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+The Project Gutenberg EBook of A Complete Guide to the Ornamental Leather
+Work, by James Revell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Complete Guide to the Ornamental Leather Work
+
+Author: James Revell
+
+Release Date: January 27, 2013 [EBook #41927]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+
+
+
+Produced by Chris Curnow, Rosanna Murphy and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+Transcriber’s Note: italic text is denoted by _underscores_ and bold
+text by =equals signs=.
+
+
+
+
+A
+COMPLETE GUIDE
+
+TO THE
+
+ORNAMENTAL
+LEATHER WORK.
+
+
+Entered at Stationers’ Hall.
+
+LONDON:
+PUBLISHED BY J. REVELL, 272 OXFORD STREET;
+
+SOLD BY
+T. T. LEMARE, OXFORD ARMS PASSAGE,
+PATERNOSTER ROW;
+
+B. SMITH, 107, FLEET STREET; AND ALL BOOKSELLERS.
+
+
+_Half-a-Crown._
+
+
+
+
+[Decoration]
+
+
+
+
+REVELL’S COMPLETE GUIDE TO THE ORNAMENTAL LEATHER WORK.
+
+
+
+
+GENERAL REMARKS.
+
+
+We feel assured that a long introduction is neither requisite to the
+reader or publisher of a Work like the present, and shall, therefore,
+merely say, that the great success our former little Works have met
+with, has induced us to send forth this edition, in which will be found
+every particular connected with this very useful source of amusement and
+fashionable department of _practical art_. The illustrations are
+furnished by a late pupil of the School of Design, who obtained the
+highest prize for Flower Painting, assisted by a student of the ROYAL
+ACADEMY OF ARTS. Every example given has been practically tested, and,
+in most instances, the drawings have been copied from the models
+executed in leather, and will be found to combine durability with beauty
+of design. In order to make the leather modelling as durable as
+possible, we have not departed from nature in the finished form, but in
+the mode of construction; for example, we make several portions of a
+flower in one piece of leather. The Narcissus and the beautiful White
+Lily have each six petals; in both instances, we make the entire corolla
+of the flowers in one piece; thereby, while losing none of the beauty of
+the natural form of the flowers, we gain strength and solidity; as, were
+the petals of the Lily or Narcissus to be composed of six pieces, one,
+if imperfectly cemented, might fall off and detract from the beauty of
+the entire piece of work. By our method of proceeding, it is impossible
+to do so: we mention this, as, in our description of Making and
+Modelling Flowers in Leather, we differ from the literally botanic
+construction, while, at the same time, we arrive at perfectly correct
+and artistic formation.
+
+In some flowers, as in the Hop, Dahlia, &c., we have found it
+impracticable to combine many petals in one piece of leather; where this
+is the case, especial care must be taken to have good liquid glue, and
+fasten each petal securely.
+
+All leather to be used in Modelling Leaves, Flowers, &c., must be first
+wetted, and modelled while wet; and as this is a general rule, the
+student will understand that mention of the necessity of this operation
+will not in every instance be repeated.
+
+Amongst the many uses to which Leather Work is applied, that of
+ornamenting Pulpits will be found a capital field for the display of
+this art, as it is capable of being moulded into any form, and nothing
+can possibly have a more substantial and beautiful appearance.
+
+Glasses of varied form, as jelly glasses and old-fashioned goblets, as
+well as many of modern manufacture, can be covered on the outside with
+Leather Work. Lilies of the Valley, and other such flowers, being
+trailed round a groundwork of leaves, and being either gilded or
+stained, look exceedingly well; and as they are capable of holding
+water, become really useful as well as ornamental articles for bouquets
+of flowers.
+
+Fire-screens and scroll work are executed exactly in the same manner, as
+described in the following pages, for frames. Fire-screens are generally
+filled with Berlin wool, or some other fancy work. Those who would
+prefer to have an entire piece of Leather Work, can paint landscapes or
+flowers upon white leather, using the same medium which is used at the
+School of Design for body colour painting, mixed with finely powdered
+colours.
+
+Gold Leather Work looks remarkably well upon a blue or crimson velvet
+ground, and makes very rich frames, fire screens, &c. When tastefully
+arranged, the flowers and leaves upon these grounds have a very
+magnificent appearance.
+
+Amongst the numerous articles which admit of being ornamented with
+leather, may be enumerated frames, brackets, vases, pole and hand
+screens, card plates and racks, music and watch stands.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+Revell’s Complete Guide to Ornamental Leather Work.
+
+
+
+
+THE MATERIALS.
+
+
+_The principal Materials required for this work are_--
+
+  Basil Leather.
+  Skiver ditto.
+  A Bottle of Oak Varnish Stain.
+  Ditto Spirit Stain.
+  Ditto Shaw’s Liquid Glue.
+  A Bottle of Stiffening.
+  A Small Hammer.
+  A few Brushes.
+  Some Tacks.
+  A pair of Nippers.
+  A Veining Tool.
+  A few hard Steel Pens.
+  Bradawl.
+  Pair of Scissors.
+  A Leather-cutting Knife.
+  Grape Moulds.
+  Ditto for Passion Flowers.
+  Fine Black Lead Pencil.
+
+[Decoration]
+
+
+
+
+LEATHER.
+
+
+The kind of leather used for general purposes is basil; it should be
+selected of an even texture and of a light colour, as the lighter
+coloured basil takes the oak varnish stain better than the dark.
+
+Great care must be taken to select it soft and free from blemishes, as
+if dark and rough leather is used, the work when finished, even by
+skilful hands, will not have so good an appearance as the production of
+much less skilful artists, where good basil leather is used.
+
+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 very useful for thin stems and any minute portion of
+the work.
+
+
+
+
+DIRECTIONS FOR MAKING THE LEAVES.
+
+
+[Illustration: No. 1.]
+
+Sketch, either from nature, or from the example annexed, the leaf you
+intend to copy, upon pasteboard; cut it out very carefully; then place a
+piece of basil in _cold_ water for half a minute (not longer), unless
+the leather is unusually thick; the leather should then be taken out of
+the water, and pressed in a linen cloth until the surface becomes dry.
+Being thus prepared, lay it quite flat and place upon it the pasteboard
+pattern, holding it firmly down with the left hand, while with the
+right, draw a line round the pattern with a fine hard black lead pencil
+or the veining tool: while the leather is damp cut out the leaf with a
+pair of scissors or with the leather-cutting knife, as occasion may
+require; when smaller or larger leaves are required, a reduced, or
+enlarged, sketch should be taken, a pattern made of it in pasteboard,
+and applied in the same manner as described above, cutting out as many
+leaves as you require, and generally making about four sizes of them, as
+varying the sizes of the leaves adds much to the beauty of the foliage.
+Leaves all the same size would have a very formal appearance, as they
+must be veined before they are allowed to dry; too much leather must not
+be wetted at a time, nor more leaves cut out than can be veined. To vein
+the leaves, mark them with the veining tool on the smooth side of the
+leather strongly, by pressing heavily on the leaf, where a thick vein is
+required; and more lightly where only finer ones should be visible; for
+raised veins employ the end of a fine pair of scissors for the large,
+and a hard steel pen for the smaller veins. Being veined, the leaves
+should be bent and moulded as they are to appear upon the work when it
+is completed: they should then be dried rather quickly, as it greatly
+assists in the hardening.
+
+[Decoration]
+
+
+
+
+TO HARDEN THEM.
+
+
+When the leaves are thoroughly dry, brush them all over, particularly
+the edges with the prepared stiffening, applying it with a camel’s hair
+pencil, nimbly, as it dries very rapidly, apply it thin and evenly,
+taking care to cover the edges; when dry, they will be ready for
+staining.
+
+
+
+
+TO STAIN THEM.
+
+
+Pour a little oak varnish stain into a small vessel, and brush the
+leaves all over, using a hog’s-hair tool for the purpose of laying on
+the stain, taking care to cover the edges, and brush it well out of the
+veined parts; should the leaves, when dry, not be so dark as desired,
+another coat can be given, but in no instance apply thick coats of
+stain, it will, if put on thick, most likely dry darker in one place
+than another, and will never have so smooth an appearance as when two
+thin coats have been applied; take care always that one coat must be dry
+before another is applied.
+
+
+
+
+TO MAKE STEMS.
+
+
+Cut strips of basil leather about one-third of an inch wide and 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, then roll them round as tightly as possible (the smooth side
+outwards) on a table or any even surface, and dry them; if required very
+stiff, add inside a piece of wire; when very thick ones are required the
+leather must be proportionately wider.
+
+
+
+
+TO MAKE TENDRILS.
+
+
+Tendrils are made in the same manner as Stems, using skiver instead of
+basil leather, dry them quickly, and they will then be ready for use in
+the following manner: take a tendril, damp it and immediately wind it
+round a bradawl or a piece of stout wire, taking care to fasten both
+ends of the tendril so that it does not fly off; dry it by the fire,
+then remove it from the awl and a delicately-formed tendril will be the
+result; arrange it and cut to length and form wished, and apply a coat
+of stiffening to keep it in shape. Stems and tendrils are to be hardened
+and stained precisely in the same manner as the leaves.
+
+
+
+
+GRAPES.
+
+
+In order to produce grapes symmetrically formed a proper mould should be
+obtained; then cut rounds of skiver leather the size required, which
+must be wetted and placed in the mould the smooth side downwards; then
+fill the leather in the mould firmly with wadding, and tie the grapes
+securely with strong thread or fine twine; when the grape is finished,
+put a piece of wire through the part where it has been tied up to form a
+stalk. Or grapes can be made of deal or any soft wood with a hole
+pierced through the centre large enough to admit of a leather or gutta
+percha stalk being drawn through and fastened at one end; they should
+now be stained and made into clusters; wooden grapes may be covered with
+damp skiver leather if preferred; it is necessary to observe, in making
+the clusters that the tying should be entirely concealed; all fruit and
+flowers must be stained, &c., precisely in the same manner as leaves.
+
+
+
+
+TO ORNAMENT A FRAME.
+
+
+Procure a deal frame of the size and form required, taking care to have
+it made of well-seasoned wood. Size it all over with patent size. Leave
+it about an hour to dry, then apply a coating of oak varnish stain, and
+when dry it will be ready for use. Commence the process of covering by
+attaching the stem with small tacks all round, in spaces of a few
+inches, in a zigzag direction. Supposing the vine pattern frame is
+selected, cover the wood with four or five gradations of foliage, well
+arranged, so as to preserve as nearly as possible, the natural
+appearance of the vine. Too great a profusion of grapes should be
+avoided; but as the number and size of the clusters can hardly be
+determined, we must therefore leave it to the taste of the artist.
+
+Common pins can be used with advantage in keeping in its proper place
+that portion of the work where glue only can be applied for the
+permanent fastening. When the work becomes firmly attached, the pins can
+either be withdrawn, or they can be cut off, close to the ornaments,
+with the nippers.
+
+[Decoration]
+
+
+
+
+THE PROPER KIND OF FRAMES TO PROCURE.
+
+
+[Illustration: No. 2.]
+
+The frames best adapted for the work, we have found to be those levelled
+off on the outer edge to about half an inch thinner than the inner, and
+formed as shewn in Fig. 1. Frames made in this shape greatly increase
+the beauty of the entire design. A narrow gold beading we have generally
+added inside, as the gold gives a more finished appearance to the
+frame.
+
+
+
+
+WATCH STANDS,
+
+
+Can, like one below, be made by every carpenter; they must be strong to
+bear the nailing and gluing on of the leather ornaments. The design here
+given (Fig. 2), we keep, as well as other descriptions in stock, but
+they can be varied _ad infinitum_; and we shall be happy to make any
+design to order very promptly, or, as we have before observed, almost
+any carpenter can make them, if furnished with a drawing to work from.
+
+[Illustration: No. 3.]
+
+[Decoration]
+
+
+
+
+THE WHITE LILY.
+
+
+[Illustration: No. 4.]
+
+This beautiful flower, one of the oldest inhabitants of the flower
+garden, has six petals, which are formed of one piece of leather, as in
+Fig. 1; the three largest petals, which, alternate with the others, are
+brought uppermost, while the three smaller ones are placed behind. Our
+readers will at once perceive what is meant by referring to the finished
+flower; they are to be veined and curled as in the natural flower, and
+the petals will require to be glued to keep them in their proper places;
+it is necessary, if you have not our mould for that purpose, to adapt
+something to place the lily upon while modelling it, as near the shape
+of the interior of the flower as possible. The lily has six stamina,
+with oblong anthers, which are made in the manner described for the
+convolvulus; the pistil, with its swollen base or germen, lengthened
+style and heart-shaped stigma, should be carefully imitated from nature,
+being a very prominent feature in the flower; the stamina should be
+placed round the germen of the pistil and fastened with liquid glue into
+the centre of the flower; it must be recollected that the smooth side of
+the leather must be inside the lily as in the convolvulus; some flowers
+require the smooth side of the leather inside, and some outside; it must
+depend upon whether the interior or exterior of the flower is most in
+sight, and in some instances in the same flower some petals must be
+placed one way, and some another.
+
+The bud of the lily is formed by merely folding the whole corolla
+together veined.
+
+[Decoration]
+
+
+
+
+FUCHSIA.
+
+
+[Illustration: No. 5.]
+
+The calyx forms the external part of this flower, and is made with one
+piece of leather cut as in the accompanying (Fig. 1). The petals within
+this are four, and are cut out, the four in one piece; in the form of
+the dotted line, in Fig. 1, they must be moulded into shape and glued
+to the stamina inside the calyx so as to alternate with its petals. This
+flower belongs to the class Enneandria, having nine stamina; they are to
+cut in one piece of leather. To put the fuchsia together, proceed as
+follows:--Cut the nine stamina, and attach to them the wire, to form the
+stalk; then roll the four petals firmly over the stamina; they must be
+moulded and glued round the stamina and stalk, then take the calyx and
+roll round the whole; the leaves must be expanded and moulded as in the
+engraving, taking care that the stamina are left out as in the natural
+flower, and that the inner petals alternate with the leaves of the
+calyx; to make the buds, roll up the calyx, and turn the ends in, not
+inserting any stamina.
+
+
+
+
+BRACKETS.
+
+
+[Illustration: No. 6.]
+
+The beauty of a bracket depends entirely upon the artistic skill
+displayed in ornamenting it. The engraving here given is to illustrate
+the form of bracket best suited to give it strength and solidity, and to
+aid the artist in bringing the work well out, the strips of wood on each
+side of the piece in the centre will be found exceedingly useful to nail
+and glue the work upon; they must be entirely covered with the foliage;
+the centre piece can be hidden or not to suit the design; the appearance
+of brackets are much improved by having the edge of the upper part
+gilded.
+
+[Decoration]
+
+
+
+
+TO MAKE THE CONVOLVULUS FLOWERS.
+
+
+[Illustration: No. 7.]
+
+The Convolvulus, termed, by Botanists, Monopetalous, from its being
+composed of only one petal, is exceedingly well adapted for leather
+work; it is made by cutting a half circle of leather with a little piece
+cut out of the centre of the diameter, as seen in the annexed engraving
+(Fig. 1). The leather so cut must be wetted and veined, then bent round
+(the smooth side inside, so that the smooth side of the leather form
+the inside of the flowers) until the two edges on each side of the notch
+come together, where they are to be joined by being either stitched or
+glued together; it will then have a conical shape, and must be moulded
+with the fingers, or the mould, until it assumes a natural appearance;
+the top can be cut to shape, and that part is finished; cut the stamina,
+as in (Fig. 2), leaving a stalk of leather attached to it in the
+following manner:--take a piece of basil about a quarter of an inch wide
+and a few inches long; cut the top as in Fig. 2, taking care to preserve
+the form of the anther at the top of each stamen, and rolling the stalk
+part up, put it through the petal and glue it in its proper place. The
+calyx has five leaves (Fig. 3), and is cut in one piece of leather; a
+hole is made in the centre, it is strung on the stalk and attached with
+glue to the bottom of the flower outside as in the finished flower (Fig.
+4), so that the perfect convolvulus is composed of three pieces, the
+petal forming the body of the flower, the stamina inside, and the calyx
+at the bottom of the flower outside.
+
+
+
+
+THE CONVOLVULUS ANOTHER WAY.
+
+
+Another way to make the Convolvulus is to cut a round piece of leather
+the size of the flower required, and while wet, moulding it over the
+mould for that purpose and bending it into shape; the Canterbury bell
+can be formed of one piece of leather in the same manner, cutting the
+top into proper shape with a pair of scissors.
+
+
+
+
+HOPS.
+
+
+[Illustration: No. 8.]
+
+The Hop consists of numerous membraneous scales having the fruit within,
+and at their base; with the fruit however we have nothing to do, as it
+is out of sight. The membraneous scales are the petals of the flower,
+and in the engraving (Fig. 1), are twenty in number; they are all the
+same size, and are cut out of skiver leather, the shape of the single
+petal (Fig. 2).
+
+To make the Hop, proceed as follows:--Take a piece of wire and wind
+leather round the end of it, as in Fig. 3, fastening it well with liquid
+glue; this inner body should be somewhat shorter than the Hop is to be
+when completed, and pointed at both ends. Cut out as many petals as are
+requisite, and mould them into a convex form at the end of each petal,
+then glue them alternately, commencing at the bottom and finishing at
+the top of the flowers.
+
+
+
+
+PASSION FLOWER.
+
+
+The Passion Flower is composed in leather of five pieces, and when well
+made presents a very beautiful specimen of what can be accomplished in
+that material.
+
+[Illustration: No. 9.]
+
+In making the Passion Flower cut out the calyx of five leaves--that is
+the part of the drawing in the annexed diagram with the pointed end;
+then cut out the corolla of five petals with the rounded ends; cut also
+a circular piece for the nectary, which must be cut all round with the
+knife to form the radii, the centre having many small cuts radiating
+from the central point; when turned upward, in putting it in its place,
+forms the fringe-like appearance around the pistil seen in the flowers.
+
+[Illustration: No. 10.]
+
+The Passion Flower has five stamina with ladle-shaped ends, or anthers,
+and three stigmas a little elevated above and turning over the stamina;
+the anthers and stigma are made of one piece of leather. The involucrum
+is formed also of one piece, and the three leaves are laid one over the
+other as in the annexed flower.
+
+[Illustration: No. 11.]
+
+To put together the various parts above described and form the Passion
+Flower, begin by doubling a piece of wire over the angles of the
+stamina, twisting it underneath; roll a piece of skiver leather round
+the wire to form the style of the pistil and the stem of the whole
+flower; then turn up the three stigmas and roll a small piece of leather
+round them close to the stamina and turn them over; this being done,
+place the nectary on the stem, taking care that the cut portion in the
+centre be arranged upwards around the pistil. The petals are next placed
+on the stem, followed by the calyx; the leaves of the calyx must
+alternate with the petals; liquid glue must be inserted between each
+portion of the flower to give it firmness.
+
+The involucrum, which is a sort of calyx, is put on the stem last a
+little way below the true calyx; we may just add, that all the leaves,
+petals, &c., with the exception of the involucrum, must have the smooth
+side of the leather uppermost; the petals and calyx must be hollowed out
+with the modelling tool for that purpose, or if that is not at hand, use
+the handle of the veining tool, and laying the petals and also the calyx
+on a smooth surface, rub them with the ivory end of the veining tool
+till they become hollow and smooth as in the natural flower.
+
+[Illustration: No. 12.]
+
+The above is the way, as plainly as we can possibly describe it, to make
+a Passion Flower. We have repeatedly made the flower exactly upon the
+above plan, and it has always been much admired.
+
+[Decoration]
+
+
+
+
+CAMILLA.
+
+
+[Illustration: No. 13.]
+
+Camillas vary in the form of leaves, and the petals vary in number. To
+make a camilla, cut out two pieces, as in the annexed diagram,
+containing four petals in each; then cut out one or two larger pieces,
+with six petals in each, and one or more still larger, with seven or
+eight petals; then, having a natural camilla at hand, mould them all
+into form, fasten all the pieces of leather together, the smallest at
+the top, and the largest at the bottom, so that the petals alternate,
+with liquid glue, and put a piece of wire through the whole for the
+stalk; cover it with skiver leather.
+
+[Decoration]
+
+
+
+
+JESSAMINE.
+
+
+[Illustration: No. 14.]
+
+To make the Jessamine, copy the corolla from the annexed design, by
+cutting a star-like piece of basil, into which insert the wire for the
+stalk as closely as possible. As the stamina are not visible in this
+flower, it is needless to make them. The tube upon which the corolla
+rests, can be made by rolling a piece of leather round the wire
+thickest at the flower, and then add another piece of leather about an
+inch below the corolla, which must have five fine pointed leaves for the
+calyx.
+
+[Decoration]
+
+
+
+
+DAISY.
+
+
+[Illustration: No. 15.]
+
+The Daisy is formed by making two pieces of leather, like the pattern,
+one larger than the other, and putting the wire, for stalk, through both
+of them. The little golden centre of the daisy, can be well imitated by
+placing a round piece of leather, rather thick, in the centre, shaved
+off at the edges, and marked with the veining tool full of dots.
+
+[Decoration]
+
+
+
+
+ROSES.
+
+
+[Illustration: No. 16.]
+
+A Wild Rose is made by cutting out two pieces of leather, exactly as in
+the engraving, putting the wire through two holes made in the centre of
+the pieces with a fine bradawl, and pass a piece of wire through the
+holes, leaving both ends of the wire at the back to be twisted for the
+stalk. To form the stamina, cut fine strips of leather as long again as
+the stamina are required to be, and insert them under the eye of the
+wire which forms the stalk; then cut the stamina, and pinch them up
+into form; the top piece, containing five petals, must be moulded and
+curved upward, inclosing the stamina; the bottom piece also, containing
+five petals, must be moulded downwards, curving and bending them into
+form.
+
+To make a larger Rose, cut out a smaller piece than is shewn in the
+engraving, of the same form, also the two in the engraving, and a larger
+piece of the same form making four pieces, containing twenty petals;
+then proceed as before-mentioned, and a fuller Rose is produced; thus
+the character of the flower and the number of petals can be regulated
+with comparative ease.
+
+The rose leaves can be moulded at the back by pressing them into the
+grape mould with one of the pressing tools.
+
+
+
+
+OAK AND IVY BRACKET.
+
+
+[Illustration: No. 17.]
+
+The Bracket annexed is out of the usual run of brackets which have
+generally been ornamented with leather work. The vine and the
+convolvulus pattern are much used with very beautiful effect. We
+intended this design to exhibit old oak: it should be stained very dark,
+the oak stems being very thick, while the stems of ivy can be formed of
+tendrils. To make the oak stems get very thick wire, and have it cut to
+the desired lengths, then cover the wires with leather, and bend them to
+resemble knarled oak; attach, as naturally as possible, oak leaves and
+acorns at the back of the wires, and on the wood work as shewn in the
+skeleton bracket in a former part of this work; then attach the ivy
+tendrils, leaves, and berries around the oak stems, and the bracket is
+completed.
+
+We have found it much improves the appearance of any piece of work we
+have been ornamenting, to give the whole when completed a slight coat of
+varnish.
+
+[Decoration]
+
+
+
+
+WATCH STAND FINISHED.
+
+
+[Illustration: No. 18.]
+
+The design for a Watch Stand will illustrate one of the various modes of
+ornamenting this kind of work; it is very light, and better than too
+much crowding the ornamented parts, which, besides being a waste of
+time, would not look so elegant as lighter work.
+
+
+
+
+CARD RACKS
+
+
+[Illustration: No. 19.]
+
+Can be made in a variety of ways--the design here exhibited is novel,
+and at the same time very useful. The back is made either with wood, or
+calf-skin leather; and the leaves forming the rack are also made of the
+same material. Calf-skin dries very hard, being treated exactly the same
+as the basil leather in the manner of working.
+
+[Decoration]
+
+
+
+
+THE ROUND OPEN WORK FRAME.
+
+
+The beautiful design in the accompanying page is made with a round frame
+of any width desired, having two rebates, one inside and one outside the
+frame--the inside rebate being to admit the picture, and the outside one
+to allow of the nailing firmly to the frame the open work, which is to
+be made in the following manner:--Take a flat board, an ironing board
+will do, lay the frame upon it, and with a black lead pencil or a piece
+of chalk, mark the size all round, making allowance for the rebate; then
+having ready the stems, work them in and out, so as to form the open
+work as in the drawing; when finished, nail it to the frame, and work
+stems and tendrils of the vine, hop, passion flower, or any other
+beautiful creeping plant, attaching the fruit or flowers in an artistic
+manner, and the result will be one of the most elegant frames ever
+beheld.
+
+The open or trellis work of this frame should have stout wire enclosed
+in the basil leather, and in order that it may not appear formal, wind
+pieces of leather round the naked wire at irregular intervals to
+resemble knots, &c. then cover the whole with basil leather,--the stem
+and tendrils which are to wind in and out, and are a portion of the
+plant, are not to have wire in them.
+
+Fire Screens are generally filled with Berlin wool, or some other fancy
+needlework. Those who would prefer to have an entire piece of leather
+work can paint landscapes or flowers upon white leather, using the same
+medium as is used in body colour painting at the School of Design, mixed
+with finely powdered colours.
+
+[Illustration: No. 20.]
+
+[Illustration: No. 21.]
+
+The basket ornamented with rose sprays outside, can be lined inside with
+velvet, and little pockets being made in the velvet lining, they become
+a very useful article; the outside is stained old oak.
+
+[Illustration: No. 22.]
+
+The running border here displayed can be adapted to ornamenting
+cornices, poles, frames, &c.; it is very easy of imitation, and will
+well repay the artist.
+
+We shall conclude our designs with the table, which is made in four
+pieces, so that one part can be done at a time, and when completed, can
+be removed until the whole is completed, when it can be put firmly
+together, and forms a solid example of the use and beauty of the
+Ornamental Leather Work.
+
+[Illustration: No. 23.]
+
+
+
+
+TO MAKE ACORNS.
+
+
+Acorns can be made in the following manner. Procure some natural
+acorn-cups (which are to be found in great quantities in the autumn),
+choose such cups only as are perfectly sound; then pierce two holes
+through the bottom of the cup, pass a piece of fine wire through the
+holes, leaving the two ends long enough to be twisted into a stalk; if
+the stalk is to be exposed, it must be covered with skiver and made fast
+with Shaw’s liquid glue. The most correctly-formed acorn tops are those
+turned in wood, which can be firmly placed in the cup by the aid of the
+liquid glue; this completes the fully-formed acorn.
+
+
+
+
+CHERRIES.
+
+
+Cherries are made in the same manner as grapes, and the stalk neatly
+covered with skiver leather.
+
+
+
+
+APPLES, &c.
+
+
+Apples and pears can be turned in wood; they may be left bare, or
+covered with skiver leather; they look much better covered with skiver,
+and are, then, leather work, properly speaking; or fruit may be moulded
+in plaster casts with gutta percha.
+
+Carved wood figures may be draped with tolerable success with the skiver
+leather, but we have never seen any that looked well enough when
+finished to repay the time and trouble.
+
+[Decoration]
+
+
+
+
+Recipes.
+
+
+
+
+TO MAKE SIZE FOR STIFFENING THE LEATHER WORK.
+
+
+Simmer 4 oz. of strips of parchment in 8 oz. of water till it is reduced
+one-half; skim off any impurities that may arise to the surface, then
+strain it through a fine sieve, or cloth, into a basin; leave it till
+cold, when it will be firm and clear; when required for use, cut off as
+much as you want, and warm it. Use while warm.
+
+
+
+
+TO MAKE STIFFENING WHICH IS NOT AFFECTED BY DAMP.
+
+
+Mix, cold, 2 oz. of Australian red gum, 6 oz. of orange shellac, ½
+pint spirits of wine; put all into a bottle, and shake it up
+occasionally till the gums are dissolved; strain, and it is fit for use.
+This is far preferable to the above size, as it is more hardening, dries
+quicker, is always ready for use, and is never affected by damp in
+change of weather.
+
+
+
+
+TO MAKE MAHOGANY VARNISH STAIN, WHICH DRIES IN A FEW MINUTES.
+
+
+Mix, cold, ¾ lb. Australian red gum, ¼ lb. garnet shellac, 1 pint
+spirits of wine; put them in a bottle, and shake occasionally, till the
+gum is dissolved; strain, and it is fit for use. The above makes a
+capital varnish for leather of all kinds, especially for the leather
+covers of old books; it preserves them, and gives an appearance almost
+equal to new.
+
+
+
+
+SPIRIT OAK VARNISH STAIN
+
+
+Can be made by adding to the above mahogany stain, a small portion of
+vegetable black, and shaking it up till well incorporated. To use the
+spirit oak stain on larger surfaces we have found it preferable to apply
+it in the same manner as a French polish--namely, let all dirt and wax
+be perfectly rubbed off with fine glass paper, till quite smooth, then
+make a flannel rubber in the form of a printer’s dabber, put a little
+stain on the dabber, and put a clean calico rag over it; apply a little
+linseed oil, with your finger, to the calico, and commence rubbing over
+a small space, in a circular direction (never suffering the rubber to
+remain on any part), till you feel it become tacky, then apply a little
+more oil, and so on, till the stain on the rubber is exhausted. Should
+the stain become too thick to work freely, add a few drops of spirits
+of wine, and shake it well together. When you have raised a fine polish
+over the surface, let it remain a few hours to harden, then take a clean
+bit of calico, and just damp it with spirits of wine, rub it lightly
+over the surface in a circular direction, which, repeated two or three
+times, will clear off all smears, and leave the most beautiful gloss
+ever seen.
+
+In this latter process of finishing off, you must be cautious not to
+damp the rag too much, for that would instantly destroy all the polish;
+also, to change the rag often, and not suffer it to remain on any part.
+For carved work it is only necessary to clean it as before directed, and
+apply the stain with a camel’s-hair brush, by a gentle fire, letting it
+dry between each application.
+
+The best oak varnish stain is that made with asphaltum; but, as the
+manufacturing is attended with great danger, we think it best not to
+give the particulars; and it can be procured cheaper than it could be
+made in small quantities.
+
+
+
+
+TO PRESERVE LEAVES AND KEEP THEM IN FORM FOR IMITATION.
+
+
+Procure 1 lb. or more of white starch powder, dry it well in an open
+dish before the fire, put it on one side to cool, when quite cool, put a
+layer of half an inch at the bottom of a small box, observing that the
+box also is dry; gather the leaves, if possible, on a fine summer day,
+and lay as many leaves gently on the starch powder at the bottom of the
+box as can be done without interfering with each other, then sprinkle
+starch powder over them, and shake it down so that the powder settles
+all round above and below the leaves until they are completely covered,
+and about half an inch of the starch powder above them, then put another
+layer of leaves, and proceed with the starch powder as before until the
+box is filled, then press the top part, quite full of starch powder,
+fastening the lid of the box firmly down until the leaves are required.
+Ferns and flat leaves can be preserved by placing them between sheets of
+blotting paper under a weight.
+
+
+
+
+TO GILD LEATHER WORK.
+
+
+_The materials necessary for gilding of this kind are_--
+
+  A Gilder’s Knife.
+  A ditto Cushion.
+  Some Gold Leaf.
+  A little Cotton Wool.
+  A few Camel’s Hair Pencils.
+  One or two Hog’s Hair Tools.
+  A Tip.
+  Oil Gold Size.
+  Fat Oil.
+  Drying Oil, and a
+  Burnishing Stone.
+
+They cost only a few shillings, and with care last a very long time.
+
+Size the wood work twice over with parchment size, cut all the leaves,
+and make the flowers in the usual manner; size them all over twice with
+parchment size; nail them down to the frame, and glue them when tacks
+would look unsightly: needle points are very useful in this work to
+secure it firmly, and cut them short off when the glued parts are
+dry--all the flowers and leaves being attached, go over the entire work
+again with parchment size very thinly; the parchment size must be used
+warm; when the size is dry, mix well in a cup or any clean earthen
+vessel about an ounce of oil gold size, and with equal parts of fat oil
+and drying oil thin the gold size to the consistence of cream; take a
+hog’s-hair tool, and with it brush equally and very thinly all over
+every part that can be seen with this prepared gold size, set it on one
+side for an hour or two or more, until it has become almost dry, and
+just sticks to your fingers when touched: it must now be gilded all
+over, and to do this, take a book of gold, handling it quietly, and mind
+there is no draft, as a current of air would blow all the gold away:
+turn out of the book two or three leaves of gold upon the cushion, and
+blow gently upon the centre of each leaf, to make them lay flat on the
+cushion; with the gilder’s knife cut the gold leaves into the sizes
+required to cover the work, and with the tip of the gilder’s knife take
+up the gold from the cushion and lay it all over the frame till it is
+covered, pressing the gold down with a large camel hair tool or a piece
+of cotton wool, taking care not to rub it backward or forward, but to
+put it very straight down on to the work; should there be any holes
+left, cut small pieces of gold leaf and lay over them, pressing the gold
+down, proceeding in the above manner till the frame is covered all over
+with gold; it must then be left to dry an hour or two, and when dry
+brush all the loose gold off with a large camel hair or badger’s hair
+tool, and the gilding is completed. Leather work gilded by the above
+process will bear washing, and is the most durable kind of gilding
+known.
+
+
+
+
+TO BURNISH GOLD.
+
+
+Acorns and any wooden part attached to leather work can be burnished,
+which adds much to the variety of the work, and is done in the following
+manner:--that part of the work intended to be burnished must be prepared
+exactly as above, except that instead of using the prepared oil gold
+size take the white of an egg and give the work a coat of it, let it
+dry, then give it another coat, and when nearly dry see that it lays on
+evenly; apply the gold leaf all over; leave it an hour or two to become
+hard; then burnish it by rubbing it all over with a burnishing stone or
+any very hard and perfectly smooth substance. This burnish gilding is
+far more brilliant than the oil gold, but will not wash, and is not so
+durable.
+
+[Decoration]
+
+
+
+
+BEE HIVES.
+
+
+Bee Hives can be made with leather stems, as follows:--Cut a piece of
+wood to the shape and size required; wind and glue upon it the stems,
+beginning at the top, and finishing off at the bottom. To join the stems
+as you proceed, cut each end to an angle, so that they fit; join them
+with liquid glue, and tie a piece of thread round to hold them tightly
+together until the glue is dry. When the hive is completed, that portion
+of thread left visible can be cut off.
+
+To imitate the tying seen in hives, mark with a pen, or a camel’s hair
+pencil, with the darkest stain, lines and dots from top to bottom; cut a
+small piece out of the lower tier to make the entrance, and put a little
+handle at the top with a piece of stem.
+
+When made as above, on wood, and well glued, they can be sawn in halves,
+thus making two. Placed amongst foliage, frames, &c., they are quite in
+keeping, and have a pleasing effect.
+
+[Decoration]
+
+
+
+
+TO PAINT ORNAMENTAL LEATHER WORK.
+
+
+Use finely powdered colours, and mix 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 are about to mix any colours with it: or mix the colours
+with parchment size warmed; use while warm: or mix them with a weak
+solution of gum arabic; and, in either case, varnish them with a quick
+drying pale varnish. Oil colours will not do for painting this kind of
+materials: any of the above mediums, properly prepared, will answer
+well. Gilding may be interspersed with brilliant effect.
+
+
+
+
+A QUICK MODE OF STAINING.
+
+
+The quickest mode of staining the Ornamental Leather Work is as
+follows:--Procure a bottle of REVELL’S CHYMICAL OAK COLOUR STAIN. This
+preparation will not soil the hands, or the finest linen or woollen
+fabrics; will not stain wood or any other substance than the leather to
+which it is applied, to which it imparts the perfect appearance of old
+oak without any gloss, at the same time hardening the leather without
+injuring it.
+
+
+
+
+DIRECTIONS FOR USE.
+
+
+Having your leaves, &c., cut out and dried, pour some of the contents of
+this bottle into a saucer, and apply it copiously with a camel’s hair
+brush, all over the leaves, back and front, particularly the edges; bend
+them while damp as you wish them to appear upon the finished work, then
+dry them rather quickly at a moderate distance from the fire, or in a
+current of air; when dry they are ready for use.
+
+The leaves, &c., can be attached to any form of work, and it is
+completed. When the entire work is complete, it can be varnished at
+pleasure, as follows:--Procure a bottle of REVELL’S OAK SPIRIT STAIN,
+and give the entire work an even coat of it; it dries in a few minutes,
+and has the appearance of polished oak.
+
+
+
+
+TO STAIN WOODEN ARTICLES.
+
+
+If all the work is to be left dull, give the frame or bracket, &c., a
+coat of OAK SPIRIT STAIN, which dries in dull if put upon new wood, not
+prepared in any manner. To prepare wooden frames, &c., so that the OAK
+SPIRIT STAIN shall assume a polished surface, it is necessary to size
+the frame well and leave it to dry; when dry, give it one or more coats
+of OAK SPIRIT STAIN.
+
+Those who prefer making the OAK SPIRIT STAIN, can do so by referring to
+the receipt in this book; it is made with little trouble, and is
+composed principally of Australian Red Gum; a new article to most of our
+readers; and, although many druggists, &c., have procured it when they
+have received orders for it, we are sorry to say, in several instances,
+they have said there was no article of that description; or else have
+substituted a different kind of gum, perfectly _worthless for this
+purpose_; consequently, disappointment has ensued; and in order to
+protect the public from being imposed upon, and ourselves the disgrace
+of publishing anything not practicable, we are obliged, in self-defence,
+to state how we came to use it.
+
+In the month of January, 1852, the publisher was applied to for a
+varnish stain that would dry quickly, and at the same time be the colour
+required: he was making experiments for this purpose, when, taking up
+the TIMES newspaper of Friday, January 23rd, he found, under the heading
+of SOCIETY OF ARTS, an epitome of Professor EDWARD SOLLY’s lecture, at
+the above Society on the previous Wednesday, on vegetable substances
+used in the Arts, &c. Allusions were made to a fine red gum from New
+South Wales: he procured the lecture, and then, after a little trouble,
+obtained samples; they were tested, and one was found to answer, and he
+has now in stock several tons of the proper kind for making the stain,
+and can supply it in any quantity.
+
+We will now conclude by directing the student to an attentive observance
+of nature: we have avoided, as far as possible, technical terms; where
+they are used the illustrations will, in most cases, explain them. The
+study of this mode of decoration has often led those who had not before
+observed the varied beauties of the floral world to do so with the
+greatest pleasure and the happiest results.
+
+[Decoration]
+
+
+
+
+SHAW’S LIQUID GLUE
+
+
+Requires no preparation, sets almost immediately, will resist wet,
+violence, time, and climate; adheres to any surface or material; cements
+china, marble, wood, paper, leather, &c.; is useful to shipbuilders,
+carpenters, bookbinders, pianoforte, brush, and toy makers; and is so
+easy of application, that ladies and gentlemen may mend their own china,
+ornaments, toys, veneers, mouldings, parasols, book-covers, and a
+hundred other little articles, with the greatest ease and certainty.
+
+                    =Price 6d. and 1s. per Bottle.=
+
+       *       *       *       *       *
+
+SOLD WHOLESALE AND RETAIL BY
+
+  J. REVELL, 272, OXFORD STREET;
+  MESSRS. BARCLAY & CO., FARRINGDON STREET;
+  MESSRS. SUTTON & CO., BOW CHURCHYARD;
+
+  AND TO BE HAD OF ALL
+  OILMEN, CHEMISTS, FANCY STATIONERS,
+  &c., &c.
+
+
+
+
+LIST OF MATERIALS, &c.,
+
+FOR THE
+
+ORNAMENTAL
+
+LEATHER WORK.
+
+SOLD BY
+
+J. REVELL, 272, OXFORD STREET.
+
+
+  Basil Leather, of the first quality, at 1s. 6d. and 2s. per skin.
+  Skiver ditto, ditto, at                 ditto.
+  Leather Leaves, 6d. per dozen, or 4s. per gross, assorted.
+  Leather Stems and Tendrils, 2d. each.
+  Passion Flowers, Roses, &c., from 6d. to 2s. 6d. each.
+  Convolvulus and other less elaborate Flowers, from 2d. each.
+  Holly and Ivy Berries, 6d. per bundle.
+  Acorns, 1s. per dozen.
+  Oak Varnish Stain, 1s. per bottle.
+  Spirit Oak  ditto, 1s.     „
+  Spirit Mahogany ditto, 1s. „
+  Revell’s Chymical ditto, which possesses the property of staining the
+    leather used for this work, and will not soil the finest linen,
+    neither will it stain wood, or any other material than leather. It
+    can be applied either cold or warm. Sold, with full directions for
+    use accompanying each bottle, price 1s. This being the invention of
+    the publisher, purchasers are requested to observe his name and
+    address on each seal.
+  Stephens’ Wood Stains.
+  Stains and Varnishes of every description.
+  Saucers for the Oak Stain, &c., 1s. per doz.
+  Shaw’s Liquid Glue, without smell, 1s. per bottle.
+  Ditto, Old kind, 6d.                      „
+  Prepared Stiffening, 1s.                  „
+  Veining Tools, 1s. 6d. each.
+  Cutting ditto, 1s.      „
+  Grape Moulds, 2s. 6d. per set.
+  Bradawls, 6d. each.
+  Hammers, 1s. 3d. „
+  Wire of different sizes.
+  Hog’s Hair Brushes, 3d. to 6d. each.
+  Camel’s Hair Pencils, from 1d.   „
+  And a variety of Brackets, Frames, &c., for Ornamenting.
+
+[Decoration]
+
+PRINTED BY S. ODELL, 18, PRINCES STREET, CAVENDISH SQUARE.
+
+
+
+
+LIST OF VARIOUS ARTICLES,
+
+SOLD BY
+
+JAMES REVELL, 272, OXFORD STREET, LONDON.
+
+
+=Oil Colours in Patent Collapsible Tubes,=
+
+_Of various sizes, and in Extra Fine Powder._
+
+  Cremnitz White
+  Flake White
+  Nottingham White
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Yellow Ochre
+  Indian Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Yellow Lake
+  King’s Yellow
+  Lemon Yellow, 1, 2
+  Dutch Pink
+  Naples Yellow
+  Lake
+  Purple Lake
+  Indian Lake
+  Crimson Lake
+  Scarlet Lake
+  Chinese Vermillion
+  Orange Vermillion
+  Red Chrome
+  Carmine
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Purple Madder
+  Light Red
+  Venetian Red
+  Indian Red, 1, 2
+  Brown Red
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Burnt Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Cappa Brown
+  Asphaltum
+  Bitumen
+  Mummy
+  Emerald Green
+  Verdigris
+  Terra Vert
+  Chrome Green, 1, 2, 3
+  Oxyde of Chromium
+  Ivory Black
+  Blue Black
+  Lamp Black
+  Sugar of Lead
+  Gumption
+  Magylph
+
+
+=Sable Hair Pencils.=
+
+_For Oil or Water_.
+
+  Large Goose, Brown or Red
+  Small ditto      ditto
+  Duck             ditto
+  Crow             ditto
+  Small Swan
+  Large ditto
+  Miniature
+  Lining or Rigging
+  Writing and Striping
+
+
+=French Sables.=
+
+IN TIN FOR WATER.
+
+_Red or Brown._
+
+Nos. 1, 2, 3, 4, 5, 6.
+
+
+=Sables for Oil.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=French Brushes.=
+
+_Flat & Round._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Camel Hair Pencils=,
+
+_All Sizes, Long and Short_.
+
+
+=Camel Hair Brushes=,
+
+_In Flat Tins_.
+
+   ½  inch
+   ¾   „
+  1    „
+  1¼   „
+  1½   „
+  1¾   „
+  2    „
+  2½   „
+  3    „
+  4    „
+
+
+=Camel Hair Brushes=,
+
+_In Round Tins_.
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8.
+
+
+=Pencil Sticks.=
+
+Cedar, Ebony, Ivory, 6, 12 & 15 in.
+
+
+=Badger Softeners.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Palette Knives.=
+
+  Horn and Ivory
+  Steel, with Horn or Bone Handles
+    Do.       Ivory Handles
+    Do. Spatula Shape, Horn Handles
+    Do.  ditto         Ivory  do.
+
+
+=Port Crayons.=
+
+Steel, Albata, and Brass.
+
+
+=Brush Washers for Turpentine.=
+
+Nos. 1, 2, 3, 4.
+
+
+=Oils and Varnish.=
+
+  Spirits Turpentine
+  Cold Drawn Linseed Oil
+  Nut and Poppy Oil
+  Drying Oil, pale or strong
+  Fat Oil
+  Japan Gold Size
+  Mastic Varnish
+  Copal Varnish
+  White Hard Spirit Varnish
+  Asphaltum
+  Magylph
+  Gumption
+
+
+=Extra Fine Cake and Moist Water Colours=,
+
+IN CAKES AND HALF CAKES.
+
+  Permanent White
+  Constant White
+  Flake White
+  Chinese White
+
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Azure Blue
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Intense Blue
+  French Blue
+
+  Gamboge
+  Yellow Ochre
+  Indian Yellow
+  Platina Yellow
+  Gall Stone
+  Lemon Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Dutch Pink
+  Yellow Lake
+  Mars Yellow
+  King’s Yellow
+  Naples Yellow
+  Patent Yellow
+
+  Orange Orpiment
+  Orange Red
+  Mars Orange
+  Orange Vermillion
+  Lake
+  Crimson Lake
+  Scarlet Lake
+  Dark Lake
+  Indian Lake
+  Vermillion
+  Extract Vermillion
+  Scarlet Vermillion
+  Carmine
+  Burnt Carmine
+  Dragon’s Blood
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Pure Scarlet
+  Dahlia Carmine
+  Indian Red
+  Light Red
+  Venetian Red
+  Brown Red
+  Red Orpiment
+  Red Chalk
+  Red Chrome
+  Deep Rose
+
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Verona Brown, 1, 2, 3
+  Sepia
+  Warm Sepia
+  Roman Sepia
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Bronze
+  Reuben’s Brown
+  Mars Brown
+  Intense Brown
+  Cappa Brown
+  Bistre
+  Chalons Brown
+
+  Payne’s Grey
+  Neutral Tint
+
+  Purple
+  Indian Purple
+  Purple Madder
+  Purple Lake
+
+  Sap Green
+  Emerald Green
+  Prussian Green
+  Chrome Green, 1, 2, 3
+  Oxyde of Chrome
+  Verdigris
+  Barber’s Green
+  Sea Green
+  Dark Green
+  Hooker’s Green, 1, 2
+  Olive Green
+  Terra Vert
+  Green Bice
+
+  Lamp Black
+  Ivory Black
+  Blue Black
+  British Ink
+  Inlaying Black
+
+
+=Gold and Silver Shells.=
+
+
+=Indelible, and Bright’s Landscape Crayons.=
+
+Singly or in Sets.
+
+
+=Chalks, Crayons.=
+
+  Italian Black Chalk
+  Ditto Red and White
+  Soft French Black
+  Charcoal
+  Pastiles
+  Black Square Conté Crayons
+  Ditto, Round, plain ditto
+  Ditto, Glazed       ditto
+  Velours, (very Soft and Black)
+  Round and Square Red Conté
+  Bistre
+
+
+=Lead Pencils=,
+
+_Extra Prepared_.
+
+  H. Hard, for Sketching
+  H.H. Harder, for Outlines, &c.
+  H.H.H. Very Hard, for Architectural Drawing, &c.
+  H.B. Hard and Black
+  E.H.B. Extra Hard and Black
+  B. Black for Shading
+  B.B. Soft and Black
+  E.B.B. Extra Soft and Black
+  F. Fine for General Drawing
+
+
+=Earthenware.=
+
+  Palettes and Saucers
+  Cabinet Saucers in Morocco Case
+
+
+=Miscellaneous.=
+
+  Drawing Pins
+  Indian Ink
+  Indian Rubber
+  Indian Glue
+  Sponge
+  Ox Gall
+  Lithograph Chalk
+  Gilder’s Knives, Tips and Cushions
+  Poonah Brushes
+  Burnish Gold Size
+  Oil     ditto
+  Gold Leaf
+  Mezzotint Brushes
+  Permanent Ink
+  Velvet Scrubs
+  Picture Frames
+  Sealing Wax and Wafers
+  Pink Saucers
+  Slate Pencils
+  Tracing Points
+  Burnishing Stones
+  Bronze
+  Graining Combs and Tools
+
+
+=Revell’s Permanent Brown Ink=,
+
+FOR DRAWING UPON BASIL LEATHER.
+
+_Price 1s. per Bottle._
+
+Pen and Ink Drawings can be made with this Ink, they have all the
+appearance of the so-called Poker Paintings, (viz. Drawings upon Wood,
+executed with one or more red hot wires.) The Ink is permanent, and will
+be found advantageous as an adjunct to the Ornamental Leather Work.
+
+
+=Unprepared Colours of the First Quality.=
+
+_Colours of every description for House Painting, Park Fencing, &c._
+
+
+
+
+       *       *       *       *       *
+
+Transcriber’s Note:
+
+Punctuation has been standardised.
+
+  The following inconsistencies were normalised:
+    3 instances of ‘color’ were changed to ‘colour’
+    7 instances of ‘convolvolus’ were changed to ‘convolvulus’
+    6 instances of ‘tendrill’ were changed to ‘tendril’
+    illustrations were renumbered from figure No. 14 onward
+      (some numbers were out of order/duplicates)
+
+  A few additional original typos were repaired, as follows:
+    Page xii:  changed trailled to trailed
+               (being trailed round a)
+    Page 34:   changed FUSCHIA to FUCHSIA
+               (FUCHSIA.)
+    Page 35:   changed fuschia to fuchsia
+               (put the fuchsia together)
+    Page 35:   changed mnst to must
+               (they must be moulded)
+    Page 38:   changed viened to veined
+               (wetted and veined, then)
+    Page 41:   changed Fig. to No.
+               ([Illustration: No. 8.])
+    Page 50:   changed camillia to camilla
+               (make a camilla, cut)
+    Page 82:   changed of to or
+               (with the tip of the)
+    Page 88:   changed qucikest to quickest
+               (The quickest mode of)
+    Page 93:   changed CLUE to GLUE
+               (SHAW’S LIQUID GLUE)
+
+
+
+
+
+End of the Project Gutenberg EBook of A Complete Guide to the Ornamental
+Leather Work, by James Revell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+***** This file should be named 41927-0.txt or 41927-0.zip *****
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diff --git a/41927-0.zip b/41927-0.zip
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@@ -0,0 +1,1998 @@
+The Project Gutenberg EBook of A Complete Guide to the Ornamental Leather
+Work, by James Revell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Complete Guide to the Ornamental Leather Work
+
+Author: James Revell
+
+Release Date: January 27, 2013 [EBook #41927]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+
+
+
+Produced by Chris Curnow, Rosanna Murphy and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+Transcriber's Note: italic text is denoted by _underscores_ and bold
+text by =equals signs=.
+
+
+
+
+A
+COMPLETE GUIDE
+
+TO THE
+
+ORNAMENTAL
+LEATHER WORK.
+
+
+Entered at Stationers' Hall.
+
+LONDON:
+PUBLISHED BY J. REVELL, 272 OXFORD STREET;
+
+SOLD BY
+T. T. LEMARE, OXFORD ARMS PASSAGE,
+PATERNOSTER ROW;
+
+B. SMITH, 107, FLEET STREET; AND ALL BOOKSELLERS.
+
+
+_Half-a-Crown._
+
+
+
+
+[Decoration]
+
+
+
+
+REVELL'S COMPLETE GUIDE TO THE ORNAMENTAL LEATHER WORK.
+
+
+
+
+GENERAL REMARKS.
+
+
+We feel assured that a long introduction is neither requisite to the
+reader or publisher of a Work like the present, and shall, therefore,
+merely say, that the great success our former little Works have met
+with, has induced us to send forth this edition, in which will be found
+every particular connected with this very useful source of amusement and
+fashionable department of _practical art_. The illustrations are
+furnished by a late pupil of the School of Design, who obtained the
+highest prize for Flower Painting, assisted by a student of the ROYAL
+ACADEMY OF ARTS. Every example given has been practically tested, and,
+in most instances, the drawings have been copied from the models
+executed in leather, and will be found to combine durability with beauty
+of design. In order to make the leather modelling as durable as
+possible, we have not departed from nature in the finished form, but in
+the mode of construction; for example, we make several portions of a
+flower in one piece of leather. The Narcissus and the beautiful White
+Lily have each six petals; in both instances, we make the entire corolla
+of the flowers in one piece; thereby, while losing none of the beauty of
+the natural form of the flowers, we gain strength and solidity; as, were
+the petals of the Lily or Narcissus to be composed of six pieces, one,
+if imperfectly cemented, might fall off and detract from the beauty of
+the entire piece of work. By our method of proceeding, it is impossible
+to do so: we mention this, as, in our description of Making and
+Modelling Flowers in Leather, we differ from the literally botanic
+construction, while, at the same time, we arrive at perfectly correct
+and artistic formation.
+
+In some flowers, as in the Hop, Dahlia, &c., we have found it
+impracticable to combine many petals in one piece of leather; where this
+is the case, especial care must be taken to have good liquid glue, and
+fasten each petal securely.
+
+All leather to be used in Modelling Leaves, Flowers, &c., must be first
+wetted, and modelled while wet; and as this is a general rule, the
+student will understand that mention of the necessity of this operation
+will not in every instance be repeated.
+
+Amongst the many uses to which Leather Work is applied, that of
+ornamenting Pulpits will be found a capital field for the display of
+this art, as it is capable of being moulded into any form, and nothing
+can possibly have a more substantial and beautiful appearance.
+
+Glasses of varied form, as jelly glasses and old-fashioned goblets, as
+well as many of modern manufacture, can be covered on the outside with
+Leather Work. Lilies of the Valley, and other such flowers, being
+trailed round a groundwork of leaves, and being either gilded or
+stained, look exceedingly well; and as they are capable of holding
+water, become really useful as well as ornamental articles for bouquets
+of flowers.
+
+Fire-screens and scroll work are executed exactly in the same manner, as
+described in the following pages, for frames. Fire-screens are generally
+filled with Berlin wool, or some other fancy work. Those who would
+prefer to have an entire piece of Leather Work, can paint landscapes or
+flowers upon white leather, using the same medium which is used at the
+School of Design for body colour painting, mixed with finely powdered
+colours.
+
+Gold Leather Work looks remarkably well upon a blue or crimson velvet
+ground, and makes very rich frames, fire screens, &c. When tastefully
+arranged, the flowers and leaves upon these grounds have a very
+magnificent appearance.
+
+Amongst the numerous articles which admit of being ornamented with
+leather, may be enumerated frames, brackets, vases, pole and hand
+screens, card plates and racks, music and watch stands.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+Revell's Complete Guide to Ornamental Leather Work.
+
+
+
+
+THE MATERIALS.
+
+
+_The principal Materials required for this work are_--
+
+  Basil Leather.
+  Skiver ditto.
+  A Bottle of Oak Varnish Stain.
+  Ditto Spirit Stain.
+  Ditto Shaw's Liquid Glue.
+  A Bottle of Stiffening.
+  A Small Hammer.
+  A few Brushes.
+  Some Tacks.
+  A pair of Nippers.
+  A Veining Tool.
+  A few hard Steel Pens.
+  Bradawl.
+  Pair of Scissors.
+  A Leather-cutting Knife.
+  Grape Moulds.
+  Ditto for Passion Flowers.
+  Fine Black Lead Pencil.
+
+[Decoration]
+
+
+
+
+LEATHER.
+
+
+The kind of leather used for general purposes is basil; it should be
+selected of an even texture and of a light colour, as the lighter
+coloured basil takes the oak varnish stain better than the dark.
+
+Great care must be taken to select it soft and free from blemishes, as
+if dark and rough leather is used, the work when finished, even by
+skilful hands, will not have so good an appearance as the production of
+much less skilful artists, where good basil leather is used.
+
+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 very useful for thin stems and any minute portion of
+the work.
+
+
+
+
+DIRECTIONS FOR MAKING THE LEAVES.
+
+
+[Illustration: No. 1.]
+
+Sketch, either from nature, or from the example annexed, the leaf you
+intend to copy, upon pasteboard; cut it out very carefully; then place a
+piece of basil in _cold_ water for half a minute (not longer), unless
+the leather is unusually thick; the leather should then be taken out of
+the water, and pressed in a linen cloth until the surface becomes dry.
+Being thus prepared, lay it quite flat and place upon it the pasteboard
+pattern, holding it firmly down with the left hand, while with the
+right, draw a line round the pattern with a fine hard black lead pencil
+or the veining tool: while the leather is damp cut out the leaf with a
+pair of scissors or with the leather-cutting knife, as occasion may
+require; when smaller or larger leaves are required, a reduced, or
+enlarged, sketch should be taken, a pattern made of it in pasteboard,
+and applied in the same manner as described above, cutting out as many
+leaves as you require, and generally making about four sizes of them, as
+varying the sizes of the leaves adds much to the beauty of the foliage.
+Leaves all the same size would have a very formal appearance, as they
+must be veined before they are allowed to dry; too much leather must not
+be wetted at a time, nor more leaves cut out than can be veined. To vein
+the leaves, mark them with the veining tool on the smooth side of the
+leather strongly, by pressing heavily on the leaf, where a thick vein is
+required; and more lightly where only finer ones should be visible; for
+raised veins employ the end of a fine pair of scissors for the large,
+and a hard steel pen for the smaller veins. Being veined, the leaves
+should be bent and moulded as they are to appear upon the work when it
+is completed: they should then be dried rather quickly, as it greatly
+assists in the hardening.
+
+[Decoration]
+
+
+
+
+TO HARDEN THEM.
+
+
+When the leaves are thoroughly dry, brush them all over, particularly
+the edges with the prepared stiffening, applying it with a camel's hair
+pencil, nimbly, as it dries very rapidly, apply it thin and evenly,
+taking care to cover the edges; when dry, they will be ready for
+staining.
+
+
+
+
+TO STAIN THEM.
+
+
+Pour a little oak varnish stain into a small vessel, and brush the
+leaves all over, using a hog's-hair tool for the purpose of laying on
+the stain, taking care to cover the edges, and brush it well out of the
+veined parts; should the leaves, when dry, not be so dark as desired,
+another coat can be given, but in no instance apply thick coats of
+stain, it will, if put on thick, most likely dry darker in one place
+than another, and will never have so smooth an appearance as when two
+thin coats have been applied; take care always that one coat must be dry
+before another is applied.
+
+
+
+
+TO MAKE STEMS.
+
+
+Cut strips of basil leather about one-third of an inch wide and 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, then roll them round as tightly as possible (the smooth side
+outwards) on a table or any even surface, and dry them; if required very
+stiff, add inside a piece of wire; when very thick ones are required the
+leather must be proportionately wider.
+
+
+
+
+TO MAKE TENDRILS.
+
+
+Tendrils are made in the same manner as Stems, using skiver instead of
+basil leather, dry them quickly, and they will then be ready for use in
+the following manner: take a tendril, damp it and immediately wind it
+round a bradawl or a piece of stout wire, taking care to fasten both
+ends of the tendril so that it does not fly off; dry it by the fire,
+then remove it from the awl and a delicately-formed tendril will be the
+result; arrange it and cut to length and form wished, and apply a coat
+of stiffening to keep it in shape. Stems and tendrils are to be hardened
+and stained precisely in the same manner as the leaves.
+
+
+
+
+GRAPES.
+
+
+In order to produce grapes symmetrically formed a proper mould should be
+obtained; then cut rounds of skiver leather the size required, which
+must be wetted and placed in the mould the smooth side downwards; then
+fill the leather in the mould firmly with wadding, and tie the grapes
+securely with strong thread or fine twine; when the grape is finished,
+put a piece of wire through the part where it has been tied up to form a
+stalk. Or grapes can be made of deal or any soft wood with a hole
+pierced through the centre large enough to admit of a leather or gutta
+percha stalk being drawn through and fastened at one end; they should
+now be stained and made into clusters; wooden grapes may be covered with
+damp skiver leather if preferred; it is necessary to observe, in making
+the clusters that the tying should be entirely concealed; all fruit and
+flowers must be stained, &c., precisely in the same manner as leaves.
+
+
+
+
+TO ORNAMENT A FRAME.
+
+
+Procure a deal frame of the size and form required, taking care to have
+it made of well-seasoned wood. Size it all over with patent size. Leave
+it about an hour to dry, then apply a coating of oak varnish stain, and
+when dry it will be ready for use. Commence the process of covering by
+attaching the stem with small tacks all round, in spaces of a few
+inches, in a zigzag direction. Supposing the vine pattern frame is
+selected, cover the wood with four or five gradations of foliage, well
+arranged, so as to preserve as nearly as possible, the natural
+appearance of the vine. Too great a profusion of grapes should be
+avoided; but as the number and size of the clusters can hardly be
+determined, we must therefore leave it to the taste of the artist.
+
+Common pins can be used with advantage in keeping in its proper place
+that portion of the work where glue only can be applied for the
+permanent fastening. When the work becomes firmly attached, the pins can
+either be withdrawn, or they can be cut off, close to the ornaments,
+with the nippers.
+
+[Decoration]
+
+
+
+
+THE PROPER KIND OF FRAMES TO PROCURE.
+
+
+[Illustration: No. 2.]
+
+The frames best adapted for the work, we have found to be those levelled
+off on the outer edge to about half an inch thinner than the inner, and
+formed as shewn in Fig. 1. Frames made in this shape greatly increase
+the beauty of the entire design. A narrow gold beading we have generally
+added inside, as the gold gives a more finished appearance to the
+frame.
+
+
+
+
+WATCH STANDS,
+
+
+Can, like one below, be made by every carpenter; they must be strong to
+bear the nailing and gluing on of the leather ornaments. The design here
+given (Fig. 2), we keep, as well as other descriptions in stock, but
+they can be varied _ad infinitum_; and we shall be happy to make any
+design to order very promptly, or, as we have before observed, almost
+any carpenter can make them, if furnished with a drawing to work from.
+
+[Illustration: No. 3.]
+
+[Decoration]
+
+
+
+
+THE WHITE LILY.
+
+
+[Illustration: No. 4.]
+
+This beautiful flower, one of the oldest inhabitants of the flower
+garden, has six petals, which are formed of one piece of leather, as in
+Fig. 1; the three largest petals, which, alternate with the others, are
+brought uppermost, while the three smaller ones are placed behind. Our
+readers will at once perceive what is meant by referring to the finished
+flower; they are to be veined and curled as in the natural flower, and
+the petals will require to be glued to keep them in their proper places;
+it is necessary, if you have not our mould for that purpose, to adapt
+something to place the lily upon while modelling it, as near the shape
+of the interior of the flower as possible. The lily has six stamina,
+with oblong anthers, which are made in the manner described for the
+convolvulus; the pistil, with its swollen base or germen, lengthened
+style and heart-shaped stigma, should be carefully imitated from nature,
+being a very prominent feature in the flower; the stamina should be
+placed round the germen of the pistil and fastened with liquid glue into
+the centre of the flower; it must be recollected that the smooth side of
+the leather must be inside the lily as in the convolvulus; some flowers
+require the smooth side of the leather inside, and some outside; it must
+depend upon whether the interior or exterior of the flower is most in
+sight, and in some instances in the same flower some petals must be
+placed one way, and some another.
+
+The bud of the lily is formed by merely folding the whole corolla
+together veined.
+
+[Decoration]
+
+
+
+
+FUCHSIA.
+
+
+[Illustration: No. 5.]
+
+The calyx forms the external part of this flower, and is made with one
+piece of leather cut as in the accompanying (Fig. 1). The petals within
+this are four, and are cut out, the four in one piece; in the form of
+the dotted line, in Fig. 1, they must be moulded into shape and glued
+to the stamina inside the calyx so as to alternate with its petals. This
+flower belongs to the class Enneandria, having nine stamina; they are to
+cut in one piece of leather. To put the fuchsia together, proceed as
+follows:--Cut the nine stamina, and attach to them the wire, to form the
+stalk; then roll the four petals firmly over the stamina; they must be
+moulded and glued round the stamina and stalk, then take the calyx and
+roll round the whole; the leaves must be expanded and moulded as in the
+engraving, taking care that the stamina are left out as in the natural
+flower, and that the inner petals alternate with the leaves of the
+calyx; to make the buds, roll up the calyx, and turn the ends in, not
+inserting any stamina.
+
+
+
+
+BRACKETS.
+
+
+[Illustration: No. 6.]
+
+The beauty of a bracket depends entirely upon the artistic skill
+displayed in ornamenting it. The engraving here given is to illustrate
+the form of bracket best suited to give it strength and solidity, and to
+aid the artist in bringing the work well out, the strips of wood on each
+side of the piece in the centre will be found exceedingly useful to nail
+and glue the work upon; they must be entirely covered with the foliage;
+the centre piece can be hidden or not to suit the design; the appearance
+of brackets are much improved by having the edge of the upper part
+gilded.
+
+[Decoration]
+
+
+
+
+TO MAKE THE CONVOLVULUS FLOWERS.
+
+
+[Illustration: No. 7.]
+
+The Convolvulus, termed, by Botanists, Monopetalous, from its being
+composed of only one petal, is exceedingly well adapted for leather
+work; it is made by cutting a half circle of leather with a little piece
+cut out of the centre of the diameter, as seen in the annexed engraving
+(Fig. 1). The leather so cut must be wetted and veined, then bent round
+(the smooth side inside, so that the smooth side of the leather form
+the inside of the flowers) until the two edges on each side of the notch
+come together, where they are to be joined by being either stitched or
+glued together; it will then have a conical shape, and must be moulded
+with the fingers, or the mould, until it assumes a natural appearance;
+the top can be cut to shape, and that part is finished; cut the stamina,
+as in (Fig. 2), leaving a stalk of leather attached to it in the
+following manner:--take a piece of basil about a quarter of an inch wide
+and a few inches long; cut the top as in Fig. 2, taking care to preserve
+the form of the anther at the top of each stamen, and rolling the stalk
+part up, put it through the petal and glue it in its proper place. The
+calyx has five leaves (Fig. 3), and is cut in one piece of leather; a
+hole is made in the centre, it is strung on the stalk and attached with
+glue to the bottom of the flower outside as in the finished flower (Fig.
+4), so that the perfect convolvulus is composed of three pieces, the
+petal forming the body of the flower, the stamina inside, and the calyx
+at the bottom of the flower outside.
+
+
+
+
+THE CONVOLVULUS ANOTHER WAY.
+
+
+Another way to make the Convolvulus is to cut a round piece of leather
+the size of the flower required, and while wet, moulding it over the
+mould for that purpose and bending it into shape; the Canterbury bell
+can be formed of one piece of leather in the same manner, cutting the
+top into proper shape with a pair of scissors.
+
+
+
+
+HOPS.
+
+
+[Illustration: No. 8.]
+
+The Hop consists of numerous membraneous scales having the fruit within,
+and at their base; with the fruit however we have nothing to do, as it
+is out of sight. The membraneous scales are the petals of the flower,
+and in the engraving (Fig. 1), are twenty in number; they are all the
+same size, and are cut out of skiver leather, the shape of the single
+petal (Fig. 2).
+
+To make the Hop, proceed as follows:--Take a piece of wire and wind
+leather round the end of it, as in Fig. 3, fastening it well with liquid
+glue; this inner body should be somewhat shorter than the Hop is to be
+when completed, and pointed at both ends. Cut out as many petals as are
+requisite, and mould them into a convex form at the end of each petal,
+then glue them alternately, commencing at the bottom and finishing at
+the top of the flowers.
+
+
+
+
+PASSION FLOWER.
+
+
+The Passion Flower is composed in leather of five pieces, and when well
+made presents a very beautiful specimen of what can be accomplished in
+that material.
+
+[Illustration: No. 9.]
+
+In making the Passion Flower cut out the calyx of five leaves--that is
+the part of the drawing in the annexed diagram with the pointed end;
+then cut out the corolla of five petals with the rounded ends; cut also
+a circular piece for the nectary, which must be cut all round with the
+knife to form the radii, the centre having many small cuts radiating
+from the central point; when turned upward, in putting it in its place,
+forms the fringe-like appearance around the pistil seen in the flowers.
+
+[Illustration: No. 10.]
+
+The Passion Flower has five stamina with ladle-shaped ends, or anthers,
+and three stigmas a little elevated above and turning over the stamina;
+the anthers and stigma are made of one piece of leather. The involucrum
+is formed also of one piece, and the three leaves are laid one over the
+other as in the annexed flower.
+
+[Illustration: No. 11.]
+
+To put together the various parts above described and form the Passion
+Flower, begin by doubling a piece of wire over the angles of the
+stamina, twisting it underneath; roll a piece of skiver leather round
+the wire to form the style of the pistil and the stem of the whole
+flower; then turn up the three stigmas and roll a small piece of leather
+round them close to the stamina and turn them over; this being done,
+place the nectary on the stem, taking care that the cut portion in the
+centre be arranged upwards around the pistil. The petals are next placed
+on the stem, followed by the calyx; the leaves of the calyx must
+alternate with the petals; liquid glue must be inserted between each
+portion of the flower to give it firmness.
+
+The involucrum, which is a sort of calyx, is put on the stem last a
+little way below the true calyx; we may just add, that all the leaves,
+petals, &c., with the exception of the involucrum, must have the smooth
+side of the leather uppermost; the petals and calyx must be hollowed out
+with the modelling tool for that purpose, or if that is not at hand, use
+the handle of the veining tool, and laying the petals and also the calyx
+on a smooth surface, rub them with the ivory end of the veining tool
+till they become hollow and smooth as in the natural flower.
+
+[Illustration: No. 12.]
+
+The above is the way, as plainly as we can possibly describe it, to make
+a Passion Flower. We have repeatedly made the flower exactly upon the
+above plan, and it has always been much admired.
+
+[Decoration]
+
+
+
+
+CAMILLA.
+
+
+[Illustration: No. 13.]
+
+Camillas vary in the form of leaves, and the petals vary in number. To
+make a camilla, cut out two pieces, as in the annexed diagram,
+containing four petals in each; then cut out one or two larger pieces,
+with six petals in each, and one or more still larger, with seven or
+eight petals; then, having a natural camilla at hand, mould them all
+into form, fasten all the pieces of leather together, the smallest at
+the top, and the largest at the bottom, so that the petals alternate,
+with liquid glue, and put a piece of wire through the whole for the
+stalk; cover it with skiver leather.
+
+[Decoration]
+
+
+
+
+JESSAMINE.
+
+
+[Illustration: No. 14.]
+
+To make the Jessamine, copy the corolla from the annexed design, by
+cutting a star-like piece of basil, into which insert the wire for the
+stalk as closely as possible. As the stamina are not visible in this
+flower, it is needless to make them. The tube upon which the corolla
+rests, can be made by rolling a piece of leather round the wire
+thickest at the flower, and then add another piece of leather about an
+inch below the corolla, which must have five fine pointed leaves for the
+calyx.
+
+[Decoration]
+
+
+
+
+DAISY.
+
+
+[Illustration: No. 15.]
+
+The Daisy is formed by making two pieces of leather, like the pattern,
+one larger than the other, and putting the wire, for stalk, through both
+of them. The little golden centre of the daisy, can be well imitated by
+placing a round piece of leather, rather thick, in the centre, shaved
+off at the edges, and marked with the veining tool full of dots.
+
+[Decoration]
+
+
+
+
+ROSES.
+
+
+[Illustration: No. 16.]
+
+A Wild Rose is made by cutting out two pieces of leather, exactly as in
+the engraving, putting the wire through two holes made in the centre of
+the pieces with a fine bradawl, and pass a piece of wire through the
+holes, leaving both ends of the wire at the back to be twisted for the
+stalk. To form the stamina, cut fine strips of leather as long again as
+the stamina are required to be, and insert them under the eye of the
+wire which forms the stalk; then cut the stamina, and pinch them up
+into form; the top piece, containing five petals, must be moulded and
+curved upward, inclosing the stamina; the bottom piece also, containing
+five petals, must be moulded downwards, curving and bending them into
+form.
+
+To make a larger Rose, cut out a smaller piece than is shewn in the
+engraving, of the same form, also the two in the engraving, and a larger
+piece of the same form making four pieces, containing twenty petals;
+then proceed as before-mentioned, and a fuller Rose is produced; thus
+the character of the flower and the number of petals can be regulated
+with comparative ease.
+
+The rose leaves can be moulded at the back by pressing them into the
+grape mould with one of the pressing tools.
+
+
+
+
+OAK AND IVY BRACKET.
+
+
+[Illustration: No. 17.]
+
+The Bracket annexed is out of the usual run of brackets which have
+generally been ornamented with leather work. The vine and the
+convolvulus pattern are much used with very beautiful effect. We
+intended this design to exhibit old oak: it should be stained very dark,
+the oak stems being very thick, while the stems of ivy can be formed of
+tendrils. To make the oak stems get very thick wire, and have it cut to
+the desired lengths, then cover the wires with leather, and bend them to
+resemble knarled oak; attach, as naturally as possible, oak leaves and
+acorns at the back of the wires, and on the wood work as shewn in the
+skeleton bracket in a former part of this work; then attach the ivy
+tendrils, leaves, and berries around the oak stems, and the bracket is
+completed.
+
+We have found it much improves the appearance of any piece of work we
+have been ornamenting, to give the whole when completed a slight coat of
+varnish.
+
+[Decoration]
+
+
+
+
+WATCH STAND FINISHED.
+
+
+[Illustration: No. 18.]
+
+The design for a Watch Stand will illustrate one of the various modes of
+ornamenting this kind of work; it is very light, and better than too
+much crowding the ornamented parts, which, besides being a waste of
+time, would not look so elegant as lighter work.
+
+
+
+
+CARD RACKS
+
+
+[Illustration: No. 19.]
+
+Can be made in a variety of ways--the design here exhibited is novel,
+and at the same time very useful. The back is made either with wood, or
+calf-skin leather; and the leaves forming the rack are also made of the
+same material. Calf-skin dries very hard, being treated exactly the same
+as the basil leather in the manner of working.
+
+[Decoration]
+
+
+
+
+THE ROUND OPEN WORK FRAME.
+
+
+The beautiful design in the accompanying page is made with a round frame
+of any width desired, having two rebates, one inside and one outside the
+frame--the inside rebate being to admit the picture, and the outside one
+to allow of the nailing firmly to the frame the open work, which is to
+be made in the following manner:--Take a flat board, an ironing board
+will do, lay the frame upon it, and with a black lead pencil or a piece
+of chalk, mark the size all round, making allowance for the rebate; then
+having ready the stems, work them in and out, so as to form the open
+work as in the drawing; when finished, nail it to the frame, and work
+stems and tendrils of the vine, hop, passion flower, or any other
+beautiful creeping plant, attaching the fruit or flowers in an artistic
+manner, and the result will be one of the most elegant frames ever
+beheld.
+
+The open or trellis work of this frame should have stout wire enclosed
+in the basil leather, and in order that it may not appear formal, wind
+pieces of leather round the naked wire at irregular intervals to
+resemble knots, &c. then cover the whole with basil leather,--the stem
+and tendrils which are to wind in and out, and are a portion of the
+plant, are not to have wire in them.
+
+Fire Screens are generally filled with Berlin wool, or some other fancy
+needlework. Those who would prefer to have an entire piece of leather
+work can paint landscapes or flowers upon white leather, using the same
+medium as is used in body colour painting at the School of Design, mixed
+with finely powdered colours.
+
+[Illustration: No. 20.]
+
+[Illustration: No. 21.]
+
+The basket ornamented with rose sprays outside, can be lined inside with
+velvet, and little pockets being made in the velvet lining, they become
+a very useful article; the outside is stained old oak.
+
+[Illustration: No. 22.]
+
+The running border here displayed can be adapted to ornamenting
+cornices, poles, frames, &c.; it is very easy of imitation, and will
+well repay the artist.
+
+We shall conclude our designs with the table, which is made in four
+pieces, so that one part can be done at a time, and when completed, can
+be removed until the whole is completed, when it can be put firmly
+together, and forms a solid example of the use and beauty of the
+Ornamental Leather Work.
+
+[Illustration: No. 23.]
+
+
+
+
+TO MAKE ACORNS.
+
+
+Acorns can be made in the following manner. Procure some natural
+acorn-cups (which are to be found in great quantities in the autumn),
+choose such cups only as are perfectly sound; then pierce two holes
+through the bottom of the cup, pass a piece of fine wire through the
+holes, leaving the two ends long enough to be twisted into a stalk; if
+the stalk is to be exposed, it must be covered with skiver and made fast
+with Shaw's liquid glue. The most correctly-formed acorn tops are those
+turned in wood, which can be firmly placed in the cup by the aid of the
+liquid glue; this completes the fully-formed acorn.
+
+
+
+
+CHERRIES.
+
+
+Cherries are made in the same manner as grapes, and the stalk neatly
+covered with skiver leather.
+
+
+
+
+APPLES, &c.
+
+
+Apples and pears can be turned in wood; they may be left bare, or
+covered with skiver leather; they look much better covered with skiver,
+and are, then, leather work, properly speaking; or fruit may be moulded
+in plaster casts with gutta percha.
+
+Carved wood figures may be draped with tolerable success with the skiver
+leather, but we have never seen any that looked well enough when
+finished to repay the time and trouble.
+
+[Decoration]
+
+
+
+
+Recipes.
+
+
+
+
+TO MAKE SIZE FOR STIFFENING THE LEATHER WORK.
+
+
+Simmer 4 oz. of strips of parchment in 8 oz. of water till it is reduced
+one-half; skim off any impurities that may arise to the surface, then
+strain it through a fine sieve, or cloth, into a basin; leave it till
+cold, when it will be firm and clear; when required for use, cut off as
+much as you want, and warm it. Use while warm.
+
+
+
+
+TO MAKE STIFFENING WHICH IS NOT AFFECTED BY DAMP.
+
+
+Mix, cold, 2 oz. of Australian red gum, 6 oz. of orange shellac, ½
+pint spirits of wine; put all into a bottle, and shake it up
+occasionally till the gums are dissolved; strain, and it is fit for use.
+This is far preferable to the above size, as it is more hardening, dries
+quicker, is always ready for use, and is never affected by damp in
+change of weather.
+
+
+
+
+TO MAKE MAHOGANY VARNISH STAIN, WHICH DRIES IN A FEW MINUTES.
+
+
+Mix, cold, ¾ lb. Australian red gum, ¼ lb. garnet shellac, 1 pint
+spirits of wine; put them in a bottle, and shake occasionally, till the
+gum is dissolved; strain, and it is fit for use. The above makes a
+capital varnish for leather of all kinds, especially for the leather
+covers of old books; it preserves them, and gives an appearance almost
+equal to new.
+
+
+
+
+SPIRIT OAK VARNISH STAIN
+
+
+Can be made by adding to the above mahogany stain, a small portion of
+vegetable black, and shaking it up till well incorporated. To use the
+spirit oak stain on larger surfaces we have found it preferable to apply
+it in the same manner as a French polish--namely, let all dirt and wax
+be perfectly rubbed off with fine glass paper, till quite smooth, then
+make a flannel rubber in the form of a printer's dabber, put a little
+stain on the dabber, and put a clean calico rag over it; apply a little
+linseed oil, with your finger, to the calico, and commence rubbing over
+a small space, in a circular direction (never suffering the rubber to
+remain on any part), till you feel it become tacky, then apply a little
+more oil, and so on, till the stain on the rubber is exhausted. Should
+the stain become too thick to work freely, add a few drops of spirits
+of wine, and shake it well together. When you have raised a fine polish
+over the surface, let it remain a few hours to harden, then take a clean
+bit of calico, and just damp it with spirits of wine, rub it lightly
+over the surface in a circular direction, which, repeated two or three
+times, will clear off all smears, and leave the most beautiful gloss
+ever seen.
+
+In this latter process of finishing off, you must be cautious not to
+damp the rag too much, for that would instantly destroy all the polish;
+also, to change the rag often, and not suffer it to remain on any part.
+For carved work it is only necessary to clean it as before directed, and
+apply the stain with a camel's-hair brush, by a gentle fire, letting it
+dry between each application.
+
+The best oak varnish stain is that made with asphaltum; but, as the
+manufacturing is attended with great danger, we think it best not to
+give the particulars; and it can be procured cheaper than it could be
+made in small quantities.
+
+
+
+
+TO PRESERVE LEAVES AND KEEP THEM IN FORM FOR IMITATION.
+
+
+Procure 1 lb. or more of white starch powder, dry it well in an open
+dish before the fire, put it on one side to cool, when quite cool, put a
+layer of half an inch at the bottom of a small box, observing that the
+box also is dry; gather the leaves, if possible, on a fine summer day,
+and lay as many leaves gently on the starch powder at the bottom of the
+box as can be done without interfering with each other, then sprinkle
+starch powder over them, and shake it down so that the powder settles
+all round above and below the leaves until they are completely covered,
+and about half an inch of the starch powder above them, then put another
+layer of leaves, and proceed with the starch powder as before until the
+box is filled, then press the top part, quite full of starch powder,
+fastening the lid of the box firmly down until the leaves are required.
+Ferns and flat leaves can be preserved by placing them between sheets of
+blotting paper under a weight.
+
+
+
+
+TO GILD LEATHER WORK.
+
+
+_The materials necessary for gilding of this kind are_--
+
+  A Gilder's Knife.
+  A ditto Cushion.
+  Some Gold Leaf.
+  A little Cotton Wool.
+  A few Camel's Hair Pencils.
+  One or two Hog's Hair Tools.
+  A Tip.
+  Oil Gold Size.
+  Fat Oil.
+  Drying Oil, and a
+  Burnishing Stone.
+
+They cost only a few shillings, and with care last a very long time.
+
+Size the wood work twice over with parchment size, cut all the leaves,
+and make the flowers in the usual manner; size them all over twice with
+parchment size; nail them down to the frame, and glue them when tacks
+would look unsightly: needle points are very useful in this work to
+secure it firmly, and cut them short off when the glued parts are
+dry--all the flowers and leaves being attached, go over the entire work
+again with parchment size very thinly; the parchment size must be used
+warm; when the size is dry, mix well in a cup or any clean earthen
+vessel about an ounce of oil gold size, and with equal parts of fat oil
+and drying oil thin the gold size to the consistence of cream; take a
+hog's-hair tool, and with it brush equally and very thinly all over
+every part that can be seen with this prepared gold size, set it on one
+side for an hour or two or more, until it has become almost dry, and
+just sticks to your fingers when touched: it must now be gilded all
+over, and to do this, take a book of gold, handling it quietly, and mind
+there is no draft, as a current of air would blow all the gold away:
+turn out of the book two or three leaves of gold upon the cushion, and
+blow gently upon the centre of each leaf, to make them lay flat on the
+cushion; with the gilder's knife cut the gold leaves into the sizes
+required to cover the work, and with the tip of the gilder's knife take
+up the gold from the cushion and lay it all over the frame till it is
+covered, pressing the gold down with a large camel hair tool or a piece
+of cotton wool, taking care not to rub it backward or forward, but to
+put it very straight down on to the work; should there be any holes
+left, cut small pieces of gold leaf and lay over them, pressing the gold
+down, proceeding in the above manner till the frame is covered all over
+with gold; it must then be left to dry an hour or two, and when dry
+brush all the loose gold off with a large camel hair or badger's hair
+tool, and the gilding is completed. Leather work gilded by the above
+process will bear washing, and is the most durable kind of gilding
+known.
+
+
+
+
+TO BURNISH GOLD.
+
+
+Acorns and any wooden part attached to leather work can be burnished,
+which adds much to the variety of the work, and is done in the following
+manner:--that part of the work intended to be burnished must be prepared
+exactly as above, except that instead of using the prepared oil gold
+size take the white of an egg and give the work a coat of it, let it
+dry, then give it another coat, and when nearly dry see that it lays on
+evenly; apply the gold leaf all over; leave it an hour or two to become
+hard; then burnish it by rubbing it all over with a burnishing stone or
+any very hard and perfectly smooth substance. This burnish gilding is
+far more brilliant than the oil gold, but will not wash, and is not so
+durable.
+
+[Decoration]
+
+
+
+
+BEE HIVES.
+
+
+Bee Hives can be made with leather stems, as follows:--Cut a piece of
+wood to the shape and size required; wind and glue upon it the stems,
+beginning at the top, and finishing off at the bottom. To join the stems
+as you proceed, cut each end to an angle, so that they fit; join them
+with liquid glue, and tie a piece of thread round to hold them tightly
+together until the glue is dry. When the hive is completed, that portion
+of thread left visible can be cut off.
+
+To imitate the tying seen in hives, mark with a pen, or a camel's hair
+pencil, with the darkest stain, lines and dots from top to bottom; cut a
+small piece out of the lower tier to make the entrance, and put a little
+handle at the top with a piece of stem.
+
+When made as above, on wood, and well glued, they can be sawn in halves,
+thus making two. Placed amongst foliage, frames, &c., they are quite in
+keeping, and have a pleasing effect.
+
+[Decoration]
+
+
+
+
+TO PAINT ORNAMENTAL LEATHER WORK.
+
+
+Use finely powdered colours, and mix 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 are about to mix any colours with it: or mix the colours
+with parchment size warmed; use while warm: or mix them with a weak
+solution of gum arabic; and, in either case, varnish them with a quick
+drying pale varnish. Oil colours will not do for painting this kind of
+materials: any of the above mediums, properly prepared, will answer
+well. Gilding may be interspersed with brilliant effect.
+
+
+
+
+A QUICK MODE OF STAINING.
+
+
+The quickest mode of staining the Ornamental Leather Work is as
+follows:--Procure a bottle of REVELL'S CHYMICAL OAK COLOUR STAIN. This
+preparation will not soil the hands, or the finest linen or woollen
+fabrics; will not stain wood or any other substance than the leather to
+which it is applied, to which it imparts the perfect appearance of old
+oak without any gloss, at the same time hardening the leather without
+injuring it.
+
+
+
+
+DIRECTIONS FOR USE.
+
+
+Having your leaves, &c., cut out and dried, pour some of the contents of
+this bottle into a saucer, and apply it copiously with a camel's hair
+brush, all over the leaves, back and front, particularly the edges; bend
+them while damp as you wish them to appear upon the finished work, then
+dry them rather quickly at a moderate distance from the fire, or in a
+current of air; when dry they are ready for use.
+
+The leaves, &c., can be attached to any form of work, and it is
+completed. When the entire work is complete, it can be varnished at
+pleasure, as follows:--Procure a bottle of REVELL'S OAK SPIRIT STAIN,
+and give the entire work an even coat of it; it dries in a few minutes,
+and has the appearance of polished oak.
+
+
+
+
+TO STAIN WOODEN ARTICLES.
+
+
+If all the work is to be left dull, give the frame or bracket, &c., a
+coat of OAK SPIRIT STAIN, which dries in dull if put upon new wood, not
+prepared in any manner. To prepare wooden frames, &c., so that the OAK
+SPIRIT STAIN shall assume a polished surface, it is necessary to size
+the frame well and leave it to dry; when dry, give it one or more coats
+of OAK SPIRIT STAIN.
+
+Those who prefer making the OAK SPIRIT STAIN, can do so by referring to
+the receipt in this book; it is made with little trouble, and is
+composed principally of Australian Red Gum; a new article to most of our
+readers; and, although many druggists, &c., have procured it when they
+have received orders for it, we are sorry to say, in several instances,
+they have said there was no article of that description; or else have
+substituted a different kind of gum, perfectly _worthless for this
+purpose_; consequently, disappointment has ensued; and in order to
+protect the public from being imposed upon, and ourselves the disgrace
+of publishing anything not practicable, we are obliged, in self-defence,
+to state how we came to use it.
+
+In the month of January, 1852, the publisher was applied to for a
+varnish stain that would dry quickly, and at the same time be the colour
+required: he was making experiments for this purpose, when, taking up
+the TIMES newspaper of Friday, January 23rd, he found, under the heading
+of SOCIETY OF ARTS, an epitome of Professor EDWARD SOLLY's lecture, at
+the above Society on the previous Wednesday, on vegetable substances
+used in the Arts, &c. Allusions were made to a fine red gum from New
+South Wales: he procured the lecture, and then, after a little trouble,
+obtained samples; they were tested, and one was found to answer, and he
+has now in stock several tons of the proper kind for making the stain,
+and can supply it in any quantity.
+
+We will now conclude by directing the student to an attentive observance
+of nature: we have avoided, as far as possible, technical terms; where
+they are used the illustrations will, in most cases, explain them. The
+study of this mode of decoration has often led those who had not before
+observed the varied beauties of the floral world to do so with the
+greatest pleasure and the happiest results.
+
+[Decoration]
+
+
+
+
+SHAW'S LIQUID GLUE
+
+
+Requires no preparation, sets almost immediately, will resist wet,
+violence, time, and climate; adheres to any surface or material; cements
+china, marble, wood, paper, leather, &c.; is useful to shipbuilders,
+carpenters, bookbinders, pianoforte, brush, and toy makers; and is so
+easy of application, that ladies and gentlemen may mend their own china,
+ornaments, toys, veneers, mouldings, parasols, book-covers, and a
+hundred other little articles, with the greatest ease and certainty.
+
+                    =Price 6d. and 1s. per Bottle.=
+
+       *       *       *       *       *
+
+SOLD WHOLESALE AND RETAIL BY
+
+  J. REVELL, 272, OXFORD STREET;
+  MESSRS. BARCLAY & CO., FARRINGDON STREET;
+  MESSRS. SUTTON & CO., BOW CHURCHYARD;
+
+  AND TO BE HAD OF ALL
+  OILMEN, CHEMISTS, FANCY STATIONERS,
+  &c., &c.
+
+
+
+
+LIST OF MATERIALS, &c.,
+
+FOR THE
+
+ORNAMENTAL
+
+LEATHER WORK.
+
+SOLD BY
+
+J. REVELL, 272, OXFORD STREET.
+
+
+  Basil Leather, of the first quality, at 1s. 6d. and 2s. per skin.
+  Skiver ditto, ditto, at                 ditto.
+  Leather Leaves, 6d. per dozen, or 4s. per gross, assorted.
+  Leather Stems and Tendrils, 2d. each.
+  Passion Flowers, Roses, &c., from 6d. to 2s. 6d. each.
+  Convolvulus and other less elaborate Flowers, from 2d. each.
+  Holly and Ivy Berries, 6d. per bundle.
+  Acorns, 1s. per dozen.
+  Oak Varnish Stain, 1s. per bottle.
+  Spirit Oak  ditto, 1s.     "
+  Spirit Mahogany ditto, 1s. "
+  Revell's Chymical ditto, which possesses the property of staining the
+    leather used for this work, and will not soil the finest linen,
+    neither will it stain wood, or any other material than leather. It
+    can be applied either cold or warm. Sold, with full directions for
+    use accompanying each bottle, price 1s. This being the invention of
+    the publisher, purchasers are requested to observe his name and
+    address on each seal.
+  Stephens' Wood Stains.
+  Stains and Varnishes of every description.
+  Saucers for the Oak Stain, &c., 1s. per doz.
+  Shaw's Liquid Glue, without smell, 1s. per bottle.
+  Ditto, Old kind, 6d.                      "
+  Prepared Stiffening, 1s.                  "
+  Veining Tools, 1s. 6d. each.
+  Cutting ditto, 1s.      "
+  Grape Moulds, 2s. 6d. per set.
+  Bradawls, 6d. each.
+  Hammers, 1s. 3d. "
+  Wire of different sizes.
+  Hog's Hair Brushes, 3d. to 6d. each.
+  Camel's Hair Pencils, from 1d.   "
+  And a variety of Brackets, Frames, &c., for Ornamenting.
+
+[Decoration]
+
+PRINTED BY S. ODELL, 18, PRINCES STREET, CAVENDISH SQUARE.
+
+
+
+
+LIST OF VARIOUS ARTICLES,
+
+SOLD BY
+
+JAMES REVELL, 272, OXFORD STREET, LONDON.
+
+
+=Oil Colours in Patent Collapsible Tubes,=
+
+_Of various sizes, and in Extra Fine Powder._
+
+  Cremnitz White
+  Flake White
+  Nottingham White
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Yellow Ochre
+  Indian Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Yellow Lake
+  King's Yellow
+  Lemon Yellow, 1, 2
+  Dutch Pink
+  Naples Yellow
+  Lake
+  Purple Lake
+  Indian Lake
+  Crimson Lake
+  Scarlet Lake
+  Chinese Vermillion
+  Orange Vermillion
+  Red Chrome
+  Carmine
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Purple Madder
+  Light Red
+  Venetian Red
+  Indian Red, 1, 2
+  Brown Red
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Burnt Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Cappa Brown
+  Asphaltum
+  Bitumen
+  Mummy
+  Emerald Green
+  Verdigris
+  Terra Vert
+  Chrome Green, 1, 2, 3
+  Oxyde of Chromium
+  Ivory Black
+  Blue Black
+  Lamp Black
+  Sugar of Lead
+  Gumption
+  Magylph
+
+
+=Sable Hair Pencils.=
+
+_For Oil or Water_.
+
+  Large Goose, Brown or Red
+  Small ditto      ditto
+  Duck             ditto
+  Crow             ditto
+  Small Swan
+  Large ditto
+  Miniature
+  Lining or Rigging
+  Writing and Striping
+
+
+=French Sables.=
+
+IN TIN FOR WATER.
+
+_Red or Brown._
+
+Nos. 1, 2, 3, 4, 5, 6.
+
+
+=Sables for Oil.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=French Brushes.=
+
+_Flat & Round._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Camel Hair Pencils=,
+
+_All Sizes, Long and Short_.
+
+
+=Camel Hair Brushes=,
+
+_In Flat Tins_.
+
+   ½  inch
+   ¾   "
+  1    "
+  1¼   "
+  1½   "
+  1¾   "
+  2    "
+  2½   "
+  3    "
+  4    "
+
+
+=Camel Hair Brushes=,
+
+_In Round Tins_.
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8.
+
+
+=Pencil Sticks.=
+
+Cedar, Ebony, Ivory, 6, 12 & 15 in.
+
+
+=Badger Softeners.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Palette Knives.=
+
+  Horn and Ivory
+  Steel, with Horn or Bone Handles
+    Do.       Ivory Handles
+    Do. Spatula Shape, Horn Handles
+    Do.  ditto         Ivory  do.
+
+
+=Port Crayons.=
+
+Steel, Albata, and Brass.
+
+
+=Brush Washers for Turpentine.=
+
+Nos. 1, 2, 3, 4.
+
+
+=Oils and Varnish.=
+
+  Spirits Turpentine
+  Cold Drawn Linseed Oil
+  Nut and Poppy Oil
+  Drying Oil, pale or strong
+  Fat Oil
+  Japan Gold Size
+  Mastic Varnish
+  Copal Varnish
+  White Hard Spirit Varnish
+  Asphaltum
+  Magylph
+  Gumption
+
+
+=Extra Fine Cake and Moist Water Colours=,
+
+IN CAKES AND HALF CAKES.
+
+  Permanent White
+  Constant White
+  Flake White
+  Chinese White
+
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Azure Blue
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Intense Blue
+  French Blue
+
+  Gamboge
+  Yellow Ochre
+  Indian Yellow
+  Platina Yellow
+  Gall Stone
+  Lemon Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Dutch Pink
+  Yellow Lake
+  Mars Yellow
+  King's Yellow
+  Naples Yellow
+  Patent Yellow
+
+  Orange Orpiment
+  Orange Red
+  Mars Orange
+  Orange Vermillion
+  Lake
+  Crimson Lake
+  Scarlet Lake
+  Dark Lake
+  Indian Lake
+  Vermillion
+  Extract Vermillion
+  Scarlet Vermillion
+  Carmine
+  Burnt Carmine
+  Dragon's Blood
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Pure Scarlet
+  Dahlia Carmine
+  Indian Red
+  Light Red
+  Venetian Red
+  Brown Red
+  Red Orpiment
+  Red Chalk
+  Red Chrome
+  Deep Rose
+
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Verona Brown, 1, 2, 3
+  Sepia
+  Warm Sepia
+  Roman Sepia
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Bronze
+  Reuben's Brown
+  Mars Brown
+  Intense Brown
+  Cappa Brown
+  Bistre
+  Chalons Brown
+
+  Payne's Grey
+  Neutral Tint
+
+  Purple
+  Indian Purple
+  Purple Madder
+  Purple Lake
+
+  Sap Green
+  Emerald Green
+  Prussian Green
+  Chrome Green, 1, 2, 3
+  Oxyde of Chrome
+  Verdigris
+  Barber's Green
+  Sea Green
+  Dark Green
+  Hooker's Green, 1, 2
+  Olive Green
+  Terra Vert
+  Green Bice
+
+  Lamp Black
+  Ivory Black
+  Blue Black
+  British Ink
+  Inlaying Black
+
+
+=Gold and Silver Shells.=
+
+
+=Indelible, and Bright's Landscape Crayons.=
+
+Singly or in Sets.
+
+
+=Chalks, Crayons.=
+
+  Italian Black Chalk
+  Ditto Red and White
+  Soft French Black
+  Charcoal
+  Pastiles
+  Black Square Conté Crayons
+  Ditto, Round, plain ditto
+  Ditto, Glazed       ditto
+  Velours, (very Soft and Black)
+  Round and Square Red Conté
+  Bistre
+
+
+=Lead Pencils=,
+
+_Extra Prepared_.
+
+  H. Hard, for Sketching
+  H.H. Harder, for Outlines, &c.
+  H.H.H. Very Hard, for Architectural Drawing, &c.
+  H.B. Hard and Black
+  E.H.B. Extra Hard and Black
+  B. Black for Shading
+  B.B. Soft and Black
+  E.B.B. Extra Soft and Black
+  F. Fine for General Drawing
+
+
+=Earthenware.=
+
+  Palettes and Saucers
+  Cabinet Saucers in Morocco Case
+
+
+=Miscellaneous.=
+
+  Drawing Pins
+  Indian Ink
+  Indian Rubber
+  Indian Glue
+  Sponge
+  Ox Gall
+  Lithograph Chalk
+  Gilder's Knives, Tips and Cushions
+  Poonah Brushes
+  Burnish Gold Size
+  Oil     ditto
+  Gold Leaf
+  Mezzotint Brushes
+  Permanent Ink
+  Velvet Scrubs
+  Picture Frames
+  Sealing Wax and Wafers
+  Pink Saucers
+  Slate Pencils
+  Tracing Points
+  Burnishing Stones
+  Bronze
+  Graining Combs and Tools
+
+
+=Revell's Permanent Brown Ink=,
+
+FOR DRAWING UPON BASIL LEATHER.
+
+_Price 1s. per Bottle._
+
+Pen and Ink Drawings can be made with this Ink, they have all the
+appearance of the so-called Poker Paintings, (viz. Drawings upon Wood,
+executed with one or more red hot wires.) The Ink is permanent, and will
+be found advantageous as an adjunct to the Ornamental Leather Work.
+
+
+=Unprepared Colours of the First Quality.=
+
+_Colours of every description for House Painting, Park Fencing, &c._
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Note:
+
+Punctuation has been standardised.
+
+  The following inconsistencies were normalised:
+    3 instances of 'color' were changed to 'colour'
+    7 instances of 'convolvolus' were changed to 'convolvulus'
+    6 instances of 'tendrill' were changed to 'tendril'
+    illustrations were renumbered from figure No. 14 onward
+      (some numbers were out of order/duplicates)
+
+  A few additional original typos were repaired, as follows:
+    Page xii:  changed trailled to trailed
+               (being trailed round a)
+    Page 34:   changed FUSCHIA to FUCHSIA
+               (FUCHSIA.)
+    Page 35:   changed fuschia to fuchsia
+               (put the fuchsia together)
+    Page 35:   changed mnst to must
+               (they must be moulded)
+    Page 38:   changed viened to veined
+               (wetted and veined, then)
+    Page 41:   changed Fig. to No.
+               ([Illustration: No. 8.])
+    Page 50:   changed camillia to camilla
+               (make a camilla, cut)
+    Page 82:   changed of to or
+               (with the tip of the)
+    Page 88:   changed qucikest to quickest
+               (The quickest mode of)
+    Page 93:   changed CLUE to GLUE
+               (SHAW'S LIQUID GLUE)
+
+
+
+
+
+End of the Project Gutenberg EBook of A Complete Guide to the Ornamental
+Leather Work, by James Revell
+
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+    <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
+    <meta http-equiv="Content-Style-Type" content="text/css" />
+    <title>
+      A Complete Guide to the Ornamental Leather Work, by J. Revell&mdash;A Project Gutenberg eBook.
+    </title>
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+
+<pre>
+
+The Project Gutenberg EBook of A Complete Guide to the Ornamental Leather
+Work, by James Revell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Complete Guide to the Ornamental Leather Work
+
+Author: James Revell
+
+Release Date: January 27, 2013 [EBook #41927]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+
+
+
+Produced by Chris Curnow, Rosanna Murphy and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+<div class="tnote">
+<p class="center"><b>Transcriber’s Notes:</b></p>
+
+<p>Spelling has been retained as it appears in the original publication except
+as marked <ins title="Transcriber's Note: original reads 'likethis'">like
+this</ins> in the text. <span class="noepub">The original text appears when hovering the cursor
+over the marked text.</span> A <a href="#tn-end">list of amendments</a> is
+at the end of the text.</p>
+</div>
+
+<hr class="chap noepub" />
+
+<div class="figcenter" style="width: 553px;">
+<img src="images/i_cover.jpg" width="553" height="800" alt="Cover" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_vi">&nbsp;</span></p>
+
+
+<h1><small>A</small><br />
+<big>COMPLETE GUIDE</big><br />
+<small>TO THE</small><br />
+ORNAMENTAL<br />
+<big>LEATHER WORK.</big></h1>
+
+<hr />
+
+<div class="frontmatter"><small>Entered at Stationers’ Hall.</small>
+
+<hr />
+
+LONDON:<br />
+PUBLISHED BY J. REVELL, 272 OXFORD STREET;<br />
+<small>SOLD BY</small><br />
+T. T. LEMARE, OXFORD ARMS PASSAGE,<br />
+PATERNOSTER ROW;<br />
+<span class="smcap">B. Smith, 107, Fleet Street; and all Booksellers</span>.
+
+<hr />
+
+<i>Half-a-Crown.</i></div>
+<p><span class="pagenum" id="Page_viii">&nbsp;</span></p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_ix">[ix]</span></p>
+
+
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_004.png" width="600" height="183" alt="Decoration" />
+</div>
+
+<h2><big>REVELL’S</big><br />
+COMPLETE GUIDE<br />
+<small>TO THE</small><br />
+<big>ORNAMENTAL LEATHER WORK.</big></h2>
+
+<hr class="chap noepub" />
+
+
+
+
+<h2>GENERAL REMARKS.</h2>
+
+
+<p>We feel assured that a long introduction is neither
+requisite to the reader or publisher of a Work like
+the present, and shall, therefore, merely say, that the
+great success our former little Works have met with,<span class="pagenum" id="Page_x">[x]</span>
+has induced us to send forth this edition, in which will
+be found every particular connected with this very useful
+source of amusement and fashionable department of
+<em>practical art</em>. The illustrations are furnished by a late
+pupil of the School of Design, who obtained the highest
+prize for Flower Painting, assisted by a student of the
+<span class="smcap">Royal Academy of Arts</span>. Every example given has
+been practically tested, and, in most instances, the drawings
+have been copied from the models executed in leather,
+and will be found to combine durability with beauty of
+design. In order to make the leather modelling as
+durable as possible, we have not departed from nature in
+the finished form, but in the mode of construction; for
+example, we make several portions of a flower in one
+piece of leather. The Narcissus and the beautiful White
+Lily have each six petals; in both instances, we make
+the entire corolla of the flowers in one piece; thereby,
+while losing none of the beauty of the natural form of
+the flowers, we gain strength and solidity; as, were the
+petals of the Lily or Narcissus to be composed of six
+pieces, one, if imperfectly cemented, might fall off and<span class="pagenum" id="Page_xi">[xi]</span>
+detract from the beauty of the entire piece of work. By
+our method of proceeding, it is impossible to do so: we
+mention this, as, in our description of Making and
+Modelling Flowers in Leather, we differ from the literally
+botanic construction, while, at the same time, we arrive
+at perfectly correct and artistic formation.</p>
+
+<p>In some flowers, as in the Hop, Dahlia, &amp;c., we have
+found it impracticable to combine many petals in one
+piece of leather; where this is the case, especial care
+must be taken to have good liquid glue, and fasten each
+petal securely.</p>
+
+<p>All leather to be used in Modelling Leaves, Flowers,
+&amp;c., must be first wetted, and modelled while wet; and
+as this is a general rule, the student will understand that
+mention of the necessity of this operation will not in
+every instance be repeated.</p>
+
+<p>Amongst the many uses to which Leather Work is
+applied, that of ornamenting Pulpits will be found a
+capital field for the display of this art, as it is capable of<span class="pagenum" id="Page_xii">[xii]</span>
+being moulded into any form, and nothing can possibly
+have a more substantial and beautiful appearance.</p>
+
+<p>Glasses of varied form, as jelly glasses and old-fashioned
+goblets, as well as many of modern manufacture,
+can be covered on the outside with Leather Work.
+Lilies of the Valley, and other such flowers, being
+<ins title="Transcriber's Note: original reads 'trailled'">trailed</ins> round a groundwork of leaves, and being either
+gilded or stained, look exceedingly well; and as they
+are capable of holding water, become really useful as
+well as ornamental articles for bouquets of flowers.</p>
+
+<p>Fire-screens and scroll work are executed exactly in
+the same manner, as described in the following pages,
+for frames. Fire-screens are generally filled with Berlin
+wool, or some other fancy work. Those who would
+prefer to have an entire piece of Leather Work, can
+paint landscapes or flowers upon white leather, using
+the same medium which is used at the School of Design
+for body colour painting, mixed with finely powdered
+colours.</p>
+
+<p><span class="pagenum" id="Page_xiii">[xiii]</span></p>
+
+<p>Gold Leather Work looks remarkably well upon a
+blue or crimson velvet ground, and makes very rich
+frames, fire screens, &amp;c. When tastefully arranged, the
+flowers and leaves upon these grounds have a very magnificent
+appearance.</p>
+
+<p>Amongst the numerous articles which admit of being
+ornamented with leather, may be enumerated frames,
+brackets, vases, pole and hand screens, card plates and
+racks, music and watch stands.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_008.png" width="200" height="236" alt="Decoration" />
+</div>
+
+<p><span class="pagenum" id="Page_xiv">&nbsp;</span></p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_15">[15]</span></p>
+
+
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_004.png" width="600" height="183" alt="Decoration" />
+</div>
+
+<h2 class="fancy">Revell’s Complete Guide to Ornamental Leather Work.</h2>
+
+<hr class="chap noepub" />
+
+
+
+
+<h2>THE MATERIALS.</h2>
+
+
+<p><i>The principal Materials required for this work are&mdash;</i></p>
+
+<ul>
+<li>Basil Leather.</li>
+<li>Skiver Leather.</li>
+<li>A Bottle of Oak Varnish Stain.</li>
+<li>A Bottle of Spirit Stain.</li>
+<li>A Bottle of Shaw’s Liquid Glue.<span class="pagenum" id="Page_16">[16]</span></li>
+<li>A Bottle of Stiffening.</li>
+<li>A Small Hammer.</li>
+<li>A few Brushes.</li>
+<li>Some Tacks.</li>
+<li>A pair of Nippers.</li>
+<li>A Veining Tool.</li>
+<li>A few hard Steel Pens.</li>
+<li>Bradawl.</li>
+<li>Pair of Scissors.</li>
+<li>A Leather-cutting Knife.</li>
+<li>Grape Moulds.</li>
+<li>Moulds for Passion Flowers.</li>
+<li>Fine Black Lead Pencil.</li>
+</ul>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_011.png" width="200" height="139" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_17">[17]</span></p>
+
+
+
+
+<h2>LEATHER.</h2>
+
+
+<p>The kind of leather used for general purposes is basil;
+it should be selected of an even texture and of a light
+colour, as the lighter coloured basil takes the oak varnish
+stain better than the dark.</p>
+
+<p>Great care must be taken to select it soft and free
+from blemishes, as if dark and rough leather is used, the
+work when finished, even by skilful hands, will not have
+so good an appearance as the production of much less
+skilful artists, where good basil leather is used.</p>
+
+<p>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 very
+useful for thin stems and any minute portion of the
+work.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_18">[18]</span></p>
+
+
+
+
+<h2>DIRECTIONS FOR MAKING THE LEAVES.</h2>
+
+
+<div class="figcenter" style="width: 300px;" id="no_1">
+<img src="images/i_013.png" width="300" height="221" alt="Pattern for making leaves." />
+<span class="caption">No. 1.</span>
+</div>
+
+<p>Sketch, either from nature, or from the <a href="#no_1">example</a>
+annexed, the leaf you intend to copy, upon pasteboard;
+cut it out very carefully; then place a piece of basil in
+<em>cold</em> water for half a minute (not longer), unless the
+leather is unusually thick; the leather should then be
+taken out of the water, and pressed in a linen cloth until
+the surface becomes dry. Being thus prepared, lay
+it quite flat and place upon it the pasteboard pattern,<span class="pagenum" id="Page_19">[19]</span>
+holding it firmly down with the left hand, while with
+the right, draw a line round the pattern with a fine hard
+black lead pencil or the veining tool: while the leather
+is damp cut out the leaf with a pair of scissors or with
+the leather-cutting knife, as occasion may require; when
+smaller or larger leaves are required, a reduced, or
+enlarged, sketch should be taken, a pattern made of it in
+pasteboard, and applied in the same manner as described
+above, cutting out as many leaves as you require, and
+generally making about four sizes of them, as varying
+the sizes of the leaves adds much to the beauty of the
+foliage. Leaves all the same size would have a very
+formal appearance, as they must be veined before they
+are allowed to dry; too much leather must not be
+wetted at a time, nor more leaves cut out than can be
+veined. To vein the leaves, mark them with the veining
+tool on the smooth side of the leather strongly, by
+pressing heavily on the leaf, where a thick vein is
+required; and more lightly where only finer ones should
+be visible; for raised veins employ the end of a fine pair
+of scissors for the large, and a hard steel pen for the<span class="pagenum" id="Page_20">[20]</span>
+smaller veins. Being veined, the leaves should be
+bent and moulded as they are to appear upon the work
+when it is completed: they should then be dried rather
+quickly, as it greatly assists in the hardening.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_015.png" width="200" height="242" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_21">[21]</span></p>
+
+
+
+
+<h2>TO HARDEN THEM.</h2>
+
+
+<p>When the leaves are thoroughly dry, brush them all
+over, particularly the edges with the prepared stiffening,
+applying it with a camel’s hair pencil, nimbly, as it dries
+very rapidly, apply it thin and evenly, taking care to
+cover the edges; when dry, they will be ready for
+staining.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_22">[22]</span></p>
+
+
+
+
+<h2>TO STAIN THEM.</h2>
+
+
+<p>Pour a little oak varnish stain into a small vessel, and
+brush the leaves all over, using a hog’s-hair tool for
+the purpose of laying on the stain, taking care to cover
+the edges, and brush it well out of the veined parts;
+should the leaves, when dry, not be so dark as desired,
+another coat can be given, but in no instance apply
+thick coats of stain, it will, if put on thick, most likely
+dry darker in one place than another, and will never
+have so smooth an appearance as when two thin coats
+have been applied; take care always that one coat must
+be dry before another is applied.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_23">[23]</span></p>
+
+
+
+
+<h2>TO MAKE STEMS.</h2>
+
+
+<p>Cut strips of basil leather about one-third of an inch
+wide and 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, then
+roll them round as tightly as possible (the smooth side
+outwards) on a table or any even surface, and dry them;
+if required very stiff, add inside a piece of wire; when
+very thick ones are required the leather must be proportionately
+wider.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_24">[24]</span></p>
+
+
+
+
+<h2>TO MAKE TENDRILS.</h2>
+
+
+<p>Tendrils are made in the same manner as Stems,
+using skiver instead of basil leather, dry them quickly, and
+they will then be ready for use in the following manner:
+take a tendril, damp it and immediately wind it round
+a bradawl or a piece of stout wire, taking care to fasten
+both ends of the tendril so that it does not fly off; dry
+it by the fire, then remove it from the awl and a delicately-formed
+tendril will be the result; arrange it and
+cut to length and form wished, and apply a coat of
+stiffening to keep it in shape. Stems and tendrils are to
+be hardened and stained precisely in the same manner as
+the leaves.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_25">[25]</span></p>
+
+
+
+
+<h2>GRAPES.</h2>
+
+
+<p>In order to produce grapes symmetrically formed a
+proper mould should be obtained; then cut rounds of
+skiver leather the size required, which must be wetted
+and placed in the mould the smooth side downwards;
+then fill the leather in the mould firmly with wadding,
+and tie the grapes securely with strong thread or fine
+twine; when the grape is finished, put a piece of wire
+through the part where it has been tied up to form a stalk.
+Or grapes can be made of deal or any soft wood with
+a hole pierced through the centre large enough to admit
+of a leather or gutta percha stalk being drawn through
+and fastened at one end; they should now be stained
+and made into clusters; wooden grapes may be covered
+with damp skiver leather if preferred; it is necessary to
+observe, in making the clusters that the tying should be
+entirely concealed; all fruit and flowers must be stained,
+&amp;c., precisely in the same manner as leaves.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_26">[26]</span></p>
+
+
+
+
+<h2>TO ORNAMENT A FRAME.</h2>
+
+
+<p>Procure a deal frame of the size and form required,
+taking care to have it made of well-seasoned wood. Size
+it all over with patent size. Leave it about an hour to
+dry, then apply a coating of oak varnish stain, and when
+dry it will be ready for use. Commence the process of
+covering by attaching the stem with small tacks all
+round, in spaces of a few inches, in a zigzag direction.
+Supposing the vine pattern frame is selected, cover the
+wood with four or five gradations of foliage, well arranged,
+so as to preserve as nearly as possible, the
+natural appearance of the vine. Too great a profusion of
+grapes should be avoided; but as the number and size
+of the clusters can hardly be determined, we must therefore
+leave it to the taste of the artist.</p>
+
+<p>Common pins can be used with advantage in keeping
+in its proper place that portion of the work where glue<span class="pagenum" id="Page_27">[27]</span>
+only can be applied for the permanent fastening. When
+the work becomes firmly attached, the pins can either be
+withdrawn, or they can be cut off, close to the ornaments,
+with the nippers.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/i_022.png" width="300" height="137" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_28">[28]</span></p>
+
+
+
+
+<h2>THE PROPER KIND OF FRAMES TO PROCURE.</h2>
+
+
+<div class="figcenter" style="width: 250px;" id="no_2">
+<img src="images/i_023.png" width="250" height="278" alt="Sketch of frame." />
+<span class="caption">No. 2.</span>
+</div>
+
+<p>The frames best adapted for the work, we have found
+to be those levelled off on the outer edge to about half
+an inch thinner than the inner, and formed as shewn in
+<a href="#no_2">Fig. 1</a>. Frames made in this shape greatly increase the
+beauty of the entire design. A narrow gold beading we
+have generally added inside, as the gold gives a more
+finished appearance to the frame.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_29">[29]</span></p>
+
+
+
+
+<h2>WATCH STANDS,</h2>
+
+
+<p>Can, like one below, be made by every carpenter; they
+must be strong to bear the nailing and gluing on of the
+leather ornaments. The design here given (<a href="#no_3">Fig. 2</a>), we
+keep, as well as other descriptions in stock, but they can<span class="pagenum" id="Page_30">[30]</span>
+be varied <i lang="la" xml:lang="la">ad infinitum</i>; and we shall be happy to make
+any design to order very promptly, or, as we have before
+observed, almost any carpenter can make them, if furnished
+with a drawing to work from.</p>
+
+<div class="figcenter" style="width: 200px;" id="no_3">
+<img src="images/i_024.png" width="200" height="294" alt="Sketch of watch stand." />
+<span class="caption">No. 3.</span>
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/i_025.png" width="250" height="174" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_31">[31]</span></p>
+
+
+
+
+<h2>THE WHITE LILY.</h2>
+
+
+<div class="figcenter" style="width: 200px;" id="no_4">
+<img src="images/i_026.png" width="200" height="485" alt="Sketch of lily." />
+<span class="caption">No. 4.</span>
+</div>
+
+<p>This beautiful flower, one of the oldest inhabitants of
+the flower garden, has six petals, which are formed of
+one piece of leather, as in <a href="#no_4">Fig. 1</a>; the three largest<span class="pagenum" id="Page_32">[32]</span>
+petals, which, alternate with the others, are brought
+uppermost, while the three smaller ones are placed
+behind. Our readers will at once perceive what is meant
+by referring to the finished flower; they are to be veined
+and curled as in the natural flower, and the petals will
+require to be glued to keep them in their proper places;
+it is necessary, if you have not our mould for that purpose,
+to adapt something to place the lily upon while
+modelling it, as near the shape of the interior of the
+flower as possible. The lily has six stamina, with
+oblong anthers, which are made in the manner described
+for the convolvulus; the pistil, with its swollen base or
+germen, lengthened style and heart-shaped stigma,
+should be carefully imitated from nature, being a very
+prominent feature in the flower; the stamina should be
+placed round the germen of the pistil and fastened with
+liquid glue into the centre of the flower; it must be recollected
+that the smooth side of the leather must be
+inside the lily as in the convolvulus; some flowers
+require the smooth side of the leather inside, and some
+outside; it must depend upon whether the interior or<span class="pagenum" id="Page_33">[33]</span>
+exterior of the flower is most in sight, and in some
+instances in the same flower some petals must be placed
+one way, and some another.</p>
+
+<p>The bud of the lily is formed by merely folding the
+whole corolla together veined.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_028.png" width="200" height="94" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_34">[34]</span></p>
+
+
+
+
+<h2><ins title="Transcriber's Note: original reads 'FUSCHIA'">FUCHSIA</ins>.</h2>
+
+
+<div class="figcenter" style="width: 187px;" id="no_5">
+<img src="images/i_029.png" width="187" height="600" alt="Sketch of fuchsia." />
+<span class="caption">No. 5.</span>
+</div>
+
+<p>The calyx forms the external part of this flower, and
+is made with one piece of leather cut as in the accompanying
+(<a href="#no_5">Fig. 1</a>). The petals within this are four, and
+are cut out, the four in one piece; in the form of the<span class="pagenum" id="Page_35">[35]</span>
+dotted line, in <a href="#no_5">Fig. 1</a>, they <ins title="Transcriber's Note: original reads 'mnst'">must</ins> be moulded into shape
+and glued to the stamina inside the calyx so as to alternate
+with its petals. This flower belongs to the class
+Enneandria, having nine stamina; they are to cut in one
+piece of leather. To put the <ins title="Transcriber's Note: original reads 'fuschia'">fuchsia</ins> together, proceed as
+follows:&mdash;Cut the nine stamina, and attach to them the
+wire, to form the stalk; then roll the four petals firmly
+over the stamina; they must be moulded and glued
+round the stamina and stalk, then take the calyx and
+roll round the whole; the leaves must be expanded and
+moulded as in the engraving, taking care that the
+stamina are left out as in the natural flower, and that
+the inner petals alternate with the leaves of the calyx;
+to make the buds, roll up the calyx, and turn the ends
+in, not inserting any stamina.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_36">[36]</span></p>
+
+
+
+
+<h2>BRACKETS.</h2>
+
+
+<div class="figcenter" style="width: 200px;" id="no_6">
+<img src="images/i_031.png" width="200" height="198" alt="Sketch of bracket." />
+<span class="caption">No. 6.</span>
+</div>
+
+<p>The beauty of a bracket depends entirely upon the
+artistic skill displayed in ornamenting it. The <a href="#no_6">engraving</a>
+here given is to illustrate the form of bracket
+best suited to give it strength and solidity, and to aid
+the artist in bringing the work well out, the strips of
+wood on each side of the piece in the centre will be
+found exceedingly useful to nail and glue the work<span class="pagenum" id="Page_37">[37]</span>
+upon; they must be entirely covered with the foliage;
+the centre piece can be hidden or not to suit the design;
+the appearance of brackets are much improved by having
+the edge of the upper part gilded.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_008.png" width="200" height="236" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_38">[38]</span></p>
+
+
+
+
+<h2>TO MAKE THE CONVOLVULUS FLOWERS.</h2>
+
+
+<div class="figcenter" style="width: 250px;" id="no_7">
+<img src="images/i_033.png" width="250" height="335" alt="Sketch of convolvulus." />
+<span class="caption">No. 7.</span>
+</div>
+
+<p>The Convolvulus, termed, by Botanists, Monopetalous,
+from its being composed of only one petal, is exceedingly
+well adapted for leather work; it is made by cutting a
+half circle of leather with a little piece cut out of the centre
+of the diameter, as seen in the annexed engraving (<a href="#no_7">Fig. 1</a>).
+The leather so cut must be wetted and <ins title="Transcriber's Note: original reads 'viened'">veined</ins>, then bent
+round (the smooth side inside, so that the smooth side<span class="pagenum" id="Page_39">[39]</span>
+of the leather form the inside of the flowers) until the
+two edges on each side of the notch come together, where
+they are to be joined by being either stitched or glued
+together; it will then have a conical shape, and must be
+moulded with the fingers, or the mould, until it assumes
+a natural appearance; the top can be cut to shape, and
+that part is finished; cut the stamina, as in (<a href="#no_7">Fig. 2</a>),
+leaving a stalk of leather attached to it in the following
+manner:&mdash;take a piece of basil about a quarter of an inch
+wide and a few inches long; cut the top as in <a href="#no_7">Fig. 2</a>,
+taking care to preserve the form of the anther at the top
+of each stamen, and rolling the stalk part up, put it
+through the petal and glue it in its proper place. The
+calyx has five leaves (<a href="#no_7">Fig. 3</a>), and is cut in one piece of
+leather; a hole is made in the centre, it is strung on the
+stalk and attached with glue to the bottom of the flower
+outside as in the finished flower (<a href="#no_7">Fig. 4</a>), so that the
+perfect convolvulus is composed of three pieces, the petal
+forming the body of the flower, the stamina inside, and
+the calyx at the bottom of the flower outside.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_40">[40]</span></p>
+
+
+
+
+<h2>THE CONVOLVULUS ANOTHER WAY.</h2>
+
+
+<p>Another way to make the Convolvulus is to cut a round
+piece of leather the size of the flower required, and while
+wet, moulding it over the mould for that purpose and
+bending it into shape; the Canterbury bell can be formed
+of one piece of leather in the same manner, cutting the
+top into proper shape with a pair of scissors.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_41">[41]</span></p>
+
+
+
+
+<h2>HOPS.</h2>
+
+
+<div class="figcenter" style="width: 250px;" id="no_8">
+<img src="images/i_036.png" width="250" height="343" alt="Sketch of hops." />
+<span class="caption"><ins title="Transcriber's Note: original reads 'Fig.'">No.</ins> 8.</span>
+</div>
+
+<p>The Hop consists of numerous membraneous scales
+having the fruit within, and at their base; with the fruit
+however we have nothing to do, as it is out of sight.
+The membraneous scales are the petals of the flower,
+and in the engraving (<a href="#no_8">Fig. 1</a>), are twenty in number;
+they are all the same size, and are cut out of skiver
+leather, the shape of the single petal (<a href="#no_8">Fig. 2</a>).</p>
+
+<p><span class="pagenum" id="Page_42">[42]</span></p>
+
+<p>To make the Hop, proceed as follows:&mdash;Take a piece
+of wire and wind leather round the end of it, as in <a href="#no_8">Fig. 3</a>,
+fastening it well with liquid glue; this inner body should
+be somewhat shorter than the Hop is to be when completed,
+and pointed at both ends. Cut out as many
+petals as are requisite, and mould them into a convex
+form at the end of each petal, then glue them alternately,
+commencing at the bottom and finishing at the top of the
+flowers.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_43">[43]</span></p>
+
+
+
+
+<h2>PASSION FLOWER.</h2>
+
+
+<p>The Passion Flower is composed in leather of five
+pieces, and when well made presents a very beautiful
+specimen of what can be accomplished in that material.</p>
+
+<div class="figcenter" style="width: 250px;" id="no_9">
+<img src="images/i_038.png" width="250" height="239" alt="Sketch of calyx and corolla of passion flower." />
+<span class="caption">No. 9.</span>
+</div>
+
+<p>In making the Passion Flower cut out the calyx of five
+leaves&mdash;that is the part of the drawing in the annexed
+<a href="#no_9">diagram</a> with the pointed end; then cut out the<span class="pagenum" id="Page_44">[44]</span>
+corolla of five petals with the rounded ends; cut
+also a circular piece for the <a href="#no_10">nectary</a>, which must be
+cut all round with the knife to form the radii,
+the centre having many small cuts radiating from the
+central point; when turned upward, in putting it in
+its place, forms the fringe-like appearance around the
+pistil seen in the flowers.</p>
+
+<div class="figcenter" style="width: 200px;" id="no_10">
+<img src="images/i_039.png" width="200" height="199" alt="Sketch of nectary of passion flower." />
+<span class="caption">No. 10.</span>
+</div>
+
+<p>The Passion Flower has five <a href="#no_11">stamina</a> with ladle-shaped
+ends, or anthers, and three stigmas a little elevated above
+and turning over the stamina; the anthers and stigma
+are made of one piece of leather. The involucrum<span class="pagenum" id="Page_45">[45]</span>
+is formed also of one piece, and the three leaves
+are laid one over the other as in the annexed flower.</p>
+
+<div class="figcenter" style="width: 300px;" id="no_11">
+<img src="images/i_040.png" width="300" height="417" alt="Sketch of stamina and involucrum of passion flower." />
+<span class="caption">No. 11.</span>
+</div>
+
+<p>To put together the various parts above described and
+form the Passion Flower, begin by doubling a piece of
+wire over the angles of the stamina, twisting it underneath;<span class="pagenum" id="Page_46">[46]</span>
+roll a piece of skiver leather round the wire to
+form the style of the pistil and the stem of the whole
+flower; then turn up the three stigmas and roll a small
+piece of leather round them close to the stamina and
+turn them over; this being done, place the nectary on
+the stem, taking care that the cut portion in the centre
+be arranged upwards around the pistil. The petals are
+next placed on the stem, followed by the calyx; the
+leaves of the calyx must alternate with the petals; liquid
+glue must be inserted between each portion of the flower
+to give it firmness.</p>
+
+<p>The involucrum, which is a sort of calyx, is put on
+the stem last a little way below the true calyx; we may
+just add, that all the leaves, petals, &amp;c., with the exception
+of the involucrum, must have the smooth side of the
+leather uppermost; the petals and calyx must be hollowed
+out with the modelling tool for that purpose, or if that is
+not at hand, use the handle of the veining tool, and laying
+the petals and also the calyx on a smooth surface,<span class="pagenum" id="Page_47">[47]</span>
+rub them with the ivory end of the veining tool till they
+become hollow and smooth as in the natural flower.</p>
+
+<div class="figcenter" style="width: 347px;" id="no_12">
+<img src="images/i_042.png" width="347" height="600" alt="Sketch of passion flower." />
+<span class="caption">No. 12.</span>
+</div>
+
+<p><span class="pagenum" id="Page_48">&nbsp;</span></p>
+<p><span class="pagenum" id="Page_49">[49]</span></p>
+
+<p>The above is the way, as plainly as we can possibly
+describe it, to make a <a href="#no_12">Passion Flower</a>. We have repeatedly
+made the flower exactly upon the above plan, and it
+has always been much admired.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_044.png" width="200" height="69" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_50">[50]</span></p>
+
+
+
+
+<h2>CAMILLA.</h2>
+
+
+<div class="figcenter" style="width: 250px;" id="no_13">
+<img src="images/i_045.png" width="250" height="257" alt="Sketch of camilla." />
+<span class="caption">No. 13.</span>
+</div>
+
+<p>Camillas vary in the form of leaves, and the petals
+vary in number. To make a <ins title="Transcriber's Note: original reads 'camillia'">camilla</ins>, cut out two pieces,
+as in the annexed <a href="#no_13">diagram</a>, containing four petals in
+each; then cut out one or two larger pieces, with six
+petals in each, and one or more still larger, with seven
+or eight petals; then, having a natural camilla at hand,<span class="pagenum" id="Page_51">[51]</span>
+mould them all into form, fasten all the pieces of leather
+together, the smallest at the top, and the largest at the
+bottom, so that the petals alternate, with liquid glue,
+and put a piece of wire through the whole for the stalk;
+cover it with skiver leather.</p>
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_046.png" width="600" height="151" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_52">[52]</span></p>
+
+
+
+
+<h2>JESSAMINE.</h2>
+
+
+<div class="figcenter" style="width: 94px;" id="no_14">
+<img src="images/i_047.png" width="94" height="200" alt="Sketch of jessamine." />
+<span class="caption">No. 14.</span>
+</div>
+
+<p>To make the Jessamine, copy the corolla from the
+annexed <a href="#no_14">design</a>, by cutting a star-like piece of basil, into
+which insert the wire for the stalk as closely as possible.
+As the stamina are not visible in this flower, it is needless
+to make them. The tube upon which the corolla rests,<span class="pagenum" id="Page_53">[53]</span>
+can be made by rolling a piece of leather round the wire
+thickest at the flower, and then add another piece of
+leather about an inch below the corolla, which must have
+five fine pointed leaves for the calyx.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_015.png" width="200" height="242" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_54">[54]</span></p>
+
+
+
+
+<h2>DAISY.</h2>
+
+
+<div class="figcenter" style="width: 91px;" id="no_15">
+<img src="images/i_049.png" width="91" height="250" alt="Sketch of daisy." />
+<span class="caption">No. 15.</span>
+</div>
+
+<p>The Daisy is formed by making two pieces of leather,
+like the <a href="#no_15">pattern</a>, one larger than the other, and putting
+the wire, for stalk, through both of them. The little
+golden centre of the daisy, can be well imitated by<span class="pagenum" id="Page_55">[55]</span>
+placing a round piece of leather, rather thick, in the
+centre, shaved off at the edges, and marked with the
+veining tool full of dots.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_011.png" width="200" height="139" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_56">[56]</span></p>
+
+
+
+
+<h2>ROSES.</h2>
+
+
+<div class="figcenter" style="width: 250px;" id="no_16">
+<img src="images/i_051.png" width="250" height="250" alt="Sketch of rose." />
+<span class="caption">No. 16.</span>
+</div>
+
+<p>A Wild Rose is made by cutting out two pieces of
+leather, exactly as in the <a href="#no_16">engraving</a>, putting the wire
+through two holes made in the centre of the pieces with
+a fine bradawl, and pass a piece of wire through the
+holes, leaving both ends of the wire at the back to be
+twisted for the stalk. To form the stamina, cut fine
+strips of leather as long again as the stamina are required
+to be, and insert them under the eye of the wire which<span class="pagenum" id="Page_57">[57]</span>
+forms the stalk; then cut the stamina, and pinch them up
+into form; the top piece, containing five petals, must
+be moulded and curved upward, inclosing the stamina;
+the bottom piece also, containing five petals, must be
+moulded downwards, curving and bending them into
+form.</p>
+
+<p>To make a larger Rose, cut out a smaller piece than
+is shewn in the engraving, of the same form, also the two
+in the engraving, and a larger piece of the same form
+making four pieces, containing twenty petals; then
+proceed as before-mentioned, and a fuller Rose is produced;
+thus the character of the flower and the number
+of petals can be regulated with comparative ease.</p>
+
+<p>The rose leaves can be moulded at the back by
+pressing them into the grape mould with one of the
+pressing tools.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_58">[58]</span></p>
+
+
+
+
+<h2>OAK AND IVY BRACKET.</h2>
+
+
+<div class="figcenter" style="width: 200px;" id="no_17">
+<img src="images/i_053.png" width="200" height="235" alt="Sketch of oak and ivy bracket." />
+<span class="caption">No. 17.</span>
+</div>
+
+<p>The Bracket <a href="#no_17">annexed</a> is out of the usual run of
+brackets which have generally been ornamented with
+leather work. The vine and the convolvulus pattern
+are much used with very beautiful effect. We intended
+this design to exhibit old oak: it should be stained very
+dark, the oak stems being very thick, while the stems of
+ivy can be formed of tendrils. To make the oak stems<span class="pagenum" id="Page_59">[59]</span>
+get very thick wire, and have it cut to the desired
+lengths, then cover the wires with leather, and bend
+them to resemble knarled oak; attach, as naturally as
+possible, oak leaves and acorns at the back of the wires,
+and on the wood work as shewn in the skeleton bracket
+in a former part of this work; then attach the ivy
+tendrils, leaves, and berries around the oak stems, and
+the bracket is completed.</p>
+
+<p>We have found it much improves the appearance of
+any piece of work we have been ornamenting, to give
+the whole when completed a slight coat of varnish.</p>
+
+<div class="figcenter" style="width: 76px;">
+<img src="images/i_054.png" width="76" height="100" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_60">[60]</span></p>
+
+
+
+
+<h2>WATCH STAND FINISHED.</h2>
+
+
+<div class="figcenter" style="width: 200px;" id="no_18">
+<img src="images/i_055.png" width="200" height="296" alt="Sketch of finished watch stand." />
+<span class="caption">No. 18.</span>
+</div>
+
+<p>The <a href="#no_18">design</a> for a Watch Stand will illustrate one of
+the various modes of ornamenting this kind of work; it
+is very light, and better than too much crowding the
+ornamented parts, which, besides being a waste of time,
+would not look so elegant as lighter work.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_61">[61]</span></p>
+
+
+
+
+<h2>CARD RACKS</h2>
+
+
+<div class="figcenter" style="width: 169px;" id="no_19">
+<img src="images/i_056.png" width="169" height="400" alt="Sketch of card rack." />
+<span class="caption">No. 19.</span>
+</div>
+
+<p>Can be made in a variety of ways&mdash;the design here
+<a href="#no_19">exhibited</a> is novel, and at the same time very useful.<span class="pagenum" id="Page_62">[62]</span>
+The back is made either with wood, or calf-skin leather;
+and the leaves forming the rack are also made of the
+same material. Calf-skin dries very hard, being treated
+exactly the same as the basil leather in the manner of
+working.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_008.png" width="200" height="236" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_63">[63]</span></p>
+
+
+
+
+<h2>THE ROUND OPEN WORK FRAME.</h2>
+
+
+<p>The beautiful design in the <a href="#no_20">accompanying page</a> is
+made with a round frame of any width desired, having
+two rebates, one inside and one outside the frame&mdash;the
+inside rebate being to admit the picture, and the outside
+one to allow of the nailing firmly to the frame the open
+work, which is to be made in the following manner:&mdash;Take
+a flat board, an ironing board will do, lay the frame
+upon it, and with a black lead pencil or a piece of chalk,
+mark the size all round, making allowance for the
+rebate; then having ready the stems, work them in and
+out, so as to form the open work as in the drawing;
+when finished, nail it to the frame, and work stems and
+tendrils of the vine, hop, passion flower, or any other
+beautiful creeping plant, attaching the fruit or flowers in
+an artistic manner, and the result will be one of the
+most elegant frames ever beheld.</p><p><span class="pagenum" id="Page_64">[64]</span></p>
+
+<p>The open or trellis work of this frame should have
+stout wire enclosed in the basil leather, and in order that
+it may not appear formal, wind pieces of leather round the
+naked wire at irregular intervals to resemble knots, &amp;c.
+then cover the whole with basil leather,&mdash;the stem and
+tendrils which are to wind in and out, and are a portion
+of the plant, are not to have wire in them.</p>
+
+<p>Fire Screens are generally filled with Berlin wool,
+or some other fancy needlework. Those who would
+prefer to have an entire piece of leather work can
+paint landscapes or flowers upon white leather, using the
+same medium as is used in body colour painting at the
+School of Design, mixed with finely powdered colours.</p>
+
+<p><span class="pagenum" id="Page_65">[65]</span></p>
+
+<div class="figcenter" style="width: 573px;" id="no_20">
+<img src="images/i_060.jpg" width="573" height="600" alt="Sketch of round open work frame." />
+<span class="caption">No. 20.</span>
+</div>
+
+<p><span class="pagenum" id="Page_66">&nbsp;</span></p>
+
+<p><span class="pagenum" id="Page_67">[67]</span></p>
+
+<div class="figcenter" style="width: 200px;" id="no_21">
+<img src="images/i_062.png" width="200" height="136" alt="Sketch of basket." />
+<span class="caption">No. 21.</span>
+</div>
+
+<p>The <a href="#no_21">basket</a> ornamented with rose sprays outside,
+can be lined inside with velvet, and little pockets being
+made in the velvet lining, they become a very useful
+article; the outside is stained old oak.</p><p><span class="pagenum" id="Page_68">[68]</span></p>
+
+<div class="figcenter" style="width: 110px;" id="no_22">
+<img src="images/i_063.png" width="110" height="300" alt="Sketch of border." />
+<span class="caption">No. 22.</span>
+</div>
+
+<p>The running border here <a href="#no_22">displayed</a> can be adapted to
+ornamenting cornices, poles, frames, &amp;c.; it is very easy
+of imitation, and will well repay the artist.</p><p><span class="pagenum" id="Page_69">[69]</span></p>
+
+<p>We shall conclude our designs with the <a href="#no_23">table</a>, which
+is made in four pieces, so that one part can be done at a
+time, and when completed, can be removed until the
+whole is completed, when it can be put firmly together,
+and forms a solid example of the use and beauty of the
+Ornamental Leather Work.</p><p><span class="pagenum" id="Page_70">[70]</span></p>
+
+<div class="figcenter" style="width: 355px;" id="no_23">
+<img src="images/i_065.png" width="355" height="600" alt="Sketch of table." />
+<span class="caption">No. 23.</span>
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_71">[71]</span></p>
+
+
+
+
+<h2>TO MAKE ACORNS.</h2>
+
+
+<p>Acorns can be made in the following manner. Procure
+some natural acorn-cups (which are to be found in great
+quantities in the autumn), choose such cups only as are
+perfectly sound; then pierce two holes through the
+bottom of the cup, pass a piece of fine wire through the
+holes, leaving the two ends long enough to be twisted
+into a stalk; if the stalk is to be exposed, it must be
+covered with skiver and made fast with Shaw’s liquid
+glue. The most correctly-formed acorn tops are those
+turned in wood, which can be firmly placed in the cup
+by the aid of the liquid glue; this completes the fully-formed
+acorn.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_72">[72]</span></p>
+
+
+
+
+<h2>CHERRIES.</h2>
+
+
+<p>Cherries are made in the same manner as grapes, and
+the stalk neatly covered with skiver leather.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_73">[73]</span></p>
+
+
+
+
+<h2>APPLES, &amp;c.</h2>
+
+
+<p>Apples and pears can be turned in wood; they may
+be left bare, or covered with skiver leather; they look
+much better covered with skiver, and are, then, leather
+work, properly speaking; or fruit may be moulded in
+plaster casts with gutta percha.</p>
+
+<p>Carved wood figures may be draped with tolerable
+success with the skiver leather, but we have never seen
+any that looked well enough when finished to repay the
+time and trouble.</p>
+
+<div class="figcenter" style="width: 69px;">
+<img src="images/i_068.png" width="69" height="100" alt="Decoration" />
+</div>
+
+<hr class="full" />
+
+<p><span class="pagenum" id="Page_74">[74]</span></p>
+
+
+
+
+<h2 class="fancy">Recipes.</h2>
+
+<hr class="chap noepub" />
+
+
+
+
+<h2>TO MAKE SIZE FOR STIFFENING THE
+LEATHER WORK.</h2>
+
+
+<p>Simmer 4 oz. of strips of parchment in 8 oz. of water
+till it is reduced one-half; skim off any impurities that
+may arise to the surface, then strain it through a fine
+sieve, or cloth, into a basin; leave it till cold, when it
+will be firm and clear; when required for use, cut off as
+much as you want, and warm it. Use while warm.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_75">[75]</span></p>
+
+
+
+
+<h2>TO MAKE STIFFENING WHICH IS NOT
+AFFECTED BY DAMP.</h2>
+
+
+<p>Mix, cold, 2 oz. of Australian red gum, 6 oz. of
+orange shellac, &frac12; pint spirits of wine; put all into a
+bottle, and shake it up occasionally till the gums are
+dissolved; strain, and it is fit for use. This is far
+preferable to the above size, as it is more hardening,
+dries quicker, is always ready for use, and is never
+affected by damp in change of weather.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_76">[76]</span></p>
+
+
+
+
+<h2>TO MAKE MAHOGANY VARNISH STAIN,
+WHICH DRIES IN A FEW MINUTES.</h2>
+
+
+<p>Mix, cold, &frac34; lb. Australian red gum, &frac14; lb. garnet
+shellac, 1 pint spirits of wine; put them in a bottle, and
+shake occasionally, till the gum is dissolved; strain,
+and it is fit for use. The above makes a capital varnish
+for leather of all kinds, especially for the leather covers
+of old books; it preserves them, and gives an appearance
+almost equal to new.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_77">[77]</span></p>
+
+
+
+
+<h2>SPIRIT OAK VARNISH STAIN</h2>
+
+
+<p>Can be made by adding to the above mahogany stain,
+a small portion of vegetable black, and shaking it up till
+well incorporated. To use the spirit oak stain on larger
+surfaces we have found it preferable to apply it in the
+same manner as a French polish&mdash;namely, let all dirt
+and wax be perfectly rubbed off with fine glass paper, till
+quite smooth, then make a flannel rubber in the form
+of a printer’s dabber, put a little stain on the dabber,
+and put a clean calico rag over it; apply a little linseed
+oil, with your finger, to the calico, and commence rubbing
+over a small space, in a circular direction (never
+suffering the rubber to remain on any part), till you feel
+it become tacky, then apply a little more oil, and so
+on, till the stain on the rubber is exhausted. Should
+the stain become too thick to work freely, add a few<span class="pagenum" id="Page_78">[78]</span>
+drops of spirits of wine, and shake it well together.
+When you have raised a fine polish over the surface, let
+it remain a few hours to harden, then take a clean bit of
+calico, and just damp it with spirits of wine, rub it
+lightly over the surface in a circular direction, which,
+repeated two or three times, will clear off all smears, and
+leave the most beautiful gloss ever seen.</p>
+
+<p>In this latter process of finishing off, you must be
+cautious not to damp the rag too much, for that would
+instantly destroy all the polish; also, to change the rag
+often, and not suffer it to remain on any part. For
+carved work it is only necessary to clean it as before
+directed, and apply the stain with a camel’s-hair brush,
+by a gentle fire, letting it dry between each application.</p>
+
+<p>The best oak varnish stain is that made with asphaltum;
+but, as the manufacturing is attended with great
+danger, we think it best not to give the particulars; and
+it can be procured cheaper than it could be made in small
+quantities.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_79">[79]</span></p>
+
+
+
+
+<h2>TO PRESERVE LEAVES AND KEEP THEM IN
+FORM FOR IMITATION.</h2>
+
+
+<p>Procure 1 lb. or more of white starch powder, dry it
+well in an open dish before the fire, put it on one
+side to cool, when quite cool, put a layer of half an inch
+at the bottom of a small box, observing that the box
+also is dry; gather the leaves, if possible, on a fine
+summer day, and lay as many leaves gently on the
+starch powder at the bottom of the box as can be done
+without interfering with each other, then sprinkle starch
+powder over them, and shake it down so that the powder
+settles all round above and below the leaves until they
+are completely covered, and about half an inch of the
+starch powder above them, then put another layer of
+leaves, and proceed with the starch powder as before
+until the box is filled, then press the top part, quite full
+of starch powder, fastening the lid of the box firmly
+down until the leaves are required. Ferns and flat leaves
+can be preserved by placing them between sheets of
+blotting paper under a weight.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_80">[80]</span></p>
+
+
+
+
+<h2>TO GILD LEATHER WORK.</h2>
+
+
+<p><i>The materials necessary for gilding of this kind are</i>&mdash;</p>
+
+<ul>
+<li>A Gilder’s Knife.</li>
+<li>A Gilder’s Cushion.</li>
+<li>Some Gold Leaf.</li>
+<li>A little Cotton Wool.</li>
+<li>A few Camel’s Hair Pencils.</li>
+<li>One or two Hog’s Hair Tools.</li>
+<li>A Tip.</li>
+<li>Oil Gold Size.</li>
+<li>Fat Oil.</li>
+<li>Drying Oil, and a</li>
+<li>Burnishing Stone.</li>
+</ul>
+
+<p>They cost only a few shillings, and with care last a
+very long time.</p><p><span class="pagenum" id="Page_81">[81]</span></p>
+
+<p>Size the wood work twice over with parchment size,
+cut all the leaves, and make the flowers in the usual manner;
+size them all over twice with parchment size; nail them
+down to the frame, and glue them when tacks would look
+unsightly: needle points are very useful in this work to
+secure it firmly, and cut them short off when the glued
+parts are dry&mdash;all the flowers and leaves being attached,
+go over the entire work again with parchment size very
+thinly; the parchment size must be used warm; when
+the size is dry, mix well in a cup or any clean earthen
+vessel about an ounce of oil gold size, and with equal
+parts of fat oil and drying oil thin the gold size to
+the consistence of cream; take a hog’s-hair tool, and with
+it brush equally and very thinly all over every part that
+can be seen with this prepared gold size, set it on one
+side for an hour or two or more, until it has become
+almost dry, and just sticks to your fingers when touched:
+it must now be gilded all over, and to do this, take a
+book of gold, handling it quietly, and mind there is no
+draft, as a current of air would blow all the gold away:
+turn out of the book two or three leaves of gold upon<span class="pagenum" id="Page_82">[82]</span>
+the cushion, and blow gently upon the centre of each
+leaf, to make them lay flat on the cushion; with the
+gilder’s knife cut the gold leaves into the sizes required
+to cover the work, and with the tip <ins title="Transcriber's Note: original reads 'or'">of</ins> the gilder’s knife
+take up the gold from the cushion and lay it all over the
+frame till it is covered, pressing the gold down with a large
+camel hair tool or a piece of cotton wool, taking care not
+to rub it backward or forward, but to put it very straight
+down on to the work; should there be any holes left,
+cut small pieces of gold leaf and lay over them, pressing
+the gold down, proceeding in the above manner till the
+frame is covered all over with gold; it must then be left
+to dry an hour or two, and when dry brush all the loose
+gold off with a large camel hair or badger’s hair tool,
+and the gilding is completed. Leather work gilded by
+the above process will bear washing, and is the most
+durable kind of gilding known.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_83">[83]</span></p>
+
+
+
+
+<h2>TO BURNISH GOLD.</h2>
+
+
+<p>Acorns and any wooden part attached to leather work
+can be burnished, which adds much to the variety of the
+work, and is done in the following manner:&mdash;that part
+of the work intended to be burnished must be prepared
+exactly as above, except that instead of using the prepared
+oil gold size take the white of an egg and give the
+work a coat of it, let it dry, then give it another coat,
+and when nearly dry see that it lays on evenly; apply
+the gold leaf all over; leave it an hour or two to become
+hard; then burnish it by rubbing it all over with a burnishing<span class="pagenum" id="Page_84">[84]</span>
+stone or any very hard and perfectly smooth
+substance. This burnish gilding is far more brilliant
+than the oil gold, but will not wash, and is not so
+durable.</p>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/i_025.png" width="250" height="174" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_85">[85]</span></p>
+
+
+
+
+<h2>BEE HIVES.</h2>
+
+
+<p>Bee Hives can be made with leather stems, as follows:&mdash;Cut
+a piece of wood to the shape and size required;
+wind and glue upon it the stems, beginning at the top,
+and finishing off at the bottom. To join the stems as
+you proceed, cut each end to an angle, so that they fit;
+join them with liquid glue, and tie a piece of thread round
+to hold them tightly together until the glue is dry.
+When the hive is completed, that portion of thread left
+visible can be cut off.</p>
+
+<p>To imitate the tying seen in hives, mark with a pen,
+or a camel’s hair pencil, with the darkest stain, lines and
+dots from top to bottom; cut a small piece out of the
+lower tier to make the entrance, and put a little handle
+at the top with a piece of stem.</p><p><span class="pagenum" id="Page_86">[86]</span></p>
+
+<p>When made as above, on wood, and well glued, they
+can be sawn in halves, thus making two. Placed amongst
+foliage, frames, &amp;c., they are quite in keeping, and have
+a pleasing effect.</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/i_081.png" width="200" height="168" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_87">[87]</span></p>
+
+
+
+
+<h2>TO PAINT ORNAMENTAL LEATHER WORK.</h2>
+
+
+<p>Use finely powdered colours, and mix them to the
+consistence of cream, with the following medium:&mdash;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 are about to mix any colours with it: or
+mix the colours with parchment size warmed; use while
+warm: or mix them with a weak solution of gum arabic;
+and, in either case, varnish them with a quick drying
+pale varnish. Oil colours will not do for painting this
+kind of materials: any of the above mediums, properly
+prepared, will answer well. Gilding may be interspersed
+with brilliant effect.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_88">[88]</span></p>
+
+
+
+
+<h2>A QUICK MODE OF STAINING.</h2>
+
+
+<p>The <ins title="Transcriber's Note: original reads 'qucikest'">quickest</ins> mode of staining the Ornamental Leather
+Work is as follows:&mdash;Procure a bottle of <span class="smcap">Revell’s
+Chymical Oak Colour Stain</span>. This preparation will
+not soil the hands, or the finest linen or woollen fabrics;
+will not stain wood or any other substance than the
+leather to which it is applied, to which it imparts the
+perfect appearance of old oak without any gloss, at the
+same time hardening the leather without injuring it.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_89">[89]</span></p>
+
+
+
+
+<h2>DIRECTIONS FOR USE.</h2>
+
+
+<p>Having your leaves, &amp;c., cut out and dried, pour some
+of the contents of this bottle into a saucer, and apply it
+copiously with a camel’s hair brush, all over the leaves,
+back and front, particularly the edges; bend them while
+damp as you wish them to appear upon the finished
+work, then dry them rather quickly at a moderate distance
+from the fire, or in a current of air; when dry
+they are ready for use.</p>
+
+<p>The leaves, &amp;c., can be attached to any form of work,
+and it is completed. When the entire work is complete,
+it can be varnished at pleasure, as follows:&mdash;Procure a
+bottle of <span class="smcap">Revell’s Oak Spirit Stain</span>, and give the
+entire work an even coat of it; it dries in a few minutes,
+and has the appearance of polished oak.</p>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_90">[90]</span></p>
+
+
+
+
+<h2>TO STAIN WOODEN ARTICLES.</h2>
+
+
+<p>If all the work is to be left dull, give the frame or
+bracket, &amp;c., a coat of <span class="smcap">Oak Spirit Stain</span>, which dries
+in dull if put upon new wood, not prepared in any manner.
+To prepare wooden frames, &amp;c., so that the <span class="smcap">Oak
+Spirit Stain</span> shall assume a polished surface, it is
+necessary to size the frame well and leave it to dry;
+when dry, give it one or more coats of <span class="smcap">Oak Spirit
+Stain</span>.</p>
+
+<p>Those who prefer making the <span class="smcap">Oak Spirit Stain</span>, can
+do so by referring to the receipt in this book; it is made
+with little trouble, and is composed principally of Australian
+Red Gum; a new article to most of our readers;
+and, although many druggists, &amp;c., have procured it
+when they have received orders for it, we are sorry to
+say, in several instances, they have said there was no
+article of that description; or else have substituted a<span class="pagenum" id="Page_91">[91]</span>
+different kind of gum, perfectly <em>worthless for this purpose</em>;
+consequently, disappointment has ensued; and in
+order to protect the public from being imposed upon,
+and ourselves the disgrace of publishing anything not
+practicable, we are obliged, in self-defence, to state how
+we came to use it.</p>
+
+<p>In the month of January, 1852, the publisher was
+applied to for a varnish stain that would dry quickly,
+and at the same time be the colour required: he was
+making experiments for this purpose, when, taking up
+the <span class="smcap">Times</span> newspaper of Friday, January 23rd, he found,
+under the heading of <span class="smcap">Society of Arts</span>, an epitome of
+Professor <span class="smcap">Edward Solly</span>’s lecture, at the above Society
+on the previous Wednesday, on vegetable substances
+used in the Arts, &amp;c. Allusions were made to a fine
+red gum from New South Wales: he procured the
+lecture, and then, after a little trouble, obtained samples;
+they were tested, and one was found to answer, and he
+has now in stock several tons of the proper kind for
+making the stain, and can supply it in any quantity.</p><p><span class="pagenum" id="Page_92">[92]</span></p>
+
+<p>We will now conclude by directing the student to an
+attentive observance of nature: we have avoided, as far as
+possible, technical terms; where they are used the illustrations
+will, in most cases, explain them. The study of
+this mode of decoration has often led those who had not
+before observed the varied beauties of the floral world to
+do so with the greatest pleasure and the happiest
+results.</p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/i_022.png" width="300" height="137" alt="Decoration" />
+</div>
+
+<hr class="chap noepub" />
+
+<p><span class="pagenum" id="Page_93">[93]</span></p>
+
+
+
+
+<h2>SHAW’S LIQUID <ins title="Transcriber's Note: original reads 'CLUE'">GLUE</ins></h2>
+
+
+<p>Requires no preparation, sets almost immediately, will
+resist wet, violence, time, and climate; adheres to any
+surface or material; cements china, marble, wood, paper,
+leather, &amp;c.; is useful to shipbuilders, carpenters, bookbinders,
+pianoforte, brush, and toy makers; and is so
+easy of application, that ladies and gentlemen may mend
+their own china, ornaments, toys, veneers, mouldings,
+parasols, book-covers, and a hundred other little articles,
+with the greatest ease and certainty.</p>
+
+<div class="center"><b>Price 6d. and 1s. per Bottle.</b></div>
+
+<hr class="tb" />
+
+<div class="center"><small>SOLD WHOLESALE AND RETAIL BY</small><br />
+J. REVELL, 272, <span class="smcap">Oxford Street</span>;<br />
+<span class="smcap">Messrs. BARCLAY &amp; Co., Farringdon Street</span>;<br />
+<span class="smcap">Messrs. Sutton &amp; Co., Bow Churchyard</span>;<br /><br />
+<small>AND TO BE HAD OF ALL</small><br />
+OILMEN, CHEMISTS, FANCY STATIONERS,<br />
+&amp;c., &amp;c.</div>
+
+<hr class="full" />
+
+<p><span class="pagenum" id="Page_94">[94]</span></p>
+
+
+
+
+<h2>LIST OF MATERIALS, &amp;c.,<br />
+
+<small>FOR THE</small><br />
+
+ORNAMENTAL<br />
+
+<big>LEATHER WORK.</big></h2>
+
+<div class="center">SOLD BY<br />
+
+<big>J. REVELL, 272, OXFORD STREET.</big></div>
+
+
+<ul>
+<li class="item">Basil Leather, of the first quality, at 1s. 6d. and 2s. per skin.</li>
+<li class="item">Skiver Leather, of the first quality, at 1s. 6d. and 2s. per skin.</li>
+<li class="item">Leather Leaves, 6d. per dozen, or 4s. per gross, assorted.</li>
+<li class="item">Leather Stems and Tendrils, 2d. each.</li>
+<li class="item">Passion Flowers, Roses, &amp;c., from 6d. to 2s. 6d. each.</li>
+<li class="item">Convolvulus and other less elaborate Flowers, from 2d. each.</li>
+<li class="item">Holly and Ivy Berries, 6d. per bundle.</li>
+<li class="item">Acorns, 1s. per dozen.<span class="pagenum" id="Page_95">[95]</span></li>
+<li class="item">Oak Varnish Stain, 1s. per bottle.</li>
+<li class="item">Spirit Oak Stain, 1s. per bottle</li>
+<li class="item">Spirit Mahogany Stain, 1s. per bottle</li>
+<li class="item">Revell’s Chymical Stain, which possesses the property
+of staining the leather used for this work, and will
+not soil the finest linen, neither will it stain wood,
+or any other material than leather. It can be applied
+either cold or warm. Sold, with full directions for
+use accompanying each bottle, price 1s. This being
+the invention of the publisher, purchasers are
+requested to observe his name and address on each
+seal.</li>
+<li class="item">Stephens’ Wood Stains.</li>
+<li class="item">Stains and Varnishes of every description.</li>
+<li class="item">Saucers for the Oak Stain, &amp;c., 1s. per doz.</li>
+<li class="item">Shaw’s Liquid Glue, without smell, 1s. per bottle.</li>
+<li class="item">Shaw’s Liquid Glue, Old kind, 6d. per bottle</li>
+<li class="item">Prepared Stiffening, 1s. per bottle</li>
+<li class="item">Veining Tools, 1s. 6d. each.</li>
+<li class="item">Cutting Tools, 1s. each</li>
+<li class="item">Grape Moulds, 2s. 6d. per set.<span class="pagenum" id="Page_96">[96]</span></li>
+<li class="item">Bradawls, 6d. each.</li>
+<li class="item">Hammers, 1s. 3d. each</li>
+<li class="item">Wire of different sizes.</li>
+<li class="item">Hog’s Hair Brushes, 3d. to 6d. each.</li>
+<li class="item">Camel’s Hair Pencils, from 1d. each</li>
+<li class="item">And a variety of Brackets, Frames, &amp;c., for Ornamenting.</li>
+</ul>
+
+<div class="figcenter break" style="width: 250px;">
+<img src="images/i_091.png" width="250" height="18" alt="Decoration" />
+</div>
+
+<div class="center"><span class="smcap">Printed by S. Odell, 18, Princes Street, Cavendish Square.</span></div>
+
+<p><span class="pagenum" id="Page_97">[97]</span></p>
+
+<hr class="chap noepub" />
+
+
+
+
+<h2>LIST OF VARIOUS ARTICLES,<br />
+
+<small>SOLD BY</small><br />
+
+JAMES REVELL, 272, OXFORD STREET, LONDON.</h2>
+
+<ul>
+<li class="category"><b>Oil Colours in Patent Collapsible Tubes,</b></li>
+
+<li class="desc"><i>Of various sizes, and in Extra Fine Powder.</i></li>
+
+<li class="item">Cremnitz White</li>
+<li class="item">Flake White</li>
+<li class="item">Nottingham White</li>
+<li class="item">Ultramarine</li>
+<li class="item">Ultramarine Ashes</li>
+<li class="item">Cobalt</li>
+<li class="item">Royal Smalt</li>
+<li class="item">French Ultramarine</li>
+<li class="item">Permanent Blue</li>
+<li class="item">Antwerp Blue</li>
+<li class="item">Prussian Blue</li>
+<li class="item">Indigo</li>
+<li class="item">Yellow Ochre</li>
+<li class="item">Indian Yellow</li>
+<li class="item">Chrome, 1, 2, 3</li>
+<li class="item">Italian Pink</li>
+<li class="item">Yellow Lake</li>
+<li class="item">King’s Yellow</li>
+<li class="item">Lemon Yellow, 1, 2</li>
+<li class="item">Dutch Pink</li>
+<li class="item">Naples Yellow</li>
+<li class="item">Lake</li>
+<li class="item">Purple Lake</li>
+<li class="item">Indian Lake</li>
+<li class="item">Crimson Lake</li>
+<li class="item">Scarlet Lake</li>
+<li class="item">Chinese Vermillion</li>
+<li class="item">Orange Vermillion</li>
+<li class="item">Red Chrome</li>
+<li class="item">Carmine</li>
+<li class="item">Madder Lake</li>
+<li class="item">Rose Madder</li>
+<li class="item">Pink Madder</li>
+<li class="item">Purple Madder</li>
+<li class="item">Light Red</li>
+<li class="item">Venetian Red</li>
+<li class="item">Indian Red, 1, 2</li>
+<li class="item">Brown Red</li>
+<li class="item">Raw Sienna</li>
+<li class="item">Burnt Sienna</li>
+<li class="item">Brown Ochre</li>
+<li class="item">Burnt Brown Ochre</li>
+<li class="item">Roman Ochre</li>
+<li class="item">Burnt Roman Ochre</li>
+<li class="item">Vandyke Brown</li>
+<li class="item">Raw Umber</li>
+<li class="item">Burnt Umber</li>
+<li class="item">Brown Pink</li>
+<li class="item">Madder Brown</li>
+<li class="item">Cologne Earth</li>
+<li class="item">Bone Brown</li>
+<li class="item">Cappa Brown</li>
+<li class="item">Asphaltum</li>
+<li class="item">Bitumen</li>
+<li class="item">Mummy</li>
+<li class="item">Emerald Green</li>
+<li class="item">Verdigris</li>
+<li class="item">Terra Vert</li>
+<li class="item">Chrome Green, 1, 2, 3</li>
+<li class="item">Oxyde of Chromium</li>
+<li class="item">Ivory Black</li>
+<li class="item">Blue Black</li>
+<li class="item">Lamp Black</li>
+<li class="item">Sugar of Lead</li>
+<li class="item">Gumption</li>
+<li class="item">Magylph<span class="pagenum" id="Page_98">[98]</span></li>
+
+
+<li class="category"><b>Sable Hair Pencils.</b></li>
+
+<li class="desc"><i>For Oil or Water.</i></li>
+
+<li class="item">Large Goose, Brown or Red</li>
+<li class="item">Small Goose, Brown or Red</li>
+<li class="item">Duck, Brown or Red</li>
+<li class="item">Crow, Brown or Red</li>
+<li class="item">Small Swan</li>
+<li class="item">Large Swan</li>
+<li class="item">Miniature</li>
+<li class="item">Lining or Rigging</li>
+<li class="item">Writing and Striping</li>
+
+
+<li class="category"><b>French Sables,</b></li>
+
+<li class="desc">IN TIN FOR WATER.<br />
+
+<i>Red or Brown.</i></li>
+
+<li class="item">Nos. 1, 2, 3, 4, 5, 6.</li>
+
+
+<li class="category"><b>Sables for Oil.</b></li>
+
+<li class="desc"><i>Round &amp; Flat.</i></li>
+
+<li class="item">Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.</li>
+
+
+<li class="category"><b>French Brushes.</b></li>
+
+<li class="desc"><i>Flat &amp; Round.</i></li>
+
+<li class="item">Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.</li>
+
+
+<li class="category"><b>Camel Hair Pencils,</b></li>
+
+<li class="desc"><i>All Sizes, Long and Short.</i></li>
+
+
+<li class="category"><b>Camel Hair Brushes,</b></li>
+
+<li class="desc"><i>In Flat Tins.</i></li>
+
+<li class="item">&frac12; inch</li>
+<li class="item">&frac34; inch</li>
+<li class="item">1 inch</li>
+<li class="item">1&frac14; inch</li>
+<li class="item">1&frac12; inch</li>
+<li class="item">1&frac34; inch</li>
+<li class="item">2 inch</li>
+<li class="item">2&frac12; inch</li>
+<li class="item">3     inch</li>
+<li class="item">4     inch</li>
+
+
+<li class="category"><b>Camel Hair Brushes,</b></li>
+
+<li class="desc"><i>In Round Tins.</i></li>
+
+<li class="item">Nos. 1, 2, 3, 4, 5, 6, 7, 8.</li>
+
+
+<li class="category"><b>Pencil Sticks.</b></li>
+
+<li class="item">Cedar, Ebony, Ivory,
+6, 12 &amp; 15 in.</li>
+
+
+<li class="category"><b>Badger Softeners.</b></li>
+
+<li class="desc"><i>Round &amp; Flat.</i></li>
+
+<li class="item">Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.</li>
+
+
+<li class="category"><b>Palette Knives.</b></li>
+
+<li class="item">Horn and Ivory</li>
+<li class="item">Steel, with Horn or Bone Handles</li>
+<li class="item">Steel, with Ivory Handles</li>
+<li class="item">Steel, Spatula Shape, Horn Handles</li>
+<li class="item">Steel, Spatula Shape, Ivory Handles</li>
+
+
+<li class="category"><b>Port Crayons.</b></li>
+
+<li class="item">Steel, Albata, and Brass.</li>
+
+
+<li class="category"><b>Brush Washers for
+Turpentine.</b></li>
+
+<li class="item">Nos. 1, 2, 3, 4.</li>
+
+
+<li class="category"><b>Oils and Varnish.</b></li>
+
+<li class="item">Spirits Turpentine</li>
+<li class="item">Cold Drawn Linseed Oil</li>
+<li class="item">Nut and Poppy Oil</li>
+<li class="item">Drying Oil, pale or strong</li>
+<li class="item">Fat Oil</li>
+<li class="item">Japan Gold Size</li>
+<li class="item">Mastic Varnish</li>
+<li class="item">Copal Varnish</li>
+<li class="item">White Hard Spirit Varnish</li>
+<li class="item">Asphaltum</li>
+<li class="item">Magylph</li>
+<li class="item">Gumption<span class="pagenum" id="Page_99">[99]</span></li>
+
+
+<li class="category"><b>Extra Fine Cake and Moist Water Colours,</b></li>
+
+<li class="desc">IN CAKES AND HALF CAKES.</li>
+
+<li class="item">Permanent White</li>
+<li class="item">Constant White</li>
+<li class="item">Flake White</li>
+<li class="item">Chinese White</li>
+<li class="item">&nbsp;</li>
+<li class="item">Ultramarine</li>
+<li class="item">Ultramarine Ashes</li>
+<li class="item">Cobalt</li>
+<li class="item">Azure Blue</li>
+<li class="item">Royal Smalt</li>
+<li class="item">French Ultramarine</li>
+<li class="item">Permanent Blue</li>
+<li class="item">Antwerp Blue</li>
+<li class="item">Prussian Blue</li>
+<li class="item">Indigo</li>
+<li class="item">Intense Blue</li>
+<li class="item">French Blue</li>
+<li class="item">&nbsp;</li>
+<li class="item">Gamboge</li>
+<li class="item">Yellow Ochre</li>
+<li class="item">Indian Yellow</li>
+<li class="item">Platina Yellow</li>
+<li class="item">Gall Stone</li>
+<li class="item">Lemon Yellow</li>
+<li class="item">Chrome, 1, 2, 3</li>
+<li class="item">Italian Pink</li>
+<li class="item">Dutch Pink</li>
+<li class="item">Yellow Lake</li>
+<li class="item">Mars Yellow</li>
+<li class="item">King’s Yellow</li>
+<li class="item">Naples Yellow</li>
+<li class="item">Patent Yellow</li>
+<li class="item">&nbsp;</li>
+<li class="item">Orange Orpiment</li>
+<li class="item">Orange Red</li>
+<li class="item">Mars Orange</li>
+<li class="item">Orange Vermillion</li>
+<li class="item">Lake</li>
+<li class="item">Crimson Lake</li>
+<li class="item">Scarlet Lake</li>
+<li class="item">Dark Lake</li>
+<li class="item">Indian Lake</li>
+<li class="item">Vermillion</li>
+<li class="item">Extract Vermillion</li>
+<li class="item">Scarlet Vermillion</li>
+<li class="item">Carmine</li>
+<li class="item">Burnt Carmine</li>
+<li class="item">Dragon’s Blood</li>
+<li class="item">Madder Lake</li>
+<li class="item">Rose Madder</li>
+<li class="item">Pink Madder</li>
+<li class="item">Pure Scarlet</li>
+<li class="item">Dahlia Carmine</li>
+<li class="item">Indian Red</li>
+<li class="item">Light Red</li>
+<li class="item">Venetian Red</li>
+<li class="item">Brown Red</li>
+<li class="item">Red Orpiment</li>
+<li class="item">Red Chalk</li>
+<li class="item">Red Chrome</li>
+<li class="item">Deep Rose</li>
+<li class="item">&nbsp;</li>
+<li class="item">Raw Sienna</li>
+<li class="item">Burnt Sienna</li>
+<li class="item">Brown Ochre</li>
+<li class="item">Roman Ochre</li>
+<li class="item">Burnt Roman Ochre</li>
+<li class="item">Vandyke Brown</li>
+<li class="item">Verona Brown, 1, 2, 3</li>
+<li class="item">Sepia</li>
+<li class="item">Warm Sepia</li>
+<li class="item">Roman Sepia</li>
+<li class="item">Raw Umber</li>
+<li class="item">Burnt Umber<span class="pagenum" id="Page_100">[100]</span></li>
+<li class="item">Brown Pink</li>
+<li class="item">Madder Brown</li>
+<li class="item">Cologne Earth</li>
+<li class="item">Bone Brown</li>
+<li class="item">Bronze</li>
+<li class="item">Reuben’s Brown</li>
+<li class="item">Mars Brown</li>
+<li class="item">Intense Brown</li>
+<li class="item">Cappa Brown</li>
+<li class="item">Bistre</li>
+<li class="item">Chalons Brown</li>
+<li class="item">&nbsp;</li>
+<li class="item">Payne’s Grey</li>
+<li class="item">Neutral Tint</li>
+<li class="item">&nbsp;</li>
+<li class="item">Purple</li>
+<li class="item">Indian Purple</li>
+<li class="item">Purple Madder</li>
+<li class="item">Purple Lake</li>
+<li class="item">&nbsp;</li>
+<li class="item">Sap Green</li>
+<li class="item">Emerald Green</li>
+<li class="item">Prussian Green</li>
+<li class="item">Chrome Green, 1, 2, 3</li>
+<li class="item">Oxyde of Chrome</li>
+<li class="item">Verdigris</li>
+<li class="item">Barber’s Green</li>
+<li class="item">Sea Green</li>
+<li class="item">Dark Green</li>
+<li class="item">Hooker’s Green, 1, 2</li>
+<li class="item">Olive Green</li>
+<li class="item">Terra Vert</li>
+<li class="item">Green Bice</li>
+<li class="item">&nbsp;</li>
+<li class="item">Lamp Black</li>
+<li class="item">Ivory Black</li>
+<li class="item">Blue Black</li>
+<li class="item">British Ink</li>
+<li class="item">Inlaying Black</li>
+
+
+<li class="category"><b>Gold and Silver Shells.</b></li>
+
+
+<li class="category"><b>Indelible, and Bright’s
+Landscape Crayons.</b></li>
+
+<li class="item">Singly or in Sets.</li>
+
+
+<li class="category"><b>Chalks, Crayons.</b></li>
+
+<li class="item">Italian Black Chalk</li>
+<li class="item">Italian Red and White</li>
+<li class="item">Soft French Black</li>
+<li class="item">Charcoal</li>
+<li class="item">Pastiles</li>
+<li class="item">Black Square Conté Crayons</li>
+<li class="item">Black, Round, plain Crayons</li>
+<li class="item">Black, Glazed Crayons</li>
+<li class="item">Velours, (very Soft and Black)</li>
+<li class="item">Round and Square Red Conté</li>
+<li class="item">Bistre</li>
+
+
+<li class="category"><b>Lead Pencils,</b></li>
+
+<li class="desc"><i>Extra Prepared.</i></li>
+
+<li class="item">H. Hard, for Sketching</li>
+<li class="item">H.H. Harder, for Outlines, &amp;c.</li>
+<li class="item">H.H.H. Very Hard, for Architectural Drawing, &amp;c.</li>
+<li class="item">H.B. Hard and Black</li>
+<li class="item">E.H.B. Extra Hard and Black</li>
+<li class="item">B. Black for Shading</li>
+<li class="item">B.B. Soft and Black</li>
+<li class="item">E.B.B. Extra Soft and Black</li>
+<li class="item">F. Fine for General Drawing</li>
+
+
+<li class="category"><b>Earthenware.</b></li>
+
+<li class="item">Palettes and Saucers</li>
+<li class="item">Cabinet Saucers in Morocco Case<span class="pagenum" id="Page_101">[101]</span></li>
+
+
+<li class="category"><b>Miscellaneous.</b></li>
+
+<li class="item">Drawing Pins</li>
+<li class="item">Indian Ink</li>
+<li class="item">Indian Rubber</li>
+<li class="item">Indian Glue</li>
+<li class="item">Sponge</li>
+<li class="item">Ox Gall</li>
+<li class="item">Lithograph Chalk</li>
+<li class="item">Gilder’s Knives, Tips and Cushions</li>
+<li class="item">Poonah Brushes</li>
+<li class="item">Burnish Gold Size</li>
+<li class="item">Oil Gold Size</li>
+<li class="item">Gold Leaf</li>
+<li class="item">Mezzotint Brushes</li>
+<li class="item">Permanent Ink</li>
+<li class="item">Velvet Scrubs</li>
+<li class="item">Picture Frames</li>
+<li class="item">Sealing Wax and Wafers</li>
+<li class="item">Pink Saucers</li>
+<li class="item">Slate Pencils</li>
+<li class="item">Tracing Points</li>
+<li class="item">Burnishing Stones</li>
+<li class="item">Bronze</li>
+<li class="item">Graining Combs and Tools</li>
+
+
+<li class="category"><b>Revell’s Permanent Brown Ink,</b></li>
+
+<li class="desc">FOR DRAWING UPON BASIL LEATHER.<br />
+
+<i>Price 1s. per Bottle.</i></li>
+
+<li class="item">Pen and Ink Drawings can be made with this Ink, they have all
+the appearance of the so-called Poker Paintings, (viz. Drawings
+upon Wood, executed with one or more red hot wires.) The Ink
+is permanent, and will be found advantageous as an adjunct to the
+Ornamental Leather Work.</li>
+
+
+<li class="category"><b>Unprepared Colours of the First Quality.</b></li>
+
+<li class="desc"><i>Colours of every description for House Painting, Park Fencing, &amp;c.</i></li>
+</ul>
+
+<hr class="chap noepub" />
+
+<div class="tnote-end">
+
+<p class="center"><a name="tn-end" id="tn-end"><b>Transcriber’s Note:</b></a></p>
+
+<p>Punctuation has been standardised.</p>
+
+<p>The following inconsistencies were normalised:</p>
+<ul class="corrections">
+<li>3 instances of ‘color’ changed to ‘colour’</li>
+<li>7 instances of ‘convolvolus’ changed to ‘convolvulus’</li>
+<li>6 instances of ‘tendrill’ changed to ‘tendril’</li>
+<li>Illustrations were renumbered from figure No. 14 onward
+(some numbers were out of order/duplicates)</li></ul>
+
+<p>The following additional original typos were repaired (the first line
+is the original text, the second the passage as currently stands):</p>
+<ul class="corrections">
+<li><a href="#Page_xii">Page xii</a>:<br />
+being <span class="correction">trailled</span> round a<br />
+being <span class="correction">trailed</span> round a
+</li>
+
+<li><a href="#Page_34">Page 34</a>:<br />
+<span class="correction">FUSCHIA.</span><br />
+<span class="correction">FUCHSIA.</span>
+</li>
+
+<li><a href="#Page_35">Page 35</a>:<br />
+put the <span class="correction">fuschia</span> together<br />
+put the <span class="correction">fuchsia</span> together
+</li>
+
+<li><a href="#Page_35">Page 35</a>:<br />
+they <span class="correction">mnst</span> be moulded<br />
+they <span class="correction">must</span> be moulded
+</li>
+
+<li><a href="#Page_38">Page 38</a>:<br />
+wetted and <span class="correction">viened</span>, then<br />
+wetted and <span class="correction">veined</span>, then
+</li>
+
+<li><a href="#Page_41">Page 41</a>:<br />
+<span class="correction">Fig.</span> 8<br />
+<span class="correction">No.</span> 8
+</li>
+
+<li><a href="#Page_50">Page 50</a>:<br />
+make a <span class="correction">camillia</span>, cut<br />
+make a <span class="correction">camilla</span>, cut
+</li>
+
+<li><a href="#Page_82">Page 82</a>:<br />
+with the tip <span class="correction">or</span> the<br />
+with the tip <span class="correction">of</span> the
+</li>
+
+<li><a href="#Page_88">Page 88</a>:<br />
+The <span class="correction">qucikest</span> mode of<br />
+The <span class="correction">quickest</span> mode of
+</li>
+
+<li><a href="#Page_93">Page 93</a>:<br />
+SHAW’S LIQUID <span class="correction">CLUE</span><br />
+SHAW’S LIQUID <span class="correction">GLUE</span>
+</li>
+</ul>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of A Complete Guide to the Ornamental
+Leather Work, by James Revell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
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+</pre>
+
+</body>
+</html>
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@@ -0,0 +1,1998 @@
+The Project Gutenberg EBook of A Complete Guide to the Ornamental Leather
+Work, by James Revell
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: A Complete Guide to the Ornamental Leather Work
+
+Author: James Revell
+
+Release Date: January 27, 2013 [EBook #41927]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+
+
+
+Produced by Chris Curnow, Rosanna Murphy and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+Transcriber's Note: italic text is denoted by _underscores_ and bold
+text by =equals signs=.
+
+
+
+
+A
+COMPLETE GUIDE
+
+TO THE
+
+ORNAMENTAL
+LEATHER WORK.
+
+
+Entered at Stationers' Hall.
+
+LONDON:
+PUBLISHED BY J. REVELL, 272 OXFORD STREET;
+
+SOLD BY
+T. T. LEMARE, OXFORD ARMS PASSAGE,
+PATERNOSTER ROW;
+
+B. SMITH, 107, FLEET STREET; AND ALL BOOKSELLERS.
+
+
+_Half-a-Crown._
+
+
+
+
+[Decoration]
+
+
+
+
+REVELL'S COMPLETE GUIDE TO THE ORNAMENTAL LEATHER WORK.
+
+
+
+
+GENERAL REMARKS.
+
+
+We feel assured that a long introduction is neither requisite to the
+reader or publisher of a Work like the present, and shall, therefore,
+merely say, that the great success our former little Works have met
+with, has induced us to send forth this edition, in which will be found
+every particular connected with this very useful source of amusement and
+fashionable department of _practical art_. The illustrations are
+furnished by a late pupil of the School of Design, who obtained the
+highest prize for Flower Painting, assisted by a student of the ROYAL
+ACADEMY OF ARTS. Every example given has been practically tested, and,
+in most instances, the drawings have been copied from the models
+executed in leather, and will be found to combine durability with beauty
+of design. In order to make the leather modelling as durable as
+possible, we have not departed from nature in the finished form, but in
+the mode of construction; for example, we make several portions of a
+flower in one piece of leather. The Narcissus and the beautiful White
+Lily have each six petals; in both instances, we make the entire corolla
+of the flowers in one piece; thereby, while losing none of the beauty of
+the natural form of the flowers, we gain strength and solidity; as, were
+the petals of the Lily or Narcissus to be composed of six pieces, one,
+if imperfectly cemented, might fall off and detract from the beauty of
+the entire piece of work. By our method of proceeding, it is impossible
+to do so: we mention this, as, in our description of Making and
+Modelling Flowers in Leather, we differ from the literally botanic
+construction, while, at the same time, we arrive at perfectly correct
+and artistic formation.
+
+In some flowers, as in the Hop, Dahlia, &c., we have found it
+impracticable to combine many petals in one piece of leather; where this
+is the case, especial care must be taken to have good liquid glue, and
+fasten each petal securely.
+
+All leather to be used in Modelling Leaves, Flowers, &c., must be first
+wetted, and modelled while wet; and as this is a general rule, the
+student will understand that mention of the necessity of this operation
+will not in every instance be repeated.
+
+Amongst the many uses to which Leather Work is applied, that of
+ornamenting Pulpits will be found a capital field for the display of
+this art, as it is capable of being moulded into any form, and nothing
+can possibly have a more substantial and beautiful appearance.
+
+Glasses of varied form, as jelly glasses and old-fashioned goblets, as
+well as many of modern manufacture, can be covered on the outside with
+Leather Work. Lilies of the Valley, and other such flowers, being
+trailed round a groundwork of leaves, and being either gilded or
+stained, look exceedingly well; and as they are capable of holding
+water, become really useful as well as ornamental articles for bouquets
+of flowers.
+
+Fire-screens and scroll work are executed exactly in the same manner, as
+described in the following pages, for frames. Fire-screens are generally
+filled with Berlin wool, or some other fancy work. Those who would
+prefer to have an entire piece of Leather Work, can paint landscapes or
+flowers upon white leather, using the same medium which is used at the
+School of Design for body colour painting, mixed with finely powdered
+colours.
+
+Gold Leather Work looks remarkably well upon a blue or crimson velvet
+ground, and makes very rich frames, fire screens, &c. When tastefully
+arranged, the flowers and leaves upon these grounds have a very
+magnificent appearance.
+
+Amongst the numerous articles which admit of being ornamented with
+leather, may be enumerated frames, brackets, vases, pole and hand
+screens, card plates and racks, music and watch stands.
+
+[Decoration]
+
+
+
+
+[Decoration]
+
+Revell's Complete Guide to Ornamental Leather Work.
+
+
+
+
+THE MATERIALS.
+
+
+_The principal Materials required for this work are_--
+
+  Basil Leather.
+  Skiver ditto.
+  A Bottle of Oak Varnish Stain.
+  Ditto Spirit Stain.
+  Ditto Shaw's Liquid Glue.
+  A Bottle of Stiffening.
+  A Small Hammer.
+  A few Brushes.
+  Some Tacks.
+  A pair of Nippers.
+  A Veining Tool.
+  A few hard Steel Pens.
+  Bradawl.
+  Pair of Scissors.
+  A Leather-cutting Knife.
+  Grape Moulds.
+  Ditto for Passion Flowers.
+  Fine Black Lead Pencil.
+
+[Decoration]
+
+
+
+
+LEATHER.
+
+
+The kind of leather used for general purposes is basil; it should be
+selected of an even texture and of a light colour, as the lighter
+coloured basil takes the oak varnish stain better than the dark.
+
+Great care must be taken to select it soft and free from blemishes, as
+if dark and rough leather is used, the work when finished, even by
+skilful hands, will not have so good an appearance as the production of
+much less skilful artists, where good basil leather is used.
+
+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 very useful for thin stems and any minute portion of
+the work.
+
+
+
+
+DIRECTIONS FOR MAKING THE LEAVES.
+
+
+[Illustration: No. 1.]
+
+Sketch, either from nature, or from the example annexed, the leaf you
+intend to copy, upon pasteboard; cut it out very carefully; then place a
+piece of basil in _cold_ water for half a minute (not longer), unless
+the leather is unusually thick; the leather should then be taken out of
+the water, and pressed in a linen cloth until the surface becomes dry.
+Being thus prepared, lay it quite flat and place upon it the pasteboard
+pattern, holding it firmly down with the left hand, while with the
+right, draw a line round the pattern with a fine hard black lead pencil
+or the veining tool: while the leather is damp cut out the leaf with a
+pair of scissors or with the leather-cutting knife, as occasion may
+require; when smaller or larger leaves are required, a reduced, or
+enlarged, sketch should be taken, a pattern made of it in pasteboard,
+and applied in the same manner as described above, cutting out as many
+leaves as you require, and generally making about four sizes of them, as
+varying the sizes of the leaves adds much to the beauty of the foliage.
+Leaves all the same size would have a very formal appearance, as they
+must be veined before they are allowed to dry; too much leather must not
+be wetted at a time, nor more leaves cut out than can be veined. To vein
+the leaves, mark them with the veining tool on the smooth side of the
+leather strongly, by pressing heavily on the leaf, where a thick vein is
+required; and more lightly where only finer ones should be visible; for
+raised veins employ the end of a fine pair of scissors for the large,
+and a hard steel pen for the smaller veins. Being veined, the leaves
+should be bent and moulded as they are to appear upon the work when it
+is completed: they should then be dried rather quickly, as it greatly
+assists in the hardening.
+
+[Decoration]
+
+
+
+
+TO HARDEN THEM.
+
+
+When the leaves are thoroughly dry, brush them all over, particularly
+the edges with the prepared stiffening, applying it with a camel's hair
+pencil, nimbly, as it dries very rapidly, apply it thin and evenly,
+taking care to cover the edges; when dry, they will be ready for
+staining.
+
+
+
+
+TO STAIN THEM.
+
+
+Pour a little oak varnish stain into a small vessel, and brush the
+leaves all over, using a hog's-hair tool for the purpose of laying on
+the stain, taking care to cover the edges, and brush it well out of the
+veined parts; should the leaves, when dry, not be so dark as desired,
+another coat can be given, but in no instance apply thick coats of
+stain, it will, if put on thick, most likely dry darker in one place
+than another, and will never have so smooth an appearance as when two
+thin coats have been applied; take care always that one coat must be dry
+before another is applied.
+
+
+
+
+TO MAKE STEMS.
+
+
+Cut strips of basil leather about one-third of an inch wide and 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, then roll them round as tightly as possible (the smooth side
+outwards) on a table or any even surface, and dry them; if required very
+stiff, add inside a piece of wire; when very thick ones are required the
+leather must be proportionately wider.
+
+
+
+
+TO MAKE TENDRILS.
+
+
+Tendrils are made in the same manner as Stems, using skiver instead of
+basil leather, dry them quickly, and they will then be ready for use in
+the following manner: take a tendril, damp it and immediately wind it
+round a bradawl or a piece of stout wire, taking care to fasten both
+ends of the tendril so that it does not fly off; dry it by the fire,
+then remove it from the awl and a delicately-formed tendril will be the
+result; arrange it and cut to length and form wished, and apply a coat
+of stiffening to keep it in shape. Stems and tendrils are to be hardened
+and stained precisely in the same manner as the leaves.
+
+
+
+
+GRAPES.
+
+
+In order to produce grapes symmetrically formed a proper mould should be
+obtained; then cut rounds of skiver leather the size required, which
+must be wetted and placed in the mould the smooth side downwards; then
+fill the leather in the mould firmly with wadding, and tie the grapes
+securely with strong thread or fine twine; when the grape is finished,
+put a piece of wire through the part where it has been tied up to form a
+stalk. Or grapes can be made of deal or any soft wood with a hole
+pierced through the centre large enough to admit of a leather or gutta
+percha stalk being drawn through and fastened at one end; they should
+now be stained and made into clusters; wooden grapes may be covered with
+damp skiver leather if preferred; it is necessary to observe, in making
+the clusters that the tying should be entirely concealed; all fruit and
+flowers must be stained, &c., precisely in the same manner as leaves.
+
+
+
+
+TO ORNAMENT A FRAME.
+
+
+Procure a deal frame of the size and form required, taking care to have
+it made of well-seasoned wood. Size it all over with patent size. Leave
+it about an hour to dry, then apply a coating of oak varnish stain, and
+when dry it will be ready for use. Commence the process of covering by
+attaching the stem with small tacks all round, in spaces of a few
+inches, in a zigzag direction. Supposing the vine pattern frame is
+selected, cover the wood with four or five gradations of foliage, well
+arranged, so as to preserve as nearly as possible, the natural
+appearance of the vine. Too great a profusion of grapes should be
+avoided; but as the number and size of the clusters can hardly be
+determined, we must therefore leave it to the taste of the artist.
+
+Common pins can be used with advantage in keeping in its proper place
+that portion of the work where glue only can be applied for the
+permanent fastening. When the work becomes firmly attached, the pins can
+either be withdrawn, or they can be cut off, close to the ornaments,
+with the nippers.
+
+[Decoration]
+
+
+
+
+THE PROPER KIND OF FRAMES TO PROCURE.
+
+
+[Illustration: No. 2.]
+
+The frames best adapted for the work, we have found to be those levelled
+off on the outer edge to about half an inch thinner than the inner, and
+formed as shewn in Fig. 1. Frames made in this shape greatly increase
+the beauty of the entire design. A narrow gold beading we have generally
+added inside, as the gold gives a more finished appearance to the
+frame.
+
+
+
+
+WATCH STANDS,
+
+
+Can, like one below, be made by every carpenter; they must be strong to
+bear the nailing and gluing on of the leather ornaments. The design here
+given (Fig. 2), we keep, as well as other descriptions in stock, but
+they can be varied _ad infinitum_; and we shall be happy to make any
+design to order very promptly, or, as we have before observed, almost
+any carpenter can make them, if furnished with a drawing to work from.
+
+[Illustration: No. 3.]
+
+[Decoration]
+
+
+
+
+THE WHITE LILY.
+
+
+[Illustration: No. 4.]
+
+This beautiful flower, one of the oldest inhabitants of the flower
+garden, has six petals, which are formed of one piece of leather, as in
+Fig. 1; the three largest petals, which, alternate with the others, are
+brought uppermost, while the three smaller ones are placed behind. Our
+readers will at once perceive what is meant by referring to the finished
+flower; they are to be veined and curled as in the natural flower, and
+the petals will require to be glued to keep them in their proper places;
+it is necessary, if you have not our mould for that purpose, to adapt
+something to place the lily upon while modelling it, as near the shape
+of the interior of the flower as possible. The lily has six stamina,
+with oblong anthers, which are made in the manner described for the
+convolvulus; the pistil, with its swollen base or germen, lengthened
+style and heart-shaped stigma, should be carefully imitated from nature,
+being a very prominent feature in the flower; the stamina should be
+placed round the germen of the pistil and fastened with liquid glue into
+the centre of the flower; it must be recollected that the smooth side of
+the leather must be inside the lily as in the convolvulus; some flowers
+require the smooth side of the leather inside, and some outside; it must
+depend upon whether the interior or exterior of the flower is most in
+sight, and in some instances in the same flower some petals must be
+placed one way, and some another.
+
+The bud of the lily is formed by merely folding the whole corolla
+together veined.
+
+[Decoration]
+
+
+
+
+FUCHSIA.
+
+
+[Illustration: No. 5.]
+
+The calyx forms the external part of this flower, and is made with one
+piece of leather cut as in the accompanying (Fig. 1). The petals within
+this are four, and are cut out, the four in one piece; in the form of
+the dotted line, in Fig. 1, they must be moulded into shape and glued
+to the stamina inside the calyx so as to alternate with its petals. This
+flower belongs to the class Enneandria, having nine stamina; they are to
+cut in one piece of leather. To put the fuchsia together, proceed as
+follows:--Cut the nine stamina, and attach to them the wire, to form the
+stalk; then roll the four petals firmly over the stamina; they must be
+moulded and glued round the stamina and stalk, then take the calyx and
+roll round the whole; the leaves must be expanded and moulded as in the
+engraving, taking care that the stamina are left out as in the natural
+flower, and that the inner petals alternate with the leaves of the
+calyx; to make the buds, roll up the calyx, and turn the ends in, not
+inserting any stamina.
+
+
+
+
+BRACKETS.
+
+
+[Illustration: No. 6.]
+
+The beauty of a bracket depends entirely upon the artistic skill
+displayed in ornamenting it. The engraving here given is to illustrate
+the form of bracket best suited to give it strength and solidity, and to
+aid the artist in bringing the work well out, the strips of wood on each
+side of the piece in the centre will be found exceedingly useful to nail
+and glue the work upon; they must be entirely covered with the foliage;
+the centre piece can be hidden or not to suit the design; the appearance
+of brackets are much improved by having the edge of the upper part
+gilded.
+
+[Decoration]
+
+
+
+
+TO MAKE THE CONVOLVULUS FLOWERS.
+
+
+[Illustration: No. 7.]
+
+The Convolvulus, termed, by Botanists, Monopetalous, from its being
+composed of only one petal, is exceedingly well adapted for leather
+work; it is made by cutting a half circle of leather with a little piece
+cut out of the centre of the diameter, as seen in the annexed engraving
+(Fig. 1). The leather so cut must be wetted and veined, then bent round
+(the smooth side inside, so that the smooth side of the leather form
+the inside of the flowers) until the two edges on each side of the notch
+come together, where they are to be joined by being either stitched or
+glued together; it will then have a conical shape, and must be moulded
+with the fingers, or the mould, until it assumes a natural appearance;
+the top can be cut to shape, and that part is finished; cut the stamina,
+as in (Fig. 2), leaving a stalk of leather attached to it in the
+following manner:--take a piece of basil about a quarter of an inch wide
+and a few inches long; cut the top as in Fig. 2, taking care to preserve
+the form of the anther at the top of each stamen, and rolling the stalk
+part up, put it through the petal and glue it in its proper place. The
+calyx has five leaves (Fig. 3), and is cut in one piece of leather; a
+hole is made in the centre, it is strung on the stalk and attached with
+glue to the bottom of the flower outside as in the finished flower (Fig.
+4), so that the perfect convolvulus is composed of three pieces, the
+petal forming the body of the flower, the stamina inside, and the calyx
+at the bottom of the flower outside.
+
+
+
+
+THE CONVOLVULUS ANOTHER WAY.
+
+
+Another way to make the Convolvulus is to cut a round piece of leather
+the size of the flower required, and while wet, moulding it over the
+mould for that purpose and bending it into shape; the Canterbury bell
+can be formed of one piece of leather in the same manner, cutting the
+top into proper shape with a pair of scissors.
+
+
+
+
+HOPS.
+
+
+[Illustration: No. 8.]
+
+The Hop consists of numerous membraneous scales having the fruit within,
+and at their base; with the fruit however we have nothing to do, as it
+is out of sight. The membraneous scales are the petals of the flower,
+and in the engraving (Fig. 1), are twenty in number; they are all the
+same size, and are cut out of skiver leather, the shape of the single
+petal (Fig. 2).
+
+To make the Hop, proceed as follows:--Take a piece of wire and wind
+leather round the end of it, as in Fig. 3, fastening it well with liquid
+glue; this inner body should be somewhat shorter than the Hop is to be
+when completed, and pointed at both ends. Cut out as many petals as are
+requisite, and mould them into a convex form at the end of each petal,
+then glue them alternately, commencing at the bottom and finishing at
+the top of the flowers.
+
+
+
+
+PASSION FLOWER.
+
+
+The Passion Flower is composed in leather of five pieces, and when well
+made presents a very beautiful specimen of what can be accomplished in
+that material.
+
+[Illustration: No. 9.]
+
+In making the Passion Flower cut out the calyx of five leaves--that is
+the part of the drawing in the annexed diagram with the pointed end;
+then cut out the corolla of five petals with the rounded ends; cut also
+a circular piece for the nectary, which must be cut all round with the
+knife to form the radii, the centre having many small cuts radiating
+from the central point; when turned upward, in putting it in its place,
+forms the fringe-like appearance around the pistil seen in the flowers.
+
+[Illustration: No. 10.]
+
+The Passion Flower has five stamina with ladle-shaped ends, or anthers,
+and three stigmas a little elevated above and turning over the stamina;
+the anthers and stigma are made of one piece of leather. The involucrum
+is formed also of one piece, and the three leaves are laid one over the
+other as in the annexed flower.
+
+[Illustration: No. 11.]
+
+To put together the various parts above described and form the Passion
+Flower, begin by doubling a piece of wire over the angles of the
+stamina, twisting it underneath; roll a piece of skiver leather round
+the wire to form the style of the pistil and the stem of the whole
+flower; then turn up the three stigmas and roll a small piece of leather
+round them close to the stamina and turn them over; this being done,
+place the nectary on the stem, taking care that the cut portion in the
+centre be arranged upwards around the pistil. The petals are next placed
+on the stem, followed by the calyx; the leaves of the calyx must
+alternate with the petals; liquid glue must be inserted between each
+portion of the flower to give it firmness.
+
+The involucrum, which is a sort of calyx, is put on the stem last a
+little way below the true calyx; we may just add, that all the leaves,
+petals, &c., with the exception of the involucrum, must have the smooth
+side of the leather uppermost; the petals and calyx must be hollowed out
+with the modelling tool for that purpose, or if that is not at hand, use
+the handle of the veining tool, and laying the petals and also the calyx
+on a smooth surface, rub them with the ivory end of the veining tool
+till they become hollow and smooth as in the natural flower.
+
+[Illustration: No. 12.]
+
+The above is the way, as plainly as we can possibly describe it, to make
+a Passion Flower. We have repeatedly made the flower exactly upon the
+above plan, and it has always been much admired.
+
+[Decoration]
+
+
+
+
+CAMILLA.
+
+
+[Illustration: No. 13.]
+
+Camillas vary in the form of leaves, and the petals vary in number. To
+make a camilla, cut out two pieces, as in the annexed diagram,
+containing four petals in each; then cut out one or two larger pieces,
+with six petals in each, and one or more still larger, with seven or
+eight petals; then, having a natural camilla at hand, mould them all
+into form, fasten all the pieces of leather together, the smallest at
+the top, and the largest at the bottom, so that the petals alternate,
+with liquid glue, and put a piece of wire through the whole for the
+stalk; cover it with skiver leather.
+
+[Decoration]
+
+
+
+
+JESSAMINE.
+
+
+[Illustration: No. 14.]
+
+To make the Jessamine, copy the corolla from the annexed design, by
+cutting a star-like piece of basil, into which insert the wire for the
+stalk as closely as possible. As the stamina are not visible in this
+flower, it is needless to make them. The tube upon which the corolla
+rests, can be made by rolling a piece of leather round the wire
+thickest at the flower, and then add another piece of leather about an
+inch below the corolla, which must have five fine pointed leaves for the
+calyx.
+
+[Decoration]
+
+
+
+
+DAISY.
+
+
+[Illustration: No. 15.]
+
+The Daisy is formed by making two pieces of leather, like the pattern,
+one larger than the other, and putting the wire, for stalk, through both
+of them. The little golden centre of the daisy, can be well imitated by
+placing a round piece of leather, rather thick, in the centre, shaved
+off at the edges, and marked with the veining tool full of dots.
+
+[Decoration]
+
+
+
+
+ROSES.
+
+
+[Illustration: No. 16.]
+
+A Wild Rose is made by cutting out two pieces of leather, exactly as in
+the engraving, putting the wire through two holes made in the centre of
+the pieces with a fine bradawl, and pass a piece of wire through the
+holes, leaving both ends of the wire at the back to be twisted for the
+stalk. To form the stamina, cut fine strips of leather as long again as
+the stamina are required to be, and insert them under the eye of the
+wire which forms the stalk; then cut the stamina, and pinch them up
+into form; the top piece, containing five petals, must be moulded and
+curved upward, inclosing the stamina; the bottom piece also, containing
+five petals, must be moulded downwards, curving and bending them into
+form.
+
+To make a larger Rose, cut out a smaller piece than is shewn in the
+engraving, of the same form, also the two in the engraving, and a larger
+piece of the same form making four pieces, containing twenty petals;
+then proceed as before-mentioned, and a fuller Rose is produced; thus
+the character of the flower and the number of petals can be regulated
+with comparative ease.
+
+The rose leaves can be moulded at the back by pressing them into the
+grape mould with one of the pressing tools.
+
+
+
+
+OAK AND IVY BRACKET.
+
+
+[Illustration: No. 17.]
+
+The Bracket annexed is out of the usual run of brackets which have
+generally been ornamented with leather work. The vine and the
+convolvulus pattern are much used with very beautiful effect. We
+intended this design to exhibit old oak: it should be stained very dark,
+the oak stems being very thick, while the stems of ivy can be formed of
+tendrils. To make the oak stems get very thick wire, and have it cut to
+the desired lengths, then cover the wires with leather, and bend them to
+resemble knarled oak; attach, as naturally as possible, oak leaves and
+acorns at the back of the wires, and on the wood work as shewn in the
+skeleton bracket in a former part of this work; then attach the ivy
+tendrils, leaves, and berries around the oak stems, and the bracket is
+completed.
+
+We have found it much improves the appearance of any piece of work we
+have been ornamenting, to give the whole when completed a slight coat of
+varnish.
+
+[Decoration]
+
+
+
+
+WATCH STAND FINISHED.
+
+
+[Illustration: No. 18.]
+
+The design for a Watch Stand will illustrate one of the various modes of
+ornamenting this kind of work; it is very light, and better than too
+much crowding the ornamented parts, which, besides being a waste of
+time, would not look so elegant as lighter work.
+
+
+
+
+CARD RACKS
+
+
+[Illustration: No. 19.]
+
+Can be made in a variety of ways--the design here exhibited is novel,
+and at the same time very useful. The back is made either with wood, or
+calf-skin leather; and the leaves forming the rack are also made of the
+same material. Calf-skin dries very hard, being treated exactly the same
+as the basil leather in the manner of working.
+
+[Decoration]
+
+
+
+
+THE ROUND OPEN WORK FRAME.
+
+
+The beautiful design in the accompanying page is made with a round frame
+of any width desired, having two rebates, one inside and one outside the
+frame--the inside rebate being to admit the picture, and the outside one
+to allow of the nailing firmly to the frame the open work, which is to
+be made in the following manner:--Take a flat board, an ironing board
+will do, lay the frame upon it, and with a black lead pencil or a piece
+of chalk, mark the size all round, making allowance for the rebate; then
+having ready the stems, work them in and out, so as to form the open
+work as in the drawing; when finished, nail it to the frame, and work
+stems and tendrils of the vine, hop, passion flower, or any other
+beautiful creeping plant, attaching the fruit or flowers in an artistic
+manner, and the result will be one of the most elegant frames ever
+beheld.
+
+The open or trellis work of this frame should have stout wire enclosed
+in the basil leather, and in order that it may not appear formal, wind
+pieces of leather round the naked wire at irregular intervals to
+resemble knots, &c. then cover the whole with basil leather,--the stem
+and tendrils which are to wind in and out, and are a portion of the
+plant, are not to have wire in them.
+
+Fire Screens are generally filled with Berlin wool, or some other fancy
+needlework. Those who would prefer to have an entire piece of leather
+work can paint landscapes or flowers upon white leather, using the same
+medium as is used in body colour painting at the School of Design, mixed
+with finely powdered colours.
+
+[Illustration: No. 20.]
+
+[Illustration: No. 21.]
+
+The basket ornamented with rose sprays outside, can be lined inside with
+velvet, and little pockets being made in the velvet lining, they become
+a very useful article; the outside is stained old oak.
+
+[Illustration: No. 22.]
+
+The running border here displayed can be adapted to ornamenting
+cornices, poles, frames, &c.; it is very easy of imitation, and will
+well repay the artist.
+
+We shall conclude our designs with the table, which is made in four
+pieces, so that one part can be done at a time, and when completed, can
+be removed until the whole is completed, when it can be put firmly
+together, and forms a solid example of the use and beauty of the
+Ornamental Leather Work.
+
+[Illustration: No. 23.]
+
+
+
+
+TO MAKE ACORNS.
+
+
+Acorns can be made in the following manner. Procure some natural
+acorn-cups (which are to be found in great quantities in the autumn),
+choose such cups only as are perfectly sound; then pierce two holes
+through the bottom of the cup, pass a piece of fine wire through the
+holes, leaving the two ends long enough to be twisted into a stalk; if
+the stalk is to be exposed, it must be covered with skiver and made fast
+with Shaw's liquid glue. The most correctly-formed acorn tops are those
+turned in wood, which can be firmly placed in the cup by the aid of the
+liquid glue; this completes the fully-formed acorn.
+
+
+
+
+CHERRIES.
+
+
+Cherries are made in the same manner as grapes, and the stalk neatly
+covered with skiver leather.
+
+
+
+
+APPLES, &c.
+
+
+Apples and pears can be turned in wood; they may be left bare, or
+covered with skiver leather; they look much better covered with skiver,
+and are, then, leather work, properly speaking; or fruit may be moulded
+in plaster casts with gutta percha.
+
+Carved wood figures may be draped with tolerable success with the skiver
+leather, but we have never seen any that looked well enough when
+finished to repay the time and trouble.
+
+[Decoration]
+
+
+
+
+Recipes.
+
+
+
+
+TO MAKE SIZE FOR STIFFENING THE LEATHER WORK.
+
+
+Simmer 4 oz. of strips of parchment in 8 oz. of water till it is reduced
+one-half; skim off any impurities that may arise to the surface, then
+strain it through a fine sieve, or cloth, into a basin; leave it till
+cold, when it will be firm and clear; when required for use, cut off as
+much as you want, and warm it. Use while warm.
+
+
+
+
+TO MAKE STIFFENING WHICH IS NOT AFFECTED BY DAMP.
+
+
+Mix, cold, 2 oz. of Australian red gum, 6 oz. of orange shellac, 1/2
+pint spirits of wine; put all into a bottle, and shake it up
+occasionally till the gums are dissolved; strain, and it is fit for use.
+This is far preferable to the above size, as it is more hardening, dries
+quicker, is always ready for use, and is never affected by damp in
+change of weather.
+
+
+
+
+TO MAKE MAHOGANY VARNISH STAIN, WHICH DRIES IN A FEW MINUTES.
+
+
+Mix, cold, 3/4 lb. Australian red gum, 1/4 lb. garnet shellac, 1 pint
+spirits of wine; put them in a bottle, and shake occasionally, till the
+gum is dissolved; strain, and it is fit for use. The above makes a
+capital varnish for leather of all kinds, especially for the leather
+covers of old books; it preserves them, and gives an appearance almost
+equal to new.
+
+
+
+
+SPIRIT OAK VARNISH STAIN
+
+
+Can be made by adding to the above mahogany stain, a small portion of
+vegetable black, and shaking it up till well incorporated. To use the
+spirit oak stain on larger surfaces we have found it preferable to apply
+it in the same manner as a French polish--namely, let all dirt and wax
+be perfectly rubbed off with fine glass paper, till quite smooth, then
+make a flannel rubber in the form of a printer's dabber, put a little
+stain on the dabber, and put a clean calico rag over it; apply a little
+linseed oil, with your finger, to the calico, and commence rubbing over
+a small space, in a circular direction (never suffering the rubber to
+remain on any part), till you feel it become tacky, then apply a little
+more oil, and so on, till the stain on the rubber is exhausted. Should
+the stain become too thick to work freely, add a few drops of spirits
+of wine, and shake it well together. When you have raised a fine polish
+over the surface, let it remain a few hours to harden, then take a clean
+bit of calico, and just damp it with spirits of wine, rub it lightly
+over the surface in a circular direction, which, repeated two or three
+times, will clear off all smears, and leave the most beautiful gloss
+ever seen.
+
+In this latter process of finishing off, you must be cautious not to
+damp the rag too much, for that would instantly destroy all the polish;
+also, to change the rag often, and not suffer it to remain on any part.
+For carved work it is only necessary to clean it as before directed, and
+apply the stain with a camel's-hair brush, by a gentle fire, letting it
+dry between each application.
+
+The best oak varnish stain is that made with asphaltum; but, as the
+manufacturing is attended with great danger, we think it best not to
+give the particulars; and it can be procured cheaper than it could be
+made in small quantities.
+
+
+
+
+TO PRESERVE LEAVES AND KEEP THEM IN FORM FOR IMITATION.
+
+
+Procure 1 lb. or more of white starch powder, dry it well in an open
+dish before the fire, put it on one side to cool, when quite cool, put a
+layer of half an inch at the bottom of a small box, observing that the
+box also is dry; gather the leaves, if possible, on a fine summer day,
+and lay as many leaves gently on the starch powder at the bottom of the
+box as can be done without interfering with each other, then sprinkle
+starch powder over them, and shake it down so that the powder settles
+all round above and below the leaves until they are completely covered,
+and about half an inch of the starch powder above them, then put another
+layer of leaves, and proceed with the starch powder as before until the
+box is filled, then press the top part, quite full of starch powder,
+fastening the lid of the box firmly down until the leaves are required.
+Ferns and flat leaves can be preserved by placing them between sheets of
+blotting paper under a weight.
+
+
+
+
+TO GILD LEATHER WORK.
+
+
+_The materials necessary for gilding of this kind are_--
+
+  A Gilder's Knife.
+  A ditto Cushion.
+  Some Gold Leaf.
+  A little Cotton Wool.
+  A few Camel's Hair Pencils.
+  One or two Hog's Hair Tools.
+  A Tip.
+  Oil Gold Size.
+  Fat Oil.
+  Drying Oil, and a
+  Burnishing Stone.
+
+They cost only a few shillings, and with care last a very long time.
+
+Size the wood work twice over with parchment size, cut all the leaves,
+and make the flowers in the usual manner; size them all over twice with
+parchment size; nail them down to the frame, and glue them when tacks
+would look unsightly: needle points are very useful in this work to
+secure it firmly, and cut them short off when the glued parts are
+dry--all the flowers and leaves being attached, go over the entire work
+again with parchment size very thinly; the parchment size must be used
+warm; when the size is dry, mix well in a cup or any clean earthen
+vessel about an ounce of oil gold size, and with equal parts of fat oil
+and drying oil thin the gold size to the consistence of cream; take a
+hog's-hair tool, and with it brush equally and very thinly all over
+every part that can be seen with this prepared gold size, set it on one
+side for an hour or two or more, until it has become almost dry, and
+just sticks to your fingers when touched: it must now be gilded all
+over, and to do this, take a book of gold, handling it quietly, and mind
+there is no draft, as a current of air would blow all the gold away:
+turn out of the book two or three leaves of gold upon the cushion, and
+blow gently upon the centre of each leaf, to make them lay flat on the
+cushion; with the gilder's knife cut the gold leaves into the sizes
+required to cover the work, and with the tip of the gilder's knife take
+up the gold from the cushion and lay it all over the frame till it is
+covered, pressing the gold down with a large camel hair tool or a piece
+of cotton wool, taking care not to rub it backward or forward, but to
+put it very straight down on to the work; should there be any holes
+left, cut small pieces of gold leaf and lay over them, pressing the gold
+down, proceeding in the above manner till the frame is covered all over
+with gold; it must then be left to dry an hour or two, and when dry
+brush all the loose gold off with a large camel hair or badger's hair
+tool, and the gilding is completed. Leather work gilded by the above
+process will bear washing, and is the most durable kind of gilding
+known.
+
+
+
+
+TO BURNISH GOLD.
+
+
+Acorns and any wooden part attached to leather work can be burnished,
+which adds much to the variety of the work, and is done in the following
+manner:--that part of the work intended to be burnished must be prepared
+exactly as above, except that instead of using the prepared oil gold
+size take the white of an egg and give the work a coat of it, let it
+dry, then give it another coat, and when nearly dry see that it lays on
+evenly; apply the gold leaf all over; leave it an hour or two to become
+hard; then burnish it by rubbing it all over with a burnishing stone or
+any very hard and perfectly smooth substance. This burnish gilding is
+far more brilliant than the oil gold, but will not wash, and is not so
+durable.
+
+[Decoration]
+
+
+
+
+BEE HIVES.
+
+
+Bee Hives can be made with leather stems, as follows:--Cut a piece of
+wood to the shape and size required; wind and glue upon it the stems,
+beginning at the top, and finishing off at the bottom. To join the stems
+as you proceed, cut each end to an angle, so that they fit; join them
+with liquid glue, and tie a piece of thread round to hold them tightly
+together until the glue is dry. When the hive is completed, that portion
+of thread left visible can be cut off.
+
+To imitate the tying seen in hives, mark with a pen, or a camel's hair
+pencil, with the darkest stain, lines and dots from top to bottom; cut a
+small piece out of the lower tier to make the entrance, and put a little
+handle at the top with a piece of stem.
+
+When made as above, on wood, and well glued, they can be sawn in halves,
+thus making two. Placed amongst foliage, frames, &c., they are quite in
+keeping, and have a pleasing effect.
+
+[Decoration]
+
+
+
+
+TO PAINT ORNAMENTAL LEATHER WORK.
+
+
+Use finely powdered colours, and mix 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 are about to mix any colours with it: or mix the colours
+with parchment size warmed; use while warm: or mix them with a weak
+solution of gum arabic; and, in either case, varnish them with a quick
+drying pale varnish. Oil colours will not do for painting this kind of
+materials: any of the above mediums, properly prepared, will answer
+well. Gilding may be interspersed with brilliant effect.
+
+
+
+
+A QUICK MODE OF STAINING.
+
+
+The quickest mode of staining the Ornamental Leather Work is as
+follows:--Procure a bottle of REVELL'S CHYMICAL OAK COLOUR STAIN. This
+preparation will not soil the hands, or the finest linen or woollen
+fabrics; will not stain wood or any other substance than the leather to
+which it is applied, to which it imparts the perfect appearance of old
+oak without any gloss, at the same time hardening the leather without
+injuring it.
+
+
+
+
+DIRECTIONS FOR USE.
+
+
+Having your leaves, &c., cut out and dried, pour some of the contents of
+this bottle into a saucer, and apply it copiously with a camel's hair
+brush, all over the leaves, back and front, particularly the edges; bend
+them while damp as you wish them to appear upon the finished work, then
+dry them rather quickly at a moderate distance from the fire, or in a
+current of air; when dry they are ready for use.
+
+The leaves, &c., can be attached to any form of work, and it is
+completed. When the entire work is complete, it can be varnished at
+pleasure, as follows:--Procure a bottle of REVELL'S OAK SPIRIT STAIN,
+and give the entire work an even coat of it; it dries in a few minutes,
+and has the appearance of polished oak.
+
+
+
+
+TO STAIN WOODEN ARTICLES.
+
+
+If all the work is to be left dull, give the frame or bracket, &c., a
+coat of OAK SPIRIT STAIN, which dries in dull if put upon new wood, not
+prepared in any manner. To prepare wooden frames, &c., so that the OAK
+SPIRIT STAIN shall assume a polished surface, it is necessary to size
+the frame well and leave it to dry; when dry, give it one or more coats
+of OAK SPIRIT STAIN.
+
+Those who prefer making the OAK SPIRIT STAIN, can do so by referring to
+the receipt in this book; it is made with little trouble, and is
+composed principally of Australian Red Gum; a new article to most of our
+readers; and, although many druggists, &c., have procured it when they
+have received orders for it, we are sorry to say, in several instances,
+they have said there was no article of that description; or else have
+substituted a different kind of gum, perfectly _worthless for this
+purpose_; consequently, disappointment has ensued; and in order to
+protect the public from being imposed upon, and ourselves the disgrace
+of publishing anything not practicable, we are obliged, in self-defence,
+to state how we came to use it.
+
+In the month of January, 1852, the publisher was applied to for a
+varnish stain that would dry quickly, and at the same time be the colour
+required: he was making experiments for this purpose, when, taking up
+the TIMES newspaper of Friday, January 23rd, he found, under the heading
+of SOCIETY OF ARTS, an epitome of Professor EDWARD SOLLY's lecture, at
+the above Society on the previous Wednesday, on vegetable substances
+used in the Arts, &c. Allusions were made to a fine red gum from New
+South Wales: he procured the lecture, and then, after a little trouble,
+obtained samples; they were tested, and one was found to answer, and he
+has now in stock several tons of the proper kind for making the stain,
+and can supply it in any quantity.
+
+We will now conclude by directing the student to an attentive observance
+of nature: we have avoided, as far as possible, technical terms; where
+they are used the illustrations will, in most cases, explain them. The
+study of this mode of decoration has often led those who had not before
+observed the varied beauties of the floral world to do so with the
+greatest pleasure and the happiest results.
+
+[Decoration]
+
+
+
+
+SHAW'S LIQUID GLUE
+
+
+Requires no preparation, sets almost immediately, will resist wet,
+violence, time, and climate; adheres to any surface or material; cements
+china, marble, wood, paper, leather, &c.; is useful to shipbuilders,
+carpenters, bookbinders, pianoforte, brush, and toy makers; and is so
+easy of application, that ladies and gentlemen may mend their own china,
+ornaments, toys, veneers, mouldings, parasols, book-covers, and a
+hundred other little articles, with the greatest ease and certainty.
+
+                    =Price 6d. and 1s. per Bottle.=
+
+       *       *       *       *       *
+
+SOLD WHOLESALE AND RETAIL BY
+
+  J. REVELL, 272, OXFORD STREET;
+  MESSRS. BARCLAY & CO., FARRINGDON STREET;
+  MESSRS. SUTTON & CO., BOW CHURCHYARD;
+
+  AND TO BE HAD OF ALL
+  OILMEN, CHEMISTS, FANCY STATIONERS,
+  &c., &c.
+
+
+
+
+LIST OF MATERIALS, &c.,
+
+FOR THE
+
+ORNAMENTAL
+
+LEATHER WORK.
+
+SOLD BY
+
+J. REVELL, 272, OXFORD STREET.
+
+
+  Basil Leather, of the first quality, at 1s. 6d. and 2s. per skin.
+  Skiver ditto, ditto, at                 ditto.
+  Leather Leaves, 6d. per dozen, or 4s. per gross, assorted.
+  Leather Stems and Tendrils, 2d. each.
+  Passion Flowers, Roses, &c., from 6d. to 2s. 6d. each.
+  Convolvulus and other less elaborate Flowers, from 2d. each.
+  Holly and Ivy Berries, 6d. per bundle.
+  Acorns, 1s. per dozen.
+  Oak Varnish Stain, 1s. per bottle.
+  Spirit Oak  ditto, 1s.     "
+  Spirit Mahogany ditto, 1s. "
+  Revell's Chymical ditto, which possesses the property of staining the
+    leather used for this work, and will not soil the finest linen,
+    neither will it stain wood, or any other material than leather. It
+    can be applied either cold or warm. Sold, with full directions for
+    use accompanying each bottle, price 1s. This being the invention of
+    the publisher, purchasers are requested to observe his name and
+    address on each seal.
+  Stephens' Wood Stains.
+  Stains and Varnishes of every description.
+  Saucers for the Oak Stain, &c., 1s. per doz.
+  Shaw's Liquid Glue, without smell, 1s. per bottle.
+  Ditto, Old kind, 6d.                      "
+  Prepared Stiffening, 1s.                  "
+  Veining Tools, 1s. 6d. each.
+  Cutting ditto, 1s.      "
+  Grape Moulds, 2s. 6d. per set.
+  Bradawls, 6d. each.
+  Hammers, 1s. 3d. "
+  Wire of different sizes.
+  Hog's Hair Brushes, 3d. to 6d. each.
+  Camel's Hair Pencils, from 1d.   "
+  And a variety of Brackets, Frames, &c., for Ornamenting.
+
+[Decoration]
+
+PRINTED BY S. ODELL, 18, PRINCES STREET, CAVENDISH SQUARE.
+
+
+
+
+LIST OF VARIOUS ARTICLES,
+
+SOLD BY
+
+JAMES REVELL, 272, OXFORD STREET, LONDON.
+
+
+=Oil Colours in Patent Collapsible Tubes,=
+
+_Of various sizes, and in Extra Fine Powder._
+
+  Cremnitz White
+  Flake White
+  Nottingham White
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Yellow Ochre
+  Indian Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Yellow Lake
+  King's Yellow
+  Lemon Yellow, 1, 2
+  Dutch Pink
+  Naples Yellow
+  Lake
+  Purple Lake
+  Indian Lake
+  Crimson Lake
+  Scarlet Lake
+  Chinese Vermillion
+  Orange Vermillion
+  Red Chrome
+  Carmine
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Purple Madder
+  Light Red
+  Venetian Red
+  Indian Red, 1, 2
+  Brown Red
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Burnt Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Cappa Brown
+  Asphaltum
+  Bitumen
+  Mummy
+  Emerald Green
+  Verdigris
+  Terra Vert
+  Chrome Green, 1, 2, 3
+  Oxyde of Chromium
+  Ivory Black
+  Blue Black
+  Lamp Black
+  Sugar of Lead
+  Gumption
+  Magylph
+
+
+=Sable Hair Pencils.=
+
+_For Oil or Water_.
+
+  Large Goose, Brown or Red
+  Small ditto      ditto
+  Duck             ditto
+  Crow             ditto
+  Small Swan
+  Large ditto
+  Miniature
+  Lining or Rigging
+  Writing and Striping
+
+
+=French Sables.=
+
+IN TIN FOR WATER.
+
+_Red or Brown._
+
+Nos. 1, 2, 3, 4, 5, 6.
+
+
+=Sables for Oil.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=French Brushes.=
+
+_Flat & Round._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Camel Hair Pencils=,
+
+_All Sizes, Long and Short_.
+
+
+=Camel Hair Brushes=,
+
+_In Flat Tins_.
+
+   1/2  inch
+   3/4   "
+  1    "
+  1 1/4   "
+  1 1/2   "
+  1 3/4   "
+  2    "
+  2 1/2   "
+  3    "
+  4    "
+
+
+=Camel Hair Brushes=,
+
+_In Round Tins_.
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8.
+
+
+=Pencil Sticks.=
+
+Cedar, Ebony, Ivory, 6, 12 & 15 in.
+
+
+=Badger Softeners.=
+
+_Round & Flat._
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12.
+
+
+=Palette Knives.=
+
+  Horn and Ivory
+  Steel, with Horn or Bone Handles
+    Do.       Ivory Handles
+    Do. Spatula Shape, Horn Handles
+    Do.  ditto         Ivory  do.
+
+
+=Port Crayons.=
+
+Steel, Albata, and Brass.
+
+
+=Brush Washers for Turpentine.=
+
+Nos. 1, 2, 3, 4.
+
+
+=Oils and Varnish.=
+
+  Spirits Turpentine
+  Cold Drawn Linseed Oil
+  Nut and Poppy Oil
+  Drying Oil, pale or strong
+  Fat Oil
+  Japan Gold Size
+  Mastic Varnish
+  Copal Varnish
+  White Hard Spirit Varnish
+  Asphaltum
+  Magylph
+  Gumption
+
+
+=Extra Fine Cake and Moist Water Colours=,
+
+IN CAKES AND HALF CAKES.
+
+  Permanent White
+  Constant White
+  Flake White
+  Chinese White
+
+  Ultramarine
+  Ultramarine Ashes
+  Cobalt
+  Azure Blue
+  Royal Smalt
+  French Ultramarine
+  Permanent Blue
+  Antwerp Blue
+  Prussian Blue
+  Indigo
+  Intense Blue
+  French Blue
+
+  Gamboge
+  Yellow Ochre
+  Indian Yellow
+  Platina Yellow
+  Gall Stone
+  Lemon Yellow
+  Chrome, 1, 2, 3
+  Italian Pink
+  Dutch Pink
+  Yellow Lake
+  Mars Yellow
+  King's Yellow
+  Naples Yellow
+  Patent Yellow
+
+  Orange Orpiment
+  Orange Red
+  Mars Orange
+  Orange Vermillion
+  Lake
+  Crimson Lake
+  Scarlet Lake
+  Dark Lake
+  Indian Lake
+  Vermillion
+  Extract Vermillion
+  Scarlet Vermillion
+  Carmine
+  Burnt Carmine
+  Dragon's Blood
+  Madder Lake
+  Rose Madder
+  Pink Madder
+  Pure Scarlet
+  Dahlia Carmine
+  Indian Red
+  Light Red
+  Venetian Red
+  Brown Red
+  Red Orpiment
+  Red Chalk
+  Red Chrome
+  Deep Rose
+
+  Raw Sienna
+  Burnt Sienna
+  Brown Ochre
+  Roman Ochre
+  Burnt Roman Ochre
+  Vandyke Brown
+  Verona Brown, 1, 2, 3
+  Sepia
+  Warm Sepia
+  Roman Sepia
+  Raw Umber
+  Burnt Umber
+  Brown Pink
+  Madder Brown
+  Cologne Earth
+  Bone Brown
+  Bronze
+  Reuben's Brown
+  Mars Brown
+  Intense Brown
+  Cappa Brown
+  Bistre
+  Chalons Brown
+
+  Payne's Grey
+  Neutral Tint
+
+  Purple
+  Indian Purple
+  Purple Madder
+  Purple Lake
+
+  Sap Green
+  Emerald Green
+  Prussian Green
+  Chrome Green, 1, 2, 3
+  Oxyde of Chrome
+  Verdigris
+  Barber's Green
+  Sea Green
+  Dark Green
+  Hooker's Green, 1, 2
+  Olive Green
+  Terra Vert
+  Green Bice
+
+  Lamp Black
+  Ivory Black
+  Blue Black
+  British Ink
+  Inlaying Black
+
+
+=Gold and Silver Shells.=
+
+
+=Indelible, and Bright's Landscape Crayons.=
+
+Singly or in Sets.
+
+
+=Chalks, Crayons.=
+
+  Italian Black Chalk
+  Ditto Red and White
+  Soft French Black
+  Charcoal
+  Pastiles
+  Black Square Conte Crayons
+  Ditto, Round, plain ditto
+  Ditto, Glazed       ditto
+  Velours, (very Soft and Black)
+  Round and Square Red Conte
+  Bistre
+
+
+=Lead Pencils=,
+
+_Extra Prepared_.
+
+  H. Hard, for Sketching
+  H.H. Harder, for Outlines, &c.
+  H.H.H. Very Hard, for Architectural Drawing, &c.
+  H.B. Hard and Black
+  E.H.B. Extra Hard and Black
+  B. Black for Shading
+  B.B. Soft and Black
+  E.B.B. Extra Soft and Black
+  F. Fine for General Drawing
+
+
+=Earthenware.=
+
+  Palettes and Saucers
+  Cabinet Saucers in Morocco Case
+
+
+=Miscellaneous.=
+
+  Drawing Pins
+  Indian Ink
+  Indian Rubber
+  Indian Glue
+  Sponge
+  Ox Gall
+  Lithograph Chalk
+  Gilder's Knives, Tips and Cushions
+  Poonah Brushes
+  Burnish Gold Size
+  Oil     ditto
+  Gold Leaf
+  Mezzotint Brushes
+  Permanent Ink
+  Velvet Scrubs
+  Picture Frames
+  Sealing Wax and Wafers
+  Pink Saucers
+  Slate Pencils
+  Tracing Points
+  Burnishing Stones
+  Bronze
+  Graining Combs and Tools
+
+
+=Revell's Permanent Brown Ink=,
+
+FOR DRAWING UPON BASIL LEATHER.
+
+_Price 1s. per Bottle._
+
+Pen and Ink Drawings can be made with this Ink, they have all the
+appearance of the so-called Poker Paintings, (viz. Drawings upon Wood,
+executed with one or more red hot wires.) The Ink is permanent, and will
+be found advantageous as an adjunct to the Ornamental Leather Work.
+
+
+=Unprepared Colours of the First Quality.=
+
+_Colours of every description for House Painting, Park Fencing, &c._
+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Note:
+
+Punctuation has been standardised.
+
+  The following inconsistencies were normalised:
+    3 instances of 'color' were changed to 'colour'
+    7 instances of 'convolvolus' were changed to 'convolvulus'
+    6 instances of 'tendrill' were changed to 'tendril'
+    illustrations were renumbered from figure No. 14 onward
+      (some numbers were out of order/duplicates)
+
+  A few additional original typos were repaired, as follows:
+    Page xii:  changed trailled to trailed
+               (being trailed round a)
+    Page 34:   changed FUSCHIA to FUCHSIA
+               (FUCHSIA.)
+    Page 35:   changed fuschia to fuchsia
+               (put the fuchsia together)
+    Page 35:   changed mnst to must
+               (they must be moulded)
+    Page 38:   changed viened to veined
+               (wetted and veined, then)
+    Page 41:   changed Fig. to No.
+               ([Illustration: No. 8.])
+    Page 50:   changed camillia to camilla
+               (make a camilla, cut)
+    Page 82:   changed of to or
+               (with the tip of the)
+    Page 88:   changed qucikest to quickest
+               (The quickest mode of)
+    Page 93:   changed CLUE to GLUE
+               (SHAW'S LIQUID GLUE)
+
+
+
+
+
+End of the Project Gutenberg EBook of A Complete Guide to the Ornamental
+Leather Work, by James Revell
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK ***
+
+***** This file should be named 41927.txt or 41927.zip *****
+This and all associated files of various formats will be found in:
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