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http://www. archive.org/details/cu31924002842734

A TREATISE

.

ON THE ART OF PRODUCING

BOSTON:
J. E. TILTON AND COMPANY.
NEW YORK: HURD AND HOUGHTON.
1864.

Entered, according to Act of Congress, in the year 1864, by
J. E. TILTON & CO,
In the Clerk’s Office of the District Court of the District of Massachusetts.

BOSTON:
STEREOTYPED BY THE BOSTON STEREOTYPE FOUNDRY.

Presswork by John Wilson and Son.

INTRODUCTION. ¥ ‘ ‘ : " .

I. ANATOMY OF A LEAF, GREEN AND DRIED LEAVES.
II. PREPARING THE LEAVES AND FLOWERS. . .
Ill. BLEACHING THE LEAVES AND SEED-VESSELS. :
IV. ARRANGING THE BOUQUETS. . a . ;
VY. ILLUSTRATED LIST OF PLANTS FOR SKELETONIZING.
VI. SEED-VESSELS. F A ; . . ,
VII. THE WONDERS AND USES OF A LEAT. .« 7 .
VIII. LEAF PRINTING. . . : . * .
IX. COMMERCIAL VALUE OF THE ART. . 2 ‘

PRESERVATION OF FLOWERS. . ‘ < a.

CAPO?

47 (5)

PAGE

87

92

¥iJMANTOM BOUQUETS, so uni-

Jy: versally admired by all who can

4 appreciate the chaste and beautiful.
/ in art, although but recently in-
troduced to the notice of the American public,
are no new thing.

The art of preparing the fibrous skeletons of
plants was understood and practised by the
Chinese many centuries ago, and there are still
to be found in our fancy stores reasonably per-
fect specimens of these skeletonized leaves,
generally painted and decorated with Oriental
(7)

8 INTRODUCTION.

designs and mottoes, according to the taste of
that remarkable people. Whether they have
ever advanced so far as the grouping or
arranging of these delicate tissues into any-
thing approaching a bouquet, we cannot say;
as no evidences of their faculty for producing
such combinations have reached this country;
or whether, if they had progressed so far, their
stiff and awkward ideas of artistic effect would
agree with the cultivated taste of Americans,
remains to be imagined.

The works of Chinese art which reach us,
whether on lacquered tables, work-boxes, waiters,
&c., show how widely their conceptions of beau-
tiful curves and graceful postures differ from our
own standards of beauty. But be this as it
may, American tourists, within the last few
years, have been struck with the great beauty
of these Phantom Bouquets, as exhibited in
the fancy bazaars of European cities. These
were evidently the work of the few who, in
other lands than theirs, had acquired a knowl-

edge of the art. A number of these bouquets

INTRODUCTION. 9

thus found their way to this country, where
they fortunately came under the notice of skilful
and cultivated minds, by whom the art of
producing them has been so patiently and

successfully pursued, that the specimens now

produced in this country surpass, in richness,
_brilliancy, and faultless nicety of preparation
and arrangement, all that have been prepared
in foreign lands.

A recent English eritic, in commenting on the
progress of: the art, avers that leaf bleaching has
been known traditionally from time immemorial,
in Europe and Asia, by those families in which
botanical tastes have been hereditary. In Great
Britain and on the Continent, as well as in this
country, he says that among the quaint old curi-
osities to be found in the houses of retired sea-
captains, specimens of skeleton leaves are to be
found, covered with such pictures as only a
Chinese artist could execute. The process has
been described in London publications of the
seventeenth century, and was probably intro-

duced into England from Italy during the reign

10 INTRODUCTION.

of Elizabeth. The critic concludes his his-
torical summary with saying that “the fact so
long known in Europe was circulated as a
secret in Philadelphia in 1860!”

But greater secrets in the arts and sciences
than the skeletonizing of a leaf, all exclusively
of American origin, remain at this moment
wholly unknown to the countrymen of the
critic; while the particular art in question, when
it had fairly attracted the notice of American
taste and ingenuity, has in the brief period of
five years received at American hands a more
perfectly artistic development than all England
was capable of accomplishing in two centuries.
Accident alone has kept us in ignorance of an
art distinguished only for its gracefulness; but
the same accident keeps Europe profoundly
ignorant of a multitude of processes, of every-
day use with us, which lighten and economize
human labor, and contribute largely, not only
to public and private comfort, but to national
wealth.

Five years ago the first Phantom Bouquet

INTRODUCTION. 11

ever offered for sale on this side of the Atlan-
tic, was made by an American lady, and was
exhibited in the spacious window of a large
jewelry establishment in one of our chief cities.
Although surrounded by flashing silver ware
and sparkling gems, yet the little bouquet,
composed of only a few leaves and flowers,
attracted the highest admiration of all who
beheld it, and as may be supposed, it soon
found an appreciative purchaser at a high price.
A few others (all that could then be furnished)
were disposed of at the same establishment
during that season. This public display served
to awaken a wide interest in the subject,
stimulating inquiry into the wonderful art by
which the perishable leaves and blossoms of the
forest and the garden are converted into durable
illustrations of the complex structure of the
floral world.

As is usual with so decided a novelty, many
amateurs were ready to experiment the follow-
ing year. Among numerous lamentable failures,

a few only were partially successful in their

12 INTRODUCTION.

attempts to reproduce them. We say partially,
for in many cases a fine leaf was marred by
stains or spots, or blemishes occasioned by the
ravages of insects; and although otherwise it
may have been perfectly skeletonized, and the
shape preserved entire and beautiful, yet these
blemishes served to spoil the effect, and to
destroy its value for a bouquet. Many of the
less particular artists did not hesitate to mix
a few of such defective specimens in their
arrangements ; but most persons of correct taste
preferred to group gracefully their half dozen
perfect leaves under a small shade, than to
make a towering bouquet of imperfect or dis-
colored ones.

The time which has elapsed since the art was
first introduced here has been a season of
patient experiment and investigation. There
were no published essays to which the learner
could refer for directions. All must be studied
and acquired by laborious and careful observa-
tion, and often whole seasons would be lost

while ascertaining the peculiar properties of a

INTRODUCTION. 13

single leaf, the process being too slow to allow of
a second gathering before Autumn had stripped
the trees.

The first summer of the writer’s experiments
was lost in vain attempts; and bushels of care-
fully vathered leaves were wasted for want of a
few items of knowledge, which, to a careless
operator, would seem of small importance.
Five years of practice have taught her many
things indispensable to a successful prosecution
of the art, such as are neither understood nor
appreciated by those who have just commenced
the work. It is the object of these pages to
furnish plain and practical directions for pro-
ducing perfect Bouquets. of Skeleton Flowers,
together with a list of such plants as will
repay the artist’s labor.

A late writer on this subject enthusiastically
‘declares that the art is yet in its infancy, and
expresses his belief that- diligent experiment
will lead to results even more wonderful.than
any that have yet been achieved. In the con-
fident belief that such will be the case, we

2

14 INTRODUCTION.

shall feel glad to have given our readers an
impulse in the right direction, and can assure
them that by closely following the rules here
given, success will certainly reward their efforts.
Those whom repeated failures may have so far
discouraged as to induce them to ‘abandon the
pursuit, will be stimulated to renew their
interesting labors. Others, whose entire igno-
rance of the process may have withheld them
from even beginning, will be induced to make
a trial. The probability is, that among the
aspirants thus stimulated to enter the field,
some superior genius will be found, at whose
animating touch this beautiful art will receive
a brilliancy of development surpassing all that
could have been imagined by those who pio-

neered it into public notice.

ANATOMY OF A LEAF; GREEN AND DRIED
LEAVES.

@|ANCIFUL, though expressive, is the ap-
pellation of “Phantom” or ‘“ Spiritual”

Flowers ; it was given to the first Amer-

ican specimens by those who produced

them, and it has since become so general as to be
everywhere understood and accepted as their most ap-
propriate name.

Referring to the process by which these flowers are
prepared, a Christian friend of the author very beau-
tifully used them as emblems of the Resurrection, and
as illustrating the ideas, —‘‘ Sown a natural body, raised
a spiritual body,” and, “this corruptible must put on

incorruption, and this mortal immortality.”
(15)

16 PHANTOM FLOWERS.

The process through which the green and: healthy
leaves must pass is literally one of corruption, for
during the warm summer days, as the work goes slowly
on, they become blackened and offensive, and often
infested with insects; and yet these conditions are ab-
solutely necessary to secure their final and perfect
beauty. But when the work of corruption and decay
is fully accomplished, there remains after all, in the
midst of that disgusting compound of offensive odors
and green slime, the beautifully faultless framework
of leaves and flowers, ready to be rescued and purified.
On the conduct of this portion of the work, and the
subsequent cleansing and bleaching of the delicate
tissues, the whole thing depends. The operator may
consider herself eminently successful if she is able to
present, as finished specimens, one half the number of
leaves originally gathered. Yet if a single bouquet of
perfect phantoms, white and clear of blemishes, should
result from the summer’s labor, she will feel herself
abundantly compensated for her pains, and may delight
her eyes for many years to come with this unfading
remembrancer of the localities from which they may
have been gathered, or of the friends who may have
assisted in the pleasing employment. |

The substance of these curious leaf-tissues is gen-

PHANTOM FLOWERS. 17

erally classed by botanists under two distinct heads —
the vascular, or veinwork, and the cellular, or inter-
mediate green matter which fills up the interstices and
gives coherence and solidity to the leaf. In under-
taking to produce these skeleton leaves, the great
problem is how best to destroy and remove the cellu-
lar and more perishable portion, while we preserve
intact the network of veins or nerves by which the
whole is kept in shape, and which perform the same
office in the leaf-structure as the nerves and veins
within the human body.

Different parties will generally be found to have dif-
ferent ways of doing the same thing. While we shall
endeavor faithfully to describe that which is probably
the more popular plan, we shall, nevertheless, give the
preference to the slow but sure process which our own
seqreriente has proved to be the most reliable.

The traveller who visits localities which have been
celebrated in history, or made immortal by the visita-
tions of the muse, desires to preserve some mementoes
of his pilgrimage to scenes so hallowed. The most
simple as well as the most usual keepsakes, are sprays
of leaves or flowers, pressed between the pages of a
book, for future preservation in the album or the port-
folio. But all green leaves, when thus pressed and

Q*

18 PHANTOM FLOWERS.

dried, become very brittle, and will break upon the
slightest attempt to fold or bend them. If placed in
vases, they will soon curl and lose their color, com-
pelling their early dismissal from the parlor. Not so
after passing through the skeletonizing process. They
then become sirong and flexible, may be folded or bent
in any way desired, and, although appearing to be so
frail and delicate, will, in most cases, bear a consid-
erable amount of handling and pressure without tear-
ing. Yet it will be seen by the directions which follow
these preliminary remarks, that the greatest care is
required to manipulate the fragile fabrics, as the
slightest pull in the wrong way, or the neglect of
precautions and rules, which to the learner may seem
unimportant, may spoil the most promising attempts,
and disappoint the hopes and expectations of an entire
season.

This is especially true in regard to the bleaching
process. During the first season of the writer’s ex-
periments, whole jars of perfect specimens were lost in -
passing through this stage of the preparation, in con-
sequence of her ignorance of the true method, subse-
quently acquired by patient and careful study. Having
now ascertained the proper method of proceeding, it is

arare thing to lose a leaf, or even a spray of fern, the

PHANTOM FLOWERS. 19

latter being, perhaps, the most difficult of preparation,
because of its exquisite delicacy of structure, in both
respects exceeding any in the list of plants that we shall
give hereafter, while it is indispensable to the complete

and graceful bouquet.

PREPARING THE LEAVES AND FLOWERS.

94|HEN Spring has once more dressed both
tree and shrub in their gorgeous livery

of green, the artist begins to look

around her for the most suitable sub-
jects for experiment. The influence of the new study
on her mind becomes immediately apparent to herself.
The trees, which have heretofore appeared to her as
presenting an unbroken uniformity of foliage, now dis-
play their leaves to her sharpened observation with a
wealth of capabilities before unknown to her, and she
is surprised to learn how infinite a variety exists in
the vegetable world; variety, not only in size and out-
line, but in those other characteristics which are so
(20)

PHANTOM FLOWERS. 21

important to her purpose, strength of fibre, and free-
dom from blemishes occasioned by the destructive ray-
ages of insects. As observation is directed to the
subject, so the mind becomes expanded under the in-
fluence of the new study. The surprising difference
between the leaves now first becomes apparent. They
are seen to be serrated or entire, ovate, accuminate,
cordate, or irregular. The magnificent luster of the
Ivy and the Magnolia now, for the first time, attract
attention, and secure for them a new admiration. As
the season advances, she will be struck with the nu-
merous changes to which the leaves are subject, before
the chill winds of Autumn strip them from the trees,
thence depositing them in rustling piles upon the
ground. As incidental to the study, the habits of a
multitude of insect depredators will be noticed, afford-
ing new subjects for surprise, and fresh accessions of
knowledge. Everywhere the wonders of the Divine
Hand will be displayed under, conditions to which she
had been a stranger; and the mysteries of Nature,. thus
unfolded, will infinitely surpass all which these pages
can be made to contain.

Without some directions to guide her, the enthusias-
tic learner, in haste to begin the work, gathers indis-

criminately from forest and garden, selecting leaves

22 PHANTOM FLOWERS.

remarkable only for their ample size or pleasing shape,
and places the whole diversified collection in the pre-
pared receptacle to undergo the process of maceration.
In her ignorance of certain first principles, she does
not imagine that she has overlooked some of the most
indispensable ingredients of success, which, standing
as they do at the very threshold of the undertaking,
must not only influence, but, when disregarded, must
render absolutely futile all subsequent steps in a pro-
cess which, under any circumstances, is exceedingly
tedious. We may suppose that in her natural im-
patience to commence her labors she has gathered up
an ample store of leaves, immediately on their attain-
ing their full growth. It is true that in this early
preparation she has anticipated the attacks of de-
structive insects, but the leaf will then be too immature
to withstand the macerating process. The fibres will
be found too succulent, and not sufficiently ligneous, to
sustain the pressure and handling always necessary to
produce a perfectly skeletonized leaf. After probably
two months of patient watchfulness, she is consequently
compelled to throw away her choice collection, the
whole having become a mass of pulp, in which there
is neither stem nor fibre to identify a single leaf.

By this time the season has advanced, and the

PHANTOM FLOWERS. 23

foliage on the trees has undergone important changes.
Many of the leaves having lost their early succulency,
have assumed a strong ligneous character. In place of
excessive pulpiness, an undue proportion of fibre per-
vades the whole structure of the leaf. It has, in fact,
become too old for maceration. In other cases the leaf
has been either stung by an insect, and the channels
through which the sap so mysteriously circulates hay-
ing become obstructed by the poisonous infusion in-
jected into them, its shape becomes distorted, or its
surface is disfigured by blisters. Others have been at-
tacked by a different tribe of enemies, who, by half
devouring the leaf, as effectually destroy it for the
artist. The latter catastrophe invariably overtakes the
foliage of the Elm, the Magnolia, and the Maple.
These facts we have verified ig our own experience;
and having been compelled thus to learn them, the
resulting knowledge was acquired only from repeated
and trying disappointments. They make evident the
importance of knowing the exact point in the season
‘at which each leaf is in proper condition for the artist’s
hand.

Another error consists in placing in the macerating
vessel many different sorts of leaves, without a knowl-

edge of their chemical properties. For instance, those

24 PHANTOM FLOWERS.

of the Oak, Chestnut, Walnut, Birch, and Hickory
contain so large a quantity of tannin as to render
it almost impossible to macerate them in the usual
way. If placed among other and more perishable
leaves, the infusion of tannin thus created will act as
a preservative, and entirely prevent their decomposition.
The writer learned these facts, to her cost, during the
first season’s experiments. A few beautiful Oak leaves
were placed among a large number of other varieties
which were in course of preparation, and not until
after months of patient waiting, watchfulness, and
handling did she discover the true cause of her disap-
pointment, when it was too late in the season to repair
the loss. The reader will at once perceive how im-
portant are these rules and cautions, thus placed at the
head of our directions.

Throughout the Middle States, by the fifteenth of
June, most of the desirable leaves will be found fully
grown, and many of them are then old enough to
gather. Elms, Swamp Magnolias, Maples, Deutzias,
Pears, Silver Poplars, and English Sycamores may-
be selected, but none but the firmest and most perfect
leaves should be taken. These kinds may be placed
together in open vessels and covered with soft water,

and then set in a warm or sunny place in the open

PHANTOM FLOWERS. 25

’

air. A broad weight may be placed on the top, so as
to insure continued immersion. A newspaper, doubled
and laid over the top of the leaves, will answer the
same purpose as a weight, and is perhaps better, as it
keeps its place, while the weight sometimes falls to
the bottom of the vessel. The best vessel for the pur-
pose is a common earthen jar with a wide mouth, the
size to be proportioned to the quantity of leaves to be
macerated.

At the end of six weeks the paper may be removed,
and a few of the leaves carefully taken out for ex-
amination, and placed in a basin of clean warm water.
To do this, the human hand is the best instrument;
but, as many persons may object to thus dipping into
what has now become an unpleasant mass of vegetable
decomposition, a broad wooden spoon may be substi-
tuted. Then, taking a leaf between the thumb and
finger, immerse the hand in the warm water, and press
and rub the leaf either gently or firmly, according to
the strength of its texture. This rubbing process will
remove the loose green matter from the surface, and
expose to view the fibrous network of the leaf. With
those which are strongest, especially the Swamp Mag-
nolias, a brush will be needed to effectually clean
them, —a soft tooth-brush will answer best, — but in

3

26 PHANTOM FLOWERS,

*

using a brush, the leaf should be laid in the palm of
the hand, on a plate, or on any other surface equally
flat and smooth.

This constitutes the first washing, and a few of the
leaves will now be found perfectly clear. But to some
of them thus washed and but partially cleared, further
care must be extended. It will, therefore, be neces-
sary to have at hand a second vessel of water similar
to the first, in which all such imperfectly skeletonized
leaves may be placed, where they must remain until
finished, which, with all but the Swamp Magnolias,
will probably be two or three weeks longer.

We may suppose that the artist has made a begin-
ning with the leaves already mentioned in this chapter.
On taking them out of the macerating vessel, and
washing them as directed, she will find the Deutzias
and Silver Poplars perfectly clean, and they should
then be placed in a basin of clean water, until all the
contents of the macerating jar have been examined.
A few of the Norway Maples will also be found per-
fectly prepared; but the majority of all contained in
the jar will still be only partially so.

In the latter condition will be found the Sycamores,
the Silver Maples, the Elms, and the Pears. These

must, consequently, be deposited in the second vessel,

PHANTOM FLOWERS, 27

as before mentioned, to undergo still further macera-
tion. The Magnolias will require another two or three
months’ soaking before the outer cuticle will become
soft enough to remove; but, if more convenient, they
may be placed in the same vessel with those last
named. After covering these half-cleaned leaves with
water, all in different stages of progress, they should
be left in the same warm, sunny place to be finished.
We may here remark, for the comfort of the learner
who has persevered thus far in an operation which
will be discovered to be decidedly unpleasant to her
olfactory organs, that the most offensive portion of the
labor is over, at least with this particular set of leaves,
as after having received their first washing, they part
with most of the putrefactive odors which have so long
pervaded the air in the vicinity of the macerating jar.

The clear and perfect leaves which were deposited
in the clean water, awaiting a leisure hour to give
them further attention, may now be deprived of their
moisture by carefully pressing them between the folds
of a soft towel until they are perfectly dry. On no
account let them be laid on a table, or other hard sur-
face, while in a wet state, as in drying they will ad-
here to it so closely as to tear in the effort to remove

them. The Norway Maple, being extremely delicate,

28 PHANTOM FLOWERS.

will adhere, while wet, even to the hand, and great care
must be exercised in removing its leaves to avoid
tearing. It will be noticed that many of the leaves
will lose their stems in passing through the process;
but the mode by which this deficiency is to be sup-
plied, will be explained in its proper place hereafter.
When dried, the leaves may be placed in boxes, ready

for bleaching when the assortment has been completed.

BLEACHING THE LEAVES AND SEED
VESSELS.

x7 | portance, is that of bleaching the leaves,

N gl

4 flowers, and seed-vessels. It is an
operation which requires the greatest
care, as upon the perfect whiteness of all the com-
ponent parts of a bouquet its beauty will depend. No
matter how perfectly the leaves and seed-vessels may
have been skeletonized, if they are permitted to retain
any shade of their original yellow, they are deficient
in beauty, at least to the eye of the connoisseur.

The first step in this part of the process is to pro-
cure proper bleaching materials. Many persons are

entirely successful in the use of chloride of lime,
3* (29)

30 PHANTOM FLOWERS.

while others prefer Labarraque’s solution of chloride
of soda. The former should be prepared for use in
the following manner: Take a half pound of strong
chloride of lime, and place it in an earthen or other
pitcher. Add three pints of soft, cold water, and stir
carefully with an iron spoon, pressing so as to mash
the lumps well against the sides of the vessel. Keep it
covered, and allow it to stand in a cool place until the
lime has precipitated upon the bottom of the pitcher,
which will be done in about an hour, except a small
portion that may remain floating on the surface. This
should be removed with a spoon or skimmer, after
which the clear liquid should be poured off into a
bottle, then corked up tightly, and kept in a cool
place.

When ready to commence leaf bleaching, take a
glass jar, such as is used for pickles or preserves, hav-
ing a mouth wide enough to admit the largest leaf.
First, select those intended to be whitened, but be care-
ful not to place leaves and seed-vessels in the same jar;
then with soft, clear water cover the leaves in the jar,
and add the bleaching solution in the proportion of
two tablespoonfuls to a pint of water. The jar should
be covered tightly, and set in a warm place. When

coarse seed-vessels and stems are to be bleached, this

PHANTOM FLOWERS. 31

proportion of the chloride of lime may be doubled, but
the delicate leaves, and especially the Ferns, will be
destroyed if the solution be made too strong.

Labarraque’s preparation of chloride of soda acts
gently and more slowly, and being free from the
caustic properties of the lime, is less likely to attack
and corrode the delicate framework of the leaves.
The quantity of this solution to be added to water,
must be double that of the first named preparation.
It will whiten the flowers, Ferns, and more tender of
the seed-vessels, but it is not strong enough to act on
those which are coarser and more ligneous. There is
great difficulty, however, in procuring this preparation
of the required freshness and strength, as its bleaching
properties depend entirely on the amount of chlorine
contained in it; and this being a very volatile gas, it
is readily lost by keeping a length of time, even when
carefully corked and sealed.

The best preparation for this purpose, is that made
expressly for use in whitening these skeleton leaves,
&c., and may always be had of J. E. Tilton & Co.,
or their agents. One bottle of this will whiten a large
number of leaves, without injuring the fibre, or making
them brittle, as is the case with the chloride of lime.

The proper proportion for mixing will be about half a

32 PHANTOM FLOWERS.

teacupful to a pint of water. This will generally whiten
two sets of leaves; that is, as soon as those first put
in are perfectly white, they may be taken out, and a
second lot placed in the same mixture. Sometimes,
however, it will be necessary to add a small quantity
more, say a tablespoonful, in order to complete them.
For amateurs, and even for accomplished artists, a
superior solution, thus ready prepared to their hands,
will be found safer, and more likely to insure perfect
success, than any preparation they will be able to com-
pound for themselves. The saving of trouble in using
it will be quite a consideration. Had the writer been
able to purchase it, when commencing her labors, it
would have saved her many losses and disappoint-
ments. But that so great a help can now be obtained,
affords strong evidence of the advancement of the art
in this country.

In putting the delicate leaves into the jar, care
should be taken to arrange them beforehand with the
stems all pointing the same way, that is, ‘downward
in the jar. The reason for this exists in the fact
that the bleaching commences first at the bottom of
the vessel; and as the thick stems and mid-ribs require
more time to whiten them than the lace-like portion

of the leaves, it insures their being satisfactorily fin-

PHANTOM FLOWERS, 33

ished in a short time. A jar of leaves will usually
require from six to twelve hours for bleaching; but
as the jar is of glass, an outside inspection will en-
able the operator to judge of the degree of whiteness,
without raising the lid until it may be time to remove
them.

When they are discovered to be entirely white, they
must be taken carefully out with the hand, and laid
in a basin of clean, warm water. If suffered to re-
main too long in the jar, they will become too tender
for removal. They may then be thoroughly washed
from the chlorine, by changing them several times in
fresh water, after which they will be ready for their
final drying. This is accomplished as before, by lay-
ing them between the folds of a soft towel; while the
more delicate ones, which are apt to curl in drying,
should now be laid between the leaves of a book,
until entirely dry. The washing is a very important
part of the operation, as, if not thoroughly done, the
bouquet will soon become yellow, and otherwise dis-
colored, and thus, in the end, lose its attractiveness
and beauty as a parlor ornament.

As before stated, it will be advisable to keep the
seed-vessels separate from the leaves, and to put

them in different bleaching jars. If placed promiscu-

84 PHANTOM FLOWERS.

ously in the same jar, the seed-vessels will become so
entangled in the fine network of the leaves, that in the
attempt to remove them the latter will be seriously
injured. Seed-vessels and flowers require the same
treatment in bleaching and washing, only remembering
that the coarser seed-vessels may need a stronger in-
fusion of the bleaching preparation. A little experi-.
ence will soon inform the operator as to the exact
quantity required for all kinds of leaves and seed-
vessels.

The bleaching of the Ferns will need some special
directions. Many who have succeeded admirably with
leaves, have invariably failed in their attempts at pre-
paring these graceful sprays. As they constitute the
most brilliant embellishment which can be introduced
into a bouquet, such failures are especially mortifying.
But by closely following these simple directions, there
will be no difficulty in producing entire sprays of
white Fern ready to be arranged with other materials
for the bouquet.

Having gathered Ferns of different varieties during
their season of maturity, which is when the seeds
are to be found on the back of the leaves, —they
should be preserved by pressing them between the

leaves of a book, there to remain until required for

PHANTOM FLOWERS, 85

bleaching. When ready for that process, let the opera-
tor select such as she desires, and place them carefully
in a jar, causing them to curl around the sides rather
than with stems downward, in order to avoid breaking
the dry and brittle leaves. The smaller separate leaf-
lets may occupy the space in the centre of the jar.
-Then fill up the jar with warm water, leaving room
for the bleaching solution, in the proportion of half a
teacupful of Tilton’s preparation to a pint of water.
Cover the jar tightly, and set in a very warm place.
After twenty-four hours, gently pour off the liquid, and
replace with fresh, mixed as before. They should re-
main in the second water about forty-eight hours, when
this, in like manner, will require to be changed. In
about three or four days the Ferns will begin to whiten
at the edges, and this whiteness will gradually extend
itself over the entire surface of the spray, changing it
from a dark, brownish green to the spotless purity of a
snowflake. Each one must be carefully taken out as
soon as it is seen to be entirely white, without waiting
for the whole contents of the jar to be finished.

In the bleaching of a large spray, it sometimes hap-
pens that its extremity, perhaps half of the entire
length, will become perfectly white, while dark spots

remain on the upper or stem end. In such cases it

36 PHANTOM FLOWERS.

will be safest to take out the branch, and, laying it in
a basin of water, cut off the white portion, and return
the unfinished remainder to the jar. Afterwards, when
both are ready for the bouquet, the two portions can
be neatly united with gum arabic. The process of
changing the water will have to be repeated four or
five times during the operation of bleaching the same
lot of Ferns, and the time required to whiten them
completely will extend over a period of from one to
two weeks. The time depends on the varieties of
Ferns which may be used, as there is a wide difference
in their susceptibilities, some being wholly unfitted for
this purpose.

When the sprays are found to be entirely white,
they must be taken from the jar with the fingers, al-
ways holding them by the stem, and laid in a broad
basin of clean, warm water, where they should be
allowed to remain for several hours. They may be
thoroughly rinsed by changing the water several times,
but they will not bear handling in the same manner as
will the skeleton leaves. When ready to be dried,
take one spray by the stem and lay it in a broad dish
or basin of water, allowing it to float on the surface;
then pass under it a sheet of unsized white paper, and

in this way lift it out of the water. The spray will

PHANTOM FLOWERS, 37

cling to the paper, and assume its natural shape. Should
any of the small side leaves become crooked or over-
lapped, they may be readily straightened by using the
point of a pin to spread them out in proper shape upon
the paper. To get rid of the superfluous moisture con-
tained in the latter, lay the sheet first on a soft towel
for a few minutes. The towel will absorb most of the
excess of water. After that it must be laid between
two other sheets of the same unsized white paper, and
pressed in a book.

When all the sprays have been thus removed, and
committed to the keeping of the book, a heavy weight
should be placed on it, in order to insure their drying
smoothly. If desirable, the drying may be accelerated
by changing them, after a day or two, into another
book, or into new portions of the first. When entirely
dry, if some of the thinner varieties are found to ad-
here to the paper, they may be loosened by pressing
the thumb nail on the under side of the paper. It is
better, however, even after they are thoroughly pressed
and dry, to keep them shut up in a book until wanted
for the bouquet, as they have a tendency to curl when
exposed to the air.

The writer has given directions for the bleaching of
Ferns only by the new preparation of Tilton & Co.,

4

38 PHANTOM FLOWERS.

as it has been proved to be the most reliable com-
pound for that purpose. She has fully tested chloride
of lime, and finds it altogether too severe for these
delicate tissues, while the solution of Labarraque is
much slower in its operation — one bottle of the new
preparation being equal in strength to two of the

article last named.

ARRANGING THE BOUQUETS.

AVING thus completed the different pro-
b| cesses required for the production of the
Phantom Bouquet, with boxes well filled
with a complete assortment of white
and perfect leaves, seed-vessels, and flowers, the artist
comes now to the final operation of combining them into
tasteful groups or bouquets, under glass cases or shades,
These will be found indispensable to the permanent
preservation of what otherwise would be a fleeting beauty.
We may suppose that such a shade, of perfectly white
glass, with stand to receive it, has been provided.

The first thing required will be to form a cushion,

either of blue or black velvet, these colors being found

(39)

40 PHANTOM FLOWERS.

most effectively to contrast with the white group to
be placed upon them. The stand, of walnut or enamel,
should have a groove upon its surface, inside of the
edge, into which the shade will drop freely. Having
cut the velvet of the proper size and shape, allowing
for the necessary stuffing, the cushion may be prepared
by laying raw or carded cotton on the bottom of the
stand, raising it rather higher in the centre, and tem-
porarily securing the circular piece of velvet by means
of four tacks on the four opposite sides, thus equally
dividing the whole into four parts; the edge may then
be firmly and neatly fastened around by gluing, and
pressing with a blunt-pointed instrument, until it ac-
quires a proper shape, when the tacks may be removed.

The operator will next require some white gum
arabic, dissolved in water so as to be very thick; and
the first step preparatory to the arrangement will be
that of supplying stems to such of the leaves as may
have lost them in the process of maceration. For this
purpose, some operators use the old stems of other
plants which have been bleached expressly for use, as
substitutes, while others prefer white wire covered with
paper; but after trial of both these expedients, we
give the preference to something more simple, and

which possesses the additional advantage of being

PHANTOM FLOWERS. 41

always within reach, as well as being less liable to
become discolored by age.

Take the common white crochet spool cotton, and
coarse sizes of sewing thread, to be found in every
lady’s work-basket, and stiffen them by wetting well
with gum arabic. When dry and stiff, stems of the
required length can be prepared by gumming neatly
to the under side of the leaf, allowing the new stem
to extend some distance along the ‘central rib or back-
bone of the leaf. If done neatly it will be difficult to
detect the substitute. These stems can be left about
two inches long, which will be sufficient to admit of
joining to form branches, &c., and can of course be
cut off if found to be too long. Care should be taken
to regulate the size of the thread used by the require-
ments of the leaf; a large leaf, with thick mid-rib,
calling for a thick and substantial stem, while a deli-
cate leaf, like the Ivy, needs a finer one.

The Ivy leaf should always, if possible, be grouped
so as to form wreaths, as nearly as may be in ac-
cordance with its natural habit of growth, the smaller
leaves being placed at the end of the spray.

Having prepared the stems, the grouping may be
gracefully done (if the bouquet is to be placed under
a low, broad shade) by fastening the stems securely,

4%

42 PHANTOM FLOWERS.

with a little of the thick gum, into a hole made in
the centre of the cushion, in such a way as to allow
them to bend over slightly, using the large leaves of
the Magnolia species as a beginning, and filling in
with smaller leaves of other varieties. When a taller
shade is to be used, this plan will not answer so well,
as it is desirable to bring the group higher up, so as
to fill the shade. A piece of white silk-wrapped bonnet
wire will answer as a foundation, the upper end being
covered with a small piece of white wax.

The leaves may then be grouped around the wire,
and tied with white sewing cotton, placing the smaller
or medium-sized leaves at the top, and adding the
larger ones for the middle of the bouquet. These last
will then droop over gracefully when the shade is
placed over them, and the seed-vessels and Ferns, which
are more effective when arranged in groups on the
velvet cushion, will be seen plainly through the lace-
like curtain. When the central stem of wire has been
covered about two thirds of its length, gum the lower
end and insert it firmly into the base, having punched
an opening through the cushion, reaching down into
the wood itself; this will hold it entirely firm. One
of the white seed-vessels of the Balsam Apple forms

an effective vase-like receptacle, and when used, the

PHANTOM FLOWERS. 43

wire may be passed through it, before being gummed,
into the stand. The group thus fastened should reach,
in the centre, to within three inches of the top of the
glass, the leaves of course rising higher as they curve
upward from the stem. There should now be prepared
a few choice sprays, of leaves and seed-vessels, or per-
haps a group of Ferns, and fastened into the cavity
thus created, so as to crown the whole, and give it an
artistic finish.

On no account should large and heavy seed-vessels,
or opaque objects, be placed near the top of the bunch.
We have seen many specimens made by beginners, in
which Stramonium burrs were conspicuous among deli-
cate leaves at the summit of the bouquet. Of course,
this manner of arranging them detracts considerably
from the light and airy appearance of the whole; and
as the burrs soon become discolored, the little original
beauty of such productions will soon be gone, the
coarse brown burrs becoming an unsightly blemish,
which nothing but their removal from the bouquet
can repair.

As a general rule, large sprays of Fern look better
and wear better, when placed near the bottom, or
directly on the velvet, as they are disposed to curl,

especially if placed in the bouquet before they are

44 PHANTOM FLOWERS.

perfectly dry. All delicate seed-vessels, and the beau-
tiful flowers of the Hydrangea, show to great advan-
tage on the raised cushion, while the large leaves
occupy the centre of the group. When finished, a
piece of chenille around the outer base of the shade
will serve the double purpose of ornament and use,
as a protection from dust. On no account should the
shade be fastened down, as the contraction and expan-
sion caused by changes of temperature will certainly
crack the glass if it be glued fast.

Another very pretty style of arrangement is in a
frame, under a convex glass, using a background of
blue or black velvet. ‘Leaves, flowers, and ferns may
be arranged gracefully, with stems downward, as in
the ordinary bouquet, and these afterwards concealed
by a large seed-vessel of the Balsam Apple or Stra-
monium. These latter seed-vessels, however beautiful
in texture, and ivory-like in effect, are now generally
discarded by those who have had several years ex-
perience in the art, on account of their tendency to
become brown with age. No matter how white and
beautiful the leaves may be, the whole effect will be
marred by the presence of a single unsightly brown
or yellow burr. Some have adopted this style of the
frame, but with a flat plate glass, having the whole

PHANTOM FLOWERS. 45

finished as a table top, made to move on _ hinges,
similar to the papier-maché stands, so that when not
in use it may stand in a corner in an upright po-
sition.

Another and newer style is the black velvet cross,
with cushion of the same color round the base, with
wreaths or vines of small leaves — the smallest to be
had — entwined around it. The effect of this arrange-
ment is admirable, as it shows with great advantage
the beautiful leaves of the Ivy, the Deutzia, the
Wistaria, the Bignonia, and the Silver Poplar, as
they are displayed upon the dark-colored background.
A wooden cross, of the height and proportions re-
quired, covered neatly with velvet, should be firmly
glued into the wooden base, and the white vines
formed of the stiffened crochet cotton —the little stems
which are to connect the leaves with the vine being
made of the finer thread. The exercise of a nice
taste, with some little mechanical dexterity, are all
that will be required to produce a very happy effect.
A few leaves, Ferns, and small seed-vessels, grouped
around the base, complete the arrangement.

Still another style, suggested by the desire to trans-
mit specimens of the art by mail or otherwise, to

friends at -a distance, consists in the grouping in a

46 PHANTOM FLOWERS.

box, having a dark lining, and gumming the leaves
on the bottom of the box, precisely as for framing.
The bouquet thus sent can be framed by the receiver
by merely cutting off the rim or sides of the box.
A deep passe-partout frame, made of dark paper,
will answer very well for small bouquets. Still other
designs, wreaths in vases, albums, &c., will suggest
themselves to the proficient in this graceful art; and
with accumulated experience will come enlarged ideas
of the beautiful, whose further development will soon

embellish many a home of taste.

PHANTOM FLOWERS.

PHANTOM FLOWERS.
ENTWINED AROUND A CROSS.

THEY are spirits of flowers that blossomed and died
Long since in the garden —its beauty and pride ;
Yet they rise from corruption, in robes new and bright,

As vision-like phantoms, all spotless and white.

Gay bodies we knew have gone down to decay ;

?
With the Winter’s first breath they have withered away ;
But a change has come o’er them, and dream-like and fair,

The features that marked them they once again wear.

The same wondrous tissue, the outline and grace
Of each tiny leaflet and blossom we trace,
True type of ourselves, whose poor bodies shall rise

From the grave of corruption, the heirs of the skies.

Dear sign of our hope, of salvation the key,
The purest of offerings thy chaplet shall be;
Of blossoms unfading, from heavenly bowers,

We twine round the Cross phantom leaflets and flowers.

47

ILLUSTRATED LIST OF PLANTS FOR
SKELETONIZING.

»|N describing the process of maceration
in a previous chapter, we have en-

deavored to give such clear and prac-

tical directions as will apply to all

varieties of plants. But there are certain peculiarities
which seem to be inherent in each particular leaf,
seed-vessel, and flower, so as to call for specific direc-
tions, in order that success may be insured with all.
Instead, therefore, of dismissing the subject with a
mere list of leaves adapted to the purposes of the art,
and leaving each learner to discover these varying
peculiarities for herself, at great cost of time and

labor, we shall give a few general rules for the treat-
(48)

PHANTOM FLOWERS. 49

ment of each one named. The learner will need all
the light that can be thrown on the subject, and the
minute particulars which follow will contribute largely
to her successful prosecution of the art. The illus-
trations which accompany the description of such leaves
as are most important, will enable the reader to de-

termine the names of doubtful varieties.

MaGno.iia.

This splendid genus of trees. deserves to be placed
at the head of our list of those plants whose leaves
are well adapted to the purposes of our art. Its varied
species are to be found on the eastern shores of both
the great continents North America and Asia. The
United States produces no less than eight varieties,
while China and Japan have four or five. Neither
Europe, Africa, nor South America can offer a single
species of indigenous Magnolia.

The different varieties of Chinese Magnolia have,
with one or two exceptions, been acclimated with us,
and are to be found in most of our ornamental shrub-
beries, their lovely white and purple blossoms and

5

50 PHANTOM FLOWERS.

spicy fragrance, together with the neat and regular
appearance of the trees themselves, making them gen-
eral favorites. Most of the Chinese varieties will
answer for our purpose, but we give preference to the

following: first, —

Warre Curnesr Macnoria (Magnolia conspicua).

This variety blossoms during April in the Middle
States, and by the Chinese is called the Lily Tree, from
its lily-shaped flowers, of a creamy white color. The
leaves arrive at perfection in June, and may be gath-
ered for maceration between the 15th of that month
and the middle of September. After that time the,
ravages of insects begin to show themselves.

Magnolia Purpurea and Magnolia Soulangianna are
purple varieties, of Chinese origin, and may be gath-
ered and treated as the above-named. From four to
six weeks will generally be long enough for their per-
fect maceration, when they can be readily cleaned by’
the aid of warm water and rubbing between the

thumb and finger.

PHANTOM FLOWERS. 51

American Swamp Maenorra (Magnolia glauca).
(Cut No. 1.)

This is the fragrant wild Magnolia, which blooms in
June, and is found in great profusion in the swamps
and marshes of New Jersey. When transplanted to
the garden, the leaves are produced in great perfection,
while their size is increased by cultivation. They are
in perfection at the time of blossoming, and on no ac-
count should be gathered later, as after that time they
become too tough, and abound with invisible stings of
insects, whose injuries, not becoming apparent until
after the cleansing process has been completed, the
otherwise beautiful leaf will be found covered with
small black spots, which can neither be whitened nor
removed. These leaves require three or four months
to macerate, and may then be brushed with a tooth-
brush to remove the little cellular particles which fill
up the interstices, and which give to them a thick and

cloudy appearance.

Sirver Portar (Abele).
(Cut No. 3.)
This leaf is one of the most desirable, as well as

most easily cleaned, since it requires but four or five

52 PHANTOM FLOWERS.

weeks to macerate, and has a strong fibre. The leaves
of this tree present much variety of shape, and the
sizes of those which are matured vary from half an
inch to four inches in length. They may be gathered
as early as the 1st of June, and generally remain free
from spots until September. Avoid the foliage of the
suckers, which are frequently found growing vigorously
around the parent tree, as the fibres of such leaves
are too weak and tender for our purpose. They will
lose their stems by maceration, but these may be

replaced, as directed in a previous chapter.

Aspen Porrar (Populus tremula).

The leaf of this tree is larger than that of the pre-
ceding, and is also more delicate. It may be gathered
in June or July, and will require about a month to
macerate. Great care will be necessary in handling

them.

Toure Poriar (Liriodendron tulipifera).

Lomparpy Poprar (Populus pyramidalis).

Both these may be gathered early in summer, and
should be treated like the Aspen Poplar.

PHANTOM FLOWERS. 53

Norway Marte (Acer platanoides).
(Cut No, 4.)

The most beautiful of the Maple family, in shape
and general adaptability, to the present purpose. A
single branch taken from one of these trees will present
great variety in size and shape, the small leaves at the
extremities cleaning quite as perfectly as the largest.
They should be gathered by the 20th of June, cer-
tainly not later than the middle of July. They will
be finished in about six weeks, losing their stems, as
is invariably the case with all the Maples. The Silver
Maple may be treated by the same rule.

LIinDENS AND WEEPING WILLOWS.
(Cut No. 16, Willow.)
These two desirable leaves may be gathered in
July, and will macerate in from six weeks to two
months. They need very careful handling, or brush-

ing with a camel’s hair brush on a plate.

European Sycamore (Acer pseudo-platanus).
(Cut No. 6.)
A. beautiful leaf, in shape somewhat resembling the
Norway Maple, but possessing a firmer and thicker
5#

54 PHANTOM FLOWERS.

texture. It must be secured early in June, as by the
close of that month it becomes unfitted for our use,
and but few of those collected after the 20th of June
will come out entirely free from clouds or blemishes.

About two months will complete their maceration.

ASH.
(Cut No. 5. English Ash.)

There are several species of this family which are
admirably adapted for our object. Of these, the
Flowering Ash (Ornus Huropeus) and the English Ash
are the most beautiful. They will become clear and
perfectly skeletonized in about six weeks after gather-

ing, which may be done in July and August,

EVERLASTING Pra, or CaicuLine Vercu (Lathyrus).
(Cut No. 11.)

This pretty garden perennial, with an abundance of
deep pink blossoms, is too well known to need descrip-
tion. The leaves may be gathered at any time during
summer, and require but a few weeks for maceration.
They lose their stems. The graceful tendrils of this

vine may also be placed in water with the leaves,

A

SN

AON

PHANTOM FLOWERS. 55

and after remaining some weeks, the outer cuticle
can be easily removed without untwisting the curl,
and these, when bleached, will be found ornamental
to the bouquet, especially where the design adopted

consists of a vine.

Exo.

The leaves of this beautiful tree must be gathered
very early. Indeed, so soon do the caterpillars begin
their ravages, that in some sections of the country,
before the leaf is strong enough for the purpose of
the skeletonizer, it is too much eaten to be worth
collecting. June or July will answer, if any perfect
leaves are then to be found. They will macerate
in about four weeks, and being very delicate, will
need the greatest care. If the leaf be laid on a
plate, or something similar, a camel’s hair pencil will
remove the softened particles, leaving the fibre clean,
to be floated off into the basin of water, and then
laid carefully on a towel to dry.

The Evergreen Elm (Ulinus sempervipens) (Cut No.
8), is a small, glossy leaf, with scalloped edges, and
may be used at any season of the year, requiring about
three months for its perfect clearing. A native of

France, and is rare in America.

56 PHANTOM FLOWERS.

Devrzia Scasra, oR Roveu-Leavep Devrzia.
(Cut No. 8.)

One of the most beautiful small leaves we can use.
Gather them in June and July. They will be per-
fectly skeletonized in three or four weeks, without
losing their stems. These graceful little leaves, with
serrated edges, form beautiful wreaths and sprays,
either for black velvet crosses, or to be twined around
the base of a bouquet.

Deutzia Gracilis, another variety of this desirable
garden plant, requires somewhat longer for its perfect

preparation.

Bracu, Hickory, anD CHESTNUT.

These leaves contain a slight portion of tannin, and
had better be kept separate from other kinds. A few
drops of muriatic acid added to the water in which
they are placed for maceration, will hasten the pro-
cess. They may be gathered in July, and will require

several months to become completely skeletonized.

Dwarr Pear, Sassarras, AND ALTHEA
(Cut No. 9.)

Gather in July. They require about two months.

PHANTOM FLOWERS. 57

Rose.
(Cut No. 7.)

The common annual blooming dark velvet Rose
furnishes the best description of leaves for our pur-
pose. They should be gathered in July before the
insects have stung them, and will require about two
months’ soaking. They are very delicate, and must

be brushed on a plate.

Waite Frince Tree (Chionanthus Virginica).

Gather in July. Will be ready for clearing in

about two months.

Durcuman’s Pirz (Aristolochia tomentosa).

This is a rather coarse vine, of rank growth, well
suited for covering unsightly buildings or decaying
trees. It bears a curious white blossom, shaped some-
what like a pipe, whence it takes its homely name.
The leaves are heart-shape, of thick and woolly texture,
but the skeletons they produce are so exceedingly beau-

tiful as to make them indispensable to a complete

58 PHANTOM FLOWERS.

collection. They should be taken from the vine not
earlier than the middle of July, and perfect speci-
mens may be obtained as late as the middle of
September, — probably about the first of August will
be the best time. Select the firmest and oldest leaves.
Some of them will be clear in four weeks after im-

mersion.

Ivy.
(Cut No. 17.)

These much admired leaves may be gathered at
any time during the year, always selecting those a
year old in preference to the younger growth of the
present season. The Ivy leaf, like some others, has
a tough outer cuticle on each side, between which
the fibrous skeleton is concealed, the intermediate
space being filled with the green cellular matter com-
mon to all leaves. During the process of macera-
tion this green substance becomes dissolved, though
the outer skin remains whole and entire. When
taken from the macerating vessel and laid in the
clean water for cleansing, this skin will present the
appearance of a bladder filled with green water. By

puncturing, or gently tearing this skin on one or both

psy
AVL es

PHANTOM FLOWERS. 59

sides of the leaf, the water will escape, and the
perfect skeleton will float out, ready for rinsing and
drying. Four or five weeks will be sufficient to allow
for their preparation, although some varieties require

a few weeks longer.

Hotty.
(Cut. No. 12.)

This leaf is quite difficult to clear properly, owing
to the tough outer cuticle adhering so tenaciously to
the thorns on the edges, as to tax the ingenuity and
patience of the operator in removing the one without
breaking off the other. For this reason most amateurs
give up after the first attempt, and content them
selves with more beautiful and less troublesome sub-
jects. About three months is the time necessary for
skeletonizing them; and being evergreens, they may
be gathered at any time.

Wistaria, Bignonia, Greenbrier, and Wild Yam, all
vines that are tolerably well known, may be skel-
etonized by the usual process in from six weeks to
three months, and should be gathered about the
middle of July.

Of greenhouse plants, the leaves of Camellia Japon-

ica, Cape Jasmine, Laurestina, and Caoutchouc may

60 PHANTOM FLOWERS.

be done after months of soaking. A shorter process, |
however, which some parties prefer for all descriptions
of leaves to the slower method which we have adopted,
is found to answer well for these particular species.
Their tough epidermis requires something more than
the ordinary sluggish operation of water and summer
heat to soften and remove them. The process con-
sists in boiling them for several hours in strong soap-
suds, using the ordinary chemical soap of the shops.
This will generally succeed with these last named
plants, but for those which are tender and delicate, as
before described, it is too severe. Besides this, the
chemical properties of the soap affect the leaf in so
peculiar a way as to increase the difficulty of bleach-
ing; and notwithstanding all possible care be taken
to wash after the boiling process is over, enough of
the refractory element remains to defeat all attempts
to make the leaf perfectly and permanently white.
Therefore, while we mention the process, as an item
of information due to the learner who desires to
understand the whole routine, and to test for herself
the various modifications of practice now in use, yet
we prefer and still adhere to our own formula, as at
first described. We consider it the best, and by far

the most reliable, although it is unquestionably slow

PHANTOM FLOWERS. 61

and tedious in all its various processes. Our motto
in this art must be ‘“‘ Festina lente.”

In concluding our list of these, the most desirable
leaves that have so far come under our own observa-
tion, we would by no means limit the researches and
experiments of other artists. Different localities will
unquestionably furnish different specimens, and thus
their collections may be greatly enlarged by the adop-
tion of new and more beautiful leaves. As a general
rule to govern in the selection of appropriate subjects
for experiment, let those of strong and woody fibre be
chosen, rather than thick, fleshy leaves, whose veins or
ribs may be soft and juicy. Avoid, also, those which
have veins traversing the leaf in a longitudinal direc-
tion, instead of forming a network tissue radiating
from the mid-rib to the outer edges of the leaf. The
former are known as endogenous, the latter as exoge-
nous varieties of leaf structure. As an example of the
endogenous, we may cite the leaves of different kinds
of Lilies. If put into the macerating vessel, a few
days, or a week, will be sufficient to reduce them to
a mass of pulp, resembling a bunch of thread or
strings, with apparently no connecting framework to
hold the fibres together in form. The practised eye
can in most cases discover the character of the leaf

6

62 PHANTOM FLOWERS.

under observation, by merely holding it up against the
light, when the veinwork will be plainly perceptible,
and its value decided by the closeness or coarseness

of its vascular structure.

We add the following, as having been successfully
skeletonized : —

Horse Chestnut (Aisculus hippocastanum).

Kentucky Coffee Tree (Ginnocladus Canadensis).

Flowering Pear (Pyrus Japonica).

Andromeda.

Rose Acacia (Robinia hispida).

Witch Hazel (Hamamelis Virginica), said to be very
beautiful, — should be gathered early.

Wild Cherry (Cerasus serotina).

Sugar Berry (Celtis occidentalis).

Fraxinella Dictamnus.

Franciscea, — very beautiful.

Erythrina Crystigalla.

Virgilia Lutea.

Matronia.

Barberry (Berberis aristata, and purpurea).

Mountain Laurel (Rhododendron).

Box.

Butcher’s Broom (Ruscus hypophyllum). .

Se eet = am =.
3 SW SOR) (ae S
Tan fo Z NE Th
ACSehdly ONO Pyare
fast Git Na WS uk
ia ee ; Ss “A
} OS Ie i NS by iw Y

to particular notice. The peculiar

characteristic of this family of plants
is the berry, enclosed in a bladder-like receptacle.
These berries are about the size of cherries, with
color yellow, red, or purple, and having a pleasant,
sweet taste. The green covering becomes of a yel-
lowish color when the fruit is ripe, and they fall
to the ground together, when the curious case will
soon become perfectly skeletonized by contact with
the damp ground. But as they are very liable to be

eaten by insects while on the ground, it is much
(63)

64 PHANTOM FLOWERS.

better to gather them as soon as they fall, and place
them in the macerating vessel, allowing the berry
inside to remain until softened, in order to avoid
tearing the delicate little bladder. Two or three
weeks will be sufficiently long to allow for their
preparation. They may be washed, by passing rap- °
idly to and fro in hot water, when the softened berry
may be pressed out, then dried with a soft towel.
Some species lose their stems, and may be prepared
for the bouquet by using the gummed thread, ‘being
careful to bend gracefully, so as to give the effect of
drooping.
Wirp Hor Pielia trifoliata).

(Cut No. 2.)
This is a membranous capsule surrounded by a

leafy border, which, after about two weeks’ soaking,
becomes very lace-like and beautiful. Before bleach-
ing, the seed may be removed by making an incision
on one side of the capsule, being careful, when after-

wards arranging it, to place that side downwards.

NIcANDRA PHYSALOIDES.

One of the most desirable and showy for this pur-
pose. The blue Nicandra should be cultivated by all
makers of the Phantom Bouquet. The calyx of the

PHANTOM FLOWERS. 65

plant, enclosing first the flower, and afterwards the
seed capsule, is of a curious balloon shape, of bright
green until the seed is ripe, when it becomes brown-
ish. Each one has a tough stem, which is retained
through maceration, and is attached to the stalk of
the plant, the latter being covered by the calyxes, at
a distance of an inch apart, quite to the end of the
branch. This calyx seems to be formed of five dis-
tinct divisions, like leaves, which, when pressed open
and bent in proper shape, has, after bleaching, every
appearance of a flower. To increase the variety in
the bouquet, they can be used both in their natural
form to represent buds, or in the way described.
They require about three weeks to macerate, when
they may be cleaned in hot water, aided perhaps by
the tooth-brush. A whole branch may be done with-

out separating from the main stem.

Tuorn AprLre: JAMESTOWN WEED (Datura Stra-

moniwum).

A well known rank wayside weed, very poisonous
to the taste, but not to the touch. The seed-vessels
should be gathered when ripe, and soaked about six
weeks, when, by aid of a stiff brush, the beautiful

+ 6%

66 PHANTOM FLOWERS.

skeleton will appear. When bleached, they resemble
carved ivory, and are much admired in the bouquet.
The only drawback to their value is their tendency
to become brown again after bleaching. For this

cause we have entirely discarded them.

Witp Cucumber, or Barsam Apple (Echinosystis).

This is one of the most curious specimens in our
list of beautiful seed-vessels. It is said to grow in
abundance in the neighborhood of Boston, bearing a
profusion of seed. The seed-vessels vary in size from
an inch to nearly two inches in length, and about
half that in thickness. They become perfect skeletons
on the vine, where they should be allowed to remain
until the frost has opened them and dropped the seed.
If not entirely clear when gathered, they may be
completed by a few weeks’ soaking. They form
beautiful vase-like receptacles for the base of the
bouquet, and as they retain their whiteness, are excel-

lent substitutes for the Stramonium burrs.

Losetta.

The little wild species is very beautiful, with its
delicate globes set along the stem. About three weeks

PHANTOM FLOWERS. 67

will do for them, when they will become clear by

passing to and fro in a basin of hot water.

SxuLL Cap (Scutellaria).

These delicate clusters of seed-vessels may be skel-
etonized in two or three weeks, and cleared in the

same way as the Lobelia.

SHELL-FLOWER (Phyton Concha).

A curious shell-shaped calyx, with four seeds, which
remain in the extreme point of the horn. The plant
is rare, and rather difficult to cultivate. It seems to
belong to the Sage family, and has an aromatic odor
when pressed. The calyx is very delicate, and will
macerate in ten days or less. When seen in a group
of Phantom Leaves, they somewhat resemble the Con-

volvulus blossom.

Poppy.

The cultivated garden varieties will macerate in a
week or two. The fibre does not remain very per-
fect, at least in a general way, as it is apt to tear
by removal of the inner skins. But the star-shaped

summit of the capsule looks well upon the velvet

68 PHANTOM FLOWERS.

cushion. The black lines which radiate from the
centre may be removed by aid of a pin, when a

beautiful lace-work appearance will be imparted to it.

Mattows.

Several varieties. The common garden Mallows,
with calyx enclosing seeds, are the prettiest. They
grow in clusters, and if suffered to remain until

frost, will become skeletonized on the plant.

HyprancEsA HOorTENSIA.
(Cut No. 13.)

The well known garden species — the bunches should
be left on the plant until late in September, in
order to become firm. Separate into small bunches,
leaving not more than four or five in a cluster.
They will require about ten or twelve weeks for
maceration, and may then be cleansed by passing to
and fro in hot water, changing the water frequently
as it becomes filled with the loose particles. If some
of the leaves are separated, they can easily be re-

placed after bleaching by gum arabic.

PHANTOM FLOWERS. 69

Hyprangea QueRcIFOLIA: OaK-LeaveD Hyprancpa.
(Cut No. 14.)

This is a tougher and coarser species, composed
of four. flat petals. It requires longer time to macer-
ate than the Hydrangea Hortensia, but should be
gathered as soon as the bunches begin to turn brown

on the tree. A brush will be necessary to clear
properly.
CAMPANULA.

The seed-vessels of the several species of these,
including the Canterbury Bell, are much admired in
the bouquet, although not so delicate as the Lobelia,
which they resemble. Some varieties will become
sufficiently prepared on the plant, and only require
bleaching, but others need two or three weeks’

maceration.

To the above list the following may be added: —

Black Henbane (Hyoscyamus niger).
English Monkshood (Aconitum Napellus).
Toad Flax (Colutea arborescens).

Wild Salvia.

Figwort (Scrophularia nodosa).

70 PHANTOM FLOWERS.

Jerusalem Cherry (Solanwm spseudo-capsicum).
Bladder Nut (Staphylea trifolia)

Safflower: False Saffron (Carthamus tinctoria).
False Pennyroyal (Jsanthus cerula).

Lily of the Valley: The dried Flowers.

In concluding these instructions in the art of pre-
paring and completing the Phantom Bouquet, we have
endeavored to be plain and practical in every par-
ticular, seeking not only to direct the learner in her
experiments, but also to guard her against the mis-
takes and disappointments which must invariably attend
the labors of the unassisted amateur. If the details
here given have appeared minute and tedious, let the
reader remember that in these very trifles consist
the true elements of success.

When the first bouquets appeared for sale in this
country, the admiration they excited awakened a gen-
eral curiosity as to the process by which they were
produced. Inquiries were addressed to the editors
of some of our scientific journals, but they could
answer only according to their own very limited
knowledge of the art; and hence this occasional
information was exceedingly vague and unreliable,

and, indeed, it often misled the learner, resulting in

PHANTOM FLOWERS. 71

discouragement to some, and in entire disgust to
others.

The writer has here given her own practical rules
and ideas, adopted from actual experience, and no
careful learner need hesitate to follow in her foot-
steps. But, however invaluable instruction may be to
the beginner, personal experiment will be found in-
dispensable. We cannot write up the amateur to the
position of an artist. Yet a desire to reach the
status of the latter will stimulate to exertion and
perseverance, and these, with ordinary taste and skill,
will surely be rewarded with success. None, there-
fore, whose love for the truly beautiful in art is
deep and strong, and whose aspirations for eminence
are decided and sincere, will permit a few early
discouragements to turn them aside from the under-

taking.

HS intimated in a preceding chapter, the

prosecution of this new study by one

whose attention had never been directed
# to botanical investigations, will unfold a
world of novelties to which she had heretofore been a
stranger. She will insensibly become a botanist. The
leaves becoming her peculiar study, she will be sur-
prised by the discovery of peculiarities, and charmed
by the revelation of beauties, which she did not imagine
as existing in the leafy world. From a desire to ex-
tend her knowledge of the subject, she will consult the
numerous botanical authorities which crowd the shelves
(72)

PHANTOM FLOWERS. %3

of the nearest library, and thus her interest in a study
so elevating and refining, will be increased. From
these she will learn a multitude of facts, such as
nothing short of the most elaborate chemical analysis
could have detected, some of which will be found pe-
culiarly relevant to the study in hand.

It would be out of place to crowd these pages with
extended extracts from botanical authorities ; but a
brief summary from some of them, in relation to the
structure and functions of a Teal, will be quite appro-
priate. All plants, in a general sense, receive their food
in a soluble state, through their roots. The tree receives
its supply of minerals, such as silex, lime, alumina,
potassa, and magnesia, also in solution. The sap, thus
charged with nourishment, ascends the trunk, traverses
the branches, and passes into the leaf. The superflous
water, which held the nourishment in solution, passes
off by perspiration from the leaf, but the plant refuses
to part with the nourishment contained in the water.
This is distributed throughout the plant, a portion
being deposited in the cells of the leaf. The wonderful
plexus of minute vessels which traverses its whole
cellular tissue becomes clogged as the season advances,
its circulating functions gradually cease to operate, and
long before winter they are wholly suspended. The

7

74 PHANTOM FLOWERS.

leaf loses its hold on the parent spray, and finally
falls to the ground.

Chemistry has proved that at this period it contains
a large amount of mineral matter. The autumnal
leaf contains a much larger proportion than when it
was young and succulent; hence the facility of macer-
ation in summer, and the impossibility of doing so in
autumn. It is a remarkable fact that the leaf con-
tains a larger proportion of mineral matter than the
body of the tree. Thus, the dried leaves of the Elm
contain more than eleven per cent. of earthy matter,
while the wood contains less than two per cent. The
Beech, the Willow, the Pitch Pie, and other trees,
present differences almost as great.

One of the most remarkable properties of the leaves
is their power of decomposing carbonic acid, thus
enabling them to contribute, in common with the roots,
to the growth of the plant. The largest part of all
plants consists of carbon and the elements of water.
The woody fibre is formed of carbon, hence the growth
and increase of all trees and plants are dependent on
their capacity for taking up and digesting this sub-
stance. But they neither find it nor take it up in a
free or simple state, but in the form of carbonic acid,

that is, carbon combined with oxygen. This carbonic

PHANTOM FLOWERS. 15

acid pervades the atmosphere, from which the leaves
are constantly separating it from the oxygen, and ap-
propriating its carbon as a continuous contribution to
the growth of the plant. The roots, by a process of
their own, in like manner extract the Baas substance
from the carbonic acid of the water around and below
them, and convey it upward into the body of the plant.
But much the largest portion of the carbonic acid
which forms the food of plants, is absorbed by the
leaves.

As carbon, and not carbonic acid, is the food of
plants, the power of decomposing the latter, so as to
leave them in possession of the former, and of expel-
ling the superfluous oxygen, is therefore indispensable
to their growth. In reality, the leaves are the lungs,
as their functions are strikingly analogous to those
performed by the lungs of animals. The green leaves
of a growing plant absorb carbonic acid; they expose
it to the action of the sun’s light ; the oxygen is
separated from the carbonic acid, and is given out
by the leaves ; the carbon remains, and, entering
into the system of the plant, immediately increases
its bulk.

The growth and vigor of the tree depend on the

rapidity with which this decomposition, or digestion of

76 PHANTOM FLOWERS,

carbonic acid, goes on. The leaves must not only be
exposed to the light, but their color must be green.
Such plants as have been grown in the dark are in-
variably feeble and destitute of strength and substance,
but they are also without color. This is owing to the
deficiency of carbon; for while they may absorb car-
bonic acid from the air, the absence of sunshine pre-
vents them from separating it. When the leaves lose
their natural green color, it is evidence of disease.
The plant has in great measure lost its power of
digesting its food, and remedies must be resorted to
to remove the cause. The books abound in instances
of all descriptions of plants being thus affected, while
the remedial agencies are happily quite as numerous,
and in many cases entirely successful.

Such are the powers of absorption possessed by the
leaves. Their capacity for giving off exhalations are
equally wonderful. Botanists have carefully measured
the extent of this exhalation in certain plants. An
Apple-tree, with twelve square feet of foliage, per-
spires nine ounces of water per day. A Vine of similar
dimensions exhaled from five to six ounces daily. A
Sunflower, three and a half feet high, was found to
perspire at the rate of twenty to thirty ounces of

PHANTOM FLOWERS. V7

moisture every twelve hours, or seventeen times more
than a man.

These facts prove that the greater portion of the
crude liquids which are taken up by the roots of a
plant, passes off into the atmosphere through the leaves.
The quantity of moisture thus appropriated by some
plants must be enormous, as the foregoing experi-
ments with small ones sufficiently prove. Large trees,
presenting a great expanse of foliage, must necessarily
exhale immense amounts of moisture. Thus, forest
lands which are wet, and even swampy, become dry
on being cleared. Gardens which are unduly crowded,
are generally damp from the copious exhalations pro-
ceeding from excessive foliage. From the same cause
proceeds the dampness in houses whose exterior is
enveloped by shrubs or running vines.

From the large proportion of mineral matter con-
tained in the leaves, it is evident that the same sub-
stances existing in the earth must be annually circula-
ting from one to the other. The roots extract them
from the soil, they ascend the tree with the sap, and
are deposited in the leaves. Having given them co-
herency and strength, and having probably performed
other functions which are yet unknown to either
botanist or chemist, the fall and decay of the leaves

qT*

78 PHANTOM FLOWERS.

returns these mineral ingredients to the earth. With
the succeeding year the mysterious circuit is repeated,
the tree enlarging in bulk, and the forest soil increas-
ing in richness. Such forest soils, instead of being
impoverished by the growth of trees, receive back an-
nually the greater portion of those mineral elements
necessary to the tree, with much organic matter re-
ceived into the plant. from the atmosphere. The roots
suck up these minerals from great depths, but the
leaves deposit them on the surface. The surface soils
are therefore gaining instead of losing.

These annual deposits of leaves upon a forest soil
are indispensable to the vigor of the trees. If, for
neatness’ sake, the owner of a park or grove should
sweep away the autumnal deposit, and continue to do
so for a term of years, he would ultimately remove
so large a quantity of mineral matter as to impoy-
erish the ground, and greatly check the growth of
the trees. Itis because of the peculiar deposits found
in all leaves, that leaf manure is prized so highly by
every intelligent gardener. While generally regarded
as a purely vegetable substance, leaves are perhaps
the best mineral manure that can be applied to the
soil. It is alleged, moreover, on very high authority,

that the most efficient manure for any plant is found

PHANTOM FLOWERS. 79

in the decomposed leaves and trimmings of its own
species.

The science which enables us to understand not only
the history, the names, the virtues, and the associa-
tions connected with all plants, as well as the wonder-
ful relations, the admirable laws which govern their
structure, and the important part they bear in the
economy of the universe, is worthy of the careful study
of every intelligent person. He will find it worth
while to become familiar with a science which, wher-
ever his steps may lead him, from the bleak mountain-
top, crusted over with mosses and lichens only, to
warm and luxuriant tropical valleys, where the mag-
nificence of vegetable wonders almost bewilders the
senses, will still furnish him with new subjects for ad-
miration. It will make his morning walk in the gar-
den or over the meadow a new delight. A tramp
along the commonest field path, or a ramble by the
wayside, which, to the eye of the dull and unlearned,
may be mean and barren, he will find rich in interest
and exuberant in beauty. No thinking person, whose
home is in the country, and who loves Nature, would
fail to find in such studies an inexhaustible fund of

gratification. The fields, the forests, the entire land-

80 PHANTOM FLOWERS.

seape have a positively different and altogether new
meaning to one who sees, not only the general beauty
of the whole display, but who also studies with delight
every detail of fern, or shrub, or forest tree in the

foreground.

LEAF PRINTING.

|T will sometimes be desirable to make
| impressions of the skeletonized leaves,

either for preservation as curiosities in

the scrap book or photographic album,
for transmission by mail as specimens of the art, or
for the engraver to reproduce on wood. The making
of these impressions, direct from the leaves, though an
exceedingly simple process when once understood, re-
quires much care and skill to learn. Whoever may
undertake to produce them, should call in, if possible,
the aid of some friend who has a practical knowledge
of printing, as the processes by which books and uews-

papers are produced are all applicable to leaf printing.
(81)

82 PHANTOM FLOWERS.

The operator should procure a spoonful of printer’s
ink, and with a case knife spread a small quantity
over half the surface of a marble slab about a foot
square. When spreading the ink on the slab, let it be
confined to one end of it, not letting it cover more
than half the stone. Care must be taken not to allow
thick streaks or ridges of ink, but to spread a thin
film or covering, as uniform as possible. As printing
ink is a thick and paste-like compound, which stiffens
in cold weather, if the operation is to be performed
when the temperature is low, the stone should be
slightly warmed before the ink is laid on. The warmth
will render the ink sufficiently fluid to operate in a
satisfactory manner. If no marble slab can be con-
veniently obtained, then a smooth board, about an inch
thick, may be substituted. The board will not require
to be warmed.

When the stone has been supplied with ink as above
directed, a roller is passed several times over it, until
the whole surface of the roller becomes coated. It
will take up the ink in unequal quantities, that is,
more in one place than in another, with just as much
irregularity as it had been laid upon the stone with
the knife. This irregularity must now be remedied,

and the ink distributed over the entire surface of the

PHANTOM FLOWERS. 83

roller with absolute uniformity. This is quickly ac-
complished by frequently passing the roller to and fro
_ over that half of the stone on which no ink had been
spread. But in so doing, care must be taken to oc-
casionally lift it from the stone, and to give it a half
revolution before again putting it down, so that its
surface shall come in contact with new portions of the
surface of the stone. By following these directions
the ink will become distributed evenly over the face of
the roller, whence it will be transferred with corre-
sponding uniformity to the delicate framework of the
leaf, and will produce a perfect impression of its most
complex veinwork. If the ink is not thus nicely dis-
tributed on the roller, the interstices in the leafy struc-
ture will become filled with it, and the impression
will present an unsightly blotch.

For taking impressions, thin letter paper will be
found the best, if it be nicely glazed and free from
ridges or water-marks. It should first be cut into
pieces about the desired sizes, and then slightly sprin-
kled with clean water, say two or three pieces first.
On these as many dry ones should be laid, and they
sprinkled in turn, then more dry ones, then another
sprinkling, and so on until the whole quantity has been
sprinkled. Let the pile lie for half an hour, or until

84 PHANTOM FLOWERS.

the paper has absorbed all the water. Then take the
pieces, one at a time, and turn them over, placing the
first on a board, and the others on top of the first, but
shifting them about as they are turned; that is, if a
very wet end or corner is observed in one piece, turn
the piece around, so that the excessively wet places
shall come in contact with dryer surfaces in the new
pile. Be particular to smooth all wrinkles with the
back of the thumb nail. If the paper has been made
too wet, the accident can be remedied by interposing
dry pieces between two wet ones. When the whole
has been turned, put a slight weight on the pile to
press all down smooth, as much depends on having
the paper in perfect order.

Being now ready to commence the printing, a leaf
is placed on a smooth board, with its under side up-
permost, as there the leafy veins or ribs are more
prominent than on the upper side. The roller having
been charged with ink, it is rolled to and fro over the
leaf until the latter is seen to have received a suf-
ficient supply. Three or four times going over will
generally be enough. Then lay the leaf on the top
sheet of the damp paper pile, with the inked side
down, and over it place a doubled sheet of dry paper,
press on with the left hand so tight that the leaf shall not

PHANTOM FLOWERS. 85

move, and with the thumb nail of the right hand rub
pretty hard over the whole leaf. This pressure of the
thumb nail will transfer the ink on the leaf to the sur-
face of the damp paper, and if the inking has been
carefully done, a clear and distinct impression will be
obtained. If duplicates are desired, repeat the opera-
tion. If the impression is not entirely satisfactory,
then try one from the upper surface of the leaf. The
printed sheet should be immediately placed between
the leaves of a thick book, there to remain until dry,
when it will come out nicely pressed, and smooth as
before being dampened.

The best form of roller is made by taking a piece
of india-rubber hose, say an inch or two in diameter,
about five inches long, and forcing it over a round
stick, leaving handles projecting at the ends. If the
surface of the rubber is very uneven, it should be
made uniform by covering it with thick buckskin.
Where the rubber hose cannot be readily obtained, a
covering for the stick may be made by winding round
it several thicknesses of cloth or flannel, and covering
it with buckskin. When done printing, the ink should
be washed from both stone and roller by turpentine,
ley, or strong soap-suds.

Failure in the first attempts should not discourage

8

86 PHANTOM FLOWERS.

the operator. The process is a very simple and easy
one, and a few trials will generally insure “success.
All the impressions contained in this volume were
taken for the engraver by the process described above.
None but the most perfect leaves should be used, as

any blemish will be reproduced in the impression.

COMMERCIAL VALUE OF THE ART.

gj) HEN a novelty in science, art, or
manufactures becomes the candidate

for public favor, the first consideration

with the many is,— Will it pay?
With American minds especially, this is the con-
trolling idea. An art is esteemed valuable in pro-
portion to its power of enriching the discoverer. The
benefit or pleasure it may confer on the community
is a secondary matter, as men usually make new
discoveries for their own exclusive gain. Whatever
share the public may receive is incidental, but even
then they are required to pay for it. The invention

of a new machine is valuable to the originator, not
(87)

88 PHANTOM FLOWERS.

because the community is to be benefited, but because
it will be compelled to purchase largely. ‘So also
with all processes throughout the range of human
wants. Each has its salable or commercial value.
But few inventors or philosophers originate or discover
solely for the public good.

Applying these tests to the art we have illustrated,
it would seem evident that it is wholly deficient in
commercial value. As an invention, it is not new.
As the common grain fan had been used for ages
in China, before the Dutch discovered it and trans-
planted it to their own country, whence it was sub-
sequently domesticated here, so the art of skeleton-
izing flowers had existed in Asia for centuries before
it became known in Europe. Like what is yet known
as the Dutch fan, which no sooner reached this
country than American ingenuity transformed it from
a sluggish and imperfect erudity into a rapid and
efficient machine, so this art, under the touch of
American taste and shrewdness, has been made to
take high rank among the most beautiful creations
of genius. But here the parallel ceases. Fans can
be manufactured by machinery, and every farmer
who produces grain must have one. They are arti-

cles of necessity, not of luxury. Though there be

PHANTOM FLOWERS. 89

a limit to their consumption, yet the consumption is
nevertheless large enough to give to the article a
great commercial value.

But machinery cannot be applied to the production
of these delicate tissues. Their preparation is essen-
tially an art, not a manufacture. Like the chiselling
of a statue, which must be done by the slow labor
of the artist himself, so can their beauties be un-
veiled only by the most skilful hands. The statuary
may employ an ordinary workman to hew away the
superfluous mass beneath which lies concealed the
graceful creation of is genius, but it is doubtful if
a journeyman skeletonizer could be trusted with a
single department of the process. The artist must
depend more entirely on herself than even the stat-
uary. Hence, a manufacture which will not admit of
the aid of machinery, and which is so peculiarly
delicate as to exclude that of even human assistance,
can have no commercial value. Extensive production
is impossible. The world may be readily supplied
with grain fans, but a corresponding abundance of
skeleton flowers, were there a proportionate demand
for them, is beyond the reach of even American
ingenuity. Could they have been as rapidly dupli-
cated as apple-parers or nut crackers, they would have

long since ceased to be a novelty.

90 PHANTOM FLOWERS.

Neither is universal adoption the gauge by which
all merits are to be estimated. As the contemplation
of an exquisitely chiselled statue will stimulate high
and noble thoughts, such as refine the heart and
awaken in it new and lofty aspirations, so do all
other works of genuine art, no matter to what depart-
ment they may belong. The present century has
shown us that all art is progressive, and that between
its progress and the advance of a generally refined taste,
there is a parallelism too distinct te be overlooked.
The production of a skeletonized flower is one contri-
bution to the general sum of advancement. The
flower may be less imposing than the statue, or the
canvas, but it is a far more elaborate marvel, com-
bining in a single subject a revelation of the wonders
of the Divine Hand so intricate, yet so harmonious,
that the chisel of the statuary or the pencil of the
painter might seek in vain to rival it. The advent
of this should therefore be hailed'as a new star in the
galaxy. It will contribute its full share to the general
fund of innocent and rational gratification. Taste will
appreciate its productions, genius will consecrate them,
and the devout will cherish them as affording new
incentives for veneration.

The art is one which seems designed for female

PHANTOM FLOWERS. 91

hands exclusively. If some of its attendant operations
are unpleasant, all are yet delicate and gentle. No
rude hand can manipulate these tender fibres but to
destroy them. As an equivalent for deficient com-
mercial value, their production will afford employment
to minds which cannot fail to be thus informed, invig-
orated, and enlarged. Every where the effect will be
to elevate and refine. Should the study be found dif
ficult and abounding with disappointments, it will teach
the learner perseverance. If it have its discourage-
ments, it will be found to have its gratifications also.
Success in such an art will be worth achieving; and
few will be found so selfish as not to be proud of
seeing that their friends have conquered it. Commer-
cial value is evidently a most imperfect standard
of merit.

The subjoined poetical tributes to the art have been
kindly sent to us as appropriate to this volume. The

second poem is now published for the first time.

Vee HE preservation of Flowers, in their

natural forms and colors, is an entirely

new article of trade that has arisen

° in Germany. Erfurt, the city of
nurserymen and florists, excels in manufacturing
bouquets, wreaths, floral decorations for rooms, din-
ner tables, etc., made of such flowers. We are glad
that we are enabled to lay before our readers the
modus operandi, by translating for them the following
article from the Deutsches Magazin fur Garten und
Blumenkunde.

First condition: get a lot of fine sand, wash it till

all the soluble particles are gone—you can test it
(92)

PHANTOM FLOWERS, 93

by pouring the water off till it looks quite clear;
when you are quite sure of the fact, pour the sand
on stones or boards placed aslant, so that the water
can run off, and let it get dry either by sun or
fire—dry, perfectly dry. Then pass the sand through
a sieve, so that all dusty particles disappear from
it, as there will be such, which washing and drying
will not have removed. Then pass through a coarse
sieve, so as to get rid of too large grains. When
that is done, your sand should be a mass of fine
particles, of nearly equal size, as is, for instance, the
so-called silver sand, used for writing. Keep the
sand in a very dry, if possible, also, in a warm place,
that no vitalizing quality may remain in it.

Now for the flowers: cut them in a fully developed
state, taking care that they are neither wet nor moist
by dew, rain, ete. If you cannot obtain them in any,
other condition, which is to be regretted, then the °
following troublesome proceeding will render them dry.
Take one or two flowers at a time and put them
into a glass, into which pour just enough water that
the ends can stand in it; the flower will then dry,
and still suck up water enough not to fade.

Next, get a box or pot, or any thing large enough

to receive your flower or flowers; pour sand enough

94 PHANTOM FLOWERS.

into it that they will stand by themselves, their
stems embedded in the sand. And now for that. job,
which calls upon your whole skill and your most
delicate fingering; don’t be afraid; though practice
renders that, too, a comparatively easy matter. You
have to fill up the box above the level of the flowers
with sand, so that the flowers are completely embedded
in it. By means of a tube, or a funnel, or a sieve,
just accordingly, you can do it in such a way that
every particle of the flower rests in sand, and that
your filling up shall not have crumpled or displaced
the smallest petal. Of course, such a thing can be
done only in a very slow way by a beginner.
And now take care not to shake your box, else
the flower inside might get hurt. Carry it to a
place both dry and warm, that all the moisture in
the flower may pass into the sand, which, being
porous, is in turn acted upon, and will let the
moisture pass entirely out and get evaporated. Avoid,
however, positive heat, or the colors of the flower
will fade; whilst at too low a temperature, the
moisture in the flower will not dry quickly enough,
and so rot it. The warmth should, as a general

thing, never exceed one hundred degrees.

PHANTOM FLOWERS. 95

When you are sure that your flowers have fully
dried, —a thing a very little practice in touching the
box will teach you, —the thing is done. Open the
box, and by holding it in a slanting direction, let so
much sand run out that you can lift the flower by
the stem; by turning it upside down, shaking it
gently, and if necessary! blowing on it, all the sand
will be removed, and you have the flower in its
most perfect form. A little brittle, to be sure, in
such a dry state as this, and therefore requiring
careful handling. But a few days’ exposure to the
atmosphere will have imparted moisture enough to
the flower to make it considerably less brittle.

You now see why we cannot do with the larger
grains of sand; they would press unequally, and spoil
the flower, which forever retains all the marks of
such pressure; nor with the dusty particles of the
sand, because they, as well as the soluble particles
which we have removed by washing, would adhere
to the hairy and velvety parts of the flower, would
never be got rid of, and would materially impair
the original beauty.

For the same reason, glabrous flowers are not fit

“subjects.” The very newest feature, however,

96 PHANTOM FLOWERS.

about this business, is, that this discovery, how to
preserve flowers in their natural state, is quite an
old affair, long forgotten, and solely resuscitated by

the increasing demand for bouquets.

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