The modelling and cutting of leaves, flowers, and berries in leather was really hard work, and required hands endowed with a good deal of muscular strength. The skilled worker was always a student of nature, and found models in some of her loveliest forms. Vine leaves and tendrils, with or without bunches of grapes, oak leaves and acorns, convolvulus blossoms and leaves (see illustration at head of article), passion-flowers and roses, were great favourites. The leather used was tanned sheepskin and cowhide, technically known as basil and skiver; the tools were few, being principally a sharp strong pair of scissors, a stout penknife, a stiletto and a veiner. The best work was often accomplished with the fewest tools, for it is very rarely that the craftsman or artist who can afford to buy every possible accessory turns out anything worth looking at. A large board or old deal table, a basin of water, sponge, wire, tacks, hammer, stain, glue, and varnish, were all needed, and the work was not quite of a kind for the family circle, as it was best pursued in a room with no carpet to spoil, and where no one could be disturbed by the tap-tapping of the hammer. Very good work may be seen from time to time at the various "Arts and Crafts" exhibitions, and leather embossing is a good deal used. Professor Herkomer has some wonderful embossed leather on the dining-room chairs in his House Beautiful at Bushey, and it was all done by a lady. Work in leather cannot therefore be classed altogether among the lost arts; it is being modified, and may some day be revived in all its glory by women who have plenty of leisure and love to have something to show for their handiwork. It must not be forgotten that even in an age that has witnessed such a revival of learning as this there are still girls of active temperament who are neither students nor great readers.
TENT-STITCH FLOWER PICTURE (1825).
Shell work was accomplished by sticking small shells, chiefly the halves of little pink or white bivalves on to a coloured background with very strong glue. A shallow box was the favourite article, and it was then glazed and used as an ornament much as cases of stuffed birds are. How long it lasted is proved by the specimen photographed, which was worked in 1805.
SHELL WORK (1805).
The wealth of flowers in the present day is quite a modern feature of luxury. Even twenty years ago, except in summer, they were the prerogatives of the wealthy who had gardeners and greenhouses and plenty of artificial heat. Lovers of flowers consequently had wax models of them, and very beautiful they were when natural, though unfortunately they had to be covered with glass shades. The lady who could make them really well was very much thought of, and it was an occupation that could be pursued at any time, except in severely cold weather and a hard frost. The Pantheon in Oxford Street was the great place for obtaining the sheets of wax, shaved off a block with a sharp plane, which was a delicate operation seldom attempted by an amateur. The rose wax was peculiarly thin, almost of the consistence of a real rose petal. The chief tools were small, sharp scissors and a few bone or steel pins with solid glass heads, some dry colours and cotton wool to rub them on with. The worker simply took a rose, snowdrop, violet, or whatever flower she preferred, pulled it carefully to pieces, laid each portion on her sheet of wax and cut out by it as closely as possible, previously wetting her scissors. The petals were moulded in the hollow of the hand with the head of a pin after being coloured, and curled over where desirable, with the steel part wetted like the scissors. The wire stalk was covered by a narrow strip of green wax neatly rolled and rubbed smooth, crooked over at the top and a sort of little wax centre formed on this crook on which the flower was literally built petal by petal. Experience taught which flowers were feasible and which were not. Roses usually turned out well, so did scarlet japonica, apple blossom, snowdrops, and daffodils. Primroses were almost unattainable. Lilies of the valley had each separate blossom made in a tiny mould. All scraps of wax were collected in a stone jar (a strong jam-pot), and, as the great crux was to obtain natural-looking leaves, this wax was carefully melted over or near the fire, well mixed and coloured with indigo and ochre in proportion to the tint of green required. Suppose a few violet leaves were wanted, fresh ones of two or three sizes were gathered and the upper side thoroughly, but not lavishly, moistened with sweet or salad oil. Then a brush was dipped in the liquid green wax and passed over the surface, which was allowed to cool and then a wire stalk was laid on to form the mid-rib of the leaf. Two or three more layers of wax were added, and when quite cold the natural leaf was removed, and a very exact facsimile made its appearance. A well-arranged vase (see illustration on page 309) or basket of wax flowers, closely copied from nature was very pretty and acceptable in the absence of the real blossoms. The wax was rather expensive, though the tools were not, the average price being from one shilling to one shilling and sixpence per dozen small sheets.
Sampler-making was a fine art practised in silk or wool on fine woollen or silk canvas. Its primary use was to teach how to make capital and small letters and figures, which were practically applied to the marking of linen; but occasionally the geography of England was attempted, as shown in the illustration below, and probably no girl who had marked in the outlines and names of the counties ever forgot their respective positions.
All these home occupations had their day and fulfilled their purpose. They added to the household attractions, and made the rooms look as if women lived there and took a pride in them. Very often the nimble fingers worked all the more quickly and efficiently while an interesting book was being read aloud.
