The manufacture of wax-flowers is carried on by using the purest virgin wax, entirely freed from all extraneous matters. Wax that is either granular or friable must be rejected. It is generally melted in vessels of tinned iron, copper, or earthenware. To render it ductile, fine Venice turpentine, white, pure, and of an agreeable odor, is added. The mixture is constantly stirred with a glass or wooden spatula. All contact with iron must be avoided, and if the vessels are of that material, they must be well and carefully tinned. When stiff leaves are to be executed, two parts of spermaceti are added to eight parts of wax, to give transparency. Much care and tact are needed in coloring the wax. The colors being in fine powder, are made into a paste by adding little by little of essence of citron or lavender. When the trituration is perfect, this paste is mixed with melted wax, stirring rapidly all the while; and while the mass is still liquid, it is poured into moulds of pasteboard, or tinned iron, of the shape of tablets, and is then ready for use. Sometimes it is passed through fine muslin as it flows into the moulds. Another method is, to tie up the color in a muslin bag, and wave it about amongst the molten wax until the desired tint is obtained. To combine colors, it is only necessary to have two or three bags containing different colors, and to employ as much of each as shall have the desired effect. These bags, far from being spoiled by dipping in wax already containing other shades, have only to be rinsed in pure water to fit them for coloring other wax. The colors most in use in wax flower-making, are pure forms of white-lead, vermilion, lake, and carmine, ultramarine, cobalt, indigo, and Prussian blue, chrome, Naples yellow, and yellow ochre. Greens and violets are chiefly made from mixtures of the above.