Perhaps some of you may not be able to procure the sheet
cork, but if they will cut large corks into shavings it will answer, by
gluing these on a framework of thin wood, or stiff pasteboard, cutting
out window and door holes, and marking into rough stone with black
and gray crayons. By picking out the surface with a blunt knife the
ruined parts may be simulated very naturally, while any ornamental
carving, curious characters, and tracery found on old walks, may be
imitated with lampblack, raw sienna, umber, etc., mixed in copal varn-
ish. At the bottom, the walls may be further strengthened by gluing
pieces of rough cork against them, to represent fallen arches, broken
pillars, bits of wall, etc. Then, to imitate the ivy colored parts, paint
the surface with glue or gum and sprinkle thickly with dried moss,
affixing sprays here and there in a natural, graceful way.
From some shaded recesses thick masses should be arranged as
though the luxuriant growth had fairly filled the cavity and come bub-
bling forth in wild, uncultivated profusion.
Broken columns and fallen blocks of stone, shattered capitals and
ruined arches, are beautifully represented in cork by carving with a
sharp knife, partially covering with moss and lichens, and touching up
with suitable colors. A little wall and old gate are made with cork
and darkened with sienna.
Buildings of this material may be introduced into rustic pictures
with excellent effect, but they must be much smaller than for a model.
LANDSCAPES AND CASTLES.
Another variety of cork work, quite different from the above, is the
landscape or pictured style. In this, fine shavings of the cork are used,
CROSSES FOR CABINETS. 35
being cut into shapes to represent a castle, a lighthouse with rocks
near by, a bridge, or whatever else may be chosen to form the design.
A little idea of perspective will be necessary, and the objects should
be arranged and fastened with gum arabic on to a piece of white card-
.board, and the sky slightly tinted in water colors for a background.
The irregular edges will increase the resemblance to distant hills, and
sharp edges of thicker cork will represent the objects in the foreground.
In these landscapes no attempt is made to imitate nature in the vari-
ety of colors ; the whole picture will wear the sombre shade of the cork
itself, but the general effect is very pleasing notwithstanding, and the
thin, rough shavings of the cork, showing the light background through
the interstices, give a good idea of brown autumnal forests when grace-
fully grouped in front or on the sides of the picture.
A pretty picture is a distant castle, with thick masses of trees and
bushes on each side of the picture, and a pretty bridge with arches.
No cork is placed where the water appears. The card is left bare and
then tinted like the sky with water colors. A little green moss should
be neatly gummed on, which adds much to the effect, as it represents
the ivy and other creeping vines growing over the walls of the castle
and grounds.
CKOSSES FOE, CABINETS.
QUARTZ, MINERALS AND SHELLS.
Page 31
Presented as published in 1886. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
Perhaps some of you may not be able to procure the sheet cork, but if they will cut large corks into shavings it will answer, by gluing these on a framework of thin wood, or stiff pasteboard, cutting out window and door holes, and marking into rough stone with black and gray crayons. By picking out the surface with a blunt knife the ruined parts may be simulated very naturally, while any ornamental carving, curious characters, and tracery found on old walks, may be imitated with lampblack, raw sienna, umber, etc., mixed in copal varnish. At the bottom, the walls may be further strengthened by gluing pieces of rough cork against them, to represent fallen arches, broken pillars, bits of wall, etc. Then, to imitate the ivy colored parts, paint the surface with glue or gum and sprinkle thickly with dried moss, affixing sprays here and there in a natural, graceful way.
From some shaded recesses thick masses should be arranged as though the luxuriant growth had fairly filled the cavity and come bubbling forth in wild, uncultivated profusion.
Broken columns and fallen blocks of stone, shattered capitals and ruined arches, are beautifully represented in cork by carving with a sharp knife, partially covering with moss and lichens, and touching up with suitable colors. A little wall and old gate are made with cork and darkened with sienna.
Buildings of this material may be introduced into rustic pictures with excellent effect, but they must be much smaller than for a model.
LANDSCAPES AND CASTLES.
Another variety of cork work, quite different from the above, is the landscape or pictured style. In this, fine shavings of the cork are used,
CROSSES FOR CABINETS. 35
being cut into shapes to represent a castle, a lighthouse with rocks near by, a bridge, or whatever else may be chosen to form the design.
A little idea of perspective will be necessary, and the objects should be arranged and fastened with gum arabic on to a piece of white card- .board, and the sky slightly tinted in water colors for a background. The irregular edges will increase the resemblance to distant hills, and sharp edges of thicker cork will represent the objects in the foreground.
In these landscapes no attempt is made to imitate nature in the variety of colors ; the whole picture will wear the sombre shade of the cork itself, but the general effect is very pleasing notwithstanding, and the thin, rough shavings of the cork, showing the light background through the interstices, give a good idea of brown autumnal forests when gracefully grouped in front or on the sides of the picture.
A pretty picture is a distant castle, with thick masses of trees and bushes on each side of the picture, and a pretty bridge with arches. No cork is placed where the water appears. The card is left bare and then tinted like the sky with water colors. A little green moss should be neatly gummed on, which adds much to the effect, as it represents the ivy and other creeping vines growing over the walls of the castle and grounds.
CROSSES FOR CABINETS.
QUARTZ, MINERALS AND SHELLS.