The petals are cut in thick wax, or single wax doubled; when the latter is the case, be careful to place the two shining sides together. It is particularly easy to form: the petals require to be curled precisely as the yellow jasmine. The centre is formed by crushing two or three small pieces of orange wax to the point of a wire. The first five small petals are very faintly tinged with orange; this is merely to give warmth to the centre of the flower, to make up for the deficiency of the life-glow, if I may use this term—great care must therefore be taken not to make it too dark. All the succeeding petals are placed on in rows of five, turning some of the petals forward towards the centre of the flower.
The neck of the flower is already formed from the ends of the petals; it only requires to be moulded very smooth, and coloured a light pomona green. The calyx consists of five points of green wax, placed at the end of the tube. The dark foliage is placed round in clusters, and produces a pleasing contrast to the flower. I would here observe, that this flower is particularly useful in grouping. It is a greenhouse production, and extremely fragrant in nature; it is consequently always consistent to place it in a bouquet; independently of this, it is an excellent substitute for white camellia in groups, where the last named flower would be too large.
I shall proceed to give some instruction in Roses. The varieties now grown and named in our nurseries amount to the almost incredible number of two thousand. I shall therefore choose, for the information and improvement of those ladies who kindly think proper to place themselves under the guidance of my little book, about six kinds, such as I deem most useful, and as being different in form and colour. I think, when these are perfectly understood, any other kind can be copied easily from nature. I shall commence with the old favourite,
THE CABBAGE OR PROVENCE ROSE.
(Rosa Centifolia.) Beauty.
"The rose has one powerful virtue to boast
Above all the flowers of the field—
When its leaves are all dead, and fine colours are lost,
Still how sweet a perfume it will yield."
Watts.
Cut the petals from pale pink wax; colour the three smallest rather deep with the crimson powder. The split petals, marked on my pattern fifteen, are coloured the same, but rather a lighter hue. Each succeeding set are painted the same, but gradually diminish the colour until you arrive at the outer petals, which are the lightest of all. To form the petals, use a pin as little as possible; cupping them with the thumb or finger, according to its size. For the largest petals, use the thumb, so pressing each in the centre, while it is resting in the palm of the left hand, as to become perfectly round. The last two or outer rows are turned back with the head of a curling pin.
Prepare the foundation of solid wax, rolled round the end of a moderate size wire. It must be cone-shaped. The three smallest petals are crushed and placed at the point in a triangular form. The split petals, marked on my pattern fifteen, are united into clusters of five, and placed round immediately under the three that are crushed. Each succeeding row of petals are placed on in like manner, taking care that each petal is attached to the under part of the foundation, and not upon the side. I particularly name this, as I too frequently find ladies err in forming the roundness of the rose. The last two rows of petals, which are turned back, must be placed rather lower than those preceding. The calyx is cut from double light green wax.
The head of the curling pin is passed down the centre of each point previously to their being placed on. Pass a strip of double green wax close round the base of the flower, moulding it round and smooth with the thumb and finger. This is to represent the seed cup. When the calyx is affixed, it must rest against the back of the rose, and be so neatly moulded over the seed cup, as not to show any division or seam.