Much of the success in making paper flowers depends on the quality of the material, and the form of the pins, moulders, pincers, etc.

The paper should be carefully selected, reference being had principally to its color and texture. As a rule, it cannot be too thin, and must be soft and strong. Avoid highly glazed papers, excepting when such a flower as the peony is to be copied. In passion-flower and fuchsia there is a thickness of texture only to be imitated by placing a sheet of thin waxed muslin between two sheets of paper. For many flowers, especially roses, a shaded paper is used, so colored as to allow of its being doubled, that a number of petals may be cut from it, leaving the dark shade in the part required. Many flowers will need painting, and for this purpose powder color is employed, using it with a tinting brush, a separate one being kept for each tint. Many flowers, such as tulip, geranium, picotee, etc., require a second or third shade of color; for these, moist or transparent colors are to be used, violet, lake, carmine and sepia being most useful, but for a complete list of colors the reader is referred to page 142. The moist colors must be applied with a sable brush. They should all be mixed with water, in some cases adding a little gum, for the purpose of more completely fixing the color on the paper.

Avoid using the powdered color too wet; it should resemble a thick paste on the palette. Sometimes use the color dry, rubbing it on with the finger, but this only on rare occasions.

Several kinds of wire will be wanted, some flowers having soft and some stiff stems. In some—not many—a very light springing stem is necessary, as for poppy; fine soft wire for the stems of fuchsias, etc. I am led to insist on particular attention being paid to the stems being imitated carefully, as so many otherwise good specimens have been spoiled by having stems hard looking and unlike the natural flower.

Wire covered with cotton is generally used, also fine steel wire for the tendrils of passion-flower, or for the light and graceful stem of the common field poppy.

Floss silk is useful; this must be fine, strong, and soft. It is used as a fastening to many of the petals, to nearly all the leaves, and when a joint of many stems is to be formed.

Black tying wire, for greater strength and larger work, is sometimes necessary.

Gum water is used for fastening the work together; this must not be too thin.

The proper tools will be found at an art store, both as regards size and form, numbering from 1 to 8, but practice alone will enable the learner to judge which is best suited, some finding a large, some a small tool the more effective.

The pincers are required to arrange the petals of a flower, as for a rose, clove, etc.

Scissors adapted to cutting the paper, having a nipper-like contrivance at the bottom of the blades for cutting the wire.

As nearly all the leaves will require some painting, to give them a warmer or more natural tint than is to be found in those usually purchased, mix a small quantity of the proper color, use it with a tinting brush, and having carefully painted over the surface of the leaf, leave it to dry, then hold it to the fire; or should a glossy appearance be required, as in a camellia leaf, the polishing brush must be used.

To obtain the pattern of a natural flower, proceed thus: Select one or more petals, as the case may require. Take a geranium, for example; this has two sizes, so that one of the large, or painted petals, and one of the smaller, will be required. Place these on a sheet of thin cardboard, trace round the edge with a pencil, then cut out to drawing, allowing a little additional length for fixing them. Mark on each the number necessary for the flower. In some cases petals are cut in a circle or star, as in clove, rhododendron, or passion-flower. This is done by getting one petal traced on paper, as above directed, then cutting the required number for it, and so arranging them on the cardboard as to represent, as in the passion-flower, a star of five. Take for example a

CRIMSON RHODODENDRON.

This most effective flower should be made thus: Select about twelve petals, gum the edge, draw over edge, let them dry, then gum the small bulb at base of pistil and stamens (called the “heart,”) pass the stem of this through the opening of petals, draw down tightly, and let remain for a few minutes to dry, cover the stem with pale green paper, slightly bend the pistil and stamens that they may incline towards the central petal of the flower. A piece of strong wire about nine inches long is required on which to mount the flowers and leaves; arrange three flowers on the top of this with their backs to each other, leaving the flower stalk about two inches in length, tie this with silk, roll a little stem paper round and then place on three scales, cut from palest brown stem paper; other three flowers should be placed between those already fixed a little lower down. This order of arranging the flowers to be observed until the truss of flowers is complete. Cover the stem with brown stem paper and arrange the leaves, beginning with the small ones in the same manner as directed for the flowers, only that each leaf should be a little lower down than the last; they will require coloring, and for this use burnt sienna and Prussian blue, applied with a tinting brush, afterwards using the polishing brush; this will give them the gloss observable in the natural leaf. Many of the rhododendrons are made of plain colored petals, but their beauty is much enhanced by spotting them; the process is simple, and the direction for one will do for all, only varying the color used. Select the crimson with dark spots. Take in the hand a stamped flower, and having mixed some carmine, take a tinting brush and apply to the three uppermost petals, taking care that the color becomes lighter towards the edge and deepening towards the center. Now mix a little violet (moist) with carmine, and mark the spots as desired; this must be done with a small sable brush. White rhododendrons spotted with yellow and brown, or lilac with green spots, make very striking varieties.

WHITE CAMELLIA.

For this flower use white tissue paper of medium thickness; no other paper will so nicely imitate the texture of this well known flower.

Cut from a pattern, to be obtained as before directed, (which may be purchased when the flower is out of season), the proper numbers of petals; place each set or size separately on the hand, deeply curl the edge with the same pin used for the rose, and then press down the center with the steel stem, so as to give the deeply indented vein seen in the center of each. The larger petal will require turning on the fingers previous to using the stem of the pin, so as to cause the edges to turn backwards. ’Tis well here to remark that while you use the head of the pin on the edge or other part of a petal placed on the palm of the hand, always place the petal on the fingers when the stem of the instrument is to be used.

The stem of cotton wire No. 2. On this roll some pale-yellow wax; make it about the size of a small plum stone, the three smallest petals so placed that the edge turns inward and the points meet, leaving the base of each petal just touching the wire stem; three of the next size must now be placed on between the preceding, slightly raised. It is found that the most expeditious method of fixing the petals of this flower is to take a small piece of white wax, as large as the head of pin No. 2, used as a wafer, only without being wet. Place this at the bottom of each petal, it will then only require carrying to its place and firmly pressing with the finger or point of the ivory pin to make it adhere; this is both quicker and more easily performed than with gum water. The three following sizes may be arranged in the same order, and each set standing higher up and spreading open as the petals increase in size; all the remaining petals placed on in rows, gradually getting them to bend over, so that the last stand at right angles with the stalk; the calyx cut from pale green stem paper, thickened by the use of wax, this requires the edges to be curled, so as to give a rounded appearance. The edges should be shaded with brown, which may be applied with a small sable brush; a bud placed close to the flower, and some good dark leaves being added, we have one of the most perfect representations of nature to be obtained in paper.

ROSE.

Cut from pale yellow shaded paper, petals Nos. 1 (the outside petal) and 2, and from shaded paper of a lighter shade, but having pink in the middle of the stripe, so placing the pattern on the paper as to bring the pointed end of it to the darkest part of the paper, and so fold it as to allow of eight petals being cut at once. Sixteen of each size will be required. Cut off a proper length of the medium cotton wire, bend over the top of it several times, so as to make a head to it about the size of a pea, on this tie a few of the proper stamens, and around it roll a small quantity of pale green wax. All the petals should be treated as follows, as a preparation for other moulding. Take eight petals of a size, place them on the palm of the left hand, so that they can be held in their place by one of the fingers of the same hand, holding in the right hand pin No. 1, so that it may revolve easily round the edge of the petals, held as described in the other hand. The object of this rolling of the edge is to overcome the hard or unnatural look of the paper, and is essential as a preparatory step to all other modeling. This done, turn the bunch of petals, press them in the center with the finger, after which roll over all parts of it excepting the edge, with the head of pin No. 2, this will leave the edge of the petals turned backwards, and this moulding must be continued until sufficient roundness has been obtained.

Separate the petals. This is best done from the points, so as not to disarrange the form already given to them. Take five of the smallest petals, place each on the hand as before described separately, and with the head of pin No. 2, indent it deeply down its center, beginning at the top, so as to curve the petal, that when placed on the foundation already prepared they will curl over and nearly conceal it.

These must be tied on with silk. To form the groups of petals, take two of the smallest, and three of the next size; the smallest place in front, the larger behind, and so arrange that each petal should be slightly elevated above the one in front of it; hold them together by the points, and then open the petals from the top, so as to be able to insert the end of a fine gum brush; a mere spot of gum is all that is required, as much as possible in the center of the petal, so as to leave the edges perfectly free.

Place this bunch of petals on the hand, as before directed, and round it in the same manner, only not to the same extent. Five or more of the bunches or nests of petals are required. Each should be placed in its proper position, and tied with floss silk. The two next sizes of petals must be treated in a similar manner, and placed on behind the bunches already fixed, so as, in fact, to give to the center of the flower the appearance of being divided into five or more divisions.

Petals No. 3, require the same rounding as applied to the preceding, two or three being placed together, giving them a more open form; fix these round the petals already on. Elevate them, so as to produce the cup shape observable in nearly all good roses. As the petals become larger, the thumb is found more convenient than the finger, it more quickly produces the roundness on which the beauty of a rose so much depends. The larger petals must be treated in a similar manner, only the edges require to turn back with more freedom and boldness, and the petals gradually receding, so that those placed on last will stand nearly at right angles with the stem, in some cases being even more bent backwards. Two or three of the last may be slightly shaded with green at the base, and carmine and burnt sienna at the edge, so as to give the faded appearance of the outer petals. Frequent reference should be made to the illustration of the flower or its parts as the work proceeds; the calyx should then be passed up the stem, so as to fit close to the back of the flower, and the stem covered with pale green stem paper.

Add a bud or two. These should appear close under the outer petals of the flower. The leaves start from the junction of these stems, being set round, each a little lower than the preceding. They should be colored and polished as directed in “general observations,” to give them the bold and waxy appearance seen in this deservedly popular and beautiful rose.

PINK FUCHSIA.

Place a sheet of pale yellow waxed muslin between two sheets of pale pink shaded paper. So arrange the pattern as to bring the points to the white, and the darker shade of color to come to about the center. Cut the four petals from deep cherry paper, made thick as before described. The sepals, to be placed on the hand, and with the head of pin No. 2, gently roll from the points, so as to produce a number of faint lines, and also to unite the paper and wax firmly together, giving at the same time the proper transparency and gloss. The petals require considerable working with the large pin, to give them the roundness necessary after they are formed. They will require shading with a mixture of carmine and “magenta,” put on with a large tinting brush, the color being almost dry. The pistil made of a large white seed, which must be attached to a piece of fine cotton wire. About two inches from the edge of pistil roll round some wax or cotton wool, then add eight stamens. These will not be as long as the pistil; they must be shaded with pink; top of pistil of a pale green color. Stamens may have a small quantity of white pollen on them; and this being finished, fasten on with a small quantity of wax the four petals, and then tie them with silk. The neck of the flower can be made either of wax or wool, the former being the best. The four sepals having been properly bent, are now placed on, great care being taken in forming them perfectly on the neck before mentioned, which, if it is made of wax, can be done by rolling over each petal as it is placed on with stem of ivory pin; but should wool be used, the petals must be fastened on with gum.

ARRANGEMENT OR GROUPING OF FLOWERS.

The lighter flowers, both of form and color, should be so placed as to be at the top, excepting such flowers as passion flower, fuchsia, etc., which are drooping or climbing plants.

Aim at simplicity in coloring rather than too great a mixture, which gives a confused look.

The foliage is used as a background; there should be no stint of this. The great fault observable in the arrangement of bouquets, whether natural or artificial, is that they rarely have the leaves brought as prominently forward as they should be, consequently the bouquet loses both character and elegance.

Ferns, of which there is now so large and beautiful a collection, add very much to the elegance of the bouquet.

Examples in Grouping. No. 1, Roses. Gloire de Dijon, apricot; Geant de Bataille, scarlet and purple; Aimee Vibert, small white; pink cabbage; forget-me-not; maiden hair fern.

No. 2. Rhododendron, crimson; red spotted do.; deep pink do.; pale do.; white do. Some large ferns and orange azaleas of various shades.

No. 3. White camellias; red camellias; pale yellow azalea; pink fuchsia; deep blue cineraria; ribbon grass.

No. 4. Passion flower (various); fuchsias; thunbergia; hop; ivy leaves.

LIST OF MATERIALS, TOOLS, &c.

Moulding pins, moulders, pincers, tinting brushes, scissors, three sizes of cotton wire, silk for tying, fine wire for tying, gum water.

Colors in Powder. Carmine, burnt sienna, Prussian blue, ultramarine, chrome 1, 2 and 3, white, magenta, violet.

Moist Colors. Carmine, lake, violet.

The papers most used are: White tissue, carmine, pinks (various), shaded for roses (various), stem paper (green and brown), violet, 3 shades, yellows, scarlet for poppies, etc.