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diff --git a/41927-0.txt b/41927-0.txt index 3927009..a4842f0 100644 --- a/41927-0.txt +++ b/41927-0.txt @@ -1,35 +1,4 @@ -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) - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 41927 *** Transcriber’s Note: italic text is denoted by _underscores_ and bold text by =equals signs=. @@ -1638,361 +1607,4 @@ Punctuation has been standardised. 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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 - -*** END OF THIS PROJECT GUTENBERG EBOOK GUIDE TO ORNAMENTAL LEATHERWORK *** - -***** This file should be named 41927-8.txt or 41927-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/9/2/41927/ - -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) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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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>*** START OF THE PROJECT GUTENBERG EBOOK 41927 ***</div> <div class="tnote"> <p class="center"><b>Transcriber’s Notes:</b></p> @@ -2342,383 +2303,6 @@ SHAW’S LIQUID <span class="correction">GLUE</span> </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 *** - -***** This file should be named 41927-h.htm or 41927-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/9/2/41927/ - -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) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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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: - http://www.gutenberg.org/4/1/9/2/41927/ - -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) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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