How to Find and Mount Signets
There is nothing prettier or more attractive, hanging on the walls of one’s parlor or chamber, than a group of signet impressions in sealing-wax of various colors, artistically arranged and handsomely mounted; while the pleasure to be derived in seeking them is quite as keen as that which the coin or stamp hunter enjoys, without the expense attached to them, for our seals cost comparatively nothing. The outfit is simple, consisting of a dozen sticks of sealing-wax in different colors—black, brown, red, gold, white, and green, making a charming combination with any other shades that take the fancy of the collector. A light wooden or strong pasteboard box to carry the articles, a box of matches, a white taper (cut in half for convenience’ sake), and, later on, a piece of stiff white card-board (16 × 22, 22 × 28 being good sizes) to mount them on.
Keep in the bottom of the box containing the wax a dozen or more pieces of thick, white, unruled writing-paper cut into ovals, circular, oblong, and square shapes, varying in size from one-half inch in width to two inches in length. This is all that is required. Now for our hunt. As you meet friends and acquaintances, notice their rings and watch-charms. When any are discovered with a figure, crest, handsome monogram, or initial on it, borrow it, and make your impression. This is accomplished by laying a piece of your writing-paper, at least half an inch larger than the seal to be used, on some smooth surface like a table. Then take a stick of wax between the thumb and forefinger of the right hand; with the left hand a match or taper, and bring them together just on the paper where the wax melts sufficiently to drop freely. Rub the end of the sealing-wax quickly over the middle of the paper. Then moistening the seal with the tongue to prevent the stone adhering to the burning wax, press it firmly into the hot bed prepared for it, a second or so, being careful to lift it straight up when taken off, thus securing a clean edge. If this is properly done a fine impression of your subject is secured. Repeat this operation several times, taking different-colored wax for duplicates, which will enable you to make exchange with other collectors, who are unable to get these same figures, but have others not in your collection.
Chapter XII
PYROGRAPHY
Pyrography, or fire-etching, is by no means a modern art, but one that was practised many centuries ago both in civilized and barbarous countries. In Europe, during the early ages, this work was executed with a poker inserted in the fire and heated red hot; but as the iron must have cooled quickly, the task of embellishing a panel was a tedious and laborious one.
A knowledge of drawing will be very helpful to the young pyrographer, as the object can be sketched in lead-pencil and followed with the heated iron or platinum-point.
Of the various materials that may be used on which to etch the ornament, wood and leather have been found the most satisfactory, since they retain the deep, rich brown-and-black tones given by the heated iron, and yield more readily under the tool than other materials.
If wood is employed, such as oak, birch, maple, holly, and cherry, it should be selected with a pretty grain and as free from knots as possible; but if leather is used, a good quality of oak-tanned sole-leather will give the best results; although for light work a pleasing effect can be had by employing a stout Suède and etching on the rough side.