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leaf as long as desired (No. 25) ; by giving the cone a wavy motion you form the veins in the leaf. Then put two together (No. 26), and with the star cone add a rose (No. 27); then three leaves and a rose (No. 28); then four, as in No. 29; then five, with a sinnple plain dot in the center (No. 30;. Now, with the plain round cone, make No. 31, adding to it, for top finish, No. 21; next, with the same cone, make the stems of Nos. 32 and 33, and with the leaf cone add the leaves. Do the same in No. 34, adding a ring of dots, also a ros?, with the star cone; next, with the same plain round cone, do No. 35f by giving the cone a wavy motion; also No. 36, by giving the cone a sudden jerk, first to the left, then to the right, then straight down the middle, as shown in No. 37.

This appears a good deal on paper, but is really nothing when you come to do it, as it can all be done on the board at one lesson, and two or three lessons should sufiBce to give you a good insight, and each one you do will be better than its predecessor, and you will surprise yourself at the ease with which you can produce and execute a design, if you only master these diagrams first.

Having gone this far, you may now form a design for yourself by making whatever combination fancy dictates, from the scrolls, lines, curves, etc., shown in the diagrams; it may be somewhat crude at first, but practice will perfect. As an example, which will explain the whole, I will instruct you how to make a simple combination, and thereby produce a bunch of grapes. First, with the leaf cone make four leaves (No. 38), and with the plain round cone add the stem ; also, with the same kind of cone, only cut a little larger, to make a larger drop, add grapes by making a succession of dots, gradually making them higher in the middle (No. 39) ; then n< i\ finish, with the plain small cone, add the scroll as shown run- ning over the grapes. I will also give one other illustration. To m ike a large leaf, "in imiUition of those used on bride's cake, first mark the outline of the leaf (No. 40), then with the plain round cone run the cross lines, as shown in No. 8, also in No. 41 ; then \vith the plain round cone add the edge in dots, as shown in Nos. 20 and 42. To illustrate this farther, I furnish a full sketch for the top of a wedding or other cake (page 353) made up of the grapes and leaves I have described. I must now leave you to the study and

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practice of the diagrams, assuring you that you will find it much more simple than it here appears, and that the results attained at eacb trial will be such as to stimulate you to further efforts and succesa. I will here remark that you can do heavy and light work with the same cone by adding pressure ; for instance, if you are using a cone with a fine point, by drawing that with a regular motion and even pressure, you produce a line of sugar the same size as the hole through which it comes; but if you draw the cone along slower than the sugar comes out, you will readily see that you produce a heavier line ; also, if you wish to make a very fine line with the same cone» use the even pressure, but draw the cone along very fast; you have only to bear in mind that there \a a limit to the size, and when you reach that to press harder simply means to burst the cone ; when the limit is reached, if you want a larger flow, you must have another cone with a larger opening at the point This applies to all shapes, whether round, star, or leaf. The cone may be used in the same manner you would a pen, pressing heavy and light ; for example, if you are making a scroll, like No. 11, with a fine round cone, when you come to the bend of the scroll, by giving the cone a little more pressure you cause more sugar to flow, thus producing the fullness in the curve (see No. 11) ; when you have done that with* draw the pressure and continue as before.

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Beat the whites of six eggs to a very stifi* firoth (you can not beat them too stifi*; emd if they are not stifl* the meringue will not be good.) While beating, add a saltspoonful of salt, also a teaspoon- ful of sugar ; when well beaten up add half a pound of sugar, and stir it very lightly in, yet be careful to see it is toM stirred in. This being ready, take the pie after baking (usually a lemon pie), and with a knife spread a thin coating of the meringue all over it; then with a cone (the same as used in other icing), filled with the meringue icing, proceed to work out some design. When finished re* turn it to the oven to take a light brown color. You can work anj design in this as well as in icing-sugar, but the patterns for this are larger, consequently are done with a cone with a larger portion cut oS the point. For centers of meringue pies you can use such designi