MODELLING THE FLOWERING RUSH 357 



will be found necessary to remove any colour which may have 

 accidentally got underneath, and also to give a little more 

 brightness, and this may be done by means of the dry brush 

 first used for the pink madder, and if this should polish the 

 surface too much, it can be remedied as before by rubbing on 

 arrowroot. 



Where the pedicels have a reddish tinge, the effect can be 

 reproduced by brushing in a little dry madder carmine mixed 

 with the smallest possible proportion of pure scarlet. 



This method of dry colouring, which is supposed to be 

 practised only at present by the writer and his friend, is, if 

 known, not taught by professionals, owing probably to certain 

 difficulties which have to be overcome. There is no comparison, 

 however, between the dry and the wet process, and all flowers 

 may be managed as described, the result being not only greater 

 purity of colouring when looking down upon the flower, but 

 also possessing the incalculable advantage of allowing the 

 transmission of light through the petals, when viewed against 

 the light, and thus vying with the natural flower in that most 

 important particular. 



In some instances, fine lines, etc., of moist colour may be 

 introduced without detriment, and they enhance the general 

 effect ; but caution is needed not to overdo this. Indeed, every 

 flower and leaf now made for the Leicester Museum is not only 

 botanically correct, but undergoes the extreme test of being 

 mixed with the natural flowers at the time of modelling, and is 

 not passed as correct until it deceives the eye in every particular, 

 and at close range. 



The colouring of the carpels depends so entirely upon the 

 variations of the natural blossoms — ranging from the most 

 delicate pinks, etc., in new flowers, to deep purple in those 

 fully matured — that this must be left to the judgment of the 

 modeller ; it is merely suggested, therefore, that the colours 



