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[ix]

We feel assured that a long introduction is neitherrequisite to the reader or publisher of a Work likethe present, and shall, therefore, merely say, that thegreat success our former little Works have met with,[x]has induced us to send forth this edition, in which willbe found every particular connected with this very usefulsource of amusement and fashionable department ofpractical art. The illustrations are furnished by a latepupil of the School of Design, who obtained the highestprize for Flower Painting, assisted by a student of theRoyal Academy of Arts. Every example given hasbeen practically tested, and, in most instances, the drawingshave been copied from the models executed in leather,and will be found to combine durability with beauty ofdesign. In order to make the leather modelling asdurable as possible, we have not departed from nature inthe finished form, but in the mode of construction; forexample, we make several portions of a flower in onepiece of leather. The Narcissus and the beautiful WhiteLily have each six petals; in both instances, we makethe entire corolla of the flowers in one piece; thereby,while losing none of the beauty of the natural form ofthe flowers, we gain strength and solidity; as, were thepetals of the Lily or Narcissus to be composed of sixpieces, one, if imperfectly cemented, might fall off and[xi]detract from the beauty of the entire piece of work. Byour method of proceeding, it is impossible to do so: wemention this, as, in our description of Making andModelling Flowers in Leather, we differ from the literallybotanic construction, while, at the same time, we arriveat perfectly correct and artistic formation.
In some flowers, as in the Hop, Dahlia, &c., we havefound it impracticable to combine many petals in onepiece of leather; where this is the case, especial caremust be taken to have good liquid glue, and fasten eachpetal securely.
All leather to be used in Modelli