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AN IVY LEAP CROSS. 
DESIGN IN SKELETON LEAVES. 
The process for mailing skeleton leaves was de¬ 
scribed in last number of Floral Cabinet. The 
present number introduces a beautiful design, which is 
constructed as follows: Get a plain wooden cross made 
in form like the one here figured, but of as large size 
as you choose, and cover it with black velvet. This 
part of the work must be done very neatly indeed. 
The velvet must be cut exactly and evenly. A cor¬ 
rect measurement should be made previously of the 
width required, and then the velvet should be 
stretched tightly and evenly over the wood. No 
wrinkles should ruffle the flat surface, and this blemish 
you will find difficult to avoid if the material is not 
cut straight, and if the right way of the stuff —that is, 
the selvage way—is not taken for the length. When 
the cross is ready for further adornment, 
twine a wreath of ivy leaves around it, 
and let ferns lie at the base. Now, how 
can this be done ? Twigs won’t bend; 
bleached branches will be too brittle for 
this purpose. We must have recourse 
to a little deception. Get some very 
coarse crochet cotton, and stiffen it with 
gum. When dry, this will be pliable 
enough for your purposes, and will suit 
the requirement admirably well. Put 
the would-be stalk half way up the middle rib, at the 
back of the leaf, and fasten it with the dissolved 
isinglass. The making of the wreath requires great 
nicety, as you will perceive, but the effect of the whole 
work when completed is very ornamental indeed. 
vermicelli and tapioca. Have the entire bracket 
covered. Then prepare some scarlet or crimson 
sealing-wax by dissolving (or melting rather) in first- 
proof alcohol. Into this dip twigs, raisin-stems, thorns, 
and other gnarled pieces, which will appear like coral, 
and arrange a tasteful cluster on the front of the 
bracket, also at the sides, or wherever taste may sug¬ 
gest, edge with small shells, and place one or two 
larger ones at the end of the bracket supports. Upon 
this place a picture of suitable size and appropriate 
design—for instance, a sea scene, group of sea weed 
and shells, or other marine subject. Make the frame 
thus : form of covered wire and upon it sew thickly 
TRANSPARENCIES. 
The transparencies made of cardboard, with cuts 
or slashes to produce shade, are not as beautiful as the 
kind I am about to describe. Take a fine picture or a 
set of pictures, either colored or plain, and cut away all 
the margins. Make frames of cardboard, of appropri¬ 
ate shapes. If for lamp-shade, use five frames cut in 
Gothic style, to imitate pointed or arched window- 
frames. Cut pieces of very thin white paper (rose or 
blue tissue paper) and the picture to fit within the 
frame, the painting placed outside, and the tissue paper 
between this and the white paper. Finish with an 
edge of gilt or silver paper. Take a sharp knife with 
fine point and slash the deep lights in the picture, 
using care not to cut into the tissue paper (perhaps it 
would be wise to cut the picture previous to binding 
together). Tie knots of ribbon and suspension cords, 
if the transparency is for the window, but if for lamp¬ 
shade, tie at top and bottom with bright-colored 
ribbons. These transparencies will be found very 
beautiful, and cannot fail to give satisfaction. En¬ 
gravings painted in Grecian style are very fine for 
them. C. S. J. 
CORAL BRACKET WITH FRAME. 
Make a bracket of stiff cardboard. Having a suitable 
quantity of vermicelli, tapioca, sago, rice, and a little 
carrageen (or Iceland Moss), the latter bleached in a 
solution of chloride of lime, also some pure white 
scrapings of cattle horns which have been previously 
boiled, proceed to cover the bracket first with the soft, 
fleecy, w r hite horn shavings, upon which sprinkle the 
rice and other articles, using only a small portion of 
VELVET MAT. 
This mat will be found beautiful and appropriate 
for the passe partout frames, and for some rare and 
delicate paintings : Take a piece of thin wood or 
heavy cardboard of size of frame, cutting out an oval 
of size to admit the picture ; cover with bright-colored 
velvet, and draw upon it a wreath of ivy leaves, con¬ 
volvulus, or other graceful vine, and clusters of flowers 
in the corners, or at top, bottom and sides. A tasteful 
person can easily form a suitable design. Have pre¬ 
viously prepared a quantity of bright, clear fish scales, 
the larger the better (those from carp and shad are 
fine), by soaking in strong salt and water over night, 
then lay them on a soft napkin, wiping each one care- 
fully, and press between the leaves of an old book 
under a heavy weight; allow them to remain under 
pressure for several days. Have a pattern, drawn 
precisely like the one on the velvet, on fine cardboard, 
and cut it out carefully. Place sections of this pattern 
•—leaves, petals, buds, or other parts of the design—= 
upon the scales, and cut it with sharp scissors. With 
scissors, or sharp-pointed instrument, 
vein the leaves and mark the petals, 
hearing on hard and using care; then, 
with fine gold thread or yellow silk, sew 
on each part upon its appropriate place 
on the velvet. It is a good plan to dip 
the thread in water, which will prevent 
the breaking of the scales. A few gold 
tendrils and a flower centre of pearl 
bends is a fine addition, and the ex¬ 
quisite beauty of this work cannot be 
conceived unless seen. These scales glisten with a 
clear phosphorescent brightness, which, combined with 
that opalic lustre seen upon pearl, renders them 
beautiful beyond description. 
C. S. J. 
Ivy Leaf Cross. 
loops an inch and a half long (more or less, according 
to size of frame,) of coarse darning cotton. Melt white 
wax, in which incorporate sufficient Vermillion to 
make a bright scarlet; dip into this a portion of the 
frame, and, when a little cool, commencing at the end, 
twist up to the base. Go over the wdiole frame in 
this way; then dip and twist a second or third time, or 
until the sprays are of proper thickness. After the 
last twisting, arrange into proper form by curling and 
bending. The appearance of this coral is more natural 
than by any other process, as it has the rough, crisp 
appearance of unpolished coral. 
C. S. J. 
HOW TO MAKE MOSS FRAMES. 
I am very much interested in the Cabinet, and I 
dare say that every one who has ever read its instruc¬ 
tive pages feels the same degree of interest. I think 
every lady i-n the land should have it. I am a new 
subscriber, and have fallen in love with it. For the 
first time I “speak” to its many readers. Just now I 
have in my mind a very pretty frame, to be made of 
dry moss of a pale greenish color, generally found on 
beech trees and old logs in the woods; I do not have 
reference to the dark green velvet, but the kind that 
has a rough and dingy appearance; this is sometimes 
found on decayed fruit trees as well as in the woods. I 
have made frames from this moss, and the effect is 
beautiful. Take soft wood, such as lime, pine, or pop¬ 
lar,—as t^ood is preferable to pasteboard on account of 
the warping of the latter; shape it in any fancy design 
you wish; make it smooth, and do not leave any knots 
or rough places on the wood-work, as it will destroy the 
evenness of the surface. When you have done this, 
gather the moss and prepare the paste. I think common 
flour paste is the best for work like this. Stick the pieces 
of moss on as thick as you can, or at least until the woody 
portion of the frame is entirely hidden. If it is preferred, 
you can place a shell, a cluster of acorns, or any other 
similar ornament at the corners. Very pretty baskets 
can be made of the same kind of moss for holding dry 
flowers. Ferns in these baskets look beautiful. Place 
them on a stand near the window, and they present a 
peculiar fuzzy appearance, which is very striking. 
These ornaments are cheap, easy to be had, and 
because they are within the reach of all I am afraid 
we do not appreciate them. Vickie Blue. 
