Before I commence my course of instruction in the fascinating art of representing in wax the floral beauties of nature, I deem it necessary to prelude by a brief explanation as to my pretensions, and the cause of my offering such instructions to the notice of the public.

I have constantly applied myself, during the last fourteen years, in strictly copying from nature every flower that has come under my notice, from the simple wild flowers of our hallowed native fields, to the latest and rarest exotics brought home by our most eminent collectors. I have also been materially assisted in this particular branch of my art, by the nobility and gentry having kindly granted me the indulgence of selecting as copies, from their conservatories, aught that I might consider as valuable additions to my specimens.

I have been frequently asked by my pupils to publish such a work as the present; but diffidence, amounting perhaps to a weakness, has hitherto prevented me from even momentarily exchanging the pencil of the artist for the pen of the author:

In the year 1847, I wrote several articles for the Lady's Newspaper, in the shape of instruction in Wax Flower Modelling, which articles appeared under the initials of "E. H., late pupil of Mrs. Peachey." I must confess I felt much gratified upon hearing my pupils, as well as other ladies, speak of these articles in terms of commendation. I trust I may be pardoned for this little piece of deception, and beg to remind those who might regard the "ingenious device" with censure, that Sir Walter Scott and many other writers of celebrity have done the same. If great and talented persons shrink from making their compositions known as their own creations, it is not surprising that I, who have no pretension to literature, should be equally tenacious of my incognito.

I have at this period determined upon publishing a book of instructions, purely in consequence of feeling quite inadequate to receive, as pupils, the numerous applicants that daily visit me, and express much anxiety to be initiated into my method of modelling and grouping.

They are two distinct things—to accomplish an art well, and to impart it to others. I hope I may not be considered egotistical in boldly asserting that, as an instructress, I stand pre-eminent. I feel proud, most proud, in having received repeated assurances from the distinguished and numerous ladies who have placed themselves under my tuition, that my method of teaching is such as to enable the most inexperienced to acquire with facility a perfect knowledge of this pleasing art.

The distinguished patronage I have from the first received at the hands of her Most Gracious Majesty, must surely convey to the minds of all, that I have a right to lay claim to artistic skill.

When I first commenced the agreeable occupation of imitating nature, I had not the slightest idea of ultimately making it a profession. My anxious desire, I may say, my ambition, was to produce something that might be considered worthy the notice of our most Gracious Queen, who at the period I allude to, 1837, had just ascended the throne.

A spirit of loyalty had been fostered in me from my earliest infancy; and a pardonable glow of pleasure always animates me, at the remembrance that I am the daughter of an old officer, who served as surgeon in the British army the long period of fifty years. The result of my wishes has been great success. Our beloved Sovereign, ever ready to encourage talent or industry in any form, condescended to permit a bouquet, which I designed and executed for her inspection (in token of my loyalty), to be placed as an ornament in one of the royal palaces. This was indeed an honour I had scarcely dared to anticipate. Two years after the period alluded to, the Queen became acquainted with the fact, that a change of circumstances had compelled me to make the art of wax flower modelling a source of profit. Her Majesty, unsolicited by any, spoke to the then Lord Chamberlain relative to a warrant of appointment being granted to me; and I forthwith received the Royal Letters Patent, being the first in this country who enjoyed the privilege of being styled "Artist in Wax Flowers to Her Majesty." I hope I may not be deemed prolix in giving these particulars; it is not from any feeling of vanity, but from gratitude due to the high power that encouraged my talent in its infancy. The auspicious patronage I received gave an impetus to my labours; and I have from that royal day taxed my energies to the utmost, to prove that my works deserved the high honour that had been conferred upon them.

As this work is intended for the perusal of the young, as well as the adult, I trust I may be pardoned for pausing a moment to dwell upon the all-wise dispensations of Providence. The talent which inspired me would have been useless, had not the "Giver of all good" discovered to me the knowledge that I possessed it; and I wish to impress upon the notice of my young friends and pupils, the advantage, I may say necessity, of embracing every opportunity of improving any talent committed to their charge; for my life has shown that what is acquired as an accomplishment or amusement, may one day become of vital importance to them.

It occurs to me, that it may not be uninteresting to many of my readers, to become acquainted with the period and by whom

I consequently subjoin an extract from Miss Strickland's Life of Mary Beatrice, second consort of James II., A.D. 1686.

From the year last named until 1736 I have been unable to trace any knowledge of this elegant art.

When wax flowers were again introduced by an Italian, they were clumsily manufactured in comparison to those seen in the present age of improvement; for I had the opportunity of inspecting some of their "miserable remains" but a few years since. Still I must acknowledge I discovered some taste and much ingenuity in their construction, and am not too proud to own that I benefited even by examining these very inferior productions. I feel quite satisfied that the art of wax flower modelling is almost still in its infancy. It is no longer regarded as an amusement only. It is enumerated with other accomplishments essential to female education. It assists botanical studies, and promotes the views of flower painters, either in oil or water colours; even in drawing, wax flowers will be found excellent auxiliaries, far preferable as copies to the even surface of plates. I have myself been much gratified by furnishing flowers in wax to some of our first flower painters, who have assured me that they have proved of great utility, in cases where the evanescent properties of the flower of nature prevented the possibility of committing their similitude to canvas ere their beauty had faded. It affords me no small degree of satisfaction also, that my flowers were found useful as copies for some of the beautiful carved work in the late great and ever memorable Exhibition. I have also supplied them as illustrations to botanical lectures.

In thus referring to the utility of wax flowers, I am reminded of a partially unfavourable prejudice which has lately sprung up, from an article which first appeared in a Manchester paper, and which was subsequently copied into The Times, and other papers. It is possible ladies may be induced to abandon this delightful amusement, upon reading such a statement as the subjoined extract:—

It is not my intention to contradict an assertion so boldly set forth. I have no doubt the editor of the Manchester Examiner had some grounds for the article; but I think it right to state that which I can prove—namely, that the wax artistically manufactured by me is so perfectly harmless, that for the last fourteen years I have had it in my hands, upon an average from twelve to fourteen hours every day (Sunday excepted), and never in the slightest degree experienced any inconvenience or ill effects.

The small portion of colour I introduce undergoes a chemical process, which neutralizes entirely any deleterious properties appertaining to the few colours required to be used. It is quite unnecessary to introduce white lead at all. I was assisted by a practical German chemist to prepare borax, in such a manner, as to entirely supersede white lead. Now most of my readers will be able to testify how perfectly harmless must be borax, it being one of the drugs so constantly used with honey, and recommended by the faculty as an excellent remedy for canker in the mouth. I am, as I have previously stated, the daughter of a medical man, and am perfectly acquainted with the danger attending the absorption of mineral colours into the system: under these circumstances, it is not likely that I should myself use that which would be injurious. Ladies, who desire to enjoy the recreation of wax flower modelling, may indulge in the amusement with perfect safety, if they purchase the wax of me. At the same time, I wish it to be perfectly understood, that I do not insinuate, or attribute aught against any other person or persons who prepare wax for sale.

I DECIDEDLY OBJECT to the dry colours being rubbed into the wax with the fingers. I invariably apply the colours with a brush. It must be injurious to close the pores of the skin, even were the powders so used innocuous; but to say nothing of the danger of the method alluded to, it is a most dirty occupation, and ladies would not like to see their hands dyed with carmine, Prussian blue, or chromes. Such a method of tinting is likely to prejudice ladies against the work altogether; besides which, it renders the flowers much more fragile. The only time I ever use dry powder is in the form of bloom (peculiarly prepared arrowroot), which I throw on lightly, but never rub in. Having endeavoured to prove that there are no dangerous results likely to accrue from this pleasing occupation, I will proceed to shew

And one great consideration is that the sight is not likely to be injured. The eye does not require to be fixed; it does not occupy so much attention as to prevent conversation, nor need the body be bent,—a matter of much importance with growing girls, many having suffered affections of the chest, and others disfigured for life, through continually stooping to frame work.

I will now proceed to name the

Wax—white, yellow, orange, pink, and several shades of green.

Two steel pins with china heads (different sizes).

One ivory pin, with large head.

Eleven bottles of powder; consisting of scarlet, bright crimson, dark crimson, lemon, yellow, orange, dark orange, light blue, middle blue, dark blue, and white.

Twelve large brushes.

Two small brushes.

Twelve saucers.

Three skeins of white wire.

Two skeins of green do.

Two pieces of white marble, 3 to 4 inches square, ¾ inch thick.

One pair of sharp pointed scissors.

One cake of smalt.

One cake of sepia.

One cake of crimson lake.

One bottle of down.

Having given a list of the materials required for the elegant and charming amusement of "Wax Flower Modelling," I deem it expedient to make a few remarks relative to the properties of, and

Without wishing to derogate from the merit of others, or retaining to myself the exclusive ability of vending the purest wax and the best of other articles to be used in obtaining a faithful representation of nature, I think it necessary to state, that I offer to the public materials only of the very best quality; consequently, I take the prices of other persons' goods as no criterion or standard for mine. The wax is manufactured under my own immediate superintendence; soft, and perfectly dull on one side. It is sufficiently opaque of itself not to require being painted on the wrong side for white flowers, which is the case with common wax. I likewise prepare wax, called "double wax," it is twice as thick as the ordinary wax. When the single wax is used double, the two shining sides should be placed together. It has sheets of tissue paper placed between it to keep each sheet of wax smooth and straight (a great advantage,) for when this is not done (though the wax may be good), the edges are often wrinkled, and a great deal of waste is the consequence.

The Colours—eleven in number, submitted for sale on my counters, 160, 161, 162, 163, Soho Bazaar, are of the very best quality, and ground down particularly fine in spirits. I recommend saucers instead of a flat pallet, as it is not necessary to use up at once all the colour that is mixed; and by keeping each colour distinct in separate saucers, much waste is prevented.

Twelve brushes are indispensable; each to be confined to the use of one colour. Two small sable brushes are for veining, as in geraniums.

The large ivory pin is required for the Victoria Regia, water-lily, and other large flowers.

The two smaller pins are to be used for similar purposes, on flowers of less magnitude.

The cake colours are never to be used alone, but rubbed down with the powder, as will be shown in my instructions for mixing colours.

The large white wire is to be used as stems for flowers, such as dahlia, camellia, &c.

The second and finest white wire to support the petals.

The green wire, Nos. 1 and 2, are for stems of various flowers.

I think it necessary to give some

Place the powder required in a saucer: add a few drops of water, and rub the same with a brush for some time; as friction materially improves the brilliancy of tint. The colour should be mixed as thick as cream, but a very small portion taken into the brush at one time. As the brushes are large, they absorb a large quantity of colour; consequently, the brush used to mix the colour with, must be pressed upon the edge of the saucer several times to cleanse it.

The cake paint is used with the powder colours for fine veining, and when a second colour is required to be placed over another; as I shall show in my instruction for the rich dahlia purpurea. I have a great objection to mixing gum water with the colours. I use it only previous to throwing on down, such as in the calyx of geranium, primrose, &c.

A rich crimson is produced by the application of the crimson powder upon pink wax.

A darker crimson, by adding a little of the darkest crimson powder to the former. If a deeper crimson still be required, add a little of the middle blue.

A pale pink is obtained by applying crimson powder with a small portion of white, laid on the wax very thin.

A light orange scarlet, as in fuchsia fulgens, is acquired by mixing a minute portion of scarlet powder with the bright crimson.

Scarlet for geranium; a larger portion of the scarlet with the crimson.

Different shades of scarlet are also produced by laying the crimson powder upon different shades of wax, namely, lemon, yellow, and orange.

A purple (as in violet), is produced by mixing the second blue with a lesser portion of the bright crimson powder.

A deeper purple, as in the centre of the anemone, is obtained by the combination of the crimson powder with the deepest blue.

Various shades of lilac and peach colours are produced by a careful admixture of the bright crimson, middle blue, and white.

A primrose colour is obtained by using my lemon powder (a beautiful preparation), upon white wax.

A rich brown, as in wall-flower, requires a mixture of cake sepia with bright crimson.

The dark velvet-purple-looking spot seen in geraniums is obtained from mixing the cake smalt with a little bright crimson powder.

A similar tint may be obtained by mixing crimson lake, in cake, with the middle blue.

In noticing the

I beg to remind my readers that these are the only instruments I deem requisite for modelling wax flowers. Both these require to be moistened before they are applied to the wax. Warmth as well as moisture is essential for these. A glass of lukewarm water will answer the purpose; but great care must be taken to shake off the surplus water; for if the globules were to fall upon the petal, it would occasion the colour to run.

requires to be stated; for they must not be held as a pen or pencil, but perfectly perpendicular. Commence a short distance from the lower end of the petals—for where the paint is applied the wax will not adhere. When the petal is all one colour, pass the brush from you quickly and lightly off the same on to the paper. If it is a variegated petal, bring the brush towards you. This will enable you to soften off the edges of the spots which are to be left free from colour. When moisture is required in the brush, the latter must not be plunged into water, but a small drop taken up by the handle on to the paper.

Dip either into boiling water, and wipe them immediately. The marbles require to be used warm.

Although I do not pretend to put this forth as a "Botanical work," I deem it necessary that I should make use of certain words in application to forming the different parts of a flower; I shall give an explanation of such botanical words as I must occasionally make use of in the course of my instructions.

Corolla signifies a flower deprived of its centre. For example: the corolla of a rhododendron falls from its position, leaving the interior of the flower pendent to the stem. The convolvulus has a funnel-shaped corolla.

Petal. This is part of the corolla, and what is termed, by the uninformed—leaf; for instance, we hear of drying rose leaves, when in fact it is the petals that are alluded to. The term leaf should only be applied to the foliage.

Pistil, or Pistillum, is that part of a flower which projects directly from the centre, and is longer than the rest; we observe it in the white lily, fuchsia, honeysuckle, etc. The enlargement at the end of the pistil is termed stigma.

Stamens, or Stamina, signify the filaments that surround the pistil; and the enlarged part at the end of each filament is called anther.

Farina is the fine dust which is contained in the anther, and which shows itself also outside.

Calyx is applied to the green attached to the flower. For example: the part that is covered with moss about the rose is the calyx. Sometimes the calyx is covered with down, as in geranium, primrose, etc.

Stigma. The enlargement at the end of the pistillum.

To take the pattern of a natural flower, you must remove the petals carefully, sorting out how many there are of an equal size. Take the shape of one out of each set, in the following manner: Place the petal upon a sheet of writing paper, holding it firmly to the paper with the point of the fore finger of the left hand. Take a large brush containing a very little colour and pass it round the edge. The exact form will be left upon the paper without tearing the edges of the petal, even though it were unusually fragile. When the requisite flower cannot be procured, a proper pattern can be obtained at Soho Bazaar, or at my residence, 35, Rathbone Place, where I am happy to receive visitors, daily, from ten in the morning till six o'clock in the evening. Place the pattern upon the dull side of the wax, and as the grain runs the length of the same, cut each petal accordingly, for the wax takes the paint much better in that direction.