It is starch obtained from the inside of the mode of preparing the tapioca is seen in the trunks of palms, and other trees. They accompanying sketch. The roots of th are cut down, and the tissue containing the plant, after it is dug up, are bruised and starch being scraped out, the sago is pre- placed in a bag, to allow the juice to drain pared in much the same way as arrow-root. out, which is collected in a vessel, into which Many plants yield starch in their stems, the Indian plunges his arrow, so as t which, on being prepared, is called sago by poison its point. After the root is drained Europeans. The sago which is sold in the it is taken out of the bag, and submitted t shops of England, is principally imported a process such as we have described for from the islands of the Indian Archipelago, preparing arrow-root. Cassava, which i and is the produce of a palm called the true eaten by the natives, is procured from th sago palm, or Sagus laris. There is, how-same plant, but is prepared in a differen way from tapioca. The starch of tapio does not differ in chemical composition from that of sago and arrow-root, and is used in the same way, and for the sam purposes. There are many other well-known plants which owe their dietetical properties to the starch they contain; amongst these we ma mention the potato, the carrot, the turnin the parsnip, the cabbage, the Jerusalem artichoke. From any of these, starch might THE foregoing engraving represent a Font, such as would be suitable for a Church designed in the Middle, o Decorated period of Architecture. Th drawing is made to a scale of one eighth the size required for an actu font; but, as a very suitable object f exhibiting Papier-Plastique work, i would be best to make it of the si here represented. The framework consists of four part -The Traceried Panels; the Octag Shaft; the Steps; and the Bowl, shown in the plate. The way to construct such an orn ment is as follows:-Take a stript cardboard eight times the length of fre A to B (fig. 2.); half-cut it at the equ distances represented by A, B, and the last leave a piece to answer as flange to secure it together. Cut ou with punches all the round or en parts of the design carefully; having first cut one out on a spare piece FIG. 3. dboard-with this as a pattern, mark out | it, and it should be perfectly dry previously each of the eight sides of the Font the to attempting to cut it, otherwise it will k previous to punching. Two punches come to pieces. y will be required for the cution of the work, the being carefully cut with a fe. Cut out entirely the es shaded and back the e with a piece of crimson ret. ext, form the sloping part the bottom of the Bowl 3); the lines marked thus - being half-cut The parts extending nd the wedge-shaped piece, top and bottom, are for purpose of securing it to Font at the top and the stal at the bottom. le Pedestal must be cut as The squares here 4. red are to receive the ry work, according to the ern shewn in the centre of first cut, and these are to be backed plain card or velvet. These backings ld be done before the card is finally bent he angles and weighted down until dry. will be unnecessary to give any drawfor the Steps, as our pupils will see at how to form them. Each step ld be formed separately, and the one placed upon the other; half-cutting being formed at the le of the step, and then a small e half-cut and applied with gum, rnally, to the angles, when the > is bent to shape, will secure A m in that position. B The moulding at the base of slope is to formed of a strip of cardboard (fig. 5), f-cut as follows, suffi ntly long to admit of ste. This must be atly mitred when put with a good sharp ife, or what is better, A C B FIG. 4. The Fringe at the bottom of the large octagon needs no further explanation than that it is formed chiefly with the small round punch and the knife. The Mouldings at the top and bottom of the richly traceried pannels, are to be FIG. 5. formed of strips of card half-cut, as shown in fig. 6. B is to be gummed on the back of FIG. 6. |