House and Home Arts.

House and Home Arts.DECALCOMANIE will be appreciated and enjoyed by any one who takes pleasure in making tasteful articles for gifts, or for contributions to fairs, or in adding new graces to the parlor. It consists in ornamenting vases and boxes with oil paintings. The process saves a great deal of labor, and when the work is well done, very close examination is necessary to detect the difference between hand paintings and the Decalcomanie, particularly if the pictures are retouched, or tiny sprays of moss, small leaves, or flowers are added in water colors. The designs can be transferred to wood, porcelain, leather, silk, glass, metal, paper, etc.The designs are printed in oil colors, on the surface of paper, which has been previously prepared with a composition easily soluble in water,—or in fact the printing is entirely on this composition, the paper merely serving as a back to give support to the thin film on which the design is printed. By a process hereafter described, these beautiful designs in oilcolors may be perfectly transferred to the surface of any article which it is desirable to ornament, such as vases, card-cases, porte-monnaies, work-boxes, needle-books, toilet-cushions, lamp-shades, and hundreds of other things too numerous to mention; and when nicely executed, the work equals the finest painting. Beautiful bouquets may in this way, be transferred to silk for toilet-cushions and perfume sachets.When applied to china, porcelain or other similar substances, it may be freely washed with warm water without injury, and is in every respect as durable as oil painting.————Materials.The necessary materials are as follows:cementing varnish,protecting varnish, two or threecamel’s hair brushesof various sizes, (these should be of fine quality, as the cheaper ones never have good points), a glass ofclear water, a small vial of benzine or burning fluid for cleaning the varnish brushes; and be careful and procure suitably prepared pictures.————Directions.First, with a fine brush, apply the cementing varnish to every part of the picture, following the outline neatly without running over on the white paper. After applying the varnish let it dry a minute, then, holding the picture to the light, take a larger brush and dampen the back with water, being careful to wet the size of the design only. Before the picture has time to expand much, apply the picture to the article to be ornamented, firmly pressing every part; dampen again with water, after which remove the paper. To remove the paper, commence at one corner and carefully raise it, keeping close watch that none of the design adheres to thepaper. If a piece, however small, is seen attached to the paper, immediately replace the paper and again press that part to the article and perhaps dampen a little more. Having entirely removed the paper, draw a damp cloth smoothly over the finger and firmly press every part, using great care that no air bubbles remain under the large surfaces. The day after the transfer, carefully wash the design with cold water, and when perfectly dry, lightly apply the protecting varnish to the design. The above directions are strictly applicable to ornamenting only such articles as can be washed.In ornamenting any delicate substance, such as silk, great care must be observed in dampening the back, in order to dampen only the exact size of the design; as, if the preparation on the paper is dampened around the picture, it will soil the silk. Of course the washing above mentioned must be omitted; and oftentimes the varnishing may also be omitted to advantage, as its object is simply to render the painting more durable, where it is to be subjected to use or exposed to the weather.In order to avoid soiling delicate substances, some persons have adopted the following expedients:—After applying the cementing varnish to the picture, and before dampening the back, take the water brush, and thoroughly wet the face of the paper all around the design. This will soften the preparation, which may be removed by carefully touching the surface with a wet cloth. The cloth, being wet, will not stick to the varnish if it comes in contact with it. After this operation, the process is the same as before described, except that some of the fine parts near the edge may require retouching with the cementing varnish.For ornamenting any dark substances, such as black silk or a rosewood box, the picture is differently prepared. After the picture has been printed in all its colors, the whole design is entirely covered with gold leaf or a preparation of white lead,which is merely to give the picture its proper effect, by preventing the dark surface from showing through, which it would do at every light part were it not for this backing. But if it is desirable to use some pictures not backed on a dark ground, it may be done by covering the design with a preparation of fine white lead, called white grounding. The grounding must be allowed to dry, and then the process is the same as before. In applying your pictures to any article, face the light, and, holding the picture before you, the design can be seen from the back, and thus correctly placed in position.ENGRAVED BOXES.Thebox should be white or light straw-color in order to show the faint impression to advantage. It should be varnished five or six times in succession, and suffered to dry thoroughly each time. While the last coat of varnish is yet so fresh that your finger will adhere to it, the engraving must be put on, the picture side next to the varnish. The engraving must be prepared in the following manner:—All the white paper must be cut off close to the edges of the engraving, which must be laid on a clean table, with the picture downward, and moistened all over with a clean sponge. It must then be placed between two leaves of blotting paper, to dry it a little. Before putting it on the box, take great care to have it even, and determine exactly where you wish it to be. Lay one edge of the print, picture downward, upon the varnish, and gradually drop it to its place, passing the hand successively over the back of the print in such a manner as to drive out all the air, and prevent the formation of blisters. Then carefully touch it all over with a linen cloth, so as to be sureevery part adheres to the varnish. Leave it until it is thoroughly dry. Then moisten the back of the engraving with a clean sponge, and rub it lightly backward and forward with the fingers, so as to remove the moistened paper in small rolls. When the picture begins to appear, take great care lest you rub through, and take off some of the impression. As soon as you perceive there is danger of this, leave it to dry. In drying, the engraving will disappear, because it is still covered by a slight film of paper. You might think it mere white paper; but give it a coat of varnish, and it will become quite transparent. Should you by accident have removed any part of the engraving, touch it with India ink, and gum water, in order that no white spots may appear; but when you put on your second coat of varnish you must take care to pass very lightly over the spots you have retouched. The box should be varnished as many as three times after the engraving has been placed on it, and suffered to dry thoroughly each time. The white alcoholic varnish is the best. It should be put on in the sunshine, or near a warm stove. After the last coat is well dried, sift a little pulverized rotten stone through coarse muslin, and rub it on with linseed oil and a soft rag; after being well rubbed, cleanse the box thoroughly with an old silk handkerchief or soft linen rag. Some persons say that a very thin sizing of nice glue should be put on the box before it is varnished at all; others say it is not necessary. This work requires great patience and care; but the effect is very beautiful, and pays for the trouble.CORAL FLOWERS AND BASKETS.Formbaskets, flowers, and sprays of all shapes and kinds, of bonnet-wire already wound with thread. Then take one ounce of resin and dissolve it in a brass pan with two drachmsof the finest vermilion, and thoroughly mix them; then take your basket, twigs, &c., and dip them into the solution till they are well dyed. Some persons dissolve red sealing-wax in alcohol, and form coral, powder the wax, and fill in as much as the alcohol will dissolve.IMITATION OF INLAID IVORY.Haveyour fancy table, work-box, &c., made of smooth polished white wood, such as satin wood or maple; sketch upon it such figures as castles, men, women, wreaths of flowers, &c., as you fancy; then color all, except the figures you have drawn, with dead black. It then, if neatly and tastefully finished, looks like ebony inlaid with ivory.ALUM BASKETS.Successin these baskets depends somewhat upon chance; for the crystals will sometimes form irregularly, even when the utmost care is taken. Dissolve alum in a little more than twice as much water as will be necessary to cover the basket, handle and all. Put in as much alum as the water will dissolve. The water should be hot. When the water is entirely saturated, pour it into a sauce-pan or earthen jar, (by no means put it into an iron vessel), and slowly boil it, until it is nearly evaporated. The basket should then be suspended from a little stick, laid across the top of the jar, in such a manner that both basket and handle will be covered by the solution. It must be set away in a cool place, where not the slightest motion will disturb the formation of the crystals.The frame may be made in any shape you fancy. It isusually made of small wire, woven in and out like basket-work; but a common willow basket may be used for a frame. Whether it be wire or willow, a rough surface must be produced by winding every part with thread or worsted. Bonnet-wire already covered can be used, and the trouble of winding the basket avoided. Bright yellow crystals may be produced by boiling gamboge, saffron or tumeric in the alum solution. Litmus boiled in will give bright red crystals; logwood will form purple. The colors will be more or less deep according to the quantity used. Splendid blue crystals may be obtained by preparing the sulphate of copper, commonly called blue vitriol, in the same manner as alum is prepared. Care must be taken not to drop it on your clothes.PAINTING ON GLASS.Someof the works which profess to teach the art of painting on glass contain directions for staining large windows in churches and halls; others merely give the process of producing the more common paintings, such as are carried about the streets for sale. These seem to have been much in vogue about a century since, as all the “Young Artist’s Assistants” of that day contain the mode of painting them. They direct us to fix a mezzotinto print upon the back of a sheet of glass, and to remove the paper by wetting and rubbing, leaving the impression of the print, which is afterwards to be painted in broad washes; the ink of the print giving the shadows. The picture being then turned over, the glazed side becomes the front, and the colors first laid on are, of course, nearest the eye. This mode of painting resembles the style of Grecian painting, that being painted from the back, and the shading is the ink of the engraving.The methods by which glass is stained are scientific; they require some knowledge of chemistry, and such apparatus as must preclude the practice of this branch of art as an amusement. It may be interesting, however, to know something of the process. The glass being, at first, colorless, a drawing is made upon it, and the painting is laid on with mineral substances, the vehicle being a volatile oil, which soon evaporates. The sheets of glass are then exposed to a powerful heat, until they are so far melted that they receive the colors into their own substances. Enamel painting is done on the same principle. This is a time of great anxiety to the artist, as with all possible care, valuable paintings, both in glass and enamel, are frequently spoiled in the proving, or vitrification. The art seems to have been lost during several centuries, but it has of late been successfully revived; and large windows have been executed for churches and gothic halls, which almost vie with the fine old specimens in the cathedrals, in point of color, while they far excel them in other respects.The branch of the art which may be treated as an accomplishment is the decoration of glass, flower-stands, lamp-shades, and similar articles, with light and elegant designs. Flowers, birds, butterflies and pleasing landscapes, afford an extensive range of subjects, which are suitable to this style of ornamental painting. The glasses may be procured ready ground. The outline may be sketched in with a black lead pencil; the lead can be washed off with a sponge when the colors are dry. The whole of the colors employed must be transparent, and ground in oil; opaque, or body colors, will not answer the purpose.They may be purchased in small bladders, only requiring to be tempered with fine copal or mastic varnish, and a very little nut oil, to be ready for use. Blue is produced by Prussian blue; red, by scarlet or crimson lake; yellow, by yellowlake or gamboge; green, by verdigris, or mineral green, or a mixture of Prussian blue and gamboge; purple, by a mixture of lake and Prussian blue; reddish brown, by burnt sienna; and all the other tints may be obtained by combinations; for white, or such parts as are required to be transparent, without color, the varnish only should be employed. A very chaste and pleasing effect may be produced by painting the whole design in varnish, without color.It is an advantage to this style of painting, that but few colors are required; as from the nature of the subjects, and their purpose as ornaments, brilliancy is more desirable than a nice gradation of tints. The work must, of course, be carefully dried, but may afterwards be cleaned with a sponge and cold water.PAINTING ON VELVET.Paintingon velvet as well as on glass is an old art revived. No art that is really beautiful in itself will pass away entirely. As these paintings are very pleasing to the eye, and easy of execution, it is well to know how to paint them. The following directions are taken from a reliable English work.The colors for this style of painting are sold at the drawing material warehouses, in a liquid state and prepared for use. In addition to these, a brilliant rose color is obtained from the pink saucers, by dropping a little weak gum water upon the color, and rubbing it with a brush. A deep yellow may also be produced by pouring a few drops of boiling water upon a small quantity of hay saffron.It is necessary to mix gum water with all the colors made, to prevent their spreading into each other; gum dragon is thebest for this purpose. The brushes used are called scrubs; they consist of a small stick, with a camel’s hair brush cut off quite short at one end, and at the other, a brush of bristles of a much harder description. A small box of black lead is necessary, and a piece of list rolled tightly round, to the diameter of about two inches, to be used as a sort of brush with the black lead, for making outlines in the manner we shall presently direct. A piece of linen rag, to wipe the brushes on, should also be provided.The most brilliant flowers, fruits, shells, birds, &c., are well adapted to this style of painting. The outline of the subject may be sketched in pencil on the velvet, which is of such a very delicate nature, that the greatest nicety is necessary to keep it in a state of neatness. Care should also be taken that the sketch is correctly made, as an error cannot be effaced by rubbing out, as on paper. It is a safer method, however, to make the sketch on drawing-paper, and to prick the outline very closely with a fine needle; then, the velvet being previously nailed on a flat piece of wood of a proper size, the pricked pattern may be laid over it, the roll of list dipped into the black lead powder, and rubbed regularly over the pattern from side to side; be careful to touch every part, and on removing the pattern, a perfect outline in black dots will appear on the velvet.Where a set of articles of the same pattern is undertaken, this is a very good plan, as it ensures accuracy, and saves the trouble of making separate sketches.Even those who have no knowledge of drawing on paper may produce a design on velvet, with ease and correctness, by tracing off against a window, or by means of tracing paper, any drawing or print which they wish to copy, and pricking the tracing on the velvet in the manner just described. In order to keep the margin of the velvet from being soiled in the progress of painting, a piece of thick paper should belaid over the whole, and an aperture cut in the middle, sufficiently large to expose the part to be worked on. Each brush should be kept for that color alone to which it has once been appropriated.A small quantity of the color about to be used should be poured into a little cup, and a drop of gum water added, and stirred with the stick of a pencil prior to its being taken on the brush. The mode of its application is so simple, that a short description of the execution of a single flower will suffice to give an idea of the process of painting almost any other subject on velvet. A very small portion of color is to be taken upon the brush, and the darkest part of the leaf touched with it; the brush is then to be dipped in water, and the color gradually softened to the edge; each leaf ought to be colored separately, and the darkest parts in the centre of the flowers may be finished with a small brush without softening. India ink is used to make the dark shadows of crimson flowers. The veins, and all the petals of flowers, and all the fine lines, should be done with a pen. Each leaf, as it is shadowed, should be brushed with the hard end of a brush, that way of the velvet in which the pile runs most easily, and then in the contrary direction, so as to set it up again to become dry. A deeper shade should never be added to a leaf or flower until the color previously laid on is perfectly set, or the two colors will spread and run into each other, this will be prevented by the gum, if sufficient time can be allowed for each shade to dry before a subsequent one is applied.When the piece is finished, and quite dry, it should be brushed over with a small, round brush, about two inches in diameter, with hard bristles of an equal length, to raise up such parts of the pile as may have been flattened in the process of painting.Toilet-sets, sofa-cushions, fancy tables, pin-cushions, and a variety of articles may be ornamented in this way.CASTING IN PLASTER, SULPHUR,Etc.Takingthe impression of coins, medals, &c., is, independently of its utility, a most interesting amusement. This art is of considerable importance to collectors of antique coins, &c. It is often difficult, and always expensive, to purchase superior specimens, of which, however, exact models may be obtained by casting, without the slightest injury to the originals. The mould is made in the following manner:—Take a strip of paper, a quarter or third of an inch wide; roll it twice tight around the rim of the coin, or gem, of which a cast is intended to be taken, and fasten the end with very stiff gum-water, which will hold it instantly. Rub a very little oil, with a camels-hair pencil, over the coin, in order to prevent the plaster from sticking; then mix some fine plaster of Paris, with as much water as will make it almost as thick as treacle; apply it quickly to the coin, on which it will be held by the paper rim. It sets almost instantly, and may be taken off in a few hours; but the longer it remains undisturbed the better. The mould which is thus obtained is the reverse of the coin; that is, the impression is concave, like a seal. When the moulds are so dry that they will not wrinkle a piece of paper laid flat upon the surface, let them be well saturated with the best boiled linseed oil, placing the moulds with their surface upward, that the whole of the oil may be absorbed. They must be covered from dust, and nothing should touch their surface, lest they suffer injury. Moulds, well prepared in this manner, and dried about two days after being oiled, will stand a long time, for the casting of either plaster or sulphur. When used, either Florence oil or a little hog’s lard (the latter to be preferred) should be applied very tenderly over the mould with a little of the finestcotton wool, and the cotton wool, without lard, afterwards passed lightly over the surface, to leave as little as possible of the unctuous matter upon the mould, that the casts may be the finer. Put paper around them, as was before done to the coin; pour on plaster in the same manner, and a fac-simile of the original will be produced.Good casts may be made of sulphur, melted in an iron ladle, either pure, or colored with a little red lead or vermilion powdered and stirred up with it. The moulds and casts are made in the same manner as with plaster of Paris, only that the sulphur must be poured on the mould when hot, and water, instead of oil, must be used, to prevent adhesion. Sulphur makes the best moulds for plaster casts, andvice versa—as similar substances can seldom be prevented, by either water or oil, from adhering, in some degree, to each other. Plaster cannot be used twice; that is, old or spoiled casts cannot be powdered and again employed; for the moment the material is moistened, being a species of lime, it is no longer plaster, without being reburnt.Another way of making casts of almost any color, is with a strong solution of isinglass; it must be used when quite hot; and it is so thin that a box, exactly fitting the rim of the coin, is required, otherwise it will escape. It may be colored with saffron, wood, &c.Very beautiful impressions may be taken by pouring melted wax upon the metal, which comes off easily when the wax and metal are perfectly cold; but any one attempting this had better try it first upon a penny, or other coin of little value.Impressions may also be taken in wax, which, for this purpose, should be rendered pliable by kneading it with the hand before the fire, a little oil having been previously mixed with it. When softened to about the consistency of putty, lay it and press it close down on the coin, the form of which will then be perfectly obtained.The following is another mode of taking impressions:—Procure tin or lead foil, as thin as possible, place it on the coin, and with a pin’s head, or any small, smooth instrument, work it into every part; then take it off, revert it into a shallow box, and pour plaster into its concave side; a durable plaster cast is thus obtained, covered with tin foil, which will resemble silver.LEATHER WORK.“TheComplete Guide to Ornamental Leather Work” gives very elaborate directions, the more practical of which are given in this chapter in connection with suggestions derived from other sources. Being quite absorbed at one time in imitating various kinds of flowers and leaves in leather, and in ornamenting and staining wood to represent beautiful carved work,—the writer of this examined the books on the subject, and tried many elaborate methods, and finally went to a cabinet-maker and learned the simplest mode of staining and varnishing. Her leather work proved to be quite as durable, and was pronounced as handsome, as if it had been covered with various coats of stiffening.The kind of leather used for general purposes is basil; it should be selected of an even texture and of a light color, as the light colored will stain better than the dark. It should be soft and free from blemishes.The skiver leather is used for making grapes, or very small leaves and flowers, and can be obtained at the same place as the basil leather; this kind is also useful for thin stems and any minute portion of the work.The whole skins are very expensive, and any one who wishes to experiment can obtain for quite a small sum pieces ofleather from trunk-makers and saddlers, (who call it sheepskin instead of basil;) you can engage them to save you all their pieces; in this way you can obtain all you will wish to use. You can also purchase strips of thicker leather at the same places, to ornament the edge of your brackets, &c.; you can cut the edge of the leather in scollops, points, &c., with chisels and gouges, and nail it round the shelf or glue it on, the scollops, &c., hanging down; it will look exactly like wood when properly stained. Then nail your flowers to that. Pieces of skiver can also be obtained from the book-binders. To form your leaves and flowers, you must sketch your pattern from nature, on pasteboard. Then dip your leather in cold water for half a minute (not longer, unless the leather is unusually thick;) it should then be taken from the water and pressed in a linen cloth until the surface is nearly dry. Being thus prepared, lay it quite flat on a board, and place upon it your pasteboard pattern, and trace it. While the leather is wet, cut out your leaf with sharp scissors or a shoe-maker’s knife. The pattern may be drawn before the leather is wet, and if sharp tools are used the leaf can be cut before wetting it; and by drawing one pattern and nailing several pieces of leather firmly on a board, with chisels, gouges and hammer, you can cut a number of leaves at once, and then neatly trim them with the scissors. All common leaves, such as grape, ivy, or convolvulus, are more easily cut in this way; rose leaves and grape leaves are cut better with the scissors. You should have a variety of sizes of leaves. To vein the leaves you should copy nature, and mark them with a brad awl or knitting needle, or the point of the scissors; press heavily for thick veins and lightly for the finer veins; by using the two points of your scissors slightly spread apart, you can form the raised veins; a hard steel pen can be used for the smaller veins. Being veined, the leaves should be bent and moulded into the required shape. Then they should be dried quickly,as it hardens them better. Some persons stiffen them when dry by brushing over a stiffening made of two ounces of Australian red gum, six ounces of orange shellac, half a pint of spirits of wine, mixed cold, and when dissolved, strained for use. It is not necessary to use any such preparation when your leather work is sufficiently hardened by drying; take some asphaltum varnish and stain it carefully all over with a brush. This varnish you can buy ready mixed, or you can get the asphaltum, powder it, and dissolve it in spirits of turpentine; when well dried it will probably need a second coat, possibly a third, depending on the color you wish, whether dark or light; when well dried, varnish the work with copal varnish, and dry it thoroughly. Then stain your wood (or you can have it stained at the cabinet-makers, as you prefer.) You can stain even common pine wood by the following process: first, stain with asphaltum the color you desire; then varnish with three coats of copal varnish, having each well dried; when it is dry and hard, rub it down with powdered pumice stone, and wash off with clear cold water. Then arrange and nail, or glue, on your leather flowers or fruit. When all is complete, finish up with a coat of copal varnish carefully brushed on.To make stems and tendrils: cut strips as long as the leather will allow; soak them well in water for a few minutes until they feel very soft; take them out, wipe the water from the surface, roll them and dry them; if required to be very stiff, add inside a piece of wire; when very thick ones are required the leather may be cut wider. Tendrils are made in the same manner as stems, using skiver instead of the ordinary leather; dry them quickly, then take a strip, damp it and wind it round a brad awl or knitting needle, taking care to fasten both ends, so that it cannot fly off; dry it by the fire, then remove it from the awl or needle, and a delicately formed tendril will be the result.Every kind of flower can be imitated. Oak leaves and acorns are easily made, and many prefer them to flowers. Take several sizes of natural oak leaves, and draw the pattern on pasteboard, and pencil them as the natural leaf is veined. These you can keep always ready to copy your leather from. The natural acorn can be used, by leaving a little of the stem on the cup, on which to glue a longer stem of leather; then glue the acorn into the cup, and varnish and stain. If you can obtain sprays of acorns, and glue each acorn to its cup and glue on a bit of leather to the end of the stem, to nail to your frame, they are the most desirable. The acorns gathered from the shrub oak are the prettiest.Convolvulus is a vine most commonly imitated. The leaves and tendrils are very simple, and the flower is easily shaped over the top of a bottle. First, cut a round piece the size of a half dollar, and punch a hole in the centre after it is wet, then shape from the natural flower; the cup can be formed in the neck of the bottle, and the rest by rolling the edges over the rim of the top of the bottle.Ivy is easily made. The berries can be formed from slack baked bread; take it and roll into little berries, then stick in each a piece of wire (that pulled from wire taste is the best, as it is wound with thread,) and in forming the branch wind the wires together with a strip of leather. When the berries have hardened, stain them.Grapes are made of skiver, and either small clay marbles or dry peas. First, wet your skiver, then form your bunch of grapes, by pushing one after another firm into the pliant leather, and fasten around each a linen thread, and draw them with it close together, shaping your bunch according to the size you wish. They so perfectly imitate carved wood that persons familiar with carving may be deceived by them. By the exercise of ingenuity and your imitative qualities you can accomplish very satisfactory results. Parts of the workmay be gilded, if you prefer. For instance, you may gild your acorns, grapes or ivyberries. Bronzing is pretty for some kinds of work. It is done by sprinkling or rubbing bronzing powder on the work before the last coat of varnish is dry.SKELETON BRACKET.Autumn leaves can be imitated by using finely powdered colors, and mixing them to the consistence of cream, with the following medium:—Mix the white of an egg with 2 oz. of pure distilled vinegar; put them into a bottle and shake them well together whenever you wish to mix your colors; or mix them with parchment size warmed, or a weak solution of gum-Arabic; in either case, varnish with a quick drying pale varnish. Oil colors will not answer.Pieces of furniture easily ornamented by leather are book cases, etageres, brackets, picture frames, work boxes, screens, music and watch stands and fancy tables, &c., &c.DESIGN FOR A BRACKET.The edges of frames of all kinds may be neatly ornamented by taking two strips about seven-eighths of an inch wide, cut them as long as possible, and stain them; when ready for use, nail them together to the edge of the frame, then twist them round so as to form a point, and nail again, and so on all around, crossing them each time. Brackets need to be formed not only artistically, but strong. I will give here a design for the framework, before the leather ornaments are nailed on. The strips of wood must be entirely covered with the leather foliage; it adds to the appearance of the whole.To gild the upper edge, I will also give a pretty design for an oak and ivy bracket. This is intended to imitate old oak, and should be stained very dark. The oak stem should bemade of very thick wire, cut in the desired lengths, and covered with leather, and bent to resemble gnarled oak, as naturally as possible; fasten oak leaves and acorns at the back of the wires and on the wood-work, as shown in the skeleton bracket, then attach the ivy tendrils, leaves and berries around the oak stems, and the bracket is complete. Other and very beautiful designs will readily occur to persons who engage in this delightful recreation.CIGAR-BOXES MADE USEFUL.Beautifulfancy boxes can be made from cigar-boxes, if the cover is preserved whole. Small sizes are the most desirable. Toilet, glove, handkerchief, gentlemen’s collar, note paper and work-boxes, besides many other varieties, are easily manufactured. The materials required, most of which can be purchased at the paper box manufactories, are:—All kinds of fancy enamel paper, in sheets; gold or silver paper, and the gold or fancy beadings, which can be bought in strips; small enamel German pictures; plain or water-colored paper, or colored silk and satins, for the lining; gilded corner-pieces, and claw-feet are an addition; perfume powder, narrow taste, &c.First, you must fasten the lid firmly by pasting a strip of linen along the edges of the lid and box, inside, as well as outside; it holds the lid firm, and acts as a hinge; paste on each side bits of ribbon to support the lid, then glue in the lining. Forvery nice boxes, silk or satin, fluted, is a great addition. Plait it above and below on a narrow piece of paper, and paste the edges down; then take an oblong piece of silk and another of paper, place a piece of cotton wool on the paper sprinkled with perfume powder, then cover with the silk, and baste the paper over the edge, pasting the whole on the lid in the center. After you have covered it, paste neatly round it a gold beading (or bind the edges of the box first with gold paper); close the box when the inside is finished, and commence on the outside. Some persons take out the bottom of the box in lining it, as it is easier to paste it smoothly, and then nail it in its place. Cover the whole outside of the box with polished enamel paper (Japanese paper is very beautiful, but expensive,) and cover the bottom of the box; then bind the edges of the box with gold paper, and place beading on the edge where it meets the colored paper. The styles may be varied by pasting gold beading in stripes all over the box; ornament the sides, if you prefer, with pictures. On the lid, gold corner-pieces, besides the beading, are an improvement. In the center place some pretty picture, varnish it with map varnish, and then frame the picture with a gold beading. A loop of ribbon should be pasted on the lid to raise it by, and your box is finished. If your box is for gloves or handkerchiefs, you may cut out in old Roman or English letters, in gold paper, “Gantes” or “Mouchoir,” and paste them on the front side of the box. Pin-cushions could be fastened on the top of toilet boxes.The pictures and gilding that come on linen or cambric goods may be used for this purpose. Common flour paste is the best; a little common glue mixed in while boiling improves the paste. Mucilage can be used to glue on the beading. The paper should be thoroughly wet with paste. Begin to paste smoothly from the center, in order to keep out all air.POTICHIMANIE.Potichimanieis the art of imitating painting on glass or China. The most beautiful of the Chinese porcelain, Sevres, Japanese or Etruscan vases, can be so closely imitated, that none but connoisseurs can discover at first sight, the difference. The work is attractive, and very simple; the materials employed are few, and inexpensive.First, select some plain glass vases, resembling in shape and size the particular style of China you wish to represent. You can have vases of any shape blown and fashioned for you at the glass houses.Select your colored figures, representing the style of China you wish to imitate; let them be rich, and clear in their colors. You will need two or three small brushes, such as painters use, some strong gum water, and a bottle of varnish. Use paint for the groundwork of the color you wish to represent. The ground color of the Chinese porcelain is in general a greenish white; the Sevres a bluish white; while the Etruscan is a pale yellow. These three colors are generally all that are wanted. A delicate pink is sometimes used. For any one kind of vase, only one ground color is necessary. A pair of very fine pointed scissors will also be required.Then proceed to cut out your figures with great care; if you can cut a trifle within your figures, all the better, for no white edges must be visible. When they are all cut, arrange them on a sheet of paper in the order in which they are to be placed in the vase, and gum them very evenly and carefully on the colored side; let them lay until the gum rather thickens and the paper on which they are colored softens; then take them up carefully and place them in their properplaces on the inside of your vase; press them carefully with a bit of old linen tight to the glass, excluding all air between them and the glass, otherwise bubbles will be formed, and the work will be spoiled. When all the pictures are arranged, wipe the glass clean, except where it is covered by the pictures. After the work is dry and clean, varnish the back of the prints, and paint the inside of the vase with the ground color. Some persons pour it in the vase, and let it run around, and then carefully brush it on; some put it on near the pictures by gently tapping the glass with the brush. Great care must be taken not to let the paint run under the paintings. The antennae of butterflies and other minute objects may be imitated in gold, or by drawing them on the glass with gum water and sprinkling them with gold bronze powder. This must be done before the ground paint is laid. Gold stars scattered over some kinds of vases may improve them. You can buy sheets of appropriate designs already colored. If you prefer to color them yourself, you must be sure and have your colors clear and bright; the brighter they are the better they will appear. Where gold is introduced, it is better to use the shell or prepared gold. It is applied in the same manner as water colors, and may be used with good effect, in borders, single ornaments, flowers, insects, and to fill up when no other color is introduced. This work may be used in various ways to decorate your homes. The inside of your vase should be varnished, to give it the smoothness of China, and you can have the rim gilded. If several coats of sizing are applied, the vase may be filled with water without injury to the paint; but you can fit cups to the vases, in which to put water for flowers. Hall lamps, windows, &c., are decorated in the same manner, except that no ground color is used. Cabinet boxes, tables, and a great variety of other articles, both useful and ornamental, may, with a little ingenuity and taste, be rendered extremely elegant.ORNAMENTS IN RICE SHELL-WORK.Therice shells are brought from the West Indies, and are sold by measure, or by the box, at the conchological repositories. They can be bought already prepared for use, but are more expensive in that form. To prepare the rough shell for use, you must first take a long pin and free the interior of each shell from all grit or dirt; next with your scissors clip the extreme tip of the shell so as to leave a tiny hole like the eye of a needle. This must be carefully done or the shell will be spoiled, or your eyes may be seriously injured by the flying fragments. Practice soon enables one to clip them rapidly and evenly.It is advisable to have at hand a number of small card boxes, to hold your articles. In clipping, it is well to sort the shells by the sizes, and lay them in separate boxes. Small, flat, white shells, nearly transparent, add to the beauty of the shell-work. These must be bored by a sharp needle near the stem. When all are clipped, pour over them cold water, with a little soda and castile soap. The latter should be shredded, and mixed in the proportion of half an ounce to each pint of water. Then cover your pan and place it near a good fire, or in an oven; let it remain till scalding hot, stirring now and then; then take it away, and rub the shells gently with your hands; then pour off the water and rinse the shells; add a fresh supply of water and soap only, and repeat the same process; after being again rinsed in clear water take a few shells, fold them in a soft towel to dry them, and afterwards rub them with a silk handkerchief; then place them in a dish near the fire and shake them occasionally till they are dry. Then place them in a box ready for use. They should appear polished and pearly white. Too much soap,soda, or heat will turn them yellow. Too great heat in drying will cause them to be brittle and crack, but they must be dry before using.Next you must procure silver wire. This can be bought at gold and silver bullion makers, or at musical instrument makers. You need several sizes, the very finest thread wire to wind around the stems, a size to twist in the shell and another for stems.The largest shells are better for baskets and heavier work, the middle size and smallest for flowers and leaves. Each kind should have its own box. Into one box cut some two or three hundred pieces of middle sized wire, about two and a half inches in length. You should collect for use various materials, such as floss silk, fine wire chenille, roman pearl beads, (the solid or grain-like bead is preferable,) coral beads, or turquoise, pink, green or yellow, red flower seeds, velvet, satin, or silver leaves and silver bullion. Having collected materials for a wreath and sprays of various flowers, commence your work by stringing your shells on your bits of wire. Turn the wire over the shell; hold the folded wire between thumb and finger of the right hand, and turn the shell round and round until the wires are firmly twisted together. Very soon you will be astonished at the rapidity with which you string and twist your shells. They look like this cut, when prepared. Much time will be saved by keeping your different sized shells separate. Having wired several hundred, you can proceed to prepare a leaf.WIRED SHELLS.The cut at the head of page 122 shows the leaf when made. It takes from five to fifteen or twenty shells to form a leaf; the number depends on the size of the leaf. The smallest shell forms the apex, the others graduated in size by pairs. Then take your shells and bind them together, one by one, with the finest wire or floss silk, leaving out a small portionof the twisted wire, gradually increasing the piece left out, as the plate indicates, leaving all the openings of the shell all one way; bind the stem firmly, leaving no ends of wire, as they catch in everything, besides looking untidy.SHELL-LEAF.To form a flower or bud, take one of the lengths of the wire, thread on a shell, and then a pearl bead, then a second shell, and twist the wire firm. The place of the bead is between the points of the two shells, and both openings meet and are not seen. The figure below shows a simple flower composed of five wired shells, firmly twisted together down to the extremity. A double flower is composed of eighteen shells, twelve small ones, and six of a middle size. These latter are arranged as in the single flower. The twelve are made into four leaflets. A few pearl beads in the center of the flower improves it. It is easy to shape them as you wish by bending the wires. A simple flower may be arranged like the spokes of a wheel.SHELL-FLOWER.Wheat ears (see cut on next page) may be made of any number of shells, from eight to thirty, one taken as an apex, then a pair set on either side of it and one in the center, and other pairs successively to the end, binding all firmly to the points of the shells, and putting in here and there three quarter inch length of middle sized wire to resemble the beards. Ornamental groups can be made by threading good sized shells on middle sized wires, twisting them together and winding them on a fine knitting needle. When drawn out they have a spiral form. Bind several thus formed together at the ends. Their dancing, wavy motion adds to the gracefulnessof your spray or wreath. The white, round shells used as leaves are very pretty; even whole flowers are often made of them. Wire chenille and colored beads increase the effect.WHEAT EARS.Neatness and grace must be studied, care must be used to avoid cutting off the thread wire, or floss, any oftener than possible. In making wreaths and sprays every one must exercise his or her own taste. Infinite varieties of forms can be designed; you can trim a head-dress exquisitely with them.I advise young ladies to try their skill. It is fascinating work and the effect is beautiful. Bridal wreaths formed of the rice shells, Roman pearls, white chenille, and silver wire are often made. Bugle flowers can be made in the same way, taking wire the color of the bead.Shell baskets are very ornamental. Exquisite watch stands and cigar or match stands can be formed of shells. Your frames should be made of wood or tin. Cover them thick with white paint. The painters will prepare it for you as thick as putty, with boiled oil. Paint must be selected that will not turn yellow and will dry quickly. After covering your frame thickly with this preparation, lay on the shells in whatever form your own taste may direct. Place them so thick that none of the paint will be visible, and set the frame aside until it is dry. The drying may require several days. When it is dry varnish it with white map varnish.WATCH-STAND.Watch stands, in the form of a church or other building, may be made with a tin frame. Rolls of tin may be used for columns and towers, and soldered to the frame. A circular opening must be made in the frame through which the watch can be seen, and a small case of tin must be soldered to the back of the frame in which the watch can be heldfirmly. Take two blocks of wood similar in form, but one of them larger than the other, and glue the smaller one on top of the other; then make a slit along the middle line of the upper block, in which the tin frame is to be inserted and fastened with glue. The blocks will represent the steps to the building, and may be covered with shells. If the building represents a church, a cross for the top may be made of tiny rice shells. The towers should be covered with larger sized rice shells, and on the summit of each a small cone shell should be placed. The opening for the watch should be surrounded by flat, round, white shells. The inside of the case for the watch should be lined with crimson velvet, glued in. The outside should be covered with shells.Harps, guitars, etc., etc., can be ornamented in the same way. If they are riveted into marble slabs, the trouble of covering the stands with shells will be avoided. Cigar stands can be made of thick card-board, but tin is better; it must be cut about seven and a half inches long and four inches wide, and soldered together, (to make a round cup) and fastened upon a stand. Boxes, tables, vases, and all kinds of ornamental articles can be covered with shells.ALLSPICE BASKETS.Theallspice berries should be soaked in spirit to soften them, and then holes should be made through them. Theyare strung on slender wires, which are twisted or woven into diamonds or squares, or rows as you fancy, and then formed into baskets. A gold band between every two berries gives a lively look to the basket. Around the top are sometimes twisted semi-circles of berries, from which are suspended festoons of berries strung on silk, drooping over the outside.The baskets may be lined with bright colored silk and ornamented with ribbons. Baskets can be made of cloves in the same way, by taking off the berry and soaking the long part in spirit. Bead baskets are also made in the same way; the wire should be the color of the bead. Cut glass beads are the most desirable, as they glitter prettily amidst the green boughs of the Christmas tree.RICE OR SHELL BASKETS.Theframe is made of pasteboard neatly lined; the groundwork can be white or colored, as you fancy; fasten on with gum either grains of rice, bugles of different colors, or small rice shells, arranged in any form you please.WAFER BASKETS.Makea neat card-board frame and bind the edges with gilt paper. Take the smallest wafers you can get; keep a whole one for the ground work; cut another in halves; wet the edges of one of the halves and stick it upright through the middle of the whole one; cut the other half into two quarters, wet the two straight sides, and place them on each side of the half wafer; this forms a kind of rosette. When you have enough prepared, wet the bottoms of the whole wafers, and fasten them on the basket in such forms as you please. Itis very pretty to have the whole wafer one color and the rosette another. Stars can be made by placing six quarter wafers around the half in place of two. The handle can be decorated in the same manner, or with ribbons. Care must be taken to have the wafers cut even and uniform.IMPRESSIONS OF BUTTERFLIES.Ifyou find a dead butterfly, cut off the wings and place them upon clean paper, in the position they occupy when the insect is flying. Spread some clean, thick gum water on another piece of paper and press it on the wings; the little colored, feathery substance will adhere to it; then lay a piece of white paper upon the top of the gummed paper, and rub it gently with your finger, or the smooth handle of a knife. A perfect impression of the wings will thus be taken. The body must be drawn and painted in the space between the wings.TO TAKE IMPRESSIONS OF LEAVES.Dipa piece of white paper in sweet oil, and hold it over the lamp until it is thoroughly blackened with smoke; place a green leaf upon the black surface, and let it remain pressed upon it for a few moments; then put it between two pieces of white paper and press it in a book, with something heavy upon the top of it. When taken out, one of the papers will have received a perfect impression of the leaf with all its little veins. Some think the impression is more distinct if a little lamp-black and oil be passed lightly over the leaf with a hair pencil, instead of smoking it over a lamp.PAPER LANDSCAPES.Observewell the shadows of the pictures you wish to copy; draw their shapes as exactly as you can, and cut them out. Paste these pieces on a sheet of paper, in the same relative positions they occupy in the landscape; if the shade be rather light, put on only one thickness of paper; if darker, two thicknesses and three thicknesses may be used; if the shadow is very deep and heavy, five or six pieces may be pasted on, one above another. When held up to the light, shades are produced differing in degree according to the thickness of the paper. These make very pretty transparencies for lamps in Summer. Lamp shades can be made in this way with colored paper placed between two thin white papers and so arranged that the shadows will represent grapes, or any fruit or flower. China lamp shades are prepared in the same way, that is, portions of the china are made thicker than others; in the daylight they appear perfectly white, but when the light shines through them the shades look like a soft landscape in India ink. It is on the same principle that the beautiful Parian transparencies are made for windows.

House and Home Arts.DECALCOMANIE will be appreciated and enjoyed by any one who takes pleasure in making tasteful articles for gifts, or for contributions to fairs, or in adding new graces to the parlor. It consists in ornamenting vases and boxes with oil paintings. The process saves a great deal of labor, and when the work is well done, very close examination is necessary to detect the difference between hand paintings and the Decalcomanie, particularly if the pictures are retouched, or tiny sprays of moss, small leaves, or flowers are added in water colors. The designs can be transferred to wood, porcelain, leather, silk, glass, metal, paper, etc.The designs are printed in oil colors, on the surface of paper, which has been previously prepared with a composition easily soluble in water,—or in fact the printing is entirely on this composition, the paper merely serving as a back to give support to the thin film on which the design is printed. By a process hereafter described, these beautiful designs in oilcolors may be perfectly transferred to the surface of any article which it is desirable to ornament, such as vases, card-cases, porte-monnaies, work-boxes, needle-books, toilet-cushions, lamp-shades, and hundreds of other things too numerous to mention; and when nicely executed, the work equals the finest painting. Beautiful bouquets may in this way, be transferred to silk for toilet-cushions and perfume sachets.When applied to china, porcelain or other similar substances, it may be freely washed with warm water without injury, and is in every respect as durable as oil painting.————Materials.The necessary materials are as follows:cementing varnish,protecting varnish, two or threecamel’s hair brushesof various sizes, (these should be of fine quality, as the cheaper ones never have good points), a glass ofclear water, a small vial of benzine or burning fluid for cleaning the varnish brushes; and be careful and procure suitably prepared pictures.————Directions.First, with a fine brush, apply the cementing varnish to every part of the picture, following the outline neatly without running over on the white paper. After applying the varnish let it dry a minute, then, holding the picture to the light, take a larger brush and dampen the back with water, being careful to wet the size of the design only. Before the picture has time to expand much, apply the picture to the article to be ornamented, firmly pressing every part; dampen again with water, after which remove the paper. To remove the paper, commence at one corner and carefully raise it, keeping close watch that none of the design adheres to thepaper. If a piece, however small, is seen attached to the paper, immediately replace the paper and again press that part to the article and perhaps dampen a little more. Having entirely removed the paper, draw a damp cloth smoothly over the finger and firmly press every part, using great care that no air bubbles remain under the large surfaces. The day after the transfer, carefully wash the design with cold water, and when perfectly dry, lightly apply the protecting varnish to the design. The above directions are strictly applicable to ornamenting only such articles as can be washed.In ornamenting any delicate substance, such as silk, great care must be observed in dampening the back, in order to dampen only the exact size of the design; as, if the preparation on the paper is dampened around the picture, it will soil the silk. Of course the washing above mentioned must be omitted; and oftentimes the varnishing may also be omitted to advantage, as its object is simply to render the painting more durable, where it is to be subjected to use or exposed to the weather.In order to avoid soiling delicate substances, some persons have adopted the following expedients:—After applying the cementing varnish to the picture, and before dampening the back, take the water brush, and thoroughly wet the face of the paper all around the design. This will soften the preparation, which may be removed by carefully touching the surface with a wet cloth. The cloth, being wet, will not stick to the varnish if it comes in contact with it. After this operation, the process is the same as before described, except that some of the fine parts near the edge may require retouching with the cementing varnish.For ornamenting any dark substances, such as black silk or a rosewood box, the picture is differently prepared. After the picture has been printed in all its colors, the whole design is entirely covered with gold leaf or a preparation of white lead,which is merely to give the picture its proper effect, by preventing the dark surface from showing through, which it would do at every light part were it not for this backing. But if it is desirable to use some pictures not backed on a dark ground, it may be done by covering the design with a preparation of fine white lead, called white grounding. The grounding must be allowed to dry, and then the process is the same as before. In applying your pictures to any article, face the light, and, holding the picture before you, the design can be seen from the back, and thus correctly placed in position.ENGRAVED BOXES.Thebox should be white or light straw-color in order to show the faint impression to advantage. It should be varnished five or six times in succession, and suffered to dry thoroughly each time. While the last coat of varnish is yet so fresh that your finger will adhere to it, the engraving must be put on, the picture side next to the varnish. The engraving must be prepared in the following manner:—All the white paper must be cut off close to the edges of the engraving, which must be laid on a clean table, with the picture downward, and moistened all over with a clean sponge. It must then be placed between two leaves of blotting paper, to dry it a little. Before putting it on the box, take great care to have it even, and determine exactly where you wish it to be. Lay one edge of the print, picture downward, upon the varnish, and gradually drop it to its place, passing the hand successively over the back of the print in such a manner as to drive out all the air, and prevent the formation of blisters. Then carefully touch it all over with a linen cloth, so as to be sureevery part adheres to the varnish. Leave it until it is thoroughly dry. Then moisten the back of the engraving with a clean sponge, and rub it lightly backward and forward with the fingers, so as to remove the moistened paper in small rolls. When the picture begins to appear, take great care lest you rub through, and take off some of the impression. As soon as you perceive there is danger of this, leave it to dry. In drying, the engraving will disappear, because it is still covered by a slight film of paper. You might think it mere white paper; but give it a coat of varnish, and it will become quite transparent. Should you by accident have removed any part of the engraving, touch it with India ink, and gum water, in order that no white spots may appear; but when you put on your second coat of varnish you must take care to pass very lightly over the spots you have retouched. The box should be varnished as many as three times after the engraving has been placed on it, and suffered to dry thoroughly each time. The white alcoholic varnish is the best. It should be put on in the sunshine, or near a warm stove. After the last coat is well dried, sift a little pulverized rotten stone through coarse muslin, and rub it on with linseed oil and a soft rag; after being well rubbed, cleanse the box thoroughly with an old silk handkerchief or soft linen rag. Some persons say that a very thin sizing of nice glue should be put on the box before it is varnished at all; others say it is not necessary. This work requires great patience and care; but the effect is very beautiful, and pays for the trouble.CORAL FLOWERS AND BASKETS.Formbaskets, flowers, and sprays of all shapes and kinds, of bonnet-wire already wound with thread. Then take one ounce of resin and dissolve it in a brass pan with two drachmsof the finest vermilion, and thoroughly mix them; then take your basket, twigs, &c., and dip them into the solution till they are well dyed. Some persons dissolve red sealing-wax in alcohol, and form coral, powder the wax, and fill in as much as the alcohol will dissolve.IMITATION OF INLAID IVORY.Haveyour fancy table, work-box, &c., made of smooth polished white wood, such as satin wood or maple; sketch upon it such figures as castles, men, women, wreaths of flowers, &c., as you fancy; then color all, except the figures you have drawn, with dead black. It then, if neatly and tastefully finished, looks like ebony inlaid with ivory.ALUM BASKETS.Successin these baskets depends somewhat upon chance; for the crystals will sometimes form irregularly, even when the utmost care is taken. Dissolve alum in a little more than twice as much water as will be necessary to cover the basket, handle and all. Put in as much alum as the water will dissolve. The water should be hot. When the water is entirely saturated, pour it into a sauce-pan or earthen jar, (by no means put it into an iron vessel), and slowly boil it, until it is nearly evaporated. The basket should then be suspended from a little stick, laid across the top of the jar, in such a manner that both basket and handle will be covered by the solution. It must be set away in a cool place, where not the slightest motion will disturb the formation of the crystals.The frame may be made in any shape you fancy. It isusually made of small wire, woven in and out like basket-work; but a common willow basket may be used for a frame. Whether it be wire or willow, a rough surface must be produced by winding every part with thread or worsted. Bonnet-wire already covered can be used, and the trouble of winding the basket avoided. Bright yellow crystals may be produced by boiling gamboge, saffron or tumeric in the alum solution. Litmus boiled in will give bright red crystals; logwood will form purple. The colors will be more or less deep according to the quantity used. Splendid blue crystals may be obtained by preparing the sulphate of copper, commonly called blue vitriol, in the same manner as alum is prepared. Care must be taken not to drop it on your clothes.PAINTING ON GLASS.Someof the works which profess to teach the art of painting on glass contain directions for staining large windows in churches and halls; others merely give the process of producing the more common paintings, such as are carried about the streets for sale. These seem to have been much in vogue about a century since, as all the “Young Artist’s Assistants” of that day contain the mode of painting them. They direct us to fix a mezzotinto print upon the back of a sheet of glass, and to remove the paper by wetting and rubbing, leaving the impression of the print, which is afterwards to be painted in broad washes; the ink of the print giving the shadows. The picture being then turned over, the glazed side becomes the front, and the colors first laid on are, of course, nearest the eye. This mode of painting resembles the style of Grecian painting, that being painted from the back, and the shading is the ink of the engraving.The methods by which glass is stained are scientific; they require some knowledge of chemistry, and such apparatus as must preclude the practice of this branch of art as an amusement. It may be interesting, however, to know something of the process. The glass being, at first, colorless, a drawing is made upon it, and the painting is laid on with mineral substances, the vehicle being a volatile oil, which soon evaporates. The sheets of glass are then exposed to a powerful heat, until they are so far melted that they receive the colors into their own substances. Enamel painting is done on the same principle. This is a time of great anxiety to the artist, as with all possible care, valuable paintings, both in glass and enamel, are frequently spoiled in the proving, or vitrification. The art seems to have been lost during several centuries, but it has of late been successfully revived; and large windows have been executed for churches and gothic halls, which almost vie with the fine old specimens in the cathedrals, in point of color, while they far excel them in other respects.The branch of the art which may be treated as an accomplishment is the decoration of glass, flower-stands, lamp-shades, and similar articles, with light and elegant designs. Flowers, birds, butterflies and pleasing landscapes, afford an extensive range of subjects, which are suitable to this style of ornamental painting. The glasses may be procured ready ground. The outline may be sketched in with a black lead pencil; the lead can be washed off with a sponge when the colors are dry. The whole of the colors employed must be transparent, and ground in oil; opaque, or body colors, will not answer the purpose.They may be purchased in small bladders, only requiring to be tempered with fine copal or mastic varnish, and a very little nut oil, to be ready for use. Blue is produced by Prussian blue; red, by scarlet or crimson lake; yellow, by yellowlake or gamboge; green, by verdigris, or mineral green, or a mixture of Prussian blue and gamboge; purple, by a mixture of lake and Prussian blue; reddish brown, by burnt sienna; and all the other tints may be obtained by combinations; for white, or such parts as are required to be transparent, without color, the varnish only should be employed. A very chaste and pleasing effect may be produced by painting the whole design in varnish, without color.It is an advantage to this style of painting, that but few colors are required; as from the nature of the subjects, and their purpose as ornaments, brilliancy is more desirable than a nice gradation of tints. The work must, of course, be carefully dried, but may afterwards be cleaned with a sponge and cold water.PAINTING ON VELVET.Paintingon velvet as well as on glass is an old art revived. No art that is really beautiful in itself will pass away entirely. As these paintings are very pleasing to the eye, and easy of execution, it is well to know how to paint them. The following directions are taken from a reliable English work.The colors for this style of painting are sold at the drawing material warehouses, in a liquid state and prepared for use. In addition to these, a brilliant rose color is obtained from the pink saucers, by dropping a little weak gum water upon the color, and rubbing it with a brush. A deep yellow may also be produced by pouring a few drops of boiling water upon a small quantity of hay saffron.It is necessary to mix gum water with all the colors made, to prevent their spreading into each other; gum dragon is thebest for this purpose. The brushes used are called scrubs; they consist of a small stick, with a camel’s hair brush cut off quite short at one end, and at the other, a brush of bristles of a much harder description. A small box of black lead is necessary, and a piece of list rolled tightly round, to the diameter of about two inches, to be used as a sort of brush with the black lead, for making outlines in the manner we shall presently direct. A piece of linen rag, to wipe the brushes on, should also be provided.The most brilliant flowers, fruits, shells, birds, &c., are well adapted to this style of painting. The outline of the subject may be sketched in pencil on the velvet, which is of such a very delicate nature, that the greatest nicety is necessary to keep it in a state of neatness. Care should also be taken that the sketch is correctly made, as an error cannot be effaced by rubbing out, as on paper. It is a safer method, however, to make the sketch on drawing-paper, and to prick the outline very closely with a fine needle; then, the velvet being previously nailed on a flat piece of wood of a proper size, the pricked pattern may be laid over it, the roll of list dipped into the black lead powder, and rubbed regularly over the pattern from side to side; be careful to touch every part, and on removing the pattern, a perfect outline in black dots will appear on the velvet.Where a set of articles of the same pattern is undertaken, this is a very good plan, as it ensures accuracy, and saves the trouble of making separate sketches.Even those who have no knowledge of drawing on paper may produce a design on velvet, with ease and correctness, by tracing off against a window, or by means of tracing paper, any drawing or print which they wish to copy, and pricking the tracing on the velvet in the manner just described. In order to keep the margin of the velvet from being soiled in the progress of painting, a piece of thick paper should belaid over the whole, and an aperture cut in the middle, sufficiently large to expose the part to be worked on. Each brush should be kept for that color alone to which it has once been appropriated.A small quantity of the color about to be used should be poured into a little cup, and a drop of gum water added, and stirred with the stick of a pencil prior to its being taken on the brush. The mode of its application is so simple, that a short description of the execution of a single flower will suffice to give an idea of the process of painting almost any other subject on velvet. A very small portion of color is to be taken upon the brush, and the darkest part of the leaf touched with it; the brush is then to be dipped in water, and the color gradually softened to the edge; each leaf ought to be colored separately, and the darkest parts in the centre of the flowers may be finished with a small brush without softening. India ink is used to make the dark shadows of crimson flowers. The veins, and all the petals of flowers, and all the fine lines, should be done with a pen. Each leaf, as it is shadowed, should be brushed with the hard end of a brush, that way of the velvet in which the pile runs most easily, and then in the contrary direction, so as to set it up again to become dry. A deeper shade should never be added to a leaf or flower until the color previously laid on is perfectly set, or the two colors will spread and run into each other, this will be prevented by the gum, if sufficient time can be allowed for each shade to dry before a subsequent one is applied.When the piece is finished, and quite dry, it should be brushed over with a small, round brush, about two inches in diameter, with hard bristles of an equal length, to raise up such parts of the pile as may have been flattened in the process of painting.Toilet-sets, sofa-cushions, fancy tables, pin-cushions, and a variety of articles may be ornamented in this way.CASTING IN PLASTER, SULPHUR,Etc.Takingthe impression of coins, medals, &c., is, independently of its utility, a most interesting amusement. This art is of considerable importance to collectors of antique coins, &c. It is often difficult, and always expensive, to purchase superior specimens, of which, however, exact models may be obtained by casting, without the slightest injury to the originals. The mould is made in the following manner:—Take a strip of paper, a quarter or third of an inch wide; roll it twice tight around the rim of the coin, or gem, of which a cast is intended to be taken, and fasten the end with very stiff gum-water, which will hold it instantly. Rub a very little oil, with a camels-hair pencil, over the coin, in order to prevent the plaster from sticking; then mix some fine plaster of Paris, with as much water as will make it almost as thick as treacle; apply it quickly to the coin, on which it will be held by the paper rim. It sets almost instantly, and may be taken off in a few hours; but the longer it remains undisturbed the better. The mould which is thus obtained is the reverse of the coin; that is, the impression is concave, like a seal. When the moulds are so dry that they will not wrinkle a piece of paper laid flat upon the surface, let them be well saturated with the best boiled linseed oil, placing the moulds with their surface upward, that the whole of the oil may be absorbed. They must be covered from dust, and nothing should touch their surface, lest they suffer injury. Moulds, well prepared in this manner, and dried about two days after being oiled, will stand a long time, for the casting of either plaster or sulphur. When used, either Florence oil or a little hog’s lard (the latter to be preferred) should be applied very tenderly over the mould with a little of the finestcotton wool, and the cotton wool, without lard, afterwards passed lightly over the surface, to leave as little as possible of the unctuous matter upon the mould, that the casts may be the finer. Put paper around them, as was before done to the coin; pour on plaster in the same manner, and a fac-simile of the original will be produced.Good casts may be made of sulphur, melted in an iron ladle, either pure, or colored with a little red lead or vermilion powdered and stirred up with it. The moulds and casts are made in the same manner as with plaster of Paris, only that the sulphur must be poured on the mould when hot, and water, instead of oil, must be used, to prevent adhesion. Sulphur makes the best moulds for plaster casts, andvice versa—as similar substances can seldom be prevented, by either water or oil, from adhering, in some degree, to each other. Plaster cannot be used twice; that is, old or spoiled casts cannot be powdered and again employed; for the moment the material is moistened, being a species of lime, it is no longer plaster, without being reburnt.Another way of making casts of almost any color, is with a strong solution of isinglass; it must be used when quite hot; and it is so thin that a box, exactly fitting the rim of the coin, is required, otherwise it will escape. It may be colored with saffron, wood, &c.Very beautiful impressions may be taken by pouring melted wax upon the metal, which comes off easily when the wax and metal are perfectly cold; but any one attempting this had better try it first upon a penny, or other coin of little value.Impressions may also be taken in wax, which, for this purpose, should be rendered pliable by kneading it with the hand before the fire, a little oil having been previously mixed with it. When softened to about the consistency of putty, lay it and press it close down on the coin, the form of which will then be perfectly obtained.The following is another mode of taking impressions:—Procure tin or lead foil, as thin as possible, place it on the coin, and with a pin’s head, or any small, smooth instrument, work it into every part; then take it off, revert it into a shallow box, and pour plaster into its concave side; a durable plaster cast is thus obtained, covered with tin foil, which will resemble silver.LEATHER WORK.“TheComplete Guide to Ornamental Leather Work” gives very elaborate directions, the more practical of which are given in this chapter in connection with suggestions derived from other sources. Being quite absorbed at one time in imitating various kinds of flowers and leaves in leather, and in ornamenting and staining wood to represent beautiful carved work,—the writer of this examined the books on the subject, and tried many elaborate methods, and finally went to a cabinet-maker and learned the simplest mode of staining and varnishing. Her leather work proved to be quite as durable, and was pronounced as handsome, as if it had been covered with various coats of stiffening.The kind of leather used for general purposes is basil; it should be selected of an even texture and of a light color, as the light colored will stain better than the dark. It should be soft and free from blemishes.The skiver leather is used for making grapes, or very small leaves and flowers, and can be obtained at the same place as the basil leather; this kind is also useful for thin stems and any minute portion of the work.The whole skins are very expensive, and any one who wishes to experiment can obtain for quite a small sum pieces ofleather from trunk-makers and saddlers, (who call it sheepskin instead of basil;) you can engage them to save you all their pieces; in this way you can obtain all you will wish to use. You can also purchase strips of thicker leather at the same places, to ornament the edge of your brackets, &c.; you can cut the edge of the leather in scollops, points, &c., with chisels and gouges, and nail it round the shelf or glue it on, the scollops, &c., hanging down; it will look exactly like wood when properly stained. Then nail your flowers to that. Pieces of skiver can also be obtained from the book-binders. To form your leaves and flowers, you must sketch your pattern from nature, on pasteboard. Then dip your leather in cold water for half a minute (not longer, unless the leather is unusually thick;) it should then be taken from the water and pressed in a linen cloth until the surface is nearly dry. Being thus prepared, lay it quite flat on a board, and place upon it your pasteboard pattern, and trace it. While the leather is wet, cut out your leaf with sharp scissors or a shoe-maker’s knife. The pattern may be drawn before the leather is wet, and if sharp tools are used the leaf can be cut before wetting it; and by drawing one pattern and nailing several pieces of leather firmly on a board, with chisels, gouges and hammer, you can cut a number of leaves at once, and then neatly trim them with the scissors. All common leaves, such as grape, ivy, or convolvulus, are more easily cut in this way; rose leaves and grape leaves are cut better with the scissors. You should have a variety of sizes of leaves. To vein the leaves you should copy nature, and mark them with a brad awl or knitting needle, or the point of the scissors; press heavily for thick veins and lightly for the finer veins; by using the two points of your scissors slightly spread apart, you can form the raised veins; a hard steel pen can be used for the smaller veins. Being veined, the leaves should be bent and moulded into the required shape. Then they should be dried quickly,as it hardens them better. Some persons stiffen them when dry by brushing over a stiffening made of two ounces of Australian red gum, six ounces of orange shellac, half a pint of spirits of wine, mixed cold, and when dissolved, strained for use. It is not necessary to use any such preparation when your leather work is sufficiently hardened by drying; take some asphaltum varnish and stain it carefully all over with a brush. This varnish you can buy ready mixed, or you can get the asphaltum, powder it, and dissolve it in spirits of turpentine; when well dried it will probably need a second coat, possibly a third, depending on the color you wish, whether dark or light; when well dried, varnish the work with copal varnish, and dry it thoroughly. Then stain your wood (or you can have it stained at the cabinet-makers, as you prefer.) You can stain even common pine wood by the following process: first, stain with asphaltum the color you desire; then varnish with three coats of copal varnish, having each well dried; when it is dry and hard, rub it down with powdered pumice stone, and wash off with clear cold water. Then arrange and nail, or glue, on your leather flowers or fruit. When all is complete, finish up with a coat of copal varnish carefully brushed on.To make stems and tendrils: cut strips as long as the leather will allow; soak them well in water for a few minutes until they feel very soft; take them out, wipe the water from the surface, roll them and dry them; if required to be very stiff, add inside a piece of wire; when very thick ones are required the leather may be cut wider. Tendrils are made in the same manner as stems, using skiver instead of the ordinary leather; dry them quickly, then take a strip, damp it and wind it round a brad awl or knitting needle, taking care to fasten both ends, so that it cannot fly off; dry it by the fire, then remove it from the awl or needle, and a delicately formed tendril will be the result.Every kind of flower can be imitated. Oak leaves and acorns are easily made, and many prefer them to flowers. Take several sizes of natural oak leaves, and draw the pattern on pasteboard, and pencil them as the natural leaf is veined. These you can keep always ready to copy your leather from. The natural acorn can be used, by leaving a little of the stem on the cup, on which to glue a longer stem of leather; then glue the acorn into the cup, and varnish and stain. If you can obtain sprays of acorns, and glue each acorn to its cup and glue on a bit of leather to the end of the stem, to nail to your frame, they are the most desirable. The acorns gathered from the shrub oak are the prettiest.Convolvulus is a vine most commonly imitated. The leaves and tendrils are very simple, and the flower is easily shaped over the top of a bottle. First, cut a round piece the size of a half dollar, and punch a hole in the centre after it is wet, then shape from the natural flower; the cup can be formed in the neck of the bottle, and the rest by rolling the edges over the rim of the top of the bottle.Ivy is easily made. The berries can be formed from slack baked bread; take it and roll into little berries, then stick in each a piece of wire (that pulled from wire taste is the best, as it is wound with thread,) and in forming the branch wind the wires together with a strip of leather. When the berries have hardened, stain them.Grapes are made of skiver, and either small clay marbles or dry peas. First, wet your skiver, then form your bunch of grapes, by pushing one after another firm into the pliant leather, and fasten around each a linen thread, and draw them with it close together, shaping your bunch according to the size you wish. They so perfectly imitate carved wood that persons familiar with carving may be deceived by them. By the exercise of ingenuity and your imitative qualities you can accomplish very satisfactory results. Parts of the workmay be gilded, if you prefer. For instance, you may gild your acorns, grapes or ivyberries. Bronzing is pretty for some kinds of work. It is done by sprinkling or rubbing bronzing powder on the work before the last coat of varnish is dry.SKELETON BRACKET.Autumn leaves can be imitated by using finely powdered colors, and mixing them to the consistence of cream, with the following medium:—Mix the white of an egg with 2 oz. of pure distilled vinegar; put them into a bottle and shake them well together whenever you wish to mix your colors; or mix them with parchment size warmed, or a weak solution of gum-Arabic; in either case, varnish with a quick drying pale varnish. Oil colors will not answer.Pieces of furniture easily ornamented by leather are book cases, etageres, brackets, picture frames, work boxes, screens, music and watch stands and fancy tables, &c., &c.DESIGN FOR A BRACKET.The edges of frames of all kinds may be neatly ornamented by taking two strips about seven-eighths of an inch wide, cut them as long as possible, and stain them; when ready for use, nail them together to the edge of the frame, then twist them round so as to form a point, and nail again, and so on all around, crossing them each time. Brackets need to be formed not only artistically, but strong. I will give here a design for the framework, before the leather ornaments are nailed on. The strips of wood must be entirely covered with the leather foliage; it adds to the appearance of the whole.To gild the upper edge, I will also give a pretty design for an oak and ivy bracket. This is intended to imitate old oak, and should be stained very dark. The oak stem should bemade of very thick wire, cut in the desired lengths, and covered with leather, and bent to resemble gnarled oak, as naturally as possible; fasten oak leaves and acorns at the back of the wires and on the wood-work, as shown in the skeleton bracket, then attach the ivy tendrils, leaves and berries around the oak stems, and the bracket is complete. Other and very beautiful designs will readily occur to persons who engage in this delightful recreation.CIGAR-BOXES MADE USEFUL.Beautifulfancy boxes can be made from cigar-boxes, if the cover is preserved whole. Small sizes are the most desirable. Toilet, glove, handkerchief, gentlemen’s collar, note paper and work-boxes, besides many other varieties, are easily manufactured. The materials required, most of which can be purchased at the paper box manufactories, are:—All kinds of fancy enamel paper, in sheets; gold or silver paper, and the gold or fancy beadings, which can be bought in strips; small enamel German pictures; plain or water-colored paper, or colored silk and satins, for the lining; gilded corner-pieces, and claw-feet are an addition; perfume powder, narrow taste, &c.First, you must fasten the lid firmly by pasting a strip of linen along the edges of the lid and box, inside, as well as outside; it holds the lid firm, and acts as a hinge; paste on each side bits of ribbon to support the lid, then glue in the lining. Forvery nice boxes, silk or satin, fluted, is a great addition. Plait it above and below on a narrow piece of paper, and paste the edges down; then take an oblong piece of silk and another of paper, place a piece of cotton wool on the paper sprinkled with perfume powder, then cover with the silk, and baste the paper over the edge, pasting the whole on the lid in the center. After you have covered it, paste neatly round it a gold beading (or bind the edges of the box first with gold paper); close the box when the inside is finished, and commence on the outside. Some persons take out the bottom of the box in lining it, as it is easier to paste it smoothly, and then nail it in its place. Cover the whole outside of the box with polished enamel paper (Japanese paper is very beautiful, but expensive,) and cover the bottom of the box; then bind the edges of the box with gold paper, and place beading on the edge where it meets the colored paper. The styles may be varied by pasting gold beading in stripes all over the box; ornament the sides, if you prefer, with pictures. On the lid, gold corner-pieces, besides the beading, are an improvement. In the center place some pretty picture, varnish it with map varnish, and then frame the picture with a gold beading. A loop of ribbon should be pasted on the lid to raise it by, and your box is finished. If your box is for gloves or handkerchiefs, you may cut out in old Roman or English letters, in gold paper, “Gantes” or “Mouchoir,” and paste them on the front side of the box. Pin-cushions could be fastened on the top of toilet boxes.The pictures and gilding that come on linen or cambric goods may be used for this purpose. Common flour paste is the best; a little common glue mixed in while boiling improves the paste. Mucilage can be used to glue on the beading. The paper should be thoroughly wet with paste. Begin to paste smoothly from the center, in order to keep out all air.POTICHIMANIE.Potichimanieis the art of imitating painting on glass or China. The most beautiful of the Chinese porcelain, Sevres, Japanese or Etruscan vases, can be so closely imitated, that none but connoisseurs can discover at first sight, the difference. The work is attractive, and very simple; the materials employed are few, and inexpensive.First, select some plain glass vases, resembling in shape and size the particular style of China you wish to represent. You can have vases of any shape blown and fashioned for you at the glass houses.Select your colored figures, representing the style of China you wish to imitate; let them be rich, and clear in their colors. You will need two or three small brushes, such as painters use, some strong gum water, and a bottle of varnish. Use paint for the groundwork of the color you wish to represent. The ground color of the Chinese porcelain is in general a greenish white; the Sevres a bluish white; while the Etruscan is a pale yellow. These three colors are generally all that are wanted. A delicate pink is sometimes used. For any one kind of vase, only one ground color is necessary. A pair of very fine pointed scissors will also be required.Then proceed to cut out your figures with great care; if you can cut a trifle within your figures, all the better, for no white edges must be visible. When they are all cut, arrange them on a sheet of paper in the order in which they are to be placed in the vase, and gum them very evenly and carefully on the colored side; let them lay until the gum rather thickens and the paper on which they are colored softens; then take them up carefully and place them in their properplaces on the inside of your vase; press them carefully with a bit of old linen tight to the glass, excluding all air between them and the glass, otherwise bubbles will be formed, and the work will be spoiled. When all the pictures are arranged, wipe the glass clean, except where it is covered by the pictures. After the work is dry and clean, varnish the back of the prints, and paint the inside of the vase with the ground color. Some persons pour it in the vase, and let it run around, and then carefully brush it on; some put it on near the pictures by gently tapping the glass with the brush. Great care must be taken not to let the paint run under the paintings. The antennae of butterflies and other minute objects may be imitated in gold, or by drawing them on the glass with gum water and sprinkling them with gold bronze powder. This must be done before the ground paint is laid. Gold stars scattered over some kinds of vases may improve them. You can buy sheets of appropriate designs already colored. If you prefer to color them yourself, you must be sure and have your colors clear and bright; the brighter they are the better they will appear. Where gold is introduced, it is better to use the shell or prepared gold. It is applied in the same manner as water colors, and may be used with good effect, in borders, single ornaments, flowers, insects, and to fill up when no other color is introduced. This work may be used in various ways to decorate your homes. The inside of your vase should be varnished, to give it the smoothness of China, and you can have the rim gilded. If several coats of sizing are applied, the vase may be filled with water without injury to the paint; but you can fit cups to the vases, in which to put water for flowers. Hall lamps, windows, &c., are decorated in the same manner, except that no ground color is used. Cabinet boxes, tables, and a great variety of other articles, both useful and ornamental, may, with a little ingenuity and taste, be rendered extremely elegant.ORNAMENTS IN RICE SHELL-WORK.Therice shells are brought from the West Indies, and are sold by measure, or by the box, at the conchological repositories. They can be bought already prepared for use, but are more expensive in that form. To prepare the rough shell for use, you must first take a long pin and free the interior of each shell from all grit or dirt; next with your scissors clip the extreme tip of the shell so as to leave a tiny hole like the eye of a needle. This must be carefully done or the shell will be spoiled, or your eyes may be seriously injured by the flying fragments. Practice soon enables one to clip them rapidly and evenly.It is advisable to have at hand a number of small card boxes, to hold your articles. In clipping, it is well to sort the shells by the sizes, and lay them in separate boxes. Small, flat, white shells, nearly transparent, add to the beauty of the shell-work. These must be bored by a sharp needle near the stem. When all are clipped, pour over them cold water, with a little soda and castile soap. The latter should be shredded, and mixed in the proportion of half an ounce to each pint of water. Then cover your pan and place it near a good fire, or in an oven; let it remain till scalding hot, stirring now and then; then take it away, and rub the shells gently with your hands; then pour off the water and rinse the shells; add a fresh supply of water and soap only, and repeat the same process; after being again rinsed in clear water take a few shells, fold them in a soft towel to dry them, and afterwards rub them with a silk handkerchief; then place them in a dish near the fire and shake them occasionally till they are dry. Then place them in a box ready for use. They should appear polished and pearly white. Too much soap,soda, or heat will turn them yellow. Too great heat in drying will cause them to be brittle and crack, but they must be dry before using.Next you must procure silver wire. This can be bought at gold and silver bullion makers, or at musical instrument makers. You need several sizes, the very finest thread wire to wind around the stems, a size to twist in the shell and another for stems.The largest shells are better for baskets and heavier work, the middle size and smallest for flowers and leaves. Each kind should have its own box. Into one box cut some two or three hundred pieces of middle sized wire, about two and a half inches in length. You should collect for use various materials, such as floss silk, fine wire chenille, roman pearl beads, (the solid or grain-like bead is preferable,) coral beads, or turquoise, pink, green or yellow, red flower seeds, velvet, satin, or silver leaves and silver bullion. Having collected materials for a wreath and sprays of various flowers, commence your work by stringing your shells on your bits of wire. Turn the wire over the shell; hold the folded wire between thumb and finger of the right hand, and turn the shell round and round until the wires are firmly twisted together. Very soon you will be astonished at the rapidity with which you string and twist your shells. They look like this cut, when prepared. Much time will be saved by keeping your different sized shells separate. Having wired several hundred, you can proceed to prepare a leaf.WIRED SHELLS.The cut at the head of page 122 shows the leaf when made. It takes from five to fifteen or twenty shells to form a leaf; the number depends on the size of the leaf. The smallest shell forms the apex, the others graduated in size by pairs. Then take your shells and bind them together, one by one, with the finest wire or floss silk, leaving out a small portionof the twisted wire, gradually increasing the piece left out, as the plate indicates, leaving all the openings of the shell all one way; bind the stem firmly, leaving no ends of wire, as they catch in everything, besides looking untidy.SHELL-LEAF.To form a flower or bud, take one of the lengths of the wire, thread on a shell, and then a pearl bead, then a second shell, and twist the wire firm. The place of the bead is between the points of the two shells, and both openings meet and are not seen. The figure below shows a simple flower composed of five wired shells, firmly twisted together down to the extremity. A double flower is composed of eighteen shells, twelve small ones, and six of a middle size. These latter are arranged as in the single flower. The twelve are made into four leaflets. A few pearl beads in the center of the flower improves it. It is easy to shape them as you wish by bending the wires. A simple flower may be arranged like the spokes of a wheel.SHELL-FLOWER.Wheat ears (see cut on next page) may be made of any number of shells, from eight to thirty, one taken as an apex, then a pair set on either side of it and one in the center, and other pairs successively to the end, binding all firmly to the points of the shells, and putting in here and there three quarter inch length of middle sized wire to resemble the beards. Ornamental groups can be made by threading good sized shells on middle sized wires, twisting them together and winding them on a fine knitting needle. When drawn out they have a spiral form. Bind several thus formed together at the ends. Their dancing, wavy motion adds to the gracefulnessof your spray or wreath. The white, round shells used as leaves are very pretty; even whole flowers are often made of them. Wire chenille and colored beads increase the effect.WHEAT EARS.Neatness and grace must be studied, care must be used to avoid cutting off the thread wire, or floss, any oftener than possible. In making wreaths and sprays every one must exercise his or her own taste. Infinite varieties of forms can be designed; you can trim a head-dress exquisitely with them.I advise young ladies to try their skill. It is fascinating work and the effect is beautiful. Bridal wreaths formed of the rice shells, Roman pearls, white chenille, and silver wire are often made. Bugle flowers can be made in the same way, taking wire the color of the bead.Shell baskets are very ornamental. Exquisite watch stands and cigar or match stands can be formed of shells. Your frames should be made of wood or tin. Cover them thick with white paint. The painters will prepare it for you as thick as putty, with boiled oil. Paint must be selected that will not turn yellow and will dry quickly. After covering your frame thickly with this preparation, lay on the shells in whatever form your own taste may direct. Place them so thick that none of the paint will be visible, and set the frame aside until it is dry. The drying may require several days. When it is dry varnish it with white map varnish.WATCH-STAND.Watch stands, in the form of a church or other building, may be made with a tin frame. Rolls of tin may be used for columns and towers, and soldered to the frame. A circular opening must be made in the frame through which the watch can be seen, and a small case of tin must be soldered to the back of the frame in which the watch can be heldfirmly. Take two blocks of wood similar in form, but one of them larger than the other, and glue the smaller one on top of the other; then make a slit along the middle line of the upper block, in which the tin frame is to be inserted and fastened with glue. The blocks will represent the steps to the building, and may be covered with shells. If the building represents a church, a cross for the top may be made of tiny rice shells. The towers should be covered with larger sized rice shells, and on the summit of each a small cone shell should be placed. The opening for the watch should be surrounded by flat, round, white shells. The inside of the case for the watch should be lined with crimson velvet, glued in. The outside should be covered with shells.Harps, guitars, etc., etc., can be ornamented in the same way. If they are riveted into marble slabs, the trouble of covering the stands with shells will be avoided. Cigar stands can be made of thick card-board, but tin is better; it must be cut about seven and a half inches long and four inches wide, and soldered together, (to make a round cup) and fastened upon a stand. Boxes, tables, vases, and all kinds of ornamental articles can be covered with shells.ALLSPICE BASKETS.Theallspice berries should be soaked in spirit to soften them, and then holes should be made through them. Theyare strung on slender wires, which are twisted or woven into diamonds or squares, or rows as you fancy, and then formed into baskets. A gold band between every two berries gives a lively look to the basket. Around the top are sometimes twisted semi-circles of berries, from which are suspended festoons of berries strung on silk, drooping over the outside.The baskets may be lined with bright colored silk and ornamented with ribbons. Baskets can be made of cloves in the same way, by taking off the berry and soaking the long part in spirit. Bead baskets are also made in the same way; the wire should be the color of the bead. Cut glass beads are the most desirable, as they glitter prettily amidst the green boughs of the Christmas tree.RICE OR SHELL BASKETS.Theframe is made of pasteboard neatly lined; the groundwork can be white or colored, as you fancy; fasten on with gum either grains of rice, bugles of different colors, or small rice shells, arranged in any form you please.WAFER BASKETS.Makea neat card-board frame and bind the edges with gilt paper. Take the smallest wafers you can get; keep a whole one for the ground work; cut another in halves; wet the edges of one of the halves and stick it upright through the middle of the whole one; cut the other half into two quarters, wet the two straight sides, and place them on each side of the half wafer; this forms a kind of rosette. When you have enough prepared, wet the bottoms of the whole wafers, and fasten them on the basket in such forms as you please. Itis very pretty to have the whole wafer one color and the rosette another. Stars can be made by placing six quarter wafers around the half in place of two. The handle can be decorated in the same manner, or with ribbons. Care must be taken to have the wafers cut even and uniform.IMPRESSIONS OF BUTTERFLIES.Ifyou find a dead butterfly, cut off the wings and place them upon clean paper, in the position they occupy when the insect is flying. Spread some clean, thick gum water on another piece of paper and press it on the wings; the little colored, feathery substance will adhere to it; then lay a piece of white paper upon the top of the gummed paper, and rub it gently with your finger, or the smooth handle of a knife. A perfect impression of the wings will thus be taken. The body must be drawn and painted in the space between the wings.TO TAKE IMPRESSIONS OF LEAVES.Dipa piece of white paper in sweet oil, and hold it over the lamp until it is thoroughly blackened with smoke; place a green leaf upon the black surface, and let it remain pressed upon it for a few moments; then put it between two pieces of white paper and press it in a book, with something heavy upon the top of it. When taken out, one of the papers will have received a perfect impression of the leaf with all its little veins. Some think the impression is more distinct if a little lamp-black and oil be passed lightly over the leaf with a hair pencil, instead of smoking it over a lamp.PAPER LANDSCAPES.Observewell the shadows of the pictures you wish to copy; draw their shapes as exactly as you can, and cut them out. Paste these pieces on a sheet of paper, in the same relative positions they occupy in the landscape; if the shade be rather light, put on only one thickness of paper; if darker, two thicknesses and three thicknesses may be used; if the shadow is very deep and heavy, five or six pieces may be pasted on, one above another. When held up to the light, shades are produced differing in degree according to the thickness of the paper. These make very pretty transparencies for lamps in Summer. Lamp shades can be made in this way with colored paper placed between two thin white papers and so arranged that the shadows will represent grapes, or any fruit or flower. China lamp shades are prepared in the same way, that is, portions of the china are made thicker than others; in the daylight they appear perfectly white, but when the light shines through them the shades look like a soft landscape in India ink. It is on the same principle that the beautiful Parian transparencies are made for windows.

DECALCOMANIE will be appreciated and enjoyed by any one who takes pleasure in making tasteful articles for gifts, or for contributions to fairs, or in adding new graces to the parlor. It consists in ornamenting vases and boxes with oil paintings. The process saves a great deal of labor, and when the work is well done, very close examination is necessary to detect the difference between hand paintings and the Decalcomanie, particularly if the pictures are retouched, or tiny sprays of moss, small leaves, or flowers are added in water colors. The designs can be transferred to wood, porcelain, leather, silk, glass, metal, paper, etc.

The designs are printed in oil colors, on the surface of paper, which has been previously prepared with a composition easily soluble in water,—or in fact the printing is entirely on this composition, the paper merely serving as a back to give support to the thin film on which the design is printed. By a process hereafter described, these beautiful designs in oilcolors may be perfectly transferred to the surface of any article which it is desirable to ornament, such as vases, card-cases, porte-monnaies, work-boxes, needle-books, toilet-cushions, lamp-shades, and hundreds of other things too numerous to mention; and when nicely executed, the work equals the finest painting. Beautiful bouquets may in this way, be transferred to silk for toilet-cushions and perfume sachets.

When applied to china, porcelain or other similar substances, it may be freely washed with warm water without injury, and is in every respect as durable as oil painting.

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Materials.

The necessary materials are as follows:cementing varnish,protecting varnish, two or threecamel’s hair brushesof various sizes, (these should be of fine quality, as the cheaper ones never have good points), a glass ofclear water, a small vial of benzine or burning fluid for cleaning the varnish brushes; and be careful and procure suitably prepared pictures.

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Directions.

First, with a fine brush, apply the cementing varnish to every part of the picture, following the outline neatly without running over on the white paper. After applying the varnish let it dry a minute, then, holding the picture to the light, take a larger brush and dampen the back with water, being careful to wet the size of the design only. Before the picture has time to expand much, apply the picture to the article to be ornamented, firmly pressing every part; dampen again with water, after which remove the paper. To remove the paper, commence at one corner and carefully raise it, keeping close watch that none of the design adheres to thepaper. If a piece, however small, is seen attached to the paper, immediately replace the paper and again press that part to the article and perhaps dampen a little more. Having entirely removed the paper, draw a damp cloth smoothly over the finger and firmly press every part, using great care that no air bubbles remain under the large surfaces. The day after the transfer, carefully wash the design with cold water, and when perfectly dry, lightly apply the protecting varnish to the design. The above directions are strictly applicable to ornamenting only such articles as can be washed.

In ornamenting any delicate substance, such as silk, great care must be observed in dampening the back, in order to dampen only the exact size of the design; as, if the preparation on the paper is dampened around the picture, it will soil the silk. Of course the washing above mentioned must be omitted; and oftentimes the varnishing may also be omitted to advantage, as its object is simply to render the painting more durable, where it is to be subjected to use or exposed to the weather.

In order to avoid soiling delicate substances, some persons have adopted the following expedients:—After applying the cementing varnish to the picture, and before dampening the back, take the water brush, and thoroughly wet the face of the paper all around the design. This will soften the preparation, which may be removed by carefully touching the surface with a wet cloth. The cloth, being wet, will not stick to the varnish if it comes in contact with it. After this operation, the process is the same as before described, except that some of the fine parts near the edge may require retouching with the cementing varnish.

For ornamenting any dark substances, such as black silk or a rosewood box, the picture is differently prepared. After the picture has been printed in all its colors, the whole design is entirely covered with gold leaf or a preparation of white lead,which is merely to give the picture its proper effect, by preventing the dark surface from showing through, which it would do at every light part were it not for this backing. But if it is desirable to use some pictures not backed on a dark ground, it may be done by covering the design with a preparation of fine white lead, called white grounding. The grounding must be allowed to dry, and then the process is the same as before. In applying your pictures to any article, face the light, and, holding the picture before you, the design can be seen from the back, and thus correctly placed in position.

ENGRAVED BOXES.

Thebox should be white or light straw-color in order to show the faint impression to advantage. It should be varnished five or six times in succession, and suffered to dry thoroughly each time. While the last coat of varnish is yet so fresh that your finger will adhere to it, the engraving must be put on, the picture side next to the varnish. The engraving must be prepared in the following manner:—All the white paper must be cut off close to the edges of the engraving, which must be laid on a clean table, with the picture downward, and moistened all over with a clean sponge. It must then be placed between two leaves of blotting paper, to dry it a little. Before putting it on the box, take great care to have it even, and determine exactly where you wish it to be. Lay one edge of the print, picture downward, upon the varnish, and gradually drop it to its place, passing the hand successively over the back of the print in such a manner as to drive out all the air, and prevent the formation of blisters. Then carefully touch it all over with a linen cloth, so as to be sureevery part adheres to the varnish. Leave it until it is thoroughly dry. Then moisten the back of the engraving with a clean sponge, and rub it lightly backward and forward with the fingers, so as to remove the moistened paper in small rolls. When the picture begins to appear, take great care lest you rub through, and take off some of the impression. As soon as you perceive there is danger of this, leave it to dry. In drying, the engraving will disappear, because it is still covered by a slight film of paper. You might think it mere white paper; but give it a coat of varnish, and it will become quite transparent. Should you by accident have removed any part of the engraving, touch it with India ink, and gum water, in order that no white spots may appear; but when you put on your second coat of varnish you must take care to pass very lightly over the spots you have retouched. The box should be varnished as many as three times after the engraving has been placed on it, and suffered to dry thoroughly each time. The white alcoholic varnish is the best. It should be put on in the sunshine, or near a warm stove. After the last coat is well dried, sift a little pulverized rotten stone through coarse muslin, and rub it on with linseed oil and a soft rag; after being well rubbed, cleanse the box thoroughly with an old silk handkerchief or soft linen rag. Some persons say that a very thin sizing of nice glue should be put on the box before it is varnished at all; others say it is not necessary. This work requires great patience and care; but the effect is very beautiful, and pays for the trouble.

CORAL FLOWERS AND BASKETS.

Formbaskets, flowers, and sprays of all shapes and kinds, of bonnet-wire already wound with thread. Then take one ounce of resin and dissolve it in a brass pan with two drachmsof the finest vermilion, and thoroughly mix them; then take your basket, twigs, &c., and dip them into the solution till they are well dyed. Some persons dissolve red sealing-wax in alcohol, and form coral, powder the wax, and fill in as much as the alcohol will dissolve.

IMITATION OF INLAID IVORY.

Haveyour fancy table, work-box, &c., made of smooth polished white wood, such as satin wood or maple; sketch upon it such figures as castles, men, women, wreaths of flowers, &c., as you fancy; then color all, except the figures you have drawn, with dead black. It then, if neatly and tastefully finished, looks like ebony inlaid with ivory.

ALUM BASKETS.

Successin these baskets depends somewhat upon chance; for the crystals will sometimes form irregularly, even when the utmost care is taken. Dissolve alum in a little more than twice as much water as will be necessary to cover the basket, handle and all. Put in as much alum as the water will dissolve. The water should be hot. When the water is entirely saturated, pour it into a sauce-pan or earthen jar, (by no means put it into an iron vessel), and slowly boil it, until it is nearly evaporated. The basket should then be suspended from a little stick, laid across the top of the jar, in such a manner that both basket and handle will be covered by the solution. It must be set away in a cool place, where not the slightest motion will disturb the formation of the crystals.

The frame may be made in any shape you fancy. It isusually made of small wire, woven in and out like basket-work; but a common willow basket may be used for a frame. Whether it be wire or willow, a rough surface must be produced by winding every part with thread or worsted. Bonnet-wire already covered can be used, and the trouble of winding the basket avoided. Bright yellow crystals may be produced by boiling gamboge, saffron or tumeric in the alum solution. Litmus boiled in will give bright red crystals; logwood will form purple. The colors will be more or less deep according to the quantity used. Splendid blue crystals may be obtained by preparing the sulphate of copper, commonly called blue vitriol, in the same manner as alum is prepared. Care must be taken not to drop it on your clothes.

PAINTING ON GLASS.

Someof the works which profess to teach the art of painting on glass contain directions for staining large windows in churches and halls; others merely give the process of producing the more common paintings, such as are carried about the streets for sale. These seem to have been much in vogue about a century since, as all the “Young Artist’s Assistants” of that day contain the mode of painting them. They direct us to fix a mezzotinto print upon the back of a sheet of glass, and to remove the paper by wetting and rubbing, leaving the impression of the print, which is afterwards to be painted in broad washes; the ink of the print giving the shadows. The picture being then turned over, the glazed side becomes the front, and the colors first laid on are, of course, nearest the eye. This mode of painting resembles the style of Grecian painting, that being painted from the back, and the shading is the ink of the engraving.

The methods by which glass is stained are scientific; they require some knowledge of chemistry, and such apparatus as must preclude the practice of this branch of art as an amusement. It may be interesting, however, to know something of the process. The glass being, at first, colorless, a drawing is made upon it, and the painting is laid on with mineral substances, the vehicle being a volatile oil, which soon evaporates. The sheets of glass are then exposed to a powerful heat, until they are so far melted that they receive the colors into their own substances. Enamel painting is done on the same principle. This is a time of great anxiety to the artist, as with all possible care, valuable paintings, both in glass and enamel, are frequently spoiled in the proving, or vitrification. The art seems to have been lost during several centuries, but it has of late been successfully revived; and large windows have been executed for churches and gothic halls, which almost vie with the fine old specimens in the cathedrals, in point of color, while they far excel them in other respects.

The branch of the art which may be treated as an accomplishment is the decoration of glass, flower-stands, lamp-shades, and similar articles, with light and elegant designs. Flowers, birds, butterflies and pleasing landscapes, afford an extensive range of subjects, which are suitable to this style of ornamental painting. The glasses may be procured ready ground. The outline may be sketched in with a black lead pencil; the lead can be washed off with a sponge when the colors are dry. The whole of the colors employed must be transparent, and ground in oil; opaque, or body colors, will not answer the purpose.

They may be purchased in small bladders, only requiring to be tempered with fine copal or mastic varnish, and a very little nut oil, to be ready for use. Blue is produced by Prussian blue; red, by scarlet or crimson lake; yellow, by yellowlake or gamboge; green, by verdigris, or mineral green, or a mixture of Prussian blue and gamboge; purple, by a mixture of lake and Prussian blue; reddish brown, by burnt sienna; and all the other tints may be obtained by combinations; for white, or such parts as are required to be transparent, without color, the varnish only should be employed. A very chaste and pleasing effect may be produced by painting the whole design in varnish, without color.

It is an advantage to this style of painting, that but few colors are required; as from the nature of the subjects, and their purpose as ornaments, brilliancy is more desirable than a nice gradation of tints. The work must, of course, be carefully dried, but may afterwards be cleaned with a sponge and cold water.

PAINTING ON VELVET.

Paintingon velvet as well as on glass is an old art revived. No art that is really beautiful in itself will pass away entirely. As these paintings are very pleasing to the eye, and easy of execution, it is well to know how to paint them. The following directions are taken from a reliable English work.

The colors for this style of painting are sold at the drawing material warehouses, in a liquid state and prepared for use. In addition to these, a brilliant rose color is obtained from the pink saucers, by dropping a little weak gum water upon the color, and rubbing it with a brush. A deep yellow may also be produced by pouring a few drops of boiling water upon a small quantity of hay saffron.

It is necessary to mix gum water with all the colors made, to prevent their spreading into each other; gum dragon is thebest for this purpose. The brushes used are called scrubs; they consist of a small stick, with a camel’s hair brush cut off quite short at one end, and at the other, a brush of bristles of a much harder description. A small box of black lead is necessary, and a piece of list rolled tightly round, to the diameter of about two inches, to be used as a sort of brush with the black lead, for making outlines in the manner we shall presently direct. A piece of linen rag, to wipe the brushes on, should also be provided.

The most brilliant flowers, fruits, shells, birds, &c., are well adapted to this style of painting. The outline of the subject may be sketched in pencil on the velvet, which is of such a very delicate nature, that the greatest nicety is necessary to keep it in a state of neatness. Care should also be taken that the sketch is correctly made, as an error cannot be effaced by rubbing out, as on paper. It is a safer method, however, to make the sketch on drawing-paper, and to prick the outline very closely with a fine needle; then, the velvet being previously nailed on a flat piece of wood of a proper size, the pricked pattern may be laid over it, the roll of list dipped into the black lead powder, and rubbed regularly over the pattern from side to side; be careful to touch every part, and on removing the pattern, a perfect outline in black dots will appear on the velvet.

Where a set of articles of the same pattern is undertaken, this is a very good plan, as it ensures accuracy, and saves the trouble of making separate sketches.

Even those who have no knowledge of drawing on paper may produce a design on velvet, with ease and correctness, by tracing off against a window, or by means of tracing paper, any drawing or print which they wish to copy, and pricking the tracing on the velvet in the manner just described. In order to keep the margin of the velvet from being soiled in the progress of painting, a piece of thick paper should belaid over the whole, and an aperture cut in the middle, sufficiently large to expose the part to be worked on. Each brush should be kept for that color alone to which it has once been appropriated.

A small quantity of the color about to be used should be poured into a little cup, and a drop of gum water added, and stirred with the stick of a pencil prior to its being taken on the brush. The mode of its application is so simple, that a short description of the execution of a single flower will suffice to give an idea of the process of painting almost any other subject on velvet. A very small portion of color is to be taken upon the brush, and the darkest part of the leaf touched with it; the brush is then to be dipped in water, and the color gradually softened to the edge; each leaf ought to be colored separately, and the darkest parts in the centre of the flowers may be finished with a small brush without softening. India ink is used to make the dark shadows of crimson flowers. The veins, and all the petals of flowers, and all the fine lines, should be done with a pen. Each leaf, as it is shadowed, should be brushed with the hard end of a brush, that way of the velvet in which the pile runs most easily, and then in the contrary direction, so as to set it up again to become dry. A deeper shade should never be added to a leaf or flower until the color previously laid on is perfectly set, or the two colors will spread and run into each other, this will be prevented by the gum, if sufficient time can be allowed for each shade to dry before a subsequent one is applied.

When the piece is finished, and quite dry, it should be brushed over with a small, round brush, about two inches in diameter, with hard bristles of an equal length, to raise up such parts of the pile as may have been flattened in the process of painting.

Toilet-sets, sofa-cushions, fancy tables, pin-cushions, and a variety of articles may be ornamented in this way.

CASTING IN PLASTER, SULPHUR,Etc.

Takingthe impression of coins, medals, &c., is, independently of its utility, a most interesting amusement. This art is of considerable importance to collectors of antique coins, &c. It is often difficult, and always expensive, to purchase superior specimens, of which, however, exact models may be obtained by casting, without the slightest injury to the originals. The mould is made in the following manner:—Take a strip of paper, a quarter or third of an inch wide; roll it twice tight around the rim of the coin, or gem, of which a cast is intended to be taken, and fasten the end with very stiff gum-water, which will hold it instantly. Rub a very little oil, with a camels-hair pencil, over the coin, in order to prevent the plaster from sticking; then mix some fine plaster of Paris, with as much water as will make it almost as thick as treacle; apply it quickly to the coin, on which it will be held by the paper rim. It sets almost instantly, and may be taken off in a few hours; but the longer it remains undisturbed the better. The mould which is thus obtained is the reverse of the coin; that is, the impression is concave, like a seal. When the moulds are so dry that they will not wrinkle a piece of paper laid flat upon the surface, let them be well saturated with the best boiled linseed oil, placing the moulds with their surface upward, that the whole of the oil may be absorbed. They must be covered from dust, and nothing should touch their surface, lest they suffer injury. Moulds, well prepared in this manner, and dried about two days after being oiled, will stand a long time, for the casting of either plaster or sulphur. When used, either Florence oil or a little hog’s lard (the latter to be preferred) should be applied very tenderly over the mould with a little of the finestcotton wool, and the cotton wool, without lard, afterwards passed lightly over the surface, to leave as little as possible of the unctuous matter upon the mould, that the casts may be the finer. Put paper around them, as was before done to the coin; pour on plaster in the same manner, and a fac-simile of the original will be produced.

Good casts may be made of sulphur, melted in an iron ladle, either pure, or colored with a little red lead or vermilion powdered and stirred up with it. The moulds and casts are made in the same manner as with plaster of Paris, only that the sulphur must be poured on the mould when hot, and water, instead of oil, must be used, to prevent adhesion. Sulphur makes the best moulds for plaster casts, andvice versa—as similar substances can seldom be prevented, by either water or oil, from adhering, in some degree, to each other. Plaster cannot be used twice; that is, old or spoiled casts cannot be powdered and again employed; for the moment the material is moistened, being a species of lime, it is no longer plaster, without being reburnt.

Another way of making casts of almost any color, is with a strong solution of isinglass; it must be used when quite hot; and it is so thin that a box, exactly fitting the rim of the coin, is required, otherwise it will escape. It may be colored with saffron, wood, &c.

Very beautiful impressions may be taken by pouring melted wax upon the metal, which comes off easily when the wax and metal are perfectly cold; but any one attempting this had better try it first upon a penny, or other coin of little value.

Impressions may also be taken in wax, which, for this purpose, should be rendered pliable by kneading it with the hand before the fire, a little oil having been previously mixed with it. When softened to about the consistency of putty, lay it and press it close down on the coin, the form of which will then be perfectly obtained.

The following is another mode of taking impressions:—Procure tin or lead foil, as thin as possible, place it on the coin, and with a pin’s head, or any small, smooth instrument, work it into every part; then take it off, revert it into a shallow box, and pour plaster into its concave side; a durable plaster cast is thus obtained, covered with tin foil, which will resemble silver.

LEATHER WORK.

“TheComplete Guide to Ornamental Leather Work” gives very elaborate directions, the more practical of which are given in this chapter in connection with suggestions derived from other sources. Being quite absorbed at one time in imitating various kinds of flowers and leaves in leather, and in ornamenting and staining wood to represent beautiful carved work,—the writer of this examined the books on the subject, and tried many elaborate methods, and finally went to a cabinet-maker and learned the simplest mode of staining and varnishing. Her leather work proved to be quite as durable, and was pronounced as handsome, as if it had been covered with various coats of stiffening.

The kind of leather used for general purposes is basil; it should be selected of an even texture and of a light color, as the light colored will stain better than the dark. It should be soft and free from blemishes.

The skiver leather is used for making grapes, or very small leaves and flowers, and can be obtained at the same place as the basil leather; this kind is also useful for thin stems and any minute portion of the work.

The whole skins are very expensive, and any one who wishes to experiment can obtain for quite a small sum pieces ofleather from trunk-makers and saddlers, (who call it sheepskin instead of basil;) you can engage them to save you all their pieces; in this way you can obtain all you will wish to use. You can also purchase strips of thicker leather at the same places, to ornament the edge of your brackets, &c.; you can cut the edge of the leather in scollops, points, &c., with chisels and gouges, and nail it round the shelf or glue it on, the scollops, &c., hanging down; it will look exactly like wood when properly stained. Then nail your flowers to that. Pieces of skiver can also be obtained from the book-binders. To form your leaves and flowers, you must sketch your pattern from nature, on pasteboard. Then dip your leather in cold water for half a minute (not longer, unless the leather is unusually thick;) it should then be taken from the water and pressed in a linen cloth until the surface is nearly dry. Being thus prepared, lay it quite flat on a board, and place upon it your pasteboard pattern, and trace it. While the leather is wet, cut out your leaf with sharp scissors or a shoe-maker’s knife. The pattern may be drawn before the leather is wet, and if sharp tools are used the leaf can be cut before wetting it; and by drawing one pattern and nailing several pieces of leather firmly on a board, with chisels, gouges and hammer, you can cut a number of leaves at once, and then neatly trim them with the scissors. All common leaves, such as grape, ivy, or convolvulus, are more easily cut in this way; rose leaves and grape leaves are cut better with the scissors. You should have a variety of sizes of leaves. To vein the leaves you should copy nature, and mark them with a brad awl or knitting needle, or the point of the scissors; press heavily for thick veins and lightly for the finer veins; by using the two points of your scissors slightly spread apart, you can form the raised veins; a hard steel pen can be used for the smaller veins. Being veined, the leaves should be bent and moulded into the required shape. Then they should be dried quickly,as it hardens them better. Some persons stiffen them when dry by brushing over a stiffening made of two ounces of Australian red gum, six ounces of orange shellac, half a pint of spirits of wine, mixed cold, and when dissolved, strained for use. It is not necessary to use any such preparation when your leather work is sufficiently hardened by drying; take some asphaltum varnish and stain it carefully all over with a brush. This varnish you can buy ready mixed, or you can get the asphaltum, powder it, and dissolve it in spirits of turpentine; when well dried it will probably need a second coat, possibly a third, depending on the color you wish, whether dark or light; when well dried, varnish the work with copal varnish, and dry it thoroughly. Then stain your wood (or you can have it stained at the cabinet-makers, as you prefer.) You can stain even common pine wood by the following process: first, stain with asphaltum the color you desire; then varnish with three coats of copal varnish, having each well dried; when it is dry and hard, rub it down with powdered pumice stone, and wash off with clear cold water. Then arrange and nail, or glue, on your leather flowers or fruit. When all is complete, finish up with a coat of copal varnish carefully brushed on.

To make stems and tendrils: cut strips as long as the leather will allow; soak them well in water for a few minutes until they feel very soft; take them out, wipe the water from the surface, roll them and dry them; if required to be very stiff, add inside a piece of wire; when very thick ones are required the leather may be cut wider. Tendrils are made in the same manner as stems, using skiver instead of the ordinary leather; dry them quickly, then take a strip, damp it and wind it round a brad awl or knitting needle, taking care to fasten both ends, so that it cannot fly off; dry it by the fire, then remove it from the awl or needle, and a delicately formed tendril will be the result.

Every kind of flower can be imitated. Oak leaves and acorns are easily made, and many prefer them to flowers. Take several sizes of natural oak leaves, and draw the pattern on pasteboard, and pencil them as the natural leaf is veined. These you can keep always ready to copy your leather from. The natural acorn can be used, by leaving a little of the stem on the cup, on which to glue a longer stem of leather; then glue the acorn into the cup, and varnish and stain. If you can obtain sprays of acorns, and glue each acorn to its cup and glue on a bit of leather to the end of the stem, to nail to your frame, they are the most desirable. The acorns gathered from the shrub oak are the prettiest.

Convolvulus is a vine most commonly imitated. The leaves and tendrils are very simple, and the flower is easily shaped over the top of a bottle. First, cut a round piece the size of a half dollar, and punch a hole in the centre after it is wet, then shape from the natural flower; the cup can be formed in the neck of the bottle, and the rest by rolling the edges over the rim of the top of the bottle.

Ivy is easily made. The berries can be formed from slack baked bread; take it and roll into little berries, then stick in each a piece of wire (that pulled from wire taste is the best, as it is wound with thread,) and in forming the branch wind the wires together with a strip of leather. When the berries have hardened, stain them.

Grapes are made of skiver, and either small clay marbles or dry peas. First, wet your skiver, then form your bunch of grapes, by pushing one after another firm into the pliant leather, and fasten around each a linen thread, and draw them with it close together, shaping your bunch according to the size you wish. They so perfectly imitate carved wood that persons familiar with carving may be deceived by them. By the exercise of ingenuity and your imitative qualities you can accomplish very satisfactory results. Parts of the workmay be gilded, if you prefer. For instance, you may gild your acorns, grapes or ivyberries. Bronzing is pretty for some kinds of work. It is done by sprinkling or rubbing bronzing powder on the work before the last coat of varnish is dry.

SKELETON BRACKET.

SKELETON BRACKET.

SKELETON BRACKET.

Autumn leaves can be imitated by using finely powdered colors, and mixing them to the consistence of cream, with the following medium:—Mix the white of an egg with 2 oz. of pure distilled vinegar; put them into a bottle and shake them well together whenever you wish to mix your colors; or mix them with parchment size warmed, or a weak solution of gum-Arabic; in either case, varnish with a quick drying pale varnish. Oil colors will not answer.

Pieces of furniture easily ornamented by leather are book cases, etageres, brackets, picture frames, work boxes, screens, music and watch stands and fancy tables, &c., &c.

DESIGN FOR A BRACKET.

DESIGN FOR A BRACKET.

DESIGN FOR A BRACKET.

The edges of frames of all kinds may be neatly ornamented by taking two strips about seven-eighths of an inch wide, cut them as long as possible, and stain them; when ready for use, nail them together to the edge of the frame, then twist them round so as to form a point, and nail again, and so on all around, crossing them each time. Brackets need to be formed not only artistically, but strong. I will give here a design for the framework, before the leather ornaments are nailed on. The strips of wood must be entirely covered with the leather foliage; it adds to the appearance of the whole.

To gild the upper edge, I will also give a pretty design for an oak and ivy bracket. This is intended to imitate old oak, and should be stained very dark. The oak stem should bemade of very thick wire, cut in the desired lengths, and covered with leather, and bent to resemble gnarled oak, as naturally as possible; fasten oak leaves and acorns at the back of the wires and on the wood-work, as shown in the skeleton bracket, then attach the ivy tendrils, leaves and berries around the oak stems, and the bracket is complete. Other and very beautiful designs will readily occur to persons who engage in this delightful recreation.

CIGAR-BOXES MADE USEFUL.

Beautifulfancy boxes can be made from cigar-boxes, if the cover is preserved whole. Small sizes are the most desirable. Toilet, glove, handkerchief, gentlemen’s collar, note paper and work-boxes, besides many other varieties, are easily manufactured. The materials required, most of which can be purchased at the paper box manufactories, are:—All kinds of fancy enamel paper, in sheets; gold or silver paper, and the gold or fancy beadings, which can be bought in strips; small enamel German pictures; plain or water-colored paper, or colored silk and satins, for the lining; gilded corner-pieces, and claw-feet are an addition; perfume powder, narrow taste, &c.

First, you must fasten the lid firmly by pasting a strip of linen along the edges of the lid and box, inside, as well as outside; it holds the lid firm, and acts as a hinge; paste on each side bits of ribbon to support the lid, then glue in the lining. Forvery nice boxes, silk or satin, fluted, is a great addition. Plait it above and below on a narrow piece of paper, and paste the edges down; then take an oblong piece of silk and another of paper, place a piece of cotton wool on the paper sprinkled with perfume powder, then cover with the silk, and baste the paper over the edge, pasting the whole on the lid in the center. After you have covered it, paste neatly round it a gold beading (or bind the edges of the box first with gold paper); close the box when the inside is finished, and commence on the outside. Some persons take out the bottom of the box in lining it, as it is easier to paste it smoothly, and then nail it in its place. Cover the whole outside of the box with polished enamel paper (Japanese paper is very beautiful, but expensive,) and cover the bottom of the box; then bind the edges of the box with gold paper, and place beading on the edge where it meets the colored paper. The styles may be varied by pasting gold beading in stripes all over the box; ornament the sides, if you prefer, with pictures. On the lid, gold corner-pieces, besides the beading, are an improvement. In the center place some pretty picture, varnish it with map varnish, and then frame the picture with a gold beading. A loop of ribbon should be pasted on the lid to raise it by, and your box is finished. If your box is for gloves or handkerchiefs, you may cut out in old Roman or English letters, in gold paper, “Gantes” or “Mouchoir,” and paste them on the front side of the box. Pin-cushions could be fastened on the top of toilet boxes.

The pictures and gilding that come on linen or cambric goods may be used for this purpose. Common flour paste is the best; a little common glue mixed in while boiling improves the paste. Mucilage can be used to glue on the beading. The paper should be thoroughly wet with paste. Begin to paste smoothly from the center, in order to keep out all air.

POTICHIMANIE.

Potichimanieis the art of imitating painting on glass or China. The most beautiful of the Chinese porcelain, Sevres, Japanese or Etruscan vases, can be so closely imitated, that none but connoisseurs can discover at first sight, the difference. The work is attractive, and very simple; the materials employed are few, and inexpensive.

First, select some plain glass vases, resembling in shape and size the particular style of China you wish to represent. You can have vases of any shape blown and fashioned for you at the glass houses.

Select your colored figures, representing the style of China you wish to imitate; let them be rich, and clear in their colors. You will need two or three small brushes, such as painters use, some strong gum water, and a bottle of varnish. Use paint for the groundwork of the color you wish to represent. The ground color of the Chinese porcelain is in general a greenish white; the Sevres a bluish white; while the Etruscan is a pale yellow. These three colors are generally all that are wanted. A delicate pink is sometimes used. For any one kind of vase, only one ground color is necessary. A pair of very fine pointed scissors will also be required.

Then proceed to cut out your figures with great care; if you can cut a trifle within your figures, all the better, for no white edges must be visible. When they are all cut, arrange them on a sheet of paper in the order in which they are to be placed in the vase, and gum them very evenly and carefully on the colored side; let them lay until the gum rather thickens and the paper on which they are colored softens; then take them up carefully and place them in their properplaces on the inside of your vase; press them carefully with a bit of old linen tight to the glass, excluding all air between them and the glass, otherwise bubbles will be formed, and the work will be spoiled. When all the pictures are arranged, wipe the glass clean, except where it is covered by the pictures. After the work is dry and clean, varnish the back of the prints, and paint the inside of the vase with the ground color. Some persons pour it in the vase, and let it run around, and then carefully brush it on; some put it on near the pictures by gently tapping the glass with the brush. Great care must be taken not to let the paint run under the paintings. The antennae of butterflies and other minute objects may be imitated in gold, or by drawing them on the glass with gum water and sprinkling them with gold bronze powder. This must be done before the ground paint is laid. Gold stars scattered over some kinds of vases may improve them. You can buy sheets of appropriate designs already colored. If you prefer to color them yourself, you must be sure and have your colors clear and bright; the brighter they are the better they will appear. Where gold is introduced, it is better to use the shell or prepared gold. It is applied in the same manner as water colors, and may be used with good effect, in borders, single ornaments, flowers, insects, and to fill up when no other color is introduced. This work may be used in various ways to decorate your homes. The inside of your vase should be varnished, to give it the smoothness of China, and you can have the rim gilded. If several coats of sizing are applied, the vase may be filled with water without injury to the paint; but you can fit cups to the vases, in which to put water for flowers. Hall lamps, windows, &c., are decorated in the same manner, except that no ground color is used. Cabinet boxes, tables, and a great variety of other articles, both useful and ornamental, may, with a little ingenuity and taste, be rendered extremely elegant.

ORNAMENTS IN RICE SHELL-WORK.

Therice shells are brought from the West Indies, and are sold by measure, or by the box, at the conchological repositories. They can be bought already prepared for use, but are more expensive in that form. To prepare the rough shell for use, you must first take a long pin and free the interior of each shell from all grit or dirt; next with your scissors clip the extreme tip of the shell so as to leave a tiny hole like the eye of a needle. This must be carefully done or the shell will be spoiled, or your eyes may be seriously injured by the flying fragments. Practice soon enables one to clip them rapidly and evenly.

It is advisable to have at hand a number of small card boxes, to hold your articles. In clipping, it is well to sort the shells by the sizes, and lay them in separate boxes. Small, flat, white shells, nearly transparent, add to the beauty of the shell-work. These must be bored by a sharp needle near the stem. When all are clipped, pour over them cold water, with a little soda and castile soap. The latter should be shredded, and mixed in the proportion of half an ounce to each pint of water. Then cover your pan and place it near a good fire, or in an oven; let it remain till scalding hot, stirring now and then; then take it away, and rub the shells gently with your hands; then pour off the water and rinse the shells; add a fresh supply of water and soap only, and repeat the same process; after being again rinsed in clear water take a few shells, fold them in a soft towel to dry them, and afterwards rub them with a silk handkerchief; then place them in a dish near the fire and shake them occasionally till they are dry. Then place them in a box ready for use. They should appear polished and pearly white. Too much soap,soda, or heat will turn them yellow. Too great heat in drying will cause them to be brittle and crack, but they must be dry before using.

Next you must procure silver wire. This can be bought at gold and silver bullion makers, or at musical instrument makers. You need several sizes, the very finest thread wire to wind around the stems, a size to twist in the shell and another for stems.

The largest shells are better for baskets and heavier work, the middle size and smallest for flowers and leaves. Each kind should have its own box. Into one box cut some two or three hundred pieces of middle sized wire, about two and a half inches in length. You should collect for use various materials, such as floss silk, fine wire chenille, roman pearl beads, (the solid or grain-like bead is preferable,) coral beads, or turquoise, pink, green or yellow, red flower seeds, velvet, satin, or silver leaves and silver bullion. Having collected materials for a wreath and sprays of various flowers, commence your work by stringing your shells on your bits of wire. Turn the wire over the shell; hold the folded wire between thumb and finger of the right hand, and turn the shell round and round until the wires are firmly twisted together. Very soon you will be astonished at the rapidity with which you string and twist your shells. They look like this cut, when prepared. Much time will be saved by keeping your different sized shells separate. Having wired several hundred, you can proceed to prepare a leaf.

WIRED SHELLS.

WIRED SHELLS.

WIRED SHELLS.

The cut at the head of page 122 shows the leaf when made. It takes from five to fifteen or twenty shells to form a leaf; the number depends on the size of the leaf. The smallest shell forms the apex, the others graduated in size by pairs. Then take your shells and bind them together, one by one, with the finest wire or floss silk, leaving out a small portionof the twisted wire, gradually increasing the piece left out, as the plate indicates, leaving all the openings of the shell all one way; bind the stem firmly, leaving no ends of wire, as they catch in everything, besides looking untidy.

SHELL-LEAF.

SHELL-LEAF.

SHELL-LEAF.

To form a flower or bud, take one of the lengths of the wire, thread on a shell, and then a pearl bead, then a second shell, and twist the wire firm. The place of the bead is between the points of the two shells, and both openings meet and are not seen. The figure below shows a simple flower composed of five wired shells, firmly twisted together down to the extremity. A double flower is composed of eighteen shells, twelve small ones, and six of a middle size. These latter are arranged as in the single flower. The twelve are made into four leaflets. A few pearl beads in the center of the flower improves it. It is easy to shape them as you wish by bending the wires. A simple flower may be arranged like the spokes of a wheel.

SHELL-FLOWER.

SHELL-FLOWER.

SHELL-FLOWER.

Wheat ears (see cut on next page) may be made of any number of shells, from eight to thirty, one taken as an apex, then a pair set on either side of it and one in the center, and other pairs successively to the end, binding all firmly to the points of the shells, and putting in here and there three quarter inch length of middle sized wire to resemble the beards. Ornamental groups can be made by threading good sized shells on middle sized wires, twisting them together and winding them on a fine knitting needle. When drawn out they have a spiral form. Bind several thus formed together at the ends. Their dancing, wavy motion adds to the gracefulnessof your spray or wreath. The white, round shells used as leaves are very pretty; even whole flowers are often made of them. Wire chenille and colored beads increase the effect.

WHEAT EARS.

WHEAT EARS.

WHEAT EARS.

Neatness and grace must be studied, care must be used to avoid cutting off the thread wire, or floss, any oftener than possible. In making wreaths and sprays every one must exercise his or her own taste. Infinite varieties of forms can be designed; you can trim a head-dress exquisitely with them.

I advise young ladies to try their skill. It is fascinating work and the effect is beautiful. Bridal wreaths formed of the rice shells, Roman pearls, white chenille, and silver wire are often made. Bugle flowers can be made in the same way, taking wire the color of the bead.

Shell baskets are very ornamental. Exquisite watch stands and cigar or match stands can be formed of shells. Your frames should be made of wood or tin. Cover them thick with white paint. The painters will prepare it for you as thick as putty, with boiled oil. Paint must be selected that will not turn yellow and will dry quickly. After covering your frame thickly with this preparation, lay on the shells in whatever form your own taste may direct. Place them so thick that none of the paint will be visible, and set the frame aside until it is dry. The drying may require several days. When it is dry varnish it with white map varnish.

WATCH-STAND.

WATCH-STAND.

WATCH-STAND.

Watch stands, in the form of a church or other building, may be made with a tin frame. Rolls of tin may be used for columns and towers, and soldered to the frame. A circular opening must be made in the frame through which the watch can be seen, and a small case of tin must be soldered to the back of the frame in which the watch can be heldfirmly. Take two blocks of wood similar in form, but one of them larger than the other, and glue the smaller one on top of the other; then make a slit along the middle line of the upper block, in which the tin frame is to be inserted and fastened with glue. The blocks will represent the steps to the building, and may be covered with shells. If the building represents a church, a cross for the top may be made of tiny rice shells. The towers should be covered with larger sized rice shells, and on the summit of each a small cone shell should be placed. The opening for the watch should be surrounded by flat, round, white shells. The inside of the case for the watch should be lined with crimson velvet, glued in. The outside should be covered with shells.

Harps, guitars, etc., etc., can be ornamented in the same way. If they are riveted into marble slabs, the trouble of covering the stands with shells will be avoided. Cigar stands can be made of thick card-board, but tin is better; it must be cut about seven and a half inches long and four inches wide, and soldered together, (to make a round cup) and fastened upon a stand. Boxes, tables, vases, and all kinds of ornamental articles can be covered with shells.

ALLSPICE BASKETS.

Theallspice berries should be soaked in spirit to soften them, and then holes should be made through them. Theyare strung on slender wires, which are twisted or woven into diamonds or squares, or rows as you fancy, and then formed into baskets. A gold band between every two berries gives a lively look to the basket. Around the top are sometimes twisted semi-circles of berries, from which are suspended festoons of berries strung on silk, drooping over the outside.

The baskets may be lined with bright colored silk and ornamented with ribbons. Baskets can be made of cloves in the same way, by taking off the berry and soaking the long part in spirit. Bead baskets are also made in the same way; the wire should be the color of the bead. Cut glass beads are the most desirable, as they glitter prettily amidst the green boughs of the Christmas tree.

RICE OR SHELL BASKETS.

Theframe is made of pasteboard neatly lined; the groundwork can be white or colored, as you fancy; fasten on with gum either grains of rice, bugles of different colors, or small rice shells, arranged in any form you please.

WAFER BASKETS.

Makea neat card-board frame and bind the edges with gilt paper. Take the smallest wafers you can get; keep a whole one for the ground work; cut another in halves; wet the edges of one of the halves and stick it upright through the middle of the whole one; cut the other half into two quarters, wet the two straight sides, and place them on each side of the half wafer; this forms a kind of rosette. When you have enough prepared, wet the bottoms of the whole wafers, and fasten them on the basket in such forms as you please. Itis very pretty to have the whole wafer one color and the rosette another. Stars can be made by placing six quarter wafers around the half in place of two. The handle can be decorated in the same manner, or with ribbons. Care must be taken to have the wafers cut even and uniform.

IMPRESSIONS OF BUTTERFLIES.

Ifyou find a dead butterfly, cut off the wings and place them upon clean paper, in the position they occupy when the insect is flying. Spread some clean, thick gum water on another piece of paper and press it on the wings; the little colored, feathery substance will adhere to it; then lay a piece of white paper upon the top of the gummed paper, and rub it gently with your finger, or the smooth handle of a knife. A perfect impression of the wings will thus be taken. The body must be drawn and painted in the space between the wings.

TO TAKE IMPRESSIONS OF LEAVES.

Dipa piece of white paper in sweet oil, and hold it over the lamp until it is thoroughly blackened with smoke; place a green leaf upon the black surface, and let it remain pressed upon it for a few moments; then put it between two pieces of white paper and press it in a book, with something heavy upon the top of it. When taken out, one of the papers will have received a perfect impression of the leaf with all its little veins. Some think the impression is more distinct if a little lamp-black and oil be passed lightly over the leaf with a hair pencil, instead of smoking it over a lamp.

PAPER LANDSCAPES.

Observewell the shadows of the pictures you wish to copy; draw their shapes as exactly as you can, and cut them out. Paste these pieces on a sheet of paper, in the same relative positions they occupy in the landscape; if the shade be rather light, put on only one thickness of paper; if darker, two thicknesses and three thicknesses may be used; if the shadow is very deep and heavy, five or six pieces may be pasted on, one above another. When held up to the light, shades are produced differing in degree according to the thickness of the paper. These make very pretty transparencies for lamps in Summer. Lamp shades can be made in this way with colored paper placed between two thin white papers and so arranged that the shadows will represent grapes, or any fruit or flower. China lamp shades are prepared in the same way, that is, portions of the china are made thicker than others; in the daylight they appear perfectly white, but when the light shines through them the shades look like a soft landscape in India ink. It is on the same principle that the beautiful Parian transparencies are made for windows.

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