another, diagonally. 
 If the urn is large, there may be two of these on each side, making six equal 
 sides to the urn instead of four. Where they cross at the narrow part of the 
 vase, bind them well together with fine zephyr or thread. These bindings must 
 not show, and fine thread-wire is much better than other material for fastening. 
 Bend the six pieces into proper shape, by giving a regular and gi-aceful curve ; 
 
 Fig. 34. Hanging-Basket. Fig. 35. Vase, 
 
 join the wire to one of them, and carry it round the widest part of the urn at C, 
 joining it with fine wire to every part where it crosses. Next put in the upper 
 Vandykes, fastening the strung wires in the same way as before. The handles are 
 rings of the 'beans and beads attached to each side, as shown in the illustration. 
 
 The beans should be of uniform size for each separate part, and the same 
 number between each corresponding division ; for instance, the bottom ring may 
 contain thirty large beans, and the central circle fifty of medium size ; then the 
 divisions reaching between these should contain small ones, perhaps, but they 
 
248 
 
 HOUSEHOLD ELEGANCIES. 
 
 must be alike in size and number, so also the Vandykes. Fill the vase with 
 moss, green side out, and pack soil in the center, in which plant ferns, etc. The 
 effect of the moss against the beautifully-colored basket is lovely, and the crystal 
 beads glisten out of the green like so many dew-drops. 
 
 In Fig. 34, we show a hanging-basket made of the nuts of the acorn, arranged 
 in a similar manner. A circle is formed for the top, from which side-bars ex- 
 tend to a small circle at the bottom ; while between the Vandykes are formed 
 by passing the wire diagonally from one to the other, as shown in the illustra- 
 tion. The acorn-nut should be held in the cup by means of the wire, and the 
 beads for this should be either the crystal or opaque white, and of the size of a 
 pea. Handles, made of rings of wire, are first strung with the acorns and beads, 
 from which tassels of beads depend ; one is also arranged at the bottom and from 
 the supports at the point where the three are joined. A similar basket is formed 
 of the pure white beans, joined with the cut chalk-white beads, which gives the 
 work the appearance of carved ivory. This basket, with either a lining of green 
 moss or a Bohemian glass finger-bowl placed in it, is elegant. These white 
 beans are beautiful, joined with bright scarlet, opaque beads, or with blue of the 
 same kind. A dark brown bean looks well with amber-colored beads, and the 
 scarlet and white kind, called " red robins," are pretty alone, as they are bright 
 in themselves ; but the tops of poppy-heads placed between them is a beautiful 
 addition. 
 
CHAPTER XII. 
 
 MISCELLANEOUS FANCY WORK. 
 
 PEEFOEATED-CAED WOEK AND CAED-BOAED 
 OENAMENTS. 
 
 A FEW years since we were unacquainted with this material, or the many 
 elegant uses to which it may be applied. We may except, however, the plain 
 white variety, of which our mothers formed book-marks, with a text, motto or 
 some device wrought upon it, with colored silk or silver, gold or steel beads. 
 Now, we have the white card of such fine quality, that articles composed of it 
 appear as if finely embossed, or in some cases, like chiseled marble; and the 
 gold and silver varieties of different patterns are among the richest and most 
 elegant materials of which fancy articles are made. 
 
 GOLD PEEEOEATED CAED-BOAED. 
 
 To form the different kinds of gold and silver card into fancy articles, it is 
 merely necessary, in many cases, to use a binding of gay ribbon, and lining of 
 silk or satin or of corresponding color ; but when the meshes are large, the fine 
 chenille, such as is used for embroidery or No. 1 velvet ribbon drawn through 
 the openings, will be found to add brightness, and give a still richer effect to the 
 work ; and in case the perforations are similar to the white card, floss or em- 
 broidery silk or split zephyr, wrought into a regular ]3attern, will be found a 
 beautiful addition. 
 
 In describing various articles in their respective departments, we have ex- 
 plained the methods of applying this gold and silver card, and this section is 
 designed more particularly to explain the embossed work, formed by using the 
 white card, cut into sections and fastened together, so that some parts appear as 
 if embossed, or perhaps more correctly speaking, carved out in relief. 
 
250 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 1. Cross in Perforated Card -Board Work. 
 
HOUSEHOLD ELEGANCIES. 
 
 251 
 
 CASKET WITH COLOEED DESIGNS. 
 
 A most beautiful style of casket or case is made thus :— Obtain from some 
 fancy store, a package of the lovely embossed or oil prints of very small size, 
 and all of the same character and dimensions. The number of these required 
 will depend upon the manner in which the box is to be constructed ; if four 
 panels are desired upon the front and back, two on each, and one on each 
 end, with two on the lid, eight pictures will be needed ; if these are oval, a space 
 must be cut from the center of each piece and the card-board cut just large 
 enough to form a narrow mat, of one hole, at the narrowest part. The size of 
 the box depending on the dimensions of the pictures. Having cut these eight 
 pieces the size of the picture, cut another one hole larger each way, then another 
 still one hole larger than the last ; do this with each picture, and always place a 
 weight on the parts until dry ; after putting this third row on, cut a fourth with 
 four holes cut out in a square, leaving four and cutting four, both in length and 
 breadth. Cut three rows in this way, making each one, one hole larger than the 
 last ; then cut out some little pieces of three holes square, which place on each of 
 the square parts of four holes, then cut pieces of two holes square, and finally tiny 
 scraps of only the little square or cross left between four holes. Place these on 
 the squares of three holes. The parts are then put together as before described, 
 and the little pictures pasted down on the top, the panel being around them 
 like a frame-work. The holes in the card-board must be carefully counted, and 
 sufficient number allowed in each one of the widest pieces to admit of the orna- 
 mentation, being reduced to a single hole, on the space between the holes, on the 
 last layer. 
 
 An exceedingly chaste and artistic box is made by using the fine photographs 
 of statuary, and framing with these white card-board panels. Or they make 
 lovely frames for fine, small-sized pictures. 
 
 When used for crosses, frames, bases, etc., the card-board is cut out in scroll- 
 form, with irregular edges and figures in relief are formed by cutting out fret- 
 work designs in different sizes, and placing them upon one another, the smallest 
 figure beneath, and gradually increasing in size. 
 
 A beautiful box is formed by cutting out a monogram or initial in this way, 
 cutting the bottom piece, full size; the second row one size smaller, the third 
 being nearly one line between two holes or small figures from such a line. 
 
 In France and Germany this art is carried to great perfection, and the designs 
 are so elaborate and complicated that they require a teacher to impart the proper 
 method of cutting them out and putting together in forms so fine and patterns 
 so intricate, that they appear almost as if some professional sculptor had chiseled 
 them from purest marble ; while the fi-et-work designs are like gossamer net- 
 work of finest lace : of such a character is the design illustrated in Fig. 1, Cross 
 in card-board work — an object of superior taste and skill. 
 
252 
 
 HOUSEHOLD ELEGANCIES. 
 
 FRET-WOEK IK PERFORATED CARD-BOARD. 
 
 In cutting out designs in fret-work, care must be used not to draw the instru- 
 ment, but to cut directly down, with a clear, firm pressure of the hand. 
 
 Bear in mind constantly that whenever one cut meets or adjoins another, the 
 piece between will come away bodily, and if this is not desirable, care must be 
 used to prevent it. The finest card is best adapted to this work — No. 1 or 2. 
 
 Crosses are lovely cut out in fret-work, and fastened on bright-colored 
 ribbons. 
 
 Beautiful boxes are made in fret-work, and lined with gold or silver paper, or 
 bright-colored silk. 
 
 HANDKERCHIEF-BOX WITH RAISED DECORATION OF 
 PERFORATED CARD-BOARD. 
 
 Materials : Medium-size perforated card-board, colored silk or velvet ; a paste- 
 board box, eight and four-fifths inches square, four-fifths of an inch high, with 
 overlapping cover ; a two-edged knife, a board, gum or glue brush, etc. On the 
 foundation or first layer, the scallops are six squares wide ; the three following 
 layers remain even on the outer side ; on the inner they decrease one square in 
 each row. The scallops on the fourth layer, therefore, are only three squares 
 wide ; the fifth and last layers, consisting each of scallops but one square wide, 
 
 Fig. 2. Handkerchief-Box. 
 
 are pasted over the middle square of the fourth layer. The middle star is com- 
 posed of three separate parts, a rosette and two scalloped borders, each seven 
 layers high ; the lower two increase in the same manner as the upper layers 
 decrease ; the net-work in the latter falling away altogether. Arrange the two 
 scalloped borders at a distance of one square from each other and the rosette ; 
 
HOUSEHOLD ELEGANCIES. 
 
 253 
 
 they are each a repetition of the margin of the rosette, only more extended as 
 the distance increases. A very elfective foundation for this decoration consists 
 of dark red silk ; with the same material cover the box inside and out. Per- 
 fumed batting is inserted under the lining of the bottom and cover. The pull- 
 ing which surrounds the sides of the cover, consists of a piece of silk two and 
 four-fifths inches wide ; this is gathered on each side with a little standing- 
 heading at the top, and drawn together at equal distances of two and four-fifths 
 inches, to a width of three-fifths of an inch ; this is decorated by a border cut 
 of perforated card-board according to Fig. 2, and sewed on with red silk. 
 Bows of red ribbon adorn each corner of the box. 
 
 WALL-BASKET OF SILVER PEEFORATED CAED-BOARD. 
 
 Take besides silver perforated card-board, 161 inches of blue velvet ribbon, 
 one-fifth of an inch wide ; the same color floss-silk, white card-board, etc. The 
 frame of the model is cut out of card-board. The back part consists of a straight 
 piece, fourteen inches long, and four and three-fifths inches wide ; the front 
 
 Fig. 3. Wall-Basket. 
 
 part consists of six equal parts, each three inches wide, pointed at the ends in 
 such a manner, that, measuring seven and three-fifths inches in length in the 
 middle, they measure four and four-fifths inches in length at the sides. The 
 bottom cut of the requisite length, is four and two-fifths inches wide, and in the 
 shape of a six-sided half oval, the straight side attached to the back part. The 
 six parts of the front are covered with like parts of perforated card-board, em- 
 
254 
 
 HOUSEHOLD ELEGANCIES. 
 
 broidered with stars of blue floss-silk ; all the sides to be connected are bound 
 with white tape, and sewed together with overhand stitches. The border which 
 edges the front parts, is cut out of three ribs of the perforated card-board, run 
 through with blue velvet ribbon. For the upper and lower edges of the com- 
 bined front part, cut scallops out of the perforated card-board, five ribs in width, 
 run through with velvet ribbon on the inner edge, and on the outer cut into 
 little stars. Two rings, fastened to the back part, as indicated in the illustra- 
 tion, serve to hang the basket up. All the borders are pasted on with gum- 
 arabic. 
 
 LAMP-SCREEN. 
 
 Fig. 4 is a lamp-screen made of silver jardiniere canvas, green satin 
 ribbon, and gi'een paper. The six parts of the screen are cut of striped 
 silver jardiniere canvas ; each part is eight inches high, six inches wide 
 at the bottom, and two inches wide at the top; the parts are lined with 
 light green paper, and bound with green satin ribbon. Cut a thick strip of 
 the canvas through the middle, leave the adjoining row of holes, and paste this 
 strip at the edge of the ribbon on the inner side of the parts. Scallops gained 
 
 Fig. 4. Lamp-Screen. 
 
 by cutting the canvas through the holes, finish off the screen at the bottom. 
 They are pasted on beneath the ribbon binding. Connect the parts with over- 
 hand stitches ; trim with ribbon bows, and the pretty lamp-screen that has cost 
 such slight trouble is completed. 
 
 DUSTER-POCKET. 
 
 Fig. 5 is a duster-pocket made of silver jardiniere canvas, chenille, 
 satin ribbon, one and one-fifth inches wide; silk lining, red sewing- 
 
HOUSEHOLD ELEGANCIES. 
 
 255 
 
 silk, silver beads, strong card-board. The back part of the card-board frame, 
 which is covered on each side with red-silk lining, consists of a triangle curved 
 at the bottom and at the sides ; sixteen inches wide at the bottom, fourteen 
 inches high in the middle, and twelve inches high at the sides. A piece of 
 card-board, corresponding in width with the back part, six inches high in the 
 middle four-fifths of an inch high at the sides, constitutes the front part of the 
 
 Fig. 5. Duster-Pocket. 
 
 pocket. The silver jardiniere canvas is decorated with sprigs, consisting each 
 of three chenille-stitches and a bead, worked in transposed rows, at a distance, 
 of three holes from each other. In the back part, the canvas remains plain in 
 the middle for a distance of about two inches from the lower edge. The two 
 parts are connected by means of overhand stitches. A ruching of red satin 
 ribbon and bows of the same, decorate our model, and a loop of ribbon, attached 
 to the back part, serves to hang it up by. ^ 
 
256 
 
 HOUSEHOLD ELEGANCIES. 
 
 PORTFOLIO. 
 
 Fig. 6 is a portfolio for papers, pictures, etc. Materials : Fine jardiniere can- 
 vas in two colors, colored floss-silk and the same color silk ribbon, four-fifths 
 of an inch wide, white card-board, thick gum. 
 
 Two pieces of card-board, each seven and four-fifths inches wide, and ten and 
 ons-fifth inches long, bound with green silk ribbon, and connected on one long 
 
 Fig, 6. Portfolio. 
 
 side by means of overhand stitches, form the two covers of the portfolio. They 
 are covered on the outside with yellowish jardiniere canvas, decorated with black 
 jardiniere canvas and green silk stitches. The center-piece is worked to corre- 
 spond. When the embroidery on the jardiniere canvas has been completed it is 
 pasted on the card-board covers so as partly to cover the binding. Green rib- 
 bons serve to close the portfolio. 
 
 CAED-BOARD MOTTOES AND CASE. 
 
 Our chapter on Ornamental Perforated Card-Board Work M^ould not be com- 
 plete without some word in regard to the beautiful new motto-cards which are 
 now so popular. 
 
 These consist of various mottoes, quotations and texts from Scripture, some of 
 them already finished up in most lovely colors and embroidery ; in others the 
 beautiful lettering in fancy letters are shaded so as to show how the silk or 
 wool is to be used. These vary in price from twenty-five cents to ten dollars, 
 according to the elegance of the design. 
 
 AVe desire here to speak most particularly of the texts, a set of which may be 
 procured for a weekly Guide for the Day," with texts, such as : — 
 
 Sunday. " Remember the Sabbath day to keep it holy." 
 
HOUSEHOLD ELEGANCIES. 
 
 257 
 
 Monday. "Be diligent in well-doing." 
 
 Tuesday. " Whatever thy hand findeth to do, do it with thy might. 
 Wednesday. " I will lift up mine eyes mito the hills, from whence cometh 
 my help." 
 
 Thursday. "Press forward to the mark of your high calling." 
 Friday. " The fruits of the Spirit are love, joy, peace, long-suffering, gentle- 
 ness, goodness, faith, meekness, charity." 
 
 Saturday. "Charity suffereth long and is kind." 
 
 TEXT-CASE IK GKECIAN PATTERN. 
 
 For this handsome case use gold or silver perforated card of length and width 
 of text, and one-half inch wider all round. For the front-piece, cut the card- 
 board the size a, b, c, d, and two narrow strips, one and one-half inches wide ; 
 the height of the sides from c to a. Bind these four pieces of card with narrow 
 
 Fig. 7. 
 
 ribbon of some pretty color. Then cut out a portion of the square piece of card, 
 as shown, and bind with the ribbon. Sew on to it the narrow piece a b, a c, and 
 b d, and the other side to the sides of the back piece, to form a shallow case. 
 
 Xext take narrow chenille and with floss- silk embroider a pattern on the cen- 
 ter of back and around the edge of the front, finish with cords and tassels, for 
 17 
 
258 
 
 HOUSEHOLD ELEGANCIES. 
 
 suspension, and bows on the corners, lining with bright-colored paper or glazed 
 muslin. If preferred, whits card may be used and cut out in fret-work, and em- 
 bossed, as described for other articles. 
 
 The texts are then prepared and placed within the case, the proper one for the 
 day, showing within the opening cut outworn the front. 
 
 A GLASS CAKD-BASKET. ^ 
 
 Procure six pieces of ground glass, four inches wide at bottom and six at top, 
 and a piece for the bottom, cut hexagonal, each side four inches wide. Glue 
 narrow ribbon firmly around each edge, and fasten them together. Ornament 
 each panel with a tasteful Dccalconianie or embossed picture, and place a large 
 one upon the bottom. Fasten bows of ribbon on each seam, at the top, and 
 glue six ornamental gilded feet on the bottom. 
 
 Colored glass forms beautiful baskets, using the colored glass upon the out- 
 side with lining ground glass or gold paper ; fastening engravings between 
 the face towards the colored glass. The effect of the engraving through the 
 colored glass, especially amber-colored, is extremely fine. 
 
 CASE FOR VISITING-CAEDS. 
 
 Two pieces of perforated card-board are cut of a size to suit the visiting cards 
 the case is to hold, and decorated in a manner the illustration clearly indicates 
 
 Fig. 8. 
 
 with silk stitches and small Venetian shells. The silk lining and straps are of 
 a color to correspond with the outer decoration. 
 
 FAITCY USE FOE COCOANUTS. 
 
 A lover of fancy things can manage to get a great deal more out of a cocoa- 
 nut than its milk and its crisp meat. A lady friend who has made several beau- 
 tiful ornaments out of rough material, says, "When I bring one home it is hailed 
 by the children as a token of coming cakes and other ' goodies.' They behold 
 
HOUSEHOLD ELEGANCIES. 
 
 259 
 
 in that nut the ultimate cause of enjoyment. The surprise is always new. They 
 will handle it as tenderly as old Isaac Walton told us to handle the frog, ' as if 
 we loved it.' They will weigh it in their hands, and judge whether it be 
 heavier or lighter than the one they had two wpeks ago. They will look at the 
 peculiar ridges, lines and configuration of the shell and its general shape, with a 
 view to its prospective usefulness. 
 
 They will smell it, and say, ' I can smell the West Indies.' No doubt, under 
 its influence, those palm trees, monkeys and negroes, who figure in their illus- 
 trated geography, enlarge in their inner consciousness into life and motion, and 
 enables them to imagine more clearly the monkey-like face, which the three 
 spots at the base always seem to form, and wonderful again, how this monkey 
 looks different from the one on the last nut. The milk inside with its peculiar 
 
 ' swishy-swashy ' noise when shaken, 
 never ceases to be a matter of mystery 
 to them, and when I explain that the 
 meat is formed from the milk, like 
 cheese from cow-milk, and the whole 
 nut is from sap, and the sap is — well, 
 mostly water absorbed from the roots, 
 they must be satisfied, as greater phi- 
 losophers must be, who, after all, can 
 only analyze matter and trace its mo- 
 tion. Next, then, the milk must be ex- 
 tracted, which shall add to tlie flavor of 
 the cakes, in the doing of which, the 
 two eyes of the ' monkey ' must be op- 
 erated upon with a gimlet ; this gives 
 me another opportunity of illustrating 
 to them a well-known principle in hy- 
 draulics, namely, that the pressure of 
 the atmosphere prevents the liquid fi'om 
 flowing out if only one hole be open. 
 And now the nut is handed to the 
 eldest boy, who examines it with many 
 an important side-glance before sawing 
 it open ; remembering the old (?) proverb, ' The harder the nut, the finer the 
 saw,' he divides it with his little hand-saw into two unequal parts ; after dig- 
 ging out the meat carefully, the empty shell is ready to be mounted, and used 
 as a flower pot or basket or bracket. No wood harmonizes so beautifully with 
 the unpolished cocoanut as black walnut, nor does anything look half so appro- 
 priate for the additional embellishment of the articles made, as acorns, burs, 
 small cones, etc. 
 
 Fig. 9. Cocoanut Flower-Pot Bracket. 
 
260 
 
 HOUSEHOLD ELEGANCIES. 
 
 Brackets, Figs. 0 and 10, are of half-inch board, eighteen inches long ; size of 
 board, of course, to be varied according to size of nut. 
 
 By making a straight line through the board, and using a compass, our eldest 
 boy succeeded in copying them correctly from a rough sketch by papa. He also 
 cut it out, using a hand-saw, chisel, rasp and two gouges. Of course they might 
 
 Fig. 10. Cocoanut-Bracket. Fig. 11. Hanging-Basket, 
 
 be cut out in a tenth of the time, with a jig or fret saw : yet there are a host 
 of moral virtues developed by overcoming difficulties with insufficient means ; 
 and for this reason, I encourage him to persevere in doing good work with poor 
 tools. 
 
 The hanging-basket is another thing T get out of the cocoanut. The most im- 
 portant part is the fastening of the shells to the supports and backs. Figs. 9 and 
 10 must have two holes and joined with wire to the back, and one hole at bot- 
 tom joined with screw to support. The three nuts for the basket must also all 
 be joined together with wire, and screwed to the base. For fastening the cones, 
 
HOUSEHOLD ELEGANCIES. 
 
 261 
 
 acorns, etc., I use chasers' cement, and find it more durable than any thing else 
 of the kind. Those living away from oar large cities can easily make it for 
 themselves, and here is the receipt : Take rosin or pitch, half a pound ; let it melt 
 gradually in an iron pot. Do not let the flame of the fire come near it. Put in 
 gently, a little at a time, yellow ochre, Spanish brown, or finely-pulverized brick- 
 dust, until, if stirred with a stick, it is of the consistency of thick molasses. 
 N'ow add a piece of wax, size of a large hazel-nut, and piece of tallow the size 
 of a pea; let them melt, stirring continually; takeoff the stove, and stir till 
 nearly cool ; then take out and shape it hito bars or sticks, on a stone or flat plate 
 of iron ; use like that sealing-wax, and freely. A coat of varnish over the whole, 
 when finished, will improve it. The most appropriate plants to place in the 
 shells, are maurandia-vine, German ivy, linaria, musk-plant, lysimachium, 
 Coliseum ivy being both light and graceful." 
 
 LAMP-SHADES. 
 
 Another elegant ornament for the parlor, made with fret-work card-board, is a 
 lamp-shade. For this five pieces of card are cut, with the sides sloped in from 
 the bottom, being about one-third narrower at the top ; from the center of each 
 panel cut out an ornamental oval, and around the edge form scallops or points, 
 and round off the corners at the top, forming each panel into an arch. Around 
 this cutout circular holes with the punch, and with the pointed knife form small 
 designs upon the lower corners. Behind these openings place glass cards or il- 
 luminated pictures of any kind, or better still, introduce some of those ex- 
 quisitely beautiful designs which come in Diaphanie. The latter may be pro- 
 cured in various sizes, and if large ones are preferred, the card-board should be 
 cut out, so that merely a frame-work around the picture. The panels may be 
 put together with strips of nmslin glued or pasted on the edges, and covered 
 with gilt paper or by tying ribbons through holes in the top, bottom and center. 
 
 Still another lovely shade is made by marking out upon white card, various 
 designs of flowers, crosses, anchors, etc., with leaves and other accompaniments, 
 and then cutting into the broad lights, with a sharp knife. Five panels thus 
 cut, with an edge pinked out and a border of small-pointed leaves, slashed in 
 the same way, will, when lined with several thicknesses of rose-colored tissue- 
 paper, and placed over a lamp, appear like the most lovely carved-work. Where 
 groups of figures, such as are sold in photographs, are used, the effect is made 
 still more artistic, as the appearance will be similar to finely-sculptured figures 
 or groups. 
 
 Still another lovely shade is made by drawing the design lightly upon the 
 white panels, and pricking around all the outlines with Nos. 6 and 9 needles, 
 using the large one for the deep lights. This shade requires no lining, and 
 must be fastened together with bright ribbons. Besides these modes of forming 
 panels for lamp-shades, they may be painted according to any of the methods 
 
262 
 
 HOUSEHOLD ELEGAI^CIES. 
 
 described in tlie chapters on Transparencies, and Ornamental Glass, Avhere this 
 work is also further explained. 
 
 LAMP-SCREEN FOE, MANTEL OR BRACKET. 
 
 These screens are intended to place before a low lamp, in a room where a sub- 
 dued light is desired, and are formed with panels of glass, which are cut fourteen 
 inches high, and six or eight wide ; the upper corners rounded off, forming a 
 Gothic point upon each panel. These are then ornamented in any one of various 
 v/ays. 
 
 The most effective is the Diaphanie work ; these transparencies being of the 
 most exquisite character, the colors gorgeously rich and brilliant, and^tho 
 designs as perfect as the finest specimens of stained glass. 
 
 The particular designs for this work may be of the mediaeval style, or consist 
 of flowers, groups or scenes of modern times. Art-dealers furnish any kind 
 specified, and of various sizes, from large sections of life-size figures, etc., sixteen 
 and one-half by twenty inches, to liliputian affairs of a few inches in length, 
 'which are sold in sheets containing two or three dozen ; besides these there are 
 borders and ground-work of many kinds, which, when fastened upon these 
 shades or screens, or upon the panels of hall-lamps, render the effect dazzlingly 
 beautiful; but we merely mention this incidentally here, as in the section on 
 Diaphanie and Vitremanie, we give full directions for the work, and also men- 
 tion numerous designs with borders, corners, grounding, etc., specially adapted 
 to this and other objects to which this truly beautiful and valuable art may be 
 applied. But we feel so anxious to have all those interested in beautiful work to 
 make a trial of this charming work, that we introduce it in appropriate places in 
 order to evince our admiration of it. 
 
 Another mode of ornamenting these lamp-screens is by obtaining the gro- 
 tesque figures from old-fashioned chintz ; the Chinese and Japanese designs ap- 
 pearing the best ; or rich flowers, and scroll-work appear well. If the chintz is 
 the oiled-glazed kind, all the better ; if not they may be soaked in oil and dried 
 out between the folds of old soft newspapers, under a heavy weight. These are ar- 
 ranged upon the shade, with size made of boiled flour paste in dissolved glue ; 
 when dry, Swiss muslin is pasted over, using for this purpose clear gum-arabic 
 or gelatine mucilage ; a binding of black galloon is then pasted or glued over the 
 edges of each panel, using great care to fasten every part. AVlien perfectly dry, 
 sew the edges of each two, or fasten with strips of black muslin, glued upon the 
 inside. When a light is placed behind this screen, it will be found to x^roduce a 
 fine effect, the figures appearing like those of a transparency upon a ground- 
 glass foundation. The shade or screen folds in and out, in a half circular form 
 upon the mantel. 
 
HOUSEHOLD ELEGANCIES. 
 
 263 
 
 LAMP-SHADE. 
 
 Where lamp-globes are not particularly ornamental, or have blemishes of any 
 description, it is desir- 
 able to cover them, and 
 for this puj-pose orna- 
 mental covers are 
 very tasteful and ap- 
 propriate. 
 
 The one given in the 
 design is formed of 
 black or whits net — 
 plain stiff bob i net 
 being the best kind ; 
 
 the edges are cut by Fig. 13. Lamp-Sliade. 
 
 the pattern, Fig. 12, which is half the size ; then cover 
 the edges with button-hole stitching, using yellow silk 
 upon black net; pink, scarlet or blue upon white. Cut 
 five pieces of net to fit the lower half of the pieces, 
 making them one inch deep at the top, and gradually 
 increasing to two inches at the point ; cut this into 
 Fig. 12. points, as shown in the engraving. Fig. 13, working a 
 
 figure in the colored silk used along the edge, using three or four shades. 
 Ornament the entire cover with the embossed gold stars, sold in packages or 
 sheets at the fancy stores. Fasten the pieces to a covered ring at the top, and 
 connect each piece at the sides with a few stitches. This forms a light and ele- 
 gant cover. Crape will be found a beautiful material for such a cover, also silk 
 illusion lined with bright-colored silk. Tissue-paper, cut into five such pieces, 
 folded down the center, and twice more, cut out into diamonds, by cutting a 
 diamond-shaped piece out from the fold or crease ; then shaking out the pieces 
 and tacking lightly together, is also a light and lovely cover. 
 
 FRET-WORK AND DIAPHANIE LAMP-SHADE. 
 
 This shade may be formed of either colored wood or heavy pasteboard ; if the 
 first is used, the illuminated parts must be of glass, upon which the Diaphanie- 
 work must be«iastened, as directed in article on Diaphanie ; or if card-boord is 
 used, the Diaphanie pictures may be fastened with glue, directly in the frame- 
 work of card. Cut the six panels according to the pattern ; varnish with shellac 
 and afterward with Copal ; then introduce the illuminations, which may be of 
 any character desired. We have given a conventional arabesque design, but 
 scenes or flowers are quite as effective ; indeed, if six different scenes are intro- 
 duced, the effect is extremely beautiful. After thus finishing all the panels, 
 
264 
 
 HOUSEHOLD ELEGANCIES. 
 
 pierce holes in the top, bottom and center of each side, and fasten together the 
 six panels with wire, tying bows of ribbon in each one, thus hiding the wire- 
 hinge. This may be used as a folding-screen for mantel or bracket, or as a 
 shade ; in which case, a wire-frame will be required to support it. 
 
 Fig. 14. Lamp-Shade. 
 
 If wooden panels are used, they should be of one-eighth-inch " stufE ; " and in 
 using pasteboard, the feet should be strengthened with a second piece cut out 
 from the pattern and glued behind them. 
 
 SCEEEK 
 
 An elegant folding-screen is made by cutting out six panels, of the dimen- 
 sions before mentioned, of heavy card-board, using a fret-work design. This is 
 done, as before described, with a sharp-pointed knife ; the card resting upon a 
 smooth wooden foundation. After cutting out the central section, proceed to fill 
 up the openings thus : In three of them, every other one, fit three colored pic- 
 tures, containing buildings ; one may be a church, another a dwelling, and the 
 third, if possible, a street with a row of houses ; oil these as before directed for 
 the chintz, and when dry, cut out the windows, street-lamps, openings in a tower, 
 if there is one, or perhaps the lantern of a light-house ; cut, also, in one of them, 
 a moon, and place behind these pieces of glass cards of various colors, especially 
 red, putting pale yellow behind the moon ; behind the openings in the surround- 
 ing card-board, place rose-colored tissue-paper. Upon the other three panels, 
 arrange a border of tiny autumn leaves, that have been properly pressed and pre- 
 
HOUSEHOLD ELEGANCIES. 
 
 265 
 
 served, as described in Chapter II. ; with fine tracery of ferns and grasses, and in 
 the center, oblong designs, wreaths or ckisters of larger leaves and fine foliage 
 mingled with a few flowers, such as pansies, buttercups, or any plant that retains 
 its color when pressed ; over this place pieces of thin Swiss muslin, cut to shape, 
 
 touching the edges with mucilage, 
 and fastening firmly to the glass ; 
 which might better be done pi-ior 
 to binding with galloon. Fasten 
 the panels together with stitches or 
 hinge of muslin as before men- 
 tioned. 
 
 The transparencies in imitation 
 of statuary, will be found exceed- 
 ingly artistic. The groups found 
 in photographs, of coj)ies from some 
 of the celebrated pieces of statuary, 
 being the best for this purpose. In 
 the section on Transparencies for 
 hall, vestibule and library windows, 
 this method of painting is fully ex- 
 plained. In applying it to lamp-shades or " screens," the same course is pursued, 
 and the panels are bound with black galloon, silk, or muslin, after the black 
 paint of the ground-work has dried. An appropriate finish for the edges is 
 heavily-embossed gold paper, painted with liquid bronzing. 
 
 We have spoken of these screens being placed upon a mantel or bracket, and 
 arranged so as to fold, as in Fig. 15, but, if desired, a stand may be made of wood 
 carved or ornamented more or less elaborately, of a hexagonal or square form, 
 according to the form of the screen, with a groove cut for the admission of the 
 glass ; and upon this the glass panels are arranged. 
 
 The ornamentation described for the folding-screens, is equally applicable to 
 these upon a stand. The glass may be cut in Gothic form or straight, and the 
 designs given show each kind. Some persons grind the ground of the glass sur- 
 rounding the ornamentation ; but the Swiss muslin put on with dissolved gela- 
 tine or gum-arabic, will produce the same elfect; and if embroidered in figures 
 corresponding with the form of the screen, the elfect will be the same as figured 
 ground-glass. Figured lace or tarlatan answer equally well. 
 
 A PEDESTAL LAMP-SHADE. 
 
 Take a circular block of wood, six inches in diameter and one inch deep, 
 upon which screw a circular tin box, an inch and a quarter deep, and four inches 
 in diameter ; in this hold a circular rod, two and one-half feet long and half an 
 
 Fig. 15. 
 
266 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 16. 
 
 The edge of the tin box may be cut 
 namental. 
 
 inch thick, of iron or wood, and jDour 
 around it sufficient plaster of Paris to 
 fill the box, holding the rod in position 
 until the plaster, which should be p,s 
 thick as syrup, is perfectly hard. Then 
 with wire or " skirt-springs," proceed to 
 arrange the ornamental work shown at 
 A A A at base. See Fig. 16. 
 
 A transparency is the n made by 
 lightly drawing out a design upon a 
 sheet of card-board ; the " high lights " 
 or prominent lines of which, arc slashed 
 with a sharp knife ; the delicate tracery 
 pricked through with a number eight 
 sewing-needle, then lining with blue 
 tissue-paper. This transparency, which 
 will appear like sculptured marble, or 
 the fine porcelain that is so popular in 
 shades, must be neatly framed and fas- 
 tened to the rod ; as at B B in Fig. 16. 
 
 Wire, or the springs before mentioned, 
 arc then arranged in ornamental scrolls 
 around the frame, as at C C, with 
 fine flexible wire and putty. The entire 
 frame-work is then painted with liquid 
 bronzing ; and when dry, the bottom and 
 box containing the rod, are ornamented 
 with flowers in Decalcomanie. 
 out in scallops, and thus made more or- 
 
 TEAInTSPAEEOT SHADES FOR WINDOWS. 
 
 Where taste and artistic skill, combined with neatness in execution are brought 
 into requisition in designing and executing the painting on these shades, they 
 may be made as beautiful a covering for a window as can well be conceived. 
 
 In Italy, Spain, and parts of France, these shades are beautifully made, and 
 used in the houses of the most wealthy persons. 
 
 The best material for these shades is what is sold at the art-stores by the 
 name of " architects' tracing-paper but if this cannot be procured, muslin of a 
 medium quality, or rather thin, may be used, and painted with a transparent 
 wash, composed of wax. 
 
HOUSEHOLD ELEGANCIES. 
 
 267 
 
 Having the cloth prepared, it should be stretched in a wooden frame, sewing 
 the four sides to a piece of webbing tacked on the inner edge of the frame. The 
 nsxt step is to draw out the design, which may be either a landscape, flowers or a 
 group of figures, which is copied first from an engraving or other picture, and 
 pricked through with a needle around the outer edge and through the outlines 
 of the prominent parts of the picture. This is laid in position upon the shade 
 and then dusted with colored powder, tied in a thin cloth, when it will leave the 
 design outlined upon the muslin. Then touch around lightly with a pencil or 
 the transparent colors. Then placing the frame between yourself and the 
 window, you are ready to commence the coloring ; as by thus placing the frame 
 the proper effects of the coloring can be watched, but in some instances, where 
 fine lines are introduced, the frame might better be placed on its back, on a table 
 with a sheet of white paper beneath it, while they are drawn. A good vehicle 
 for this kind of work is gold-size, which will dry perfectly, and will not be 
 liable, like varnish, to stick when the shade is rolled up, and the light amber 
 hue of the size does not affect the beauty and purity of the color. Transparent 
 colors are used entirely for this work. 
 
 For reds, use various shades made of carmine and crimson-lake ; for yellow, 
 Italian yellow and gamboge ; for green, verdigris ; for blues, Prussian blue, 
 cobalt, ultramarine, and indigo ; for browns, raw and burnt sienna ; for gray, 
 lamp-black, with a large proportion of size ; a mixture of red and yellow will 
 give a fine orange ; red and blue, purple and a range of warm greens may be 
 made by adding yellow to verdigris, or to any of the blues we have mentioned. 
 Black, more or less weakened with size, will be found usefid in shading many 
 colors. These colors must ba first rubbed up with turpentine, prior to adding 
 the size. These transparencies will also answer well for signs to be read at 
 night or for lanterns. 
 
 Where a person has any difficulty in drawing off the design for the picture, it 
 is a good plan to obtain a good engraving, and after varnishing the transpar- 
 ency, and while it is still a very little sticky, to apply the engraving, having 
 made it damp, to the muslin ; j^ress every part of it gently, by patting, until 
 every part is attached to the varnish on the muslin. Then commence, with a 
 damp finger, to remove the paper from the engraving, by rubbing it carefully off 
 with a rubbing motion ; rolling off the white paper, as it were. When the whole 
 has been gone over, let it dry ; then if white places still appear, go over it all 
 again, until all the white is removed, and the mere cuticle of the engraving is 
 left upon the varnish. The greatest care is requisite in removing the last layer 
 of paper lest you should rub through into the engraving, which would entirely 
 ruin it. After this the transparent colors may be applied to the engraving, the 
 shades of which will answer for those of the colored picture. This method of 
 painting will be found ' extremely satisfactory, and the softness and mellow 
 tints of color are most lovely. 
 
268 
 
 HOUSEHOLD ELEGANCIES. 
 
 LAMP-SCKEEK 
 
 This is serviceable in a sick-room, and very convenient to shade the crib of a 
 
 sleeping baby. The standard con- 
 sists of one piece of rattan twenty- 
 two inches long, another nine 
 inches long, which is fastened in 
 a horizontal position on the long 
 rattan at a distance of four inches 
 from the top ; one small ribbon 
 spool to form a foot for the long 
 rattan, and several small pieces of 
 rattan to form the ornamental 
 base. These may be tacked to- 
 gether and bound with wire. 
 Finish the top and ends as in 
 Fig. 17, before varnishing or paint- 
 ing black. A piece of silk canvas 
 eight inches wide and ten long, 
 makes the shade. Embroider the 
 center with some appropriate pat- 
 tern ; cut the bottom in three 
 scallops, the center one larger. 
 Work white-silk stars all around 
 at a suitable distance from the 
 edge ; these are almost as easily 
 worked as small crosses, which 
 here would be absolutely out of 
 place, while the stars are emblem- 
 atic of the nightly use of the 
 lamp-screen. Line with blue 
 silk. Trim around the scallops 
 with fringe same shade as lining. 
 Sew blue and white chenille 
 around the sides and over the 
 heading of the fringe, which it 
 must match in color. Tie the 
 canvas to the standard with blue 
 and white-chenille cord ; sew blue 
 tassels at the end of the cord. 
 
 Fig. 17. Larap-Screen. 
 
 This chenille-cord you can make, yourself, by twisting blue chenille around 
 white-silk cord. 
 
HOUSEHOLD ELEGANCIES. 
 
 269 
 
 DISSOLVING VIEWS FOR LAMP-SHADE. 
 
 With India ink sketch a landscape, painting the foliage, grass, etc., with 
 muriate of cobalt ; and all the blue parts with shades of acetate ; yellow with 
 muriate of copper, more or less strong. When dry these will not be visible, the 
 mere sketch in India ink being discernable ; but as soon as the gentle action of 
 the lamp-flame heats the card-board, the colors will appear in lovely shades, and 
 continue visible so long as it is kept warm. The shade should be made in five 
 sections, a different scene in landscape top and bottom, cut out in large scallops, 
 by rounding off the corners, and pink out the edges. Finish by tying the pieces 
 together with tasteful bows of bright-colored ribbons. If the India-ink designs 
 are neatly painted, the shade will be a pretty one, even when the lamp is not 
 lighted. 
 
 MIEEOR-PHOTOGEAPHS. 
 
 The exquisite photographs taken upon mirror plates, which have recently 
 been imported from France, are so costly as to be within the reach of only the 
 most wealthy class. But we are happy to be able to assure all those lovers of 
 beautiful and artistic objects, whose purses are so short, that they do not feel 
 they can indulge their fine tastes, that so far as these " photo-mijTors " are con- 
 cerned, they may form an imitation so perfect, that none but the most accurate 
 observer could possibly distinguish them from the genuine article. 
 
 The class of pictures best suited to this style of picture is something ex- 
 tremely artistic. Copies of the Madonnas — statuary, copies from the paintings 
 of the old masters — the exquisite pair, " Night and jMorning," the Seasons, 
 etc., though photographs of friends, and fancy pieces of various kinds, appear 
 very well. Indeed some heads of pretty children that we have seen were charm- 
 ing. Having selected the photographs, if they are mounted, place them in a 
 basin of water until the card softens, and the photograph may be slipped off ; 
 when dry it in a soft napkin, and place under a press between the leaves of a 
 book for several hours. 
 
 Procure a plate of fine mirror — good American will answer, — those of circular 
 form are most effective, and a frame in which it will fit ; then prepare some fine 
 parchment or gelatine size, and carefully removing all the margin from the pho- 
 tograph, paint the face of it with the size; and placing it directly on the 
 mirror in proper position — not moving in the least after placing — press carefully 
 and gently to the mirror, patting out all superfluous moisture, and wiping it 
 carefully off from the glass. Then frame with a clear glass placed over the 
 mirror. This will not cost, for a photograph six by eight inches, more than five 
 dollars. A genuine one would be valued at about seventy-five dollars. Ths 
 piece of mirror for a photograph of size named, should be not less than eight- 
 een inches in diameter. 
 
270 
 
 HOUSEHOLD ELEGANCIES. 
 
 WASTE-PAPER BASKET. 
 
 The accompanying figure is a very ornamental basket, the frame-work of 
 which is made of four heavy pieces of wire, three feet long, bent into form as 
 shown, and fastened round a circular piece of wood, fourteen inches in diame- 
 ter, with a hoop at the top, sixteen inches in diameter, fastened with wire to 
 
 these upright pieces which project 
 above it four inches ; from the bot- 
 tom to this hoop are fastened sixteen 
 pieces of wire, twenty inches long, 
 inserted into holes in the circular 
 wooden bottom, and with wire fast- 
 ened to the hoop. In and out be- 
 tween these are woven hoop-skirt 
 springs, with beads sewed upon the 
 cover, which is first covered with 
 scarlet or other colored braid. 
 
 A heavy piece of bead-embroidery, 
 with fringe of same is fastened be- 
 tween the rows of basket-work 
 around the center, and beneath it the 
 basket strips need not be worked 
 with beads, but merely covered with 
 braid. Rings or wire, covered with 
 beads, are fastened on each side, and 
 a large bead is glued upon the top of 
 Fig. 18. Waste-Paper Basket. each upright wire ; or ball-headed 
 
 pins may be fastened to the wires, and~ covered with the beads. This basket is 
 very elegant, and would adorn even a handsomely-furnished room. 
 
 TEXTS, MOTTOES, MONOGRAMS, ETC., IK SILVER LETTERS. 
 
 Obtain a piece of clear glass, the size desired — ordinary window-glass of good 
 quality will answer — make it perfectly clean and polish thoroughly. Then cut 
 strip of tin-foil sufficiently long and wide for the lines of the text or other letters, 
 and with a piece of ivory or other burnisher, rub them lengthwise until per- 
 fectly smooth ; next moisten one side of these strips with thin mucilage, and 
 place them pasted side down, on the glass, where the letters are to go ; rubbing 
 flat and smooth with the burnisher, first patting with a soft cloth. The better 
 they are burnished the more brilliant will the work appear. Now mark the 
 width of the different letters on the foil, and cut off evenly with a sharp knife. 
 
 Next having patterns cut of ornamental or plain letters, as preferred, lay them 
 on the foil, and cutting out each one with the knife, remove all superfluous foil 
 
HOUSEHOLD ELEGANCIES. 
 
 271 
 
 cut off, and make the edges perfectly even ; then rub the edges carefully down to 
 prevent the paint from running under. Next cut out strips about one inch, or 
 more, wide, for a border, and arrange in the same manner, using a vine of ivy 
 or other leaves; or, any fancy scroll border, cutting it out as the letters. 
 Then witli a fine camel's-hair brush, proceed to paint between the letter.-?, etc., 
 very carefully, with asphaltum-varnish, made by dissolving asphaltum in just 
 sufficient alcohol to cut it ; cover all the ground-work with this, using two or 
 more coats. When dry, turn upon the other side, where the text will appear in 
 brilliant silver letters. 
 
 TAMAEIND-SEED ORNAMENTATION. 
 
 The custom of forming ornamental articles of the seed of the wild West In- 
 dian fruit, the tamarind, is quite old, but still so beautiful are the ornaments 
 formed of these curious stone-like seeds, that we can not pass the subject by with- 
 out a brief description. 
 
 The wild tamarind seed is rather large, and about the size of an apple seed ; 
 but there is another species which we have seen that contains a seed as large as 
 a pear, and of a curious shape, rather like a rounded triangle ; they are both as 
 hard as flint, and capable of a high polish. The two combined form beautiful 
 ornaments. 
 
 The only means of softening these stones is by immersing them for eight or 
 ten hours in air-slaked lime, wiping them immediately wdth a soft rag wet in 
 sweet oil. The holes should then be immediately pierced in them in desired 
 places. 
 
 Baskets, bracelets, brooches, earrings, necklaces, crosses, etc., are formed of 
 them, in combination with gilt or steel beads, passing pliable wire through the 
 holes and forming them into desired shapes. 
 
 Strung upon thread they may be made into chains for ornamenting pieces of 
 wood-carving, wall-pockets, etc., and are extremely elegant when thus applied. 
 
 Upon frames of walnut the seed of the smaller size form beautiful beading, 
 and for this purpose they are also useful on the edges of shelves, around the 
 panels of drawers, and about the carved work of tables, or cabinets, for as soon 
 as they become dry, the seeds return to their pristine " rockiness " of texture, and 
 are as durable as w-ood. 
 
 Baskets made of these seeds and lined with crimson silk or satin are exceed- 
 ingly ornamental and elegant. A circle for top and bottom, formed of wire, and 
 pieces of even length crossed diagonally from these, and interlaced so that they 
 form diamond-shaped openings, are covered with ribbon, and upon them the 
 strung seeds are fastened, with a fringe of them hung lengthwise around the top. 
 This frame-work is then lined with scarlet or blue silk ; handles formed for the 
 sides, or across the top, and a bottom made of the largest seed, with bows of 
 ribbon or bunches of tassels, in appropriate places, as a finish. Hanging-baskets 
 
272 
 
 HOUSEHOLD ELEGANCIES. 
 
 for plants, with bowls placed in them, are both durable and handsome thus 
 made, with chains of the seed strung lengthwise. 
 
 Seeds of cucumbers, melons, and various beans, are capable of being made into 
 beautiful ornaments, when applied in the same manner as these tamarind seeds. 
 We have seen an exquisite wall-pocket -bracket, and picture-frame formed of 
 " white-wood," and ornamented with the seed from muskmelon and large win- 
 ter squash. After cleansing perfectly, they were assorted into four or five sizes ; 
 then strung upon fine, pliable wire as thin as horse-hair. These were then ar- 
 ranged into figures by coiling the wire around the smaller seed at the centei-, 
 and gradually growing larger until of suitable size ; those for the four-inch-wide 
 frame being three inches in diameter for the largest flower, and diminishing in 
 size toward the sides of the oval. They were sewed upon small circles of card- 
 board, painted buff, and completely covered it ; a tack in the center, with glue 
 upon the under side, fastened each rosette to the frame, etc. Chains of strung 
 seed, with steel beads Joining each link, were hung in graceful festoons from 
 different points, and a beading formed of seed placed one upon another. The 
 set adorned a little recess in a light, blue- furnished sitting-room, and presented, 
 altogether, such a charming effect that these light, tasteful ornaments were the 
 admiration of every one. 
 
 Light-colored ornamentation is capable of being made so beautiful, and we so 
 seldom see it employed in frames, brackets, etc., that we feel inclined to almost 
 urge it upon our readers to try the effect of this style of fancy work. 
 
 ^^mw W"' is fifteen and one-fifth inches, and its 
 
 Fi^l9. Newspaper-Holder. width ~ ten and four-fifths inches. The 
 
HOUSEHOLD ELEGANCIES. 
 
 273 
 
 requisite slits through which the embroidered straps that hold the newspapers 
 are passed, are provided at the top and bottom of the frame. Any pretty border 
 worked on cloth or woolen reps, will serve for the straps. 
 
 VASE FOE SCRAPS, PAPERS, ETC. 
 
 This is made in the same manner as the basket just described, excepting that 
 instead of the bead embroidery and fringe, four strips of colored merino are 
 worked with beads, upon plaits, which are fastened longitudinally to the vase. 
 At top and bottom are heavy cords covered with the merino, and wound with 
 b 'ads. The uprights, as will be seen, are bent out at the lower part, and curved 
 inward at the top, which gives a very graceful form to the vase. The braid- 
 covered basket-work should be worked with rather small beads, of colors to cor- 
 respond with the furniture, carpets, etc. 
 
 KEY-RACK. 
 
 Fig. 20 is a key-rack. Cover a diamond-shaped piece of wood, each side 
 measuring eight inches, with brown oil-cloth, tacking the latter on the wrong 
 side with small tacks, and furnish with hooks for hanging the keys on. The 
 
 Fig. 20. Key-Rack. 
 
 decoration is cut and pasted on in the manner the illustration clearly shows. It 
 consists of yellowish jardiniere canvas. Two rings at the back of the board 
 serve to hang it up. 
 
 WALL-PROTECTOR. 
 Fig. 21 is a wall-protector, with pockets, to hang over a wash-stand. This 
 protector is very serviceable in a bed or bath room. It is made of brown oil- 
 18 
 
274 
 
 HOUSEHOLD ELEGANCIES. 
 
 cloth, and provided witli pockets for comb, brushes, etc., finished off all around 
 by a ruching or braid of scarlet worsted. On the pattern of the cover, the 
 place for the pockets and the arrangement of the pocket-parts for the combs, 
 are indicated. For the latter, three parts, graduating in size, are requisite; 
 these, are each bound at the top with braid, and then all three, together sewed to 
 the protector, but in such a manner that they do not lie flat, but a little hollow. 
 The top part of the brush-pocket is likewise bound with black braid, a deep 
 plait laid at the bottom, and the pocket then sewed to the protector according 
 to the space designated for it in the pattern. The pockets are edged with a 
 
 Fig. 21. Wall-Protector. 
 
 braiding or ruching of scarlet braid to correspond with the edging on the pro- 
 tector. Three brass rings affixed to the top of the protector, in the manner the 
 illustration indicates, serve to hang it up. The rack in the center of the pro- 
 tector holds a basket in which soap, and the like, may be placed. Sponge, towel, 
 etc., may also be hung on the rack. It is advisable to work an eyelet in the 
 protector for the nail, that holds the rack, to pass through. 
 
 WALL-PEOTECTOE.— FIG. 22. 
 
 This is intended to hang over the wash-stand. Materials : Black oil-cloth, 
 gray percale, gray linen, gray and white tightly-twisted cord, in various thick- 
 
HOUSEHOLD ELEGANCIES. 
 
 275 
 
 nesses, black twist silk, gray thread, and sixteen dozen of black china buttons. 
 This very useful protector, to be hung on the wall by means of three loops of 
 cord affixed one to the center and one on each side, is made of oil-cloth, twenty- 
 three inches wide and thirty inches long, cut into curves, and lined with gray 
 percale. A bias piece of linen, two-fifths of an inch wide, binds it around the 
 edge, and is decorated with black china buttons ; the binding is edged by two 
 
 Fig, 22. Wall-Protector. 
 
 rows of cord, one white, one gray, placed close to each other, and confined by 
 overhand stitches of thick black silk. The arabesques are made in a similar 
 manner of cord, and connected by gray linen folds, two-fifths of an inch wide, 
 fiive and one-fifth inches long, fastened to the oil-cloth by means of black buttons. 
 The surface of the protector is decorated by two pockets for the reception of 
 brushes, and a little tin shelf surrounded by lambrequin of oil-cloth, to which, 
 in turn, a hook is attached, on which to hang the sponge, or wash-glove. 
 
 STAND FOR VISITING-CARDS OR JEWEL-CASE. 
 
 Fig. 23 is made of cone-work, and painting on wood. Materials : Pine and fir 
 cones, alder-catkins, acorns, blossoms of the hazel-tree, early blossoms of the 
 cherry-tree, beech-nuts and their hulls, hair-moss, etc. Small wooden beads pol- 
 ished black, brown, lusterless paper, strong card-board, brown thread, strong 
 
276 
 
 HOUSEHOLD ELEGANCIES. 
 
 wire, gum, Copal varnish. The design for the center-piece is to be drawn 
 with India ink ; and the design for the margin is to be drawn in two colors, 
 black and scarlet, of India ink and vermilion. The frame of our model is 
 constructed of strong card-board. Three strips of card-board, each ten inches 
 long, one and one-fifth inches wide at the ends, and sloping a little narrower 
 towards the middle, are held together, as may be seen in the illustration, by 
 a ring two-fifths of an inch wide, and having a diameter of three and one- 
 
 Fig. 23. stand for Visiting-Cards. 
 
 fifth inches. Each part is covered on one side with brown paper. The card- 
 board, moistened with gum, becomes very pliable, and may be bent in any 
 shape. Bent outwards, the feet which stand four inches high, describe a trian- 
 gle of six and two-fifths inches at the bottom ; in the same proportion, the upper 
 ends of the feet are curved outwards, as clearly shown. The pine-cone scales 
 after being soaked in soft water, admit of the needle being passed through them, 
 and are sewed on with the pointed side turned outwards. They cover the feet, 
 sewed on in close rows ; the spaces where the ring is afterwards fitted in, must 
 be left empty. One row of scales borders the margin of the ring, which is cov- 
 
HOUSEHOLD ELEGANCIES. 
 
 277 
 
 ered by a tasteful arrangement of pretty pine cones, acorns, etc. In order to 
 cover the stitches, brown paper is everywhere pasted over them, and the upper 
 ends of the feet, which project about three-fifths of an inch over the vase, are 
 decorated on the inside with several rows of scales, giving them a sort of rosette- 
 like finish. The chains decorating the stand, and the bunches of tassels beneath 
 the rosettes, are made of alder-catkins and black beads strung on strong thread. 
 Brown woolen velours or black velvet serves as a' covering for the lower support 
 of the stand ; the border of rosettes should be worked on a card-board margin^ 
 four-fifths of an inch wide, and covered with brown paper. The rosettes are 
 made of pine cones of as even a size as possible, choosing the lower arched parts 
 on which the little stem is visible ; each of the rosettes on our model is two 
 inches large ; where a scale is wanting to complete the rounded form, insert it 
 carefully, and fasten it firmly. A coat of Copal varnish gives the whole a fresh 
 appearance. 
 
 CRYSTALLIZED VASE FOE BONBONS OE JEWELEY. 
 
 Fig. 24 is a specimen of alum-crystallization. IVLlterials : Strong covered 
 wire, pink zephyr-worsted, alum, three shells, pink silk-ribbon. The effect of 
 this work is exceedingly pretty. The frame is constructed of wire, and ribbon 
 wire covered with pink worsted, the latter being especially adapted to bend into 
 the coral form. The middle consists of three pieces of wire, each twenty-one 
 and one-fifth inches long ; pieces, each three and one-fifth inches long are used 
 for the ornament at the top, and the larger twist for the foot is made of pieces 
 each seven and three-fifths inches long, while the sides of the triangle on which 
 it rests measure each five and one-fifth inches. Now cover the middle pieces at 
 either end with pink worsted, and shape the coral branches out of ribbon wire 
 in the manner the illustration plainly indicates. The three feet are fastened to 
 the points of the triangle, which is made of double wire, and also covered with 
 pink worsted. The three holders for the shells are made of three pieces of wire, 
 each fourteen inches long, closed to rings having three and three-fifths inclies in 
 diameter, closely covered with pink W'Orsted, and decorated with coral branches 
 of ribbon wdre; they are attached to the frame a little higher than its middle. 
 Pieces of wire, closely covered with pink worsted, twine around the frame here 
 and there, and are twisted into tendrils. If the frame, when thus far completed, 
 is not firm enough, drop a little melted lead into the part where the three 
 middle pieces part to form the feet, closely covering with pink worsted when 
 dry. For crystallizing the frame, use an earthen vessel, in which the frame may 
 be entirely covered by the alum solution. For the latter, take one pound of 
 alum to good three quarts of water ; j^ut it on the fire, allow the alum to dis- 
 solve, and filter the hot solution through a cloth, in order that it might become 
 quite clear, into the earthen vessel, in w^hich then place the frame. Cover 
 tightly, that it may not cool too quickly, and let it stand until the small 
 
278 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 24, Vase for Bonbons and Jewelry. 
 
HOUSEHOLD ELEGANCIES. 
 
 279 
 
 crystals have attached themselves to the frame. The process usually lasts 
 twenty-four hours, but the frame must be stirred in the solution now and then, 
 as the crystallization does not proceed evenly, and if allowed to stand too long, 
 the crystals will become large and heavy; but the crystals must be very small 
 and even. When the frame is taken out, great care must be taken as to the 
 drying, subjecting it neither to the heat of the sun nor of the fire, but to warm 
 air of an even temperature, so that the crystals may remain clear and trans- 
 parent. The shells which are easily procured, must be provided with two holes 
 for the ribbon to be passed through ; for each bow the ribbon is passed tlirough 
 two shells and around two of the rings. A ])ow decorates the top of the crystal- 
 lized frame, for M'hich a round silver or cliina plate, with a decorated margin, 
 serves as a tray. 
 
 BUTTEEFLY AS PINCUSHION.— FIG. 25. 
 
 Materials : Patches of silk or velvet, in two shades ; black, and three colors 
 harmonizing with the velvet or silk, of fine chenille ; fine dark brown trimming 
 chenille, gold-cord, gold-thread, etc. Our engraving represents the cushion 
 
 Fig. 25. Butterfly as Pincushion. 
 
 almost full size. It is made of two shades of brown silk. Tlie upper wings of 
 the lighter shade are decorated with black and gold button-hole stitches at the 
 margin, and button-hole stitched to the lower wings of the darker shade. 
 The center-piece in the upper wings is embroidered of blue and black chenille, 
 and surrounded by gold-cord ; the radiating stitches are worked of two shades 
 of brown chenille, mixed with gold thread; the dots are brown and black, 
 
280 
 
 HOUSEHOLD ELEGANCIES. 
 
 some with white silk, and some with silver-gray silk stitches in their centers. 
 The scallops on the lower wings are made of black chenille and gold cord. The 
 button-hole stitches on the margin are black, as is also the net-work. Each 
 pair of wings is lined with firm mvislin, and stuffed with sand and bran. The 
 body is formed of batting, and wound about with thick, dark brown chenille 
 and gold-cord ; two black beads at the top imitate eyes, and two pins the feelers. 
 When body and wings have been fastened together, insert black pins up to the 
 heads all around ; white pins form a wreath of rays all around ; four pins, 
 affixed to the back of the butterfly serve for feet. 
 
 FLAG AS PE^>r-WIPEK. 
 Materials : A rod of brown wood or a piece of cane, three strips of cloth — one 
 red, one black, one white — the same colors of twist-silk, gold cord, gold beads. 
 
 Fiij.liG. Flag Pen-Wiper. Fi^' Banner as Needle-Book. 
 
 The flag, which is fastened to a rod of brown wood, consists of strips of cloth one 
 red, one white, one black, each four inches long, one and one-tenth inches wide, 
 pinked out at the inner edges, and sewed over each other with cross-stitches of 
 the same color silk, before the scallop at the end is cut in. The embroidery 
 is worked of the three colors silk on each strip, diversified with gold here and 
 there. The flag is connected with the black cloth lining by means of gold beads, 
 and the two layers are then pinked out together all around. A pinked strip of 
 
HOUSEHOLD ELEGANCIES. 
 
 281 
 
 cloth, one and three-fifths inches wide, box-plaited and attached to the back of 
 the flag, serves as the pen-wiper, 
 
 A¥ORK-STAND.— FIG. 28. 
 Materials : A stand carved of black polished wood, yellowish brown jardiniere 
 canvas, dark brown chenille, twenty-two and a half inches of brown satin, 
 seventy-two inches of brown satin-ribbon, one and one-fif tli inches wide. The 
 wooden frame of our model consists of a twisted rod, thirty-one inches high, 
 which rests on three feet, each live inches high. Three pockets in the shape of 
 
 cornucopias, serve for the recep- 
 tion of work and sewing mate- 
 rials, and are fastened to the 
 upj)er end of the rod by a brown 
 ribbon which is drawn through 
 each of the pockets, as clearly 
 shown in the engraving. The 
 cornucopias are made of stout 
 pasteboard, covered on each side 
 with brown paper, and can be or- 
 dered at any book-binder's. Each 
 one consists of a piece of paste- 
 board, fourteen inches high ; the 
 upper width is twenty-six and a 
 half inches ; the edges are slanted 
 downwards, so that the width at 
 the bottom shrinks to eight 
 inches, and the sloped edges have 
 a length of eighteen inches ; these 
 are fitted together and form the 
 back of the cornucopia. The 
 long, narrow bottom is rounded 
 at the front, and runs into a 
 sharp point at the back. The 
 outer covering of the cornucopia 
 consists of the favorite jardiniere 
 canvas, embroidered at the upper 
 and lower margin with a border, 
 and through the middle with 
 sprigs of brown chenille. The 
 figures in the middle are oblique 
 stitches ; and large cross-stitches, 
 worked at even intervals, and oc- 
 
 Woik-Staiul. 
 
282 
 
 HOUSEHOLD ELEGANCIES. 
 
 cupying each a space of nine holes. Each pocket is decorated, top and bottom, 
 ])y a niching of pinked satin, one and three-fifths inches wide, and cut bias. 
 The stitches in the middle are covered by a strip of the canvas. Inside of the 
 upper part of the pocket, a narrow border of the canvas is affixed. At the upper 
 edge of each pocket — there where it is attached to the stand — a bow of brown 
 satin ribbon forms a pretty finish. 
 
 BANNER AS NEEDLE-BOOK. 
 
 Fig. 27 is made of remnants of red, black, and white cloth, and of white flan- 
 nel, black, red, brown, blue twist-silk, gold thread, fine black and white mixed 
 silk cord, gold beads, hook and tassel-holders of bronze, card-board, etc. The 
 cover of our model is decorated with an embroidered eagle, edged with black 
 and white mixed cord, and consist^^f three strips of cloth, each nine and one- 
 fifth inches long, of which the white middle strip is one and three-fifths inches 
 wide, and the side strips, one red and one black, are each three-fifths of an inch 
 wide. The scallop at the bottom is one and one-fifth inches deep. The 
 eagle is one and three-fifths "inches high, embroidered of black with brown 
 feet; the crown is red, the apple blue, and the whole is enlivened with stitches 
 of gold ; the eye is marked by a white bead ; the scepter is worked only of .gold. 
 Two white-flannel leaves, edged with red and black button-hole stitches are 
 basted into the cover, the completed banner having previously been stretched 
 over a piece of card-board. To each point of the cover sew a piece of cord four 
 and two-fifths inches long, the end raveled and decorated with gold beads form- 
 ing a tassel ; these serve to close the book. A piece of cord five and three-fifths 
 inches long, with a hook for hanging up, is attached to the top of the book, and 
 finished off on each side with black and white tassels having bronze holders and 
 depending from short strings of gold beads. 
 
 BUTTON-WORK. 
 
 Exceedingly beautiful articles are made of bright-colored merino-cloth or flan- 
 nel, ornamented with the common, white porcelain buttons ; also a table set of 
 ornamental mats, " cozy," egg-bag, etc. The mats are cut to suit the various sizes 
 of dishes, generally consisting of a set of six or eight. Materials : A set of 
 pasteboard foundations, cut either oval, round, or square, French merino or fine 
 flaimel, and buttons of various sizes, some wide braid, and muslin for lining. 
 The material is cut to fit the card-board, as also the muslin lining beneath, and 
 being basted upon it, the edge is bound round with braid. A straight row of 
 medium-sized buttons are then sewed upon the edge, and about a half inch 
 within this, a row of small ones ; after this, the design is formed, which may be 
 varied to suit the taste ; for a Grecian or scroll pattern, the smallest-sized but- 
 tons are necessary, but the larger ones may be clustered in groups of three and 
 
HOUSEHOLD ELEGANCIES. 
 
 283 
 
 then two, then one, forming a half diamond, or an entire diamond of small but- 
 tons ; or perhaps circles, triplets and figures with two and three sizes of buttons 
 may be fancied. We give a few designs that may, perhaps, afford an idea of 
 our meaning. 
 
 O0O0O0O© 
 
 OO oo oo CO 
 OOO OOO OOO GOO 
 
 oo oo oo oo 
 
 Fig. 29. 
 
 It is neater, perhaps, to sew the buttons upon the merino, always through the 
 card-board, afterward placing the lining and binding, then pasting a row along 
 the edge upon the binding; thus the stitches are hidden. Either scarlet or 
 
 Fig. 30. 
 
 white cotton or silk may be used for sewing on the buttons, the former imparting a 
 bright, gay appearance, the latter a pure dead look, like carved ivory. Upon a 
 white table-cover these mats present a beautiful appearance, and are extremely 
 appropriate for the scarlet lunch cloths. 
 
 FIRE-SCEEEN. 
 
 Fig. 30 is made of embroidery with applications of cretonne. The pretty and 
 simple frame of this screen may be either gilt or polished black, and has for its 
 center a piece of embroidery with cretonne applications. The cretonne applica- 
 tion is gray ; bears on its surface a pretty little gerre picture, surrounded by 
 arabesques of gray soutache, knots and long stitches of gold, and small vines 
 worked in herriug-bone stitch of several shades of brownish green twist^silk. 
 Any other design will do equally well, the cretonne applications always produc- 
 ing an excellent effect. 
 
284 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 31. Fire-Screen. 
 
HOUSEHOLD ELEGA^^CIES. 
 
 285 
 
 EASTER-EGGS. 
 
 With many it is a curious fancy, to dress Easter-egg-s in elegant forms and 
 keep as toilet elegancies, and we introduce several designs showing how this 
 may be beautiful carried out, and result in charming effects. 
 
 This china egg is hollow and open at the dull end, so that it can be set up 
 on end, or when given as a present, filled with candy or some valuable article, 
 while it may be closed with a cork decorated with ribbon bows. Such eggs 
 which have the not very poetic but certainly useful mission of helping in the 
 darning of stockings, are generally white, a tempting subject for painting, to 
 those who can skillfully wield a brush. But they may also be procured colored, 
 and when decorated with ribbon bows, make a pretty and welcome Easter gift. 
 
 Fig. 3'2. Easter-Egg of China. Fig. 33. Easter-Egg with ELciiing. 
 
 BOILED EASTEE-EGG, WITH ETCHING. 
 
 A very pretty Easter gift is a boiled colored egg, on which, as on colored porce- 
 lain, the most various designs, monograms, pictures and the like, may be etched 
 with a fine penknife. As hard-boiled eggs do not decompose, this forms a dura- 
 ble mark of remembrance. The brown color on our model, is produced by boil- 
 ing the egg in water filled with onion peels. 
 
 EASTER-EGG AS HANGING-BASKET WITH ELOWERS. 
 
 Open a hen, duck, or goose egg at the pointed end ; let all the contents run 
 out, and cut the upper, smaller half away with small sharp scissors ; fill it al- 
 most up with earth, and plant a sedum, which, despite the small space, thrives 
 splendidly and spreads out its little twigs on every side. As outer decoration 
 for this improviseH flower-pot, a net-work of crochet suspended by cord made of 
 chain-stitches, and trimmed with tassels, will do nicely. In the model, the net 
 is crocheted of scarlet silk ; fringe is knotted in at the top, and a string drawn 
 through to make the net fit firmly to the egg. Draw the net together at the 
 bottom, and finish off with a tassel. 
 
286 
 
 HOUSEHOLD ELEGANCIES. 
 
 Fig. 34. Easter-Egg as Hanging-Basket. Fig. oo. Bonbonnieie. 
 
 EASTEE-EGG AS BONBONNIEEE. 
 
 This sweet little toy is made of a hona Jide egg, cut through very carefully in 
 the middle ; the edges are furnished with a narrow binding of soft-colored paper, 
 beneath which, for the sake of strength, a narrow strip of card-board is pasted. 
 A strip of card-board, one-fifth of an inch wide, covered with the same colored 
 paper, is pasted within one of the halves, partly projecting, and serves to close 
 the two parts, as plainly seen in the illustration. The rest of the decoration 
 consists of narrow gold braid pasted inside and out, at the edges of the paper 
 binding. A skillful hand may easily execute a monogram, or wreath of flowers 
 on the outside of the egg. Decalcomanie may also very suitably be employed. 
 
 LAMP-MAT, ETC., WITH BYZANTINE OENAMENTATION. 
 
 As most ladies have pieces of black silk which they would be glad to utilize, 
 we will describe a kind of work by which they may be enabled to form beauti- 
 ful articles of them, with the aid of some embroidery or saddler's silk, cord of 
 silk, and gold or silver. The ground is of black rep-silk, and the ornamentation 
 is formed by applying the cord and silk to the surface by means of stitching. A 
 pasteboard foundation, of desired size, is cut and covered upon the under part 
 with glazed muslin ; the silk is cut to correspond with this, but is not fastened 
 to it until the embroidery is finished. The silk cord and embroidery silk are of 
 
HOUSEHOLD ELEGANCIES. 
 
 287 
 
 various colors. A design is marked upon the silk by means of a paper pattern 
 pricked with holes, and tlien dusted with powder, as described for other work 
 heretofore. Then a light crayon is taken and the design lightly traced upon 
 the silk, and the powder blown olf. The light parts of the design are then cov- 
 ered with gold-colored, or gold cord fastened on at regular intervals, with 
 stitches of silk taken across the cord. The intermediate lines are of crimson, 
 blue, and green. The green should stand between rows of blue and crimson. 
 The medallions are formed thus : The one in the center has the inner circle, and 
 every alternate one, those drawn white in the engraving, are of gokl-colored silk 
 cord, the intermediate ones of green, which stand between two alternate rows 
 of blue and crimson, formed in little knots of embroidery-silk, shown by the 
 white dots. The circles beyond are the same. The medallions on the edge con- 
 sist of two designs ; the one formed of green and crimson cord passed one over 
 the other in a double cross, which is held in place by stitches of white silk crossed 
 over the point of intersection in each. The star in the center likewise of white 
 silk. The other medallion, and the center, in gold-colored cord, enclosing the 
 cross figure, of blue and crimson silk. 
 
 The clusters of three stitches, forming arrows, scattered over the pattern are 
 worked in long single stitches, in various colors. The mat is edged with a many- 
 colored fringe, put on after the outside and card-board are bound together. The 
 elegance of this work can scarcely be conceived ; it is one of the richest pieces 
 of work that can be found, and gives an imposing appearance to an otlierwise 
 plain ta])le or stand. 
 
 EASTER-EGG AS HOUSEWIFE. 
 
 Materials : Tulle, zephyr worsted, white sewing-silk and crape, colored silk 
 and watered ribbon three-fifths of an inch wide, narrow blond lace. As may be 
 seen in the illustration, our model is provided with the necessary sewing-mate- 
 rials for embroidery. The 
 outer decoration consists of 
 tulle drawn through with 
 zephyr worsted and sewing- 
 silk, beneath which, the tulle 
 is alAiost hidden, leaving a 
 peculiar sort of net-work. 
 The pattern of this pretty de- 
 sign is worked of worsted and 
 cross-stitches of white sewing- 
 silk. We would here men- 
 tion that this work is very 
 Fig^TG. Housewife."" Suitable for children's hats. 
 
 For each of the two oval halves of the necessaire, work a piece of tulle seven and 
 
288 
 
 HOUSEHOLD ELEGANCIES. 
 
 one-fifth inches long, and five and one-fifth inches wide ; round it at the cor- 
 ners ; line it with blue or pink silk, and baste it to a piece of card-board. The 
 outer rim is then marked at even distances, into twelve parts ; between these 
 cut out points one-fifth of an inch wide, one and one-fifth inches deep. Bind 
 the incisions with silk ribbon ; by drawing them together the arched form is 
 produced ; tack in the silk lining ; wire it on the edge, and finish off with a 
 binding of ribbon. Ornamental stitches of colored silk decorate the outer side ; 
 
 Fig. 37. Stand of Easter-Eggs and Paper-Flowers. 
 
 the inner margin is finished off by a narrow blond lace. The piece that covers 
 the rims is to be fastened to one of the perfectly equal parts, and consists of a 
 strip of card-board two-fifths of an inch wide ; it is covered on the inside with 
 silk, on the outside with white crape taken four-fold ; it is edged on either side 
 with button-hole stitches, and decorated along the center with herring-bone 
 stitches. Two pretty bows, one within and one without, conceal the spot where 
 the parts are connected, and ribbon serves to tie the halves together. 
 
 CORAL-MAT. 
 
 One ounce bright scarlet zephyr. Those who are acquainted with crocheting 
 can form the most beautiful mats, which appear like circles of twisted coral 
 sprays around the center of the mat. They are formed thus : The center con- 
 sists of a circle of ten " chain-stitches ; " then round the edge of this twenty-five 
 
HOUSEHOLD ELEGANCIES. 
 
 289 
 
 " long stitches " are crocheted ; that is, the zephyr is passed round the needle or 
 hook once, and between each of these long stitches is made one chain-stitch ; 
 this forms the first row of the central part. Second row is the same stitch, but 
 every third stitch is double ; that is, two long stitches in one space, this double 
 stitch being added to enlarge the circle. Third row, same stitch, but the thread 
 is passed round the needle twice, and every other stitch is double. Fourth row 
 commences the full border thus : in each space are three stitches, and the thread 
 is passed round the needle three times, making a very long stitch. Fifth row is 
 simply a chain, ten " chain-stitches " in each space, forming a scalloped border. 
 The full curled appearance given to the border by the fullness is the peculiar 
 beauty of this lovely mat. 
 
 THE PANSY-MAT. 
 
 This pretty mat is made of single zephyr, white, black, yellow, and tw^o or 
 three shades of purple. A mat of circular form is first crocheted of black or 
 white zephyr, about an inch deeper all around than the vase it is to hold ; this 
 is done in common crochet-stitch. Then take black zephyr and crochet one 
 round, adding two stitches in each division of the preceding row ; this forms 
 the first row of the border. Second, crochet one row of yellow, increasing two 
 in every stitch in the same manner ; then, with the darkest purple, form the 
 third, increasing in the same manner, and finish by binding off with the two 
 other shades, using each one upon half the edge, thus forming two colors when 
 finished. This done, take the rufile thus formed and folding it into plaits rep- 
 resenting the pansies, tack each fold in place with a stitch of thread, and a 
 beautiful mat is formed, which is a very good imitation of a row of pansies. 
 
 TABLE-MATS.— OKNAMENTAL MAT FOR EITHEE WHITE 
 OR SCARLET CLOTH. 
 
 Obtain a quantity of the white porcslain-buttons, used for underclothes, and 
 which, if a number of mats are desired, might better be purchased by the gross, 
 and of several sizes. Cut from thin card-board the various sizes required, and 
 of oval and round shapes, according to the article it is to hold ; cover with scar- 
 let merin(^ or flannel, and about a fourth of an inch from the edge sew a plain 
 row of the largest buttons, using scarlet embroidery-cotton or white thread ; the 
 former giving a bright and pretty effect, the latter giving a pure, dead look which 
 reminds one of a border of carved ivory upon the scarlet foundation. AVithin 
 this border, form an ornamental border, perhaps of diamonds, using a medium- 
 sized button, and commencing with one, then two, then three, then four, then 
 receding until one finishes one diamond, forming three or more on one side, 
 and continuing around the remaining three. The figures upon the opposite will 
 suggest a few patterns, which may be changed and improved by a tasteful per- 
 son. In a complicated pattern, like the Grecian, the tiny little shirt-buttons 
 19 
 
290 
 
 HOUSEHOLD ELEGANCIES. 
 
 look best, and a pattern with four and five sizes introduced, using the minute 
 buttons (No. 1) as centers to figures made of larger sizes. When a suitable 
 border is made, the under side is lined with white or colored muslin. 
 
 These mats look very elegant upon a pure white cloth, and also correspond 
 with, and enhance the beauty of, the scarlet and' white Turkish cloths. If de- 
 sired, the center of the mat may be covered with table oil-cloth, using a scarlet- 
 merino border, and covering the joined part with a row of small buttons, sewing 
 them closely together. Around the edge a row of the porcelain-buttons, with 
 " eyes," form a pretty finish. These are exceedingly beautiful mats, and both 
 inexpensive and durable. 
 
 Another style of mat is made, which is somewhat similar to the previous, and 
 may, perhaps, be considered more durable. The materials consist of table oil- 
 cloth — the enameled kind— i-muslin for lining, card-board, and a quantity of col- 
 ored porcelain buttons ; various shades of brown may be arranged in figures 
 and the effect is really beautiful. The black buttons used for shoes form a 
 pretty edge, and the colored enameled cloth, showing beneath and between the 
 buttons, is exceedingly pretty. 
 
 As these mats are easily cleansed, they are very appropriate for ordinary use, 
 and large ones placed beneath children's plates, or upon side-tables for water- 
 pitcher, trays, etc. 
 
 THE OAK OR VINE LEAF MAT. 
 
 Cut a pattern from a good-shaped oak-leaf, from which cut a sufficient num- 
 ber from green and brown cloth to reach around the mat-foundation, which is 
 to be made of pasteboard covered with silk or merino. With yellow beads form 
 midrib and veins on the green leaves, mixing steel among them, and for the 
 brown use gold and jet beads ; work the edges in button-hole stitch, adding a 
 bead to each stitch ; a slender wire may be worked in if the cloth is not suffi- 
 ciently stiff. Arrange them around the mat, folding one a little over the other, 
 first a green, then a brown. Arrange a few acorns upon wire-stems, which place 
 carelessly among the leaves, and add a few tendrils made of zephyr rolled round 
 a knitting-needle. These acorns may be gilded, and thus made very rich and ele- 
 gant. If vine-leaves are used, grapes may be formed of purple velvet over mar- 
 bles. Other colored leaves, representing autumn tints, may be substituted and 
 form elegant mats. 
 
 DAISY-MATS. 
 
 These mats are formed on frames of any size or shape ; that is, square, oval, or 
 round ; of four strips of wood morticed together at the corners, and an inch and 
 a half wide. Upon the upper side, 1 we pointed stiff wire inserted, like pins, 
 one inch apart, an.d one and a half inches high. These mats, we would here 
 
HOUSEHOLD ELEGANCIES. 
 
 291 
 
 observe, are called daisy-mats, on account of the button-like appearance of the 
 wool, but they might better be called " tufted " mats, as this is the true appear- 
 ance of the work. 
 
 There is no particular color necessary for this work, any two pretty contrasting 
 colors producing a fine effect. 
 
 The most appropriate material is zephyr, though we have made beautiful 
 wash-stand mats of coarse " tidy or crochet cotton " crossed with scarlet, either 
 with or without cutting, as will be hereafter described. > 
 
 The zephyr of one shade is taken, and wound from one side to the other around 
 the pins, as from A to B in Fig. 38, about thirty turns over each two opposite 
 pins, until the entire number upon the top and bottom are thus filled, using care 
 not to stretch the wool, and still not to wind so loosely that it will hang ; fasten 
 each end of zephyr upon its pin, by giving a loose tie. The top and bottom thus 
 
 filled, proceed, with the contrasting color, 
 to cross the first strands, by winding, in 
 the same manner, from side to side, c to 
 d. The entire frame thus covered, the 
 strands are fastened together thus : Thread 
 a zephyr or netting needle with zephyr, of 
 one of the shades used, and commencing 
 at one corner, tie or sew each two strands 
 together by passing the needle up through 
 the square openings between the strands, 
 then over the crossed strands diagonally ; 
 as from a down at b, up again at a, over to 
 c and down ; up at d, down at c, over to e, 
 Fig. 38. down, etc. ; proceeding thus, until the whole- 
 
 has been passed over diagonally once ; this is then crossed in the t^ame manner ; 
 this tying should be firm and tight, some persons considering it necessary to make 
 a tie upon the under part of each cross, beneath the place when the strands cross 
 each other. Then, with small, sharp-pointed scissors, cut about three-fourths of 
 every strand, between the ties. This cutting must be on the upper side of the 
 mat, and precisely in the center of each strand. The wool will appear in irreg- 
 ular tufts, which must be trimmed smoothly, like rounded buttons or balls ; a 
 pearl-bead drawn down into the center of each tuft, forms a beautiful finish. 
 
 After cutting and picking out all the tufts, the mat is cut from the frame 
 and the fringe trimmed off evenly. 
 
 In making these mats of white cotton, we do not use more than twenty strands 
 of each color around the pins, and do not cut them after fastening ; but tie with 
 scarlet working-cotton, and allow the crosses to appear as an ornamental finish. 
 
 DAISY-MAT, NO. 2. 
 Some years since, we were enthusiastic over another kind of daisy-mat, which 
 
292 
 
 HOUSEHOLD ELEGANCIES. 
 
 was then " the rage," and which we are pleased to see is again becoming popu- 
 lar, and with good reason, as it is exceedingly tasteful, and has the recommend- 
 ation of improving after washing. The explanations and little figures appended 
 in elucidation thereof, we hope will make its formation clear. W e formed our 
 mats with white, yellow and green zephyr, but silk or cotton may be used if pre- 
 ferred. It is made upon a frame of any siz3 desired. These frames are made 
 of four strips, an inch and a half wide, an inch thick, and twelve inches long, 
 more or less. 
 
 These pieces are grooved upon one edge, and any carpenter will do this with a 
 common grooving-plane, such as is used for matching flooring-boards. These 
 grooved edges are then notched with square notches, an inch apart, cut at regu- 
 lar distances, and made very smooth and even, as shown in Fig. 39. The mat 
 is made of white and a few skeins of bright-yellow zephyr, 
 which, for the sake of convenience in handling, might better 
 be first loosely wound ; then lapped r o u n d the grooves, 
 thirty or forty times around each groove. When all the 
 notches upon the top and bottom are covered, those upon the 
 ends are lapped in the same manner, the strands crossing 
 each other. Care must be used not to stretch the zephyr, 
 yet the strands must not hang loosely. The notches of the 
 frame all covered, proceed to tie each intersection of the 
 strands, with green zephyr crossed over each way as shown 
 in Fig. 41. When all the lappings are thus crossed, and tied 
 upon the wrong or under side, as described for the daisy-mat 
 No. 1, a needle is threaded with yellow zephyr, or coarse em- 
 broidery-silk, and holding a finger or smooth pen-handle over 
 each crossing, the needle is passed up from the nnder side in 
 the center of the crossing, and the zephyr passed over the 
 finger or handle and into the mat again, repeating this several times until a 
 dozen loops are formed, which are finally cut through the center ; when all the 
 crossings have been finished in this way, the sharp point of the scissors is passed 
 through three-fourths of the strands of each lap, exactly in the center between 
 the ties, and cut as shown at Fig. 42. The tufted ends thus made are trimmed 
 and combed until quite soft and " fuzzy " or frayed. The yellow spot in the 
 center is a great improvement, as it appears like the center of the flower ; but a 
 still more distinct button is formed by making the first set of strands, from top 
 to bottom, of white or white and pink " shaded zephyr," and the upper ones 
 crossed over these from side to side, of bright yellow, for by this course the daisy, 
 after being cut and frayed, appears like a natural flower, with the rim of white 
 and center of deep yellow ; in this case also cross with green, which appears re- 
 markably pretty beneath or between the white flowers, or the one-fourth of the 
 first strands may be a light-blue green, which will be left uncut. 
 
HOUSEHOLD ELEGANCIES. 
 
 293 
 
 If preferred, these mats may be made in various colors, though the white 
 and yellow with green surroundings, is the most chaste and delicate. White 
 floss-silk forms elegant toilet-mats, but rose and white, scarlet and black, " red, 
 white and blue," sulphur-color and orange with pale green, and blue and white 
 will form elegant combinations. These mats possess another advantage besides 
 their great beauty; they are not injured by washing; indeed, it appears to im- 
 prove them. The frames described in mat No. 1, will answer equally well for 
 No. 2 ; and, indeed, we prefer them. Each size takes a different frame. 
 
 Fig. 40. Fig. 41. Fig. 42. 
 
 Large heavy frames, made with thick pins of wood or iron, may be used for 
 making rugs for the floor, using rags ; cut and sew like those for carpet, or nar- 
 row strips of old carpet, and sewing or tying the laps with heavy, colored " chain " 
 or twine. 
 
 BUEEAU CANDLE-STANDS. 
 
 As some dressing-bureaus are not furnished with brackets for lamps, and, 
 in the country, there is no gas wherewith to illuminate the mirror, recourse 
 must be had to various expedients for so placing light upon each side of the 
 bureau, that there may be equal light and no shadow. For the common, plain- 
 topped bureau, we are in the habit of arranging tasteful little stands, which not 
 only answer the purpose desired, admirably, but also appear extremely orna- 
 mental. 
 
 One set of these little candle-stands is made as follows : Procure four square 
 pieces of board, from which saw the corners so as to make six equal sides ; or 
 these pieces may be perfect circles, if desired. They should, in either case, be 
 six inches in diamBter, and half an inch thick ; in the center of each bore a hole 
 partially through, into which fasten a rod eighteen inches high, and about half 
 an inch in diameter ; a section of an umbrella-handle answers well for this pur- 
 pose ; dip the ends in glue and insert into the holes, passing a screw from the 
 circular boards through into the ends of the rod, sinking the head of the screw 
 until it is even with the surface of the board. 
 
 There will now be two little stands which only require covering, which is done 
 by tacking glazed muslin smoothly over the top, over a piece of Canton flannel 
 
294 
 
 HOUSEHOLD ELEGANCIES. 
 
 oi- other heavy, soft material, and plaiting a strip of the muslin, a few inches 
 longer than the height of the stand, around the top in small " box-plaits," take 
 it in long, even folds to the bottom, allowing it sufficiently loose to fasten around 
 the rod, midway between top and bottom, and tack it in the same manner 
 around the bottom ; then make a band, one-quarter of an inch wide and two or 
 three inches long, which sew around the center of the rod, thus binding the 
 muslin into close folds. This finishes the inner cover, which requires an outer 
 covering of figured lace, bobbinet or tarlatan, tacked on smoothly around the 
 top and bottom, and gathering in the middle on the band of muslin. Make four 
 full ruchings, which trim with edging, a row of narrow bright ribbon of same 
 color as the lining of stands ; also make circular mats, of any pretty style, of the 
 same shades, as large as the top of the stands, and tie a bunch of bright tassels 
 or ribbons round the center of the stem. On the bottom fasten four little wooden 
 knobs, such as are used for small bureau-drawers, for feet. These little stands 
 will be found really beautiful, and can be made of any desired height. 
 
 A set covered with " Turkey-red chintz," covered with Xottinghani lace, in 
 small pattern, with scarlet ribbons and coral-mats on the top, will be found 
 charming. Any other cover will answer, and velveteen, reps, etc., may be used 
 without covering, and a fringe of pearl or crystal beads, instead of ruffles, will 
 be equally beautiful ; in this case, a band worked with beads should be used 
 around the center. 
 
 Another pretty method of making these stands is to take four circular pieces, 
 two one-third less than the other two ; the small ones place at the bottom, with 
 feet as described for the " hour-glass stands ; " fasten the two together with a 
 
 rod, also as described before. Ornament 
 this with six strips of skirt-springs, coiled 
 up on the bottom, then extended up the 
 rod, fastened round the center of it, mid- 
 way between top and bottom; extend 
 out to the top and fasten by tacking 
 strips of strong leather over the ends ; 
 paint this work brown, and after drying, 
 cover with bronzing. Embroider a lam- 
 brequin in six divisions, like the figure 
 given in illustration, using stone-colored 
 cloth, with " application " work of green- 
 velvet leaves, veined with yellow, and 
 flowers of crimson cut from ribbon or 
 silk, and fastened with button-hole stitch. 
 Make a mat for the top of green moss- 
 fringe, described in coral and moss mats, 
 and finish with pendent tassels or acorns at every section. 
 
 Bureau Candle-Stand. Fig. 43. 
 
HOUSEHOLD ELEGAN^CIES. 
 
 295 
 
 FLOWEPv-STAJ^D WITH EMBKOIDEEED LAMBEEQUINS. 
 
 The frame of this stand may be very easily con?5tructed of white-cane rods. 
 The two rods connected by a short piece at the top, at each corner, measure six 
 and four-fifths inches in height, and are connected with rods — each six inches 
 
 long, crossing each' other at the 
 corners, the ends projecting one 
 inch — in such a manner, with 
 brass tacks, that the lower 
 crossed rods enclose a hexagon 
 bottom of thin wood, each of 
 whose sides measure three and 
 two-fifths inches, while the side- 
 walls of the stand measure three 
 and four-fifths inches in height. 
 The rods that are connected at 
 the top may, if desired, remain 
 single, and be decorated with 
 white or black headed pins, all 
 the ends of the other rods being 
 decorated in like manner. To 
 make fimi side-walls a strip of 
 card-board covered with red 
 cloth is inserted between the 
 double rods. The lambrequin 
 on each part is of red cloth, dec- 
 orated with an arabesque border 
 of gold t h r e a d, fine b 1 a c k 
 soutache, and heri-ing-bone 
 stitches of black silk. The oval 
 — two inches high and one and 
 two-fifths inches wide — cut 
 away in the middle, is filled up by a medallion embroidered in various gay colors 
 on white cloth. The upper crossed rods are wound about with red chenille. 
 The tassels are made of fine strips of red cloth, ' li it is desired that the stand 
 should be decorated with natural flowers, a tin-dish must be i^laccd in it. Hand- 
 some artificial flowers, however, make a very beautiful appearance, when taste- 
 fully arranged. ' 
 CEOSS WITH BIBLE, SYMBOLICAL LEAVES, ETC., AS A 
 
 TEANSPAEENCY.— SEE rEO:N'TISPIECE, PAGE 4. 
 This transparency is designed to be placed in a velvet-frame, ornamented with 
 gold devices on the corners. The one from which this was copied consisted of a 
 
296 
 
 HOUSEHOLD ELEGANCIES. 
 
 blue-velvet foundation, with clusters of richly-embossed gold ivy-leaves on the 
 corner. 
 
 The design, greatly enlarged, is marked out by mere touches of the pencil, 
 and cut around entirely, excepting at the base of the cross, stems of the leaves, 
 bottom of the book, etc. The painting is done in the same manner as the vase 
 of flowers ; the leaves green in two or three shades ; the cross is painted blue, 
 upon the one side, or may have a strip of blue tissue-paper pasted against the 
 long cuts ; the book painted in with reddish brown ; the thistle-flower purple. 
 
 We pursue the following course for tracing : Transfer it to a piece of white 
 paper, and prick the outlines closely ; then, with a fine needle, touch through 
 the pricks on the card-board. Some prefer using a colored tracing-paper, laying 
 it on the card and making the outlines of the design by pressing them on it 
 with a sharp-pointed instrument, and if the colored paper will not soil the purity 
 of the card, this is a good plan. Statuary will be found exceedingly effective 
 for this purpose, and will appear like groups of sculptured marble, forming 
 charming transparencies. 
 
 DAISY-TIDY. 
 
 The only materials required for this tidy are four pieces of fine white tape, 
 half ounce bright-yellow zephyr, and a few skeins of a deeper shade. Measure 
 the tape into pieces about twenty inches in length — it should be half -inch width ; 
 then in order to gather it evenly, it is best to check off the edges into inches and 
 half inches, making those on the one side the one, and on the other only half ; 
 thread two needles and gather these edges, inserting the needle at the marks ; 
 then draw them up very tightly, and sew the two edges together. When all the 
 pieces are thus gathered, make tufts of the zephyr, by cutting two little circles 
 of thin card, with circular pieces cut from the center ; wind or sew two rows of 
 the deep zephyr around the circle and fill up with the light yellow ; when the 
 little hole in the center is filled, cut the edge and tie a piece of strong thread in 
 between the two pieces of card, which will hold the zephyr ; then remove the 
 card and trim the zephyr into a little tuft ; proceed thus with the three dozen, 
 and then sew one in the center of each of the white tape rosettes ; when all are 
 formed, sew ten of them together, then nine, and so on, one less in each row ; 
 put together the different rows in the proper order, which will form a triangle ; 
 sew balls and looped cords to each corner. The form of the tidy may be changed 
 to suit the taste. This is a handsome tidy when neatly made of good materials, 
 and presents a fresh, " daisy-chain " appearance that is quite charming in a 
 tastefully-furnished room. It is specially appropriate to a light, daintily-fur- 
 nished bed-room. 
 
 LINEX-TIDY. 
 
 There is a new style of embroidery that is becoming popular, which is worked 
 on linen-toweling and is extremely handsome for tidies, wash-stand shields, 
 
HOUSEHOLD ELEGANCIES. 297 
 
 covers for chairs, etc. Take the linen toweling, with regular figures, such as 
 stars, diamonds, rings, etc., and of the unbleached or tea brown, gray or buff 
 shades. Procure also some bright-yellow, blue, scarlet, and bright-brown zephyr, 
 two shades of each. In the division lines between the figures use the regular 
 
 Fig. 45. Linen-Tidy. 
 
 " herring-bone stitch " with the two shades of yellow. The figures, in the cen- 
 ter, cover with " cross-stitch " embroidery in two shades of brown. The stai's 
 or other figures, make one in two shades of blue, the next in two shades of red, 
 working in cross-stitch on the threads of the linen. Ravel out a fringe on the 
 four sides, and with all the shades used in the embroidery, make long tassels or 
 strands which intermix with the linen fringe. These tidies are really handsome, 
 and one great recommendation is that they will bear washing well, the colors 
 appearing even more vivid. These same materials applied to wall-pockets, 
 cradle-coverlets, table-mats, etc., will be found equally handsome and durable. 
 
 WATCH-STAND. 
 This pretty watch-stand is an arabesque pattern of five inches in height, and 
 four in width, cut from a thin panel of wood — a section of a cigar-box answering 
 well for the purpose ; then with the " hoop-spring wire," which has the cover per- 
 fect, form the wire trellis-work around the edges. First cut twenty-seven pieces, 
 one inch long, and three pieces sufficiently long to reach around the top and two 
 sides ; the first around the edge, the next a half inch beyond it, the third, one 
 
298 
 
 HOUSEHOLD ELEGANCIES. 
 
 inch beyond the first one. Take a piece of stiff card, as wide as the wooden 
 panel, and a half inch over, and three and a half inches wide, which tack along 
 the lower part of the panel, with fine furniture-tacks ; next form the open lat- 
 tice or bar work which surrounds the panel, by first tacking a little strip of 
 narrow black galloon closely round the sides and top of the panel as a means of 
 connecting the hoop-wire with the panel, which is done by sewing the webbing 
 or cover of the wdre.to the galloon ; then take the inch-pieces, and fastening the 
 
 ' Fig. 46. Watch-Stand. 
 
 second of the pieces of hoop-spring to the center of each piece, and the ends to 
 the one sewed to .the panel, the other ends to the longest piece of hoop, the 
 square bar-work is formed, as shown in the engraving, which makes a firm, and 
 still open border, around the panel. Next proceed to arrange the wire-bars, also 
 formed of hoop-skirt springs ; these cross each other everywhere at the corners, 
 each bar projecting about one inch and a half at the upper end ; each bar in the 
 length stands out always by three-quarters of an inch at the lower end ; how- 
 ever, on account of the holder for the watch, chain, etc., each bar in the length 
 
HOUSEHOLD ELEGANCIES. 
 
 299 
 
 is to stand but one inch and a half. Another bar of spring-wire is fastened to 
 the sides with thread or fine wire, and is bound to the holder by sewing it along 
 the edge, which enables it to be turned up, as shown in the illustration. 
 
 Next take four pieces of wire, sixteen inches long, which bend in the center, 
 and roUino- the ends out in coils fasten with fine thread-wire, and bind these 
 feet firmly'to the sides of the stand. Line the holder with velvet of some bright 
 color, glued upon the card-board; also cut a circular piece of the same, a quarter 
 of an fnch larger than the watch ; lay folds of raw cotton behind it and sew it 
 upon a circle of card-board, trimming the edge with chenille and gold cord 
 twisted together ; glue this upon the center of the back. Ornament the wooden 
 panel, which should be polished until perfectly hard and smooth by varnishing 
 and rubbing with pumice-stone, with gold floral designs in Decalcomanie. 
 Finally paint all the wire-work with liquid bronzing, and ornament with loops 
 of the bronzed wire and the dried, star-like ends of the capsules of poppies, 
 which in different sizes appear like fine carving " en relief; " then varnish the 
 whole with fine Copal varnish. This stand may be considered troublesome, but 
 it is sufficiently elegant to compensate for whatever time or patience it may 
 require. 
 
 We would remark in conclusion, that the open work around the panel may be 
 done in crochet, if preferred ; then stiffened with glue-size, and when sufficiently 
 dry, varnished with shellac, which will make it firm and stiff as wire. 
 
 EMBOSSED PEEFORATED CARD-BOAPvD CPvOSS. 
 
 The cross illustrated in Fig. 1, Chapter XII, is perhaps the most beautiful, 
 chaste and artistic piece of perforated card-board work, that has ever been con- 
 ceived or formed. A sh^t of perforated card-board is selected, about thirteen 
 inches wide, and fourteen to fifteen inches long, of fine quality, close perfora- 
 tions, and pure white color. The corner holes are selected two hundred and 
 twenty-five holes apart in length, and one hundred and seventy-five holes apart 
 in width ; outside of these is left a margin of twenty-two holes all around, and 
 the rest cut off. The observer will see, by scrutinizing the illustration, how fhe 
 exquisite lace border is formed, and the detail, although intricate, is yet clear 
 enough for exact imitation. / 
 
 The cross is made of successive layers of card-board, each smaller than the one 
 below. The base of the cross above the long row of holes, must be fifty-four 
 holes wide, and sixteen holes high on each end. There are seven distinct layers 
 used in forming the ridges of the cross, and in each arm of the cross, the top, cen- 
 ter and bottom, there are raised crosses of small sizes, which add a most charming 
 effect. The amateur desirous of constructing this elegant piece of fancy w^ork, 
 must observe the engraving closely, which is a perfect photograph of the origi- 
 nal we here describe. The detailed description of each layer and form, w^ould 
 be too minute for these pages. 
 
300 
 
 HOUSEHOLD ELEGANCIES. 
 
 CORNUCOPIA HANGING-BASKET. 
 Procure a large horn, those long, curiously-shaped ones of the Texan oxen 
 are novel and commodious, and quite a curiosity ; but curled ram's horns are 
 still prettier ; while the wide short kind of certain kinds answer admirably; 
 the size or form is a matter of taste, and a variety can be had at the slaughter- 
 houses, from which to select. With a piece of glass, held in a gloved hand for 
 fear of accident, proceed to scrape the entire horn perfectly smooth. Mark any 
 appropriate design upon certain parts of it, with a small camel's-hair brush, 
 dipped in tallow, and a little beeswax melted together ; then place in stiono- 
 vinegar or acid for a short time, or until the surface not painted is destroyed, 
 when upon carefully scraping off the tallow, etc., and wiping with a cloth dipped 
 in turpentine, the figures will be found raised upon the surface ; or some prefer 
 to etch a figure or set of figures with sharp-pointed instruments ; either will be 
 found ornamental, ^though many would admire the surface most, with its own 
 natural markings as ornamentation. The horn cleansed nicely within, fasten 
 two brass rings to the extreme ends, in which insert a brass chain. Fill the 
 horn with earth, in which plant trailing vines or creepers, or fill it with dried 
 flowers and leaves. 
 
 Another pretty horn is made by boiling a horn for ten hours in clear soft 
 water, then scraping the surface with glass until a quantity of pure thread-like 
 shavings are obtained, which fasten upon the surface of the cornucopia with 
 glue ; add here and there sprays of artificial coral. It will look like sea-foam, 
 with branches of scarlet coral caught upon it, and is a charming ornament. 
 
 HANGING-BASKET OF SCRAPED HORN. 
 
 r 
 
 This fairy-like piece of ornamentation is made thus : Take two hoops of wire, 
 the white-covered kind, such as milliners use to stiffen bonnets, of which make 
 two hoops, one eight, the other three inches in diameter, which fasten together 
 with strips of tarlatan about three-quarters of an inch wide, and ravel out each 
 edge to a few strands in the middle; fasten eight of these strips, sufficiently 
 long to make a pretty-shaped basket, between the two hoops. This forms the 
 skeleton of the basket. Upon this sew loose bunches of the shavings, made by 
 scraping boiled cattle-horns. The entire basket must be thus covered, and long 
 tassels formed by sewing the shavings on strips of tarlatan. The suspension 
 cords are covered in the same manner upon each side, and a tassel placed between 
 them, midway between the basket and point where the cords connect. 
 
 This is an exquisite cover for a basket, but the case should be so fastened 
 that no great amount of weight rests upon the light, frail outer case. ' 
 
I 
 
 INDEX. 
 
 . 
 
 Chapter I. Transparencies on Glass for Windows, Lamps, Halls, 
 
 Etc. — Diaplianie, Vitremanie. 18 Engravings, - 5-28 
 11. Fancy Work with Leaves, Flowers and Grasses — 
 Phantom Leaves, Autumn Leaves, and Mosses. 23 
 Engravings, 29-64 
 
 III. Spray- Work or Spatter-Work. 23 Engravings, - 65-78 
 
 IV. Brackets, Shelves, Mantels, Etc. 27 Engravings, - 79-99 
 V. Picture-Frames. 17 Engravings, - - - - 100-1 IG 
 
 VL Fancy Leather-Work. 29 Engi-avings, - - - 117-138 
 VII. AVall-Pockets. 18 Engravings, - - - - 139-159 
 VIII. A^'ork Boxes and Baskets. 17 Engravings, - - 160-176 
 IX. Wax Flowers, Fruit, Etc. 21 Engravings, - - 177-202 
 X. Indian Painting in imitation of Ebony and Ivory. 14 
 
 Engravings, 203-216 
 
 XL Cone, Spruce, and Seed Work. 35 Engravings, - 217-248 
 XII. Miscellaneous Fancy Work. 46 Engravings, - - 249-300 
 
IN SCHAP BOOKS, VALENTINES, PICTURE FRAMES, EASELS, 
 
 Cornucopias^ Screens^ Toy Thsatsrs^ Black Walnut Strips^ 
 
 FOR, EASELS, ER^MIES, Etc. 
 
 Address Cards, Written by Hand, Diaphanie Pictures, Unmounted Photographs, 
 
 Shadow Pictures, Silliouettes, Pliotographs of Statuary, Panel Bouquets, all sizes, with black 
 background. Embossed Initial Letters, in gilt and fancy colors, for scrap books, gift 
 books, etc. Study Pictures, Ideal Heads, beautiful Rose Buds, Ferns, Autumn 
 Leaves, Crosses, Fuchsias, etc., for lainp-shade decoration, or to frame fancy 
 ai d embossed pictures, heads for dolls, and dresses. " Scrap Book," 
 " Herbariums," and books specially for " Ferns." etc. An immense stock 
 of Embossed or " Stumped Out" pictures, adapted for every purpose 
 of ornamentation, illustration, by children, of stories. Red Riding 
 Hood, etc., for fancy work in endless variety. 
 
 Please send two cent slamp for Catalogue. 
 
 J. J^Y aOTJLD, 
 
 20 Bromfield Street, Boston, Mass. 
 
 ilvELETON §BAVES andIhANTOM §L0WERS< 
 
 Process copyrighted, by which Skeleton Leaves. Flowers, etc., can be prepared in quicker time, 
 more thorough manner, and with more delicate results, than by methods usually practiced or 
 hitherto described in books, 
 
 Can be JProciired of the JJndersigneif , 
 
 Who is sole proprietor. The sole right to which has been sold to him by a lady whose Art Work 
 is unexcelled, and many of whose specimens of Skeleton Leaf Work have brought high prices in 
 this city. The process is guaranteed perfectly satisfactory. Recipe is sold with right for individ- 
 ual use only. JSot transferrable to others. Price $1 ; sent postpaid by mail. Address, 
 
 HENRY T. WILLIAMS, 
 
 4(> Beekmaii Street, New York. 
 
 Amateurs desiring to learn the Art of Diaphanie, Vitremanie, and other Transparancies on 
 Glass, and wishing all the 
 
 MATERIALS, Together with a CATALOGUE of Over 200 Designs, 
 
 Such as " Charity," page 20; or "Swiss Landscapes," Page 17, cart obtain them by enclosing to us 
 $2, for each sheet of designs wanted; or 50 cents for Illustrated Catalogne. 
 
 Address HENBY T. WILLIAMS, Puhlisher. 
 
 46 Beekman Street, N. T. 
 
By HENRY T. WILLIAMS, 
 
 Eciitoz- Xj^dies' Gex.'\o>±jo.&t, UST. 
 
 iipieifl 1111A¥I1@S, 
 
 An Elegant Book, with 250 Fine Engravings and 300 Pages, 
 
 talainlag a Mmi'iMj^ Mil sf alii Maatlj SulaM© tm Hinim OiEie©. 
 
 A ready and invaluable aid to all who 
 wish to adorn their houses in the easiest 
 and most successful manner with plants 
 or vines, or flowers. Instructions are 
 given as to the best selection of plants for 
 Baskets or Ferneries ana Wardian Cases. 
 Several chapters are devoted to Hanging 
 Baskets, Climbing Vines, Smilax, and the 
 Ivy, for decorative purposes. Bulbs for 
 House Culture are fully descril)ed; also 
 ornamental Plants for Dinner Table 
 Decoration. Other topics are well con- 
 sidered, such as Balcony Gardens, House 
 Top Gardening, Watering Plants, Home 
 Conservatories, Fountains, Vases. Flower 
 Stand>=, Soil, Air, Temperature, Propaga- 
 tion, Floral Boxes, the Aquarium, Rustic 
 Conveniences for Household Ornament, 
 and directions in detail for the general 
 management of in-door plants for the 
 entire year throughout the winter, spring, 
 summer and fall. The volume is pio- 
 fusely illustrated with choice engravings, 
 and pains have been taken to make it one 
 of the most attractive books ever issued 
 from the American Press. For sale or 
 supplied by Bookstores everywhere, or 
 sent postpaid by mail on receipt of price. 
 
 JPriae $1,50. 
 
 Every Woman Her Own Flower 
 Gardener. 
 
 By Daisy Eyebright (Mrs. S. 0. Johnson.) 
 A delightful little volume, written by a 
 lady fond of fiowers. as a special help and 
 assistance to others interested in out-door 
 flower gardening. Simple directions are 
 given, how to lay out and plant Flower Borders, Eibbon Beds, and arrange ornamental plants. 
 Among the topics treated are Gerat.iums, Fuchsias, Bulbs. Ornamental Flowerintr Shrubs, Eveij 
 lasting Flowers. Ornamental Grasses, Coleus. Pceonies, Shade Trees, Garden Vegetables, Old 
 Fashioned Flowers, Annual Flowers. Perennials, Ornamental Vines. Lawns, Insects, Manures, 
 Watering Soils. When and How to Plant, Dahlias, Lilies, Gladiolvs, Verbenas. Cannas, Balsams, 
 Portulaccas, and nearlv all the popular varieties of flowers and shrubs. The book contains 148 
 pages, is charniinglv written by one deeply in love with the subject, who appreciates the tastes of 
 Ifidies and aims to do good with agreeable, kindly advice on home gardening. For sale or sup- 
 plied by Bookstores everywhere. 
 Price, in handsome Pamphlet Covers, 50 cents ; bound in Cloth, $1 ; postpaid by mail. 
 
 Address HBWJRY T. WILLIAMS, I'uUisher, 
 Post Office Box 2445. 46 Beekman Street, N. T. 
 
"Sltt %^Mtp' yi^ral CaMtuet 
 
 Devoted to Household Ele- 
 gancies, Housekeeping, Art, 
 Music, Home Pets, Ladies' Fan- 
 cy "Work, Society, Amusements, 
 Flowers, Window Gardening, 
 Cottages, etc. The Prettiest 
 Ladies' Pajyer in America. Beau- 
 tifully Illustrated. A perfect 
 Gem. Full of good sense, and 
 invaluable to every lady for its 
 refinement, elegance, and rare 
 value. 
 
 Price, $1.30 per year, including 
 beautiful Cliromo. 
 
 Price, 35 cents, three months, 
 including beautiful Chromo. 
 
 Price, 15 cents, three months, 
 on trial. Specimen copy, 10c. 
 
 None Free. 
 
 Agents Wanted. Get up a Club. 
 Premium List Free. 
 
 FOR THE BOYS AND GIRLS! Send 10c. for Trial Trip 3 Months. 
 
 ffie ^iUh ^em mi ^mng ^Ms' ^Mtmih. 
 
 THE PRETTIEST PAPER FOR THE YOUNG FOLKS, IN THE UNITED STATES. 
 
 A beautiful illustrated Journal, devoted to the interest of the Young Folks, their amusement, 
 improvement, and instruction at home and at school. Full of pretty pictures, entertaining 
 stories, puzzles, fun, anecdotes, questions, little pieces, and helps to school studies. Pure, sensi- 
 ble, useful. Parents, take it for your children. Boys, get up clubs. 
 
 PRICE,— 30 cents on trial 3 months, including pretty Chromo, " Mischief." 10 cents on trial 3 
 months, without Chromo. 5 cents specimen copy. None free. 
 
 HENRY T. WILLIAMS, Publisher, 
 
 46 Beekman Street^ JS'eiv York. 
 
 N. B.— Please state where you saw this notice. 
 
— FUii— 
 
 AND- 
 
 HOME DECORATIONS. 
 
 Fret-Sawing has become an art of such wonderful popularity that the interest in it lias been 
 shared by both amateurs and professionals to an astonishing extent. Hundreds are caming large 
 sume of pocUet-Miouey by cuiting these beautiful household ornaments, and selling among 
 friends or acquaintances, or at the art stores. 
 
 Ladies and the Young Folks find in it a fascinating 
 recreation, and are making dozens of fancy articles 
 at small cost, to decorate their homes in a charming 
 manner, or to give as Holiday Presents to friends. The 
 following books contain mechanical designs of full 
 size for immediate use, and are invaluable alike to the 
 amateurs, ladies, young folks, mechanics, architects, 
 and all of professional skill. 
 
 Pakt 1 contains full size designs for Picture 
 Frames, Small Brackets, Book Kacks, Fancy Letters 
 and Figures, Ornaments, Wall Pockets, etc. (Has 
 patterns worth at usual prices over $S.) Price 75 cts., 
 post-paid by mail. 
 
 Part 2 is devoted exclusively to designs of Brackets 
 of medium to large size, all entirely new, and of the 
 most tasteful detail and execution. (Contains over .50 
 plans, worth at least $15.) Price $1.00, by mail, post- 
 paid. 
 
 Part 3 is devoted to Fancy Work, Ladies' Work 
 Baskets, Easels, Crosses, Match Boxes, Pen Backs, 
 Paper Cutters, Calendar Frames, Thermometer Stands, 
 Watch Pockets, Fruit Baskets, Table Platters, etc. 
 Nearly 100 designs, many of them really exquisite. 
 Price $1.00. 
 
 The above books contain over 300 patterns, all beau- 
 tifully printed in blue color. These books are the 
 only ones yet issued in the U. S. The patterns are 
 mostly original, designed expressly for these books, 
 and in execution, choice selection, taste, cheapness, 
 they may be safely esteemed the best collection yet 
 produced! The whole series of three costing "but $2.75, contains upwards of 300 patterns, worth 
 at usual values over .$00. All sent post-paid by mail on receipt of price. 
 
 Bracket and Fret Saw. 
 
 With this bracket saw, the designs and directions, very 
 desirable articles can be made for Fairs, etc., whidi will 
 sell (luickly and at a gooil profit. With it you caTi inahe 
 beautiful articles for presetifntion yifts. With it you can 
 help beautif;/ your Jiomes. With it you can make money. 
 To parents desiring a tseful gift for their children, we 
 would call attention to this Bracket and Fret Saw, for it 
 not only affords great pleasurt, hiUithelp)s to cultivate a 
 meclianical taftfe. 
 
 Price with 2.") bracket and ornamental designs, 6 bracket 
 saw blades, also full directions for use. Sent by mail for 
 $1.25. 
 
 Address HENRY T. WILLIAMS, Publisher, 
 
 46 Beekman Street, New York. 
 
Sii'tlid^y G^ift^ to l^rieiid^. 
 
 SERIES No. 3. Price 75 Cents. 
 No. 
 
 Honor thy Father and Mother. 16 1 The Doxology . 
 
 Kememljer Sabbath Day. 
 The Lord's Prayer. 
 Blessed are the Merciful. 
 Remember Me. 
 A Blessing. 
 
 162 The Liord is my Shepherd. 
 
 163 A Happy Christmas. 
 
 164 A Happv New Year. 
 175 To One I Love. 
 
 179 Faith, Hope, Charity. 
 
 No. 
 167 
 
 no 
 
 173 
 174 
 177 
 180 
 
 Happy May thy Birthday be. 160 
 
 SERIES No. 4. Price «1.00. 
 
 A Birthday Gift. 
 
 Hope the Anchor of the Soul. 
 
 Kemember now Thy Creator 
 
 The Ascension. 
 
 A Happy New Vear. 
 
 J'amily Worsliip. ' ^ 
 
 The Beatitudes. 
 
 Unchanging Love. 
 
 True Love. 
 
 Remember Me. 
 
 Compliments of the Season. 
 
 A Happy New Year. 
 
 No. 
 
 •iiSl Birthday Blessing. 
 
 iol Many Happy Keturns of the 
 
 2.57 Day. 
 
 258 Home, Sweet Home. 
 
 260 I Love Thee. 
 
 262 The Old Arm Chair. 
 
 265 The Last Rose of Summer. 
 
 289 The Priceless Gem. 
 
 293 A Birthday Wish, 
 
 352 Thv Will be Done. 
 
 359 Forget Me Not. 
 
 3«7 
 
 No. 
 
 266 
 
 269 
 277 
 278 
 280 
 282 
 238 
 295 
 358 
 
 The quality, size, artistic color and beautiful appearance of 
 the Book-Marks, is in correspondence with the price, those at 
 $1.00 being much the largest and finest; yet all are so admira- 
 ble, and so far surpass in brilliancy and taste, any attempt to 
 describe them, that they must be seen to be appreciated. 
 
 The same motto, or sentiment, often appears in each Series, 
 but is different in every case, both in colors and design, and dif- 
 ferently woven. 
 
 The Book-Marts of Series 1 and 2, are usually 6 inches 
 long ; of Series 3, from 8 to 9 inches long ; and Series 
 4, from 10 to 11 inches long. 
 
 Special Prices to any who wish to buy in Quanti- 
 ties of one dozen or over, for Gifts to Friends, 
 or in School, Fairs, &c. 
 
 Agents wanted to sell in all parts of the country. One or more 
 can be sold in every family, where 
 
 THEY SELL SPLENDIDLY, 
 
 And win Admiration everywhere. 
 
 Ivtfy Lai J aii ivify iggk Igadgp will It sif© to iij. 
 Address HENRY T. WILLIAMS, Proprietor, 
 
 46 Beekman Street, New York. 
 
 ■ . , TO CHIDE ME FOR lOVINGWAT OLD ARM CHAIB 
 '' I'VE TREASURED IT 10N8 AS A^HO-IY PRIZE 
 
Gems of Art ! They win Admiration Everywhere ! 
 
 c9i 
 
 These New and Beautiful Productions of the Loom are 
 the wonder and admiration of all. They are not orily use- 
 ful as Book Registers, but elegant and tasteful as Presents. 
 Each design is woven in silk in various colors, and the views 
 and likenesses are remarkably clear and correct. The en- 
 graving here given is a careful reproduction of one of them 
 on a reduced scale, and will give a faint outline of their 
 beauty. 
 
 The variety of these novelties is now very large, number- 
 ing over four hundred, and emlfiaces an extensive assort- 
 ment of Anthems, Hymns, Scriptural Texts, and Verses on 
 the affections, Birthdays, etc., etc., from Shakspeare, Byron, 
 Burns, Moore. Tennyson, Hood, Eliza Cook, George Eliot, 
 Longfellow, Wordsworth, Cowper, etc., etc., beautifully 
 illuminated and woven in silk. As tokens of affection they 
 are really charming. 
 
 OPINIONS OF THE PL'ESS. 
 
 ILLUMINATED SILK-WOVEN BOOK-MARKS. — These 
 beautiful gems of the loom cannot be spoken too highly of, 
 and deserve a place in every family in the country. They 
 are useful as well as an ornamental register for the old Fam- 
 ily Bible. The number of the different varieties now reaches 
 some 401), and one can be found for everybody, as they em- 
 brace religious, affectional, and sentimental subjects, and are 
 suitable for presents to parents and children, young maids 
 and bachelors, and friends to friends. The flowers, portraits, 
 and other pictures are portrayed with an exactness in bril- 
 liant colors that equals the finest touch of the painter, and 
 casts into the shade the numerous chromos which are daily 
 scattered over the country.— [Christian Advocate. 
 
 SELECTED DESIGNS. 
 From the large list of mottoes and designs we have made 
 the following selections, which we specially recommend : 
 
 SERIES No. 1. Price 50 Cents Each. 
 
 This series intended specially as gifts, prizes or premiums, by 
 parents, teachers (school or Sunday school), to the young 
 irolks, or to hang on Christmas trees. 
 The Busy Bee. No. 76 For a Good Boy. No. 8<» 
 
 Little Red Riding Hood. 85 Little Boy Blue. " 90 
 
 ~ 87 Little Bo Peep. " 91 
 
 88 Twinkle. Twinkle, Little Star. 9-3 
 94 To My Darling. " m 
 
 98 To My Favorite. " 99 
 
 Price .50 Cents Encli. 
 
 No. 51 True Love. No. 69 
 
 " 52 Compliments of the Season. " 70 
 
 " 54 God is Good. " 73 
 
 The Lord Shall my Pasture. " 74 
 
 62 A Tribute of Affection. " 77 
 64 A Blessing, 
 
 I Love Litle Pussy. 
 For a Good Cirl. 
 Mistress Mary. " 
 To My Pet. 
 
 SERIES No. 2. 
 
 Love's Emblem. 
 To Mv Dear Cousin. 
 Birthday Wish. 
 Happy May thy Birthday 
 be. 
 
 A Birthday Blessing. 
 
 Dearest, I Love but Thee. fi6 To mv Dear^rother. 
 
 Forget me Not. " 67 A Wish. 
 
 The Lily. " 68 Unchanging Love. 
 
 Remember Me. " 81 To Mv Dear Father. 
 
 To my Dear Sister. " 8.3 With best Wishes. 
 
 To my Dear Mother. " 86 To One I Love. 
 Address orders to 
 
 84 
 100 
 101 
 
 HE/\/RY L WILLIAMS, Publisher, 
 
 46 Beekman Street, N. Y. 
 
win lie PnliMei April 1, 1876. 
 
 A Charmin^^ New Book, with above 
 title. A Coinpaiiioii Volume to 
 
 %m§(^IX€ld §le^gande§ 
 
 And WINDOW GARDENING. 
 
 Being issued in same size and style, 
 profusely illustrated witli eut^ravings of 
 superior execution, and (iev(jted to 
 many topics of Household Taste. Fancy 
 Work for the ladies, and containing 
 hundreds of suggestions of Home Deco- 
 ration, 
 
 IT WILL COITSTITUTE VOLUME 3 
 
 Williams' Household Series. 
 
 other volumes of which Series will ap- 
 pear each Spring and Fall, hereafter. 
 
 CONTENTS. 
 
 Among the topics which "Ladies' 
 Fancy Work" will treat of, are,— 
 
 Feather Work, Paper Flowers, Fire 
 Screens, Shrines, Rustic Pictures, a 
 charming series of designs for Easter 
 Crosses, Straw Ornaments, Shell Flowers 
 and Shell work, Bead Mosaic, and Fish 
 Scale Embroidery, Hair Work, Card- 
 board Ornaments, Fancy Rubber 
 Work, Cottage Foot Rests, WindoAv 
 Garden Decorations. Illuminating, 
 Grecian and Oi-iental Painting, Crochet 
 Work, Modeling in Clay and Plaster, 
 Fret-Work, Wood Carving, designs in 
 Embroidery, and an immense number of 
 designs of other Fancy Work to delight 
 all lovers of Household Art and Recre- 
 ations. 
 
 The volume will be fully equal in 
 elegance to the volumes of the House- 
 hold Series, already issued, and in 
 variety of topics, and abundance of 
 engravings, will probably be in many 
 respects superior in interest. 
 
 SPECIAL- NOTICE. 
 
 Any individual, a member of the 
 trade, desiring advance copies of 
 "Ladies' Fancy Wobk," when 
 ready, may forward to me their names 
 for record, and I will forward to them 
 a Circular of Announcement, with full 
 description of Contents, price and 
 exact date for delivery, by mail or to' 
 the book trade. 
 
 Price $l.BO. 
 
 HENRY T. WILLIAMS, 
 
 PUBLISHER. 
 
 ^ 46 Beekman Street, N. Y.