Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, vernishing, japaning, gilding, &c.

Book 11 (Japanning) typed in by Simon St.Laurent, simonstl@simonstl.com, 2018. No copyright claimed. Part of a set at http://toolbytool.org/resources/Japanning.html .

You can find the original at https://archive.org/details/polygraphiceor00salm. (You can find earlier editions, which lack the Japanning chapter, at https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t07w7cz72;view=1up;seq=23 and https://babel.hathitrust.org/cgi/pt?id=ucm.5325113900;view=1up;seq=37 .)

Please note that many of the ingredients used here are toxic!

You can find an amazing exploration of creating and using these finishes starting at http://mariannewebb.com/archives/256 . (I think Salmon copied from Stalker & Parker, not the other way around, but otherwise those articles are GLORIOUS.)

This is not yet proofread, but is still generally a major improvement over OCR versions. No, I don't plan to type in the entire vast book. If you do, let me know!

854

POLYGRAPHICES

LIBER UNDECIMUS

Of Varnishing, Japanning and Gilding.

CHAP. I.

Of Instruments and Utensils for these Works.

I. The Chief Instruments are, 1. Strainers. 2.
Funnels. 3. Glass Bottles. 4. Varnishing Pen-
cils. 5. Drawing pencils. 6. Muscle Shells.
7. Dutch Rushes. 8. Tripoli. 9. Linnen.
10. Oil Olive. 11. A Cushion. 12. Swan-quill Pen-
cils. 13. Cotton. 14. A Pallet. 15. A Brush. 16.
Shammy Leather. 17. A Burnisher. 18. A Wyre Brush.
19. Grinding Stone and Muller. 20. Putty.

II. Strainers. They ought to be 3 or 4, made of course
Linnen Cloth, Sugar-loaf fashion; some of which are
for straining your ordinary Varnishes; some for white
Varnish, and some for Lacca Varnish.

III. Funnels. You may have of them also 3 or 4, or
more, and that of Glass or Tin; some for common Var-
nishes; some for white Varnish; some for Lacca Var-
nish, and some for Lackering.

IV. Glass Bottles and Vials. These are to hold your
several sorts of Varnishes, and they may be either great
or small, according to your Quantities.

V. Varnishing Pencils. These must be great or small
according to your Design: they are made of Camels
Hair, and are very soft: of differing Prizes, according
to their Magnitude, from 6 d. to 3 s. the Pencil.

855

VI. Drawing Pencils. These must be both greater and
lesser, as great Goose, little Goose, Duck, Crow and
Swallow Quills, according to your Design: the longest
haired Pencils are the best.

VII. Swans-quill Pencils. You ought to have 3 or 4
of these, of finer Hair than ordinary, which are general-
ly sold for 6 d. a piece, and are used chiefly in Gilding.

VIII. Muscle Shells. Fine, smooth, middle-sized
Horse Muscle-shells are fittest for these Occasions; of
which you ought always to have 2 or 3 hundred in a
readiness, for mixing your Metals or Colors in, as need
requires; not that you will need the 10tk part of them
at once, but that you might not be to seek for them
when you want them.

IX. Dutch Rushes. You ought to be furnished with a
great number of them, which are to be had at the Iron-
mongers in Foster-lane. They are to smooth your Work
before you varnish it; and as you lay on your Ground or
Color, if any Knob or Roughness appears, with them
to rush it off.

X. Tripoli. It ought to be made into subtil pouder
and sifted; it is to polish your Work after it is varnish-
ed, and may be had at the Iron-mongers.

XI. Linnen. It may be old Linnen or Rags, both
course and fine, which are for clearing up the Work.

XII. Oil Olive. It is also for smoothing, clearing up
your Work, and giving it an exact Polish.

XIII. A Cushion. It must be made of Leather, stufft
very evenly and smoothly with fine Tow, and strained on
a Board, 14 inches one way and 10 inches another. On
this you are to cut your Leaves of Gold and Silver, with
a thin, narrow, and sometimes broad, sharp and smooth
edged Knife. Gilders commonly border this Cushion at
one end and 4 or 5 inches down each side with a slip of
Parchment or Velom 2 inches high, to be as a Fence to
keep their Leaves of Gold from Wind and Air.

XIV. Cotton Wool. It is of Use to press down the
Leaves of Gold or Silver gently and evenly upon the
Work; you are to breath upon it, and then with it to
touch and take up the Gold, and so to lay it upon the
place you design, pressing it down, and close therewith:
some use a Hares Foot for the same Purpose.

856

XV. A Pallet. It is the end of a Squirrels Tail, spread
abroad and fastned to a flat Pencil-stick, which is broad
at one end and split, much like a House-painter's
graining Tool, but much less. It serves for taking up
and laying on whole Leaves of Gold or Silver at a time;
and serves for all the same Uses with the Cotton afore-
mentioned.

XVI. A Brush. It is to be made of Hogs-hair, and is
of Use after Gilding, and that it has lain by a day, to
beat over the Work gently, that the Gold or Silver may
be pressed close and forced into all the uneven hollow
parts of the Carving; and after all, to brush off all the
loose Leaves into a Sheet of Paper for other Uses.

XVII. Shammy Leather. It is of Use after the Gilding
is thoroughly dry, to rub it over, smooth and polish it.
The Leather ought to be white, and very fine and soft.

XVIII. A Burnisher. They were used to be made of
a Dogs Tooth put into a Pencil-stick, or some such-like
thing: But of late they are made of Agats and Pebbles,
which being form'd or shap'd, are highly polisht, that
they may the more contribute to heighten the Lustre of
the Gold and Silver. These make a quicker dispatch,
performing with a more facil Expedition. These Peb-
ble Burnishers are worth 5 s. apiece, and much to be
preferred before those of Dogs Teeth.

XIX. A Wyre Brush. It is sold at the Iron-mongers,
and is designed to scrub those Silver, Copper and Brass
pieces which you design to Gild over; thereby perfectly
to free them from any Dirt, Rust, Nastiness or Filthi-
ness which may adhere to them; which not being taken
off, would hinder the closing of the Gold therewith.

XX. Grinding Stone and Muller. These are not only
for grinding Pouder and Colors very small and subtil,
but also to grind your Gold Size and Oil together, when
you intend to Gild in Oil.

XXI. Putty. It is Calx of Tin, and is of Use in Po-
lishing, to give the last Smoothness, Shining and Gloss
upon Varnished and Japanned Works after the Use of
Tripoli.

857

CHAP. II.

Of the Materials necessary for these Works.

I. The chief Materials are, 1. Rectified Spirits. 2.
Gums. 3. Rosins. 4. Colors. 5. Metals and
Minerals prepared for this Purpose.

II. Rectified Spirits. They are made from Wine, or
Sugar, or Mault Liquors; or from Cyder, Perry, or Mo-
lossos; or from the commeon Spirits made of those things
by Rectification. They are for the Dissolution of Rosins
or Gum Rosins; and therefore if not highly rectified,
are unprofitable for these Uses. Now, to know whe-
ther your Spirit is good or no, you must put some of it
into a Spoon, and put a little Gun-pouder to it; then
set the Spirit on Fire, if it burns all away and fires the
Gun-pouder after it, it is good, and will dissolve your
Gums; otherwise, not.

III. Gum-Arabick. Chuse that which is whitest, clear
and transparent: it is of Use for to make Gum-water,
and is worth about 12 d. a pound.

IV. Ising-glass or Ichthyocolla. That which is clearest,
whitest and freest from Yellow, is the best. It is of Use
for making Size; and may be had for about 4 s. a pound,
more or less.

V. Sanguis Draconis or Dragons Blood. You must
chuse that which is the brightest Red, and freest from
Dross or Filth: the best is that which is call Drops,
made up in a kind of Leaf or Husk, worth about 7, 8
or 9 d. an ounce, according to its Goodness: that which
is in Lumps or Cakes, is course.

VI. Cambogia or Gutta Gamba. You are to chuse that
which is the brightest Yellow, and freest from Dross;
not that which is brown, dirty, gross, and thick or clou-
dy. It easily dissolves in Water, and makes a yellow-
staining Liquor, to wash Pictures and Maps with; and is worth about 7s. a pound.

VII. Gum-Lac, called Seed-Lac. The best is that
which is bright, clean, large grain'd, and free from Dust,
Sticks and Dross: it is worth from 12 to 18 d. the pound,
according to the Goodness.

858

VIII. Gum-Lac, called Shell-Lac. The best is that
which is most transparent and thinnest, and which, if
melted with a Candle, will draw out into the longest
and finest Hair, like melted Sealing-wax, because if uts
toughness. It is sometimes adulterate, and therefore
you may discern the true by these Directions: besides its
Use for making Varnishes, it is the principal Ingredent
for making Sealing-wax: the best is worth from 16 d. to
2 s. the pound.

IX. Gum-Animi. It is either Oriental, coming from
the East Indies, or Occidental, coming from the West In-
dies, as in Hispaniola, Cuba, Jamaica, New Spain, &c. It
is a Rosin of a whitish Yellow, much resembling Gum-
Copal. The best is whitish and clear, like unto white
Amber, and that which is most transparent, is the best:
this Garzias will have to be Cancamum, but it is not.

X. Gum-Copal. It comes from Hispaniola, Cuba, and
other places of the Spanish West Indies: it is of a yellow-
ish white color, odoriferous, fine, clear and transparent,
and freest from Dross. It is not so sweet or odoriferous
as the Gum-Animi, nor so fat or oily; but it is more
pure, clear and white, and of the more excellent Sub-
stance; and therefore to be chosen before the Animi for
mechanical Uses.

XI. Gum-Sandarack. It is brought from Barbary in
little longish Tears or Drops, of a whitish-yellow color,
and almost transparent, very hard, and if reduced into
fine pouder, is called Pounce: this dissolved in Linseed
Oil, makes that called Liquid Varnish. That which is
largest and whitest, and casts the least yellow, is best, be-
ing free from Dross or Dust. It is worth about 12 d. a
pound.

XII. Benjamine. That which is the brightest and of
the most transparent color, and very like to clarified
Rosin, is the best. There are several kinds of it; as, 1.
The Amygdaloides, which has white bits or spots in it
like blanched Almonds. 2. The Greyish. 3. The Black-
ish: but that which is hardest and most transparent, is
to be chosen for our Uses.

XIII. Rosin. The best is that which is clear and
transparent, and clarified or freed from its Dross and
Filth, worth about 4 d. a pound: but there is a white

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Rosin, which is also white and clear, and worth about
5 d. or 6 d. a pound.

XIV. Mastiche. It is the Gum of the Lentisk-tree
growing in Chio, AEgypt and Syria, and is brought to us
out of Turky, from Smyrna and Aleppo, but the best is
from Chio, which is of a light color or whitish yellow,
free from Dross or Filth, in grains or drops, friable, clear,
and almost transparent.

XV. Olibanum. This was the true ancient Incense;
but from what Tree it is produced, Authors have not a-
greed. But my self being in the West Indies, I gathered
it plentifully from the Floridian Cedar, which is the Ce-
drus Baccifera: See my Seplasium, lib. 9. cap. 38. sect. 3,4.
The best is in roundish drops, some bigger, some lesser,
and it is pure without either Bark or Wood, of a yellow-
ish white (but the whiter the better) and which, if crackt
or broken, are very clear, and almost transparent.
This may supply and be used in place of Mastiche (it
that is wanting) and possibly is the better Rosin of the
two.

XVI. Gum-Elemi. That which is the stiffest, whitest
and clearest, and freest from Dross or Filth, is the best.
It comes from the Spanish West Indies, and is a bright,
white, soft, and almost transparent rosin, enclining to
a yellowish-greenish color.

XVII. Turpentine. There are several sorts of Turpen-
tine, as the Common, Venetian, Strasburg, Cyprus, and
Chio; of all which Varnishes may be made: but that
which is chiefly in use in these Works, are the Venetian
and Strasburg; of which two, the former is the most
useful; chuse that which is whitest, clearest and finest,
which is worth about 16 or 18 d. the Pound.

XVIII. Bole Armenius. This is that which we call fine
Bole, and is as fine as Red Oker, and is of a deep dark,
blackish Red Color, soft, and as it were greasy, and free
from Gravel, Sand, or other filth: if it is choice and
good, it will stick very fast to the Tongue when it touch-
es it.

XIX. Lamp-Black. It is made by the burning of
Lamps, having many Wieks, covered with a very large
top, at a due distance, to receive the Smoak, which
continually sticking upon thie Top, produces this black
Color: every half Hour take off the Top, and with a

860

Feather sweep off all the black on it: snuff your Wicks,
and put on the Cover again; and thus continue till you
have what Color you desire, or all your Oil is burnt up.
A Quart of Oil, valued at 6 d. will make Black enough
to do a large Cabinet: It is of Excellent Use for Black
Varnish.

XX. Masticot. It is a Mineral Yellow, and made of
Lead. Rx The first Calx of Lead made by Incineration, viz.
the grey Ashes: calcine them in a Reverberatory Furnace
with flaming Fire, so ordered, notwithstanding that the Calx
may not melt. And when the Calx has changed Color, and
begins to grow yellow, it becomes that Color or Pigment (so
much in request among Painters) which they call Masticot.
This, if it be yet Calcined till it is Red, it becomes that
which they call Minium.

XXI. Red Lake, the common sort used by Painters.
Rx any Roots, Woods, Leaves, Flowers, as of Alkanet, Bra-
sil, Logwood, Red Sanders, Madder Safflower, Clove-Gilli-
flowers, Red Roses, &c. q.v. add to them about a sixth or
eighth part of Salt of Pot Ashes, and fair way a sufficient
Quantity, which boil away to one half: filter the Liquor, and
precipitate the Lake with water in which Alum is dissolved,
or that it is actuated with Spirit of Vinegar, Sulphur, Vitriol
or Nitre, putting in so much till the effervescence ceases: im-
mediately the whole Liquor will become thick, as if it was
Coagulated or Curdled. This Coagulum edulcorate by the re-
peated Affusion of fair water, separate the Lake by filtration,
which dry upon Paper, and keep for Use.

XXII. Florentine Red Lake. It is made from Scarlet
Cloth, or from Cochenele, or Kermes Berries, (with which
the Scarlet is Dyed) exactly according to the former Me-
thod in all respects. And in the same manner all other
subtil Vegetable Colors are produced.

XXIII. Priming. It is made of any Color which has
a Body; as Ceruse, White Lead, Whiting, Brown or
Red Oker, Umber, fine Bole, &C. ground in Oil pretty
light. If the color is too dark, it may be altered, by
adding a little White Lead: with this your Work may
be thinly primed over, and so suffered to dry.

XXIV. Fat Oil. Put Linseed Oil into Leaden Vessels
made like Dripping Pans, so much as to be an Inch
deep: expose them to the Sun for 6 Months, till it be-
comes as thick as Turpentine: the longer it stands the

861

fatter it will be, and give to Gold a greater gloss. If it
is almost as thick as Butter, so as you may in a manner
cut it with a Knife, it is admirable, and ought to be care-
fully kept for Use.

XXV. Drying Oil. Mix Linseed Oil a Quart, with
Litharge of gold OZij. or iij. and boil them for a Quarter of
an Hour: if you would have it more drying, boil it a
while longer; but have a care of boiling it till it is too
thick, and unfit for use. Or thus. Take Red Lead and
Umber in fine pouder, ana OZiss. Linseed Oil LBij. boil as
before: If when it has stood 2 days, it has a Skin over it,
it is then fit for Use. Drying Oil is worth 2 d. an ounce,
and fine Varnish 3 d. an Ounce at the Color Shops.

XXVI. Oil of Turpentine. It is used to dissolve the
Colors, and make them spread the better, and to make
the Work to dry the sooner, and is now worth about 6 d.
or 8 d. a Pound.

XXVII. Brass Dust, commonly called Gold Dust. The
best, (which comes from Germany) is that which is finest,
and of the brightest and most Gold-like Color, which
you may perceive, by taking a little of it between your
Finger and Thumb, and rubbing them together; if it is
good, it will be of a bright, rich, Golden Lustre: if bad,
it will be of a dull clayish Color. The courser sort works
well with Gold Size, but not with Gum Water: It is of
differing Prizes, according to the goodness: the best is
worth 12 or 14 s. the Ounce, whilst some other sorts of
it is not worth about 4 or 5 s. the Ounce, being very
mean and bad. The middle sort, which is worth 8 or
9 s. the Ounce, will work well.

XXVIII. Silver Dust. The best comes from beyond
Sea, having a lively bright Lustre, like that of Polished
or new Coined Silver, which you may find by rubbing
it between your Finger and Thumb: whereas the worser
sort (which is made in England) is dull, dead, and hea-
vy, more fit for a Color, than a Metal: by comparing
them together, you may see the difference. The best is
worth 16 s. the Ounce: the other counterfeit is not va-
luable.

XXIX. Green Gold. It is an Adulterated or mixt
Metal, casting a kind of dead greenish color; and is
work about 6 s. the Ounce. this, as also the following

862

are used in Garments, Flowers, Houses, and the like,
making the work look more beautiful and surprizing.

XXX. Sullied or Dirty Gold. It is another kind of A-
dulterated Metal, bearing some resemblance to drossy
Gold, its price is 6 s. the Ounce, and is used for the
same occasions as the former.

XXXI. Tin Dust, or Pouder. It is made of Block
Tin ground to Pouder, which is of a dull, dark; but
Silverish Color, made use of in Rocks, &c. and is Sold
for 6s. an Ounce.

XXXII. Natural Copper Pouder. It is made of Copper
ground without mixture, to Dust: this is of the true na-
tural color of Copper, and is Sold for 6 or 7 s. the
Ounce.

XXXIII. Artificial Copper Pouder. This exceeds the
Natural, and is more deep and Red, but very clear, and
of a bright shining color, which shews how far Art can
out-do Nature: it is Sold for about 10 s. the Ounce.

XXXIV. Adulterate Copper. It is of a thick, heavy,
dull, Metalick color, and commonly used to work other
Metals on: for being laid as a Ground, you may hatch
or heighten with bright Gold, or other shining Metal:
and is Sold for about 6 s. an Ounce.

XXXV. Speckles. They are of divers sorts, as Golden,
Silver, Copper, and many other colors, some finer, some
courser, which are to be used according to the Fancy of
the Artist, and as the nature of the matter may require:
they are used on Mouldings, outsides and insides of Bowls,
Cups, Boxes, Drawers, &c. Those of Gold, Silver and
Copper are used about Indian Work. They are made
in England very well, and are Sold each of them at the
same price, viz. 4, 5 or 6s. an Ounce, according as they
are in fineness, and to be had at a Gold Beaters, over-
against Mercers Chappel in Cheapside; and at another of
the same Trade, at the Hand and Hammer in Long
Acre.

XXXVI. Colors Transparent. These are laid upon
Gold, Silver, or some light color; by which they are
made to appear in their true colors, very lively and beau-
tiful. Of these there is, 1. Fine Verdigrise for a Green.
2. Fine Lake, for a Red. 3. Fine Smalt for a Blew.
These must be ground upon a Porphyry, with Nut Oil,
so much as will just moisten the Quantity, and it

863

fit to work, grinding till the Mass is as fine and as
smooth as Butter: then it is to be put into Muscle Shells
and mixed with Oil of Turpentine, till it is thin enough
for Use.

XXXVII. These being laid upon Gold, Silver, or any
other light color, will be Transparent, and change their
Lightness or Darkness, according to the Metals, Colors,
or Ground you lay under them: but in grinding Red
Lake, you must used Drying Oil, instead of Nut Oil.

XXXVIII. Opake or Embodied Colors. These are laid
upon the Black of your designed Work, where you would
have Birds, Beasts, Flowers, Shrubs, Trees, &c. The
chief of these are, 1. Vermilion for a Red. 2. White
Lead for a White. 3. Flake White, which is a pure white,
if it be for any Nice Work. 4. Oker or Orpiment for a
Yellow. 5. An Opake Blew: this must be made with
Smalt, grinding it with Gum Arabick water and adding
White Lead to give it a Body, in such Quantitys, as to
make it lighter or deeper, as you desire it: and thus you
must do with all transparent Colors, which have not a
Body of themselves.

XXXIX. Some use Rosett, Fine Lake, and Sea Green
for a Purple: as also other sorts of Reds and Greens;
which ways of working are very manifold, and require
much Practice and Experience to find out what things
to mix together, and their various and just proportions
for lightness or deepness of the Color.

XL. Lastly, all these Opake Colors are to be layed with
Gum Water: those who have a mind to work either in
Gum Water or Gold Size, shall in what follows receive
sufficient Directions: But the Transparent Colors are to
be wrought with Nut Oil, as has been said already.

CHAP. III.

Of Sizes and Gum Water.

I. To make Isinglass Size.

Rx Fine Isinglass in smalll bits OZi. fair water lbiss
let it stand 12 Hours only warm: afterwards let it boil,

864

but very gently, and continue the simmering till it is all
dissolved, the water being also washed away to a Pint
or less: let it cool, and keep it for Use. It will be think
like a Gelly, but will not keep above 2 or 3 days; so
that you ought to make no more than present occasion
requires.

II. To make Gold Size. Rx Gum Animi, Asphaltum,
ana OZj. Minium, Litharge of Gold, Umber, ana OZss. all
being in very fine pouder, add thereto Linseed Oil OZiiij.
Drying Oil OZviiij. (in Cap. 2. Sect. 25.) digest over a gen-
tle Fire which does not Flame, so as it may only simmer
or bubble up, not boil, (for fear of setting the House on
Fire, should it run over) keep it constantly stirring with a
Stick, till the whole Mass of Ingredients are dissolved
and incorporated, and forbear not stirring it till it be-
comes thick and Ropie, and is boiled enough: being al-
most cold, strain it through a course Linnen Cloth, and
keep it for Use.

III. To prepare it for working. Rx of this Gold Size
q. v. put it into a Muscle Shell, adding Oil of Turpen-
tine enough to dissolve it, making it as thin as the bot-
tom of your Seed-lac-Varnish, hold it over a Candle to
melt, and then Strain it thro' a Linnen Rag into ano-
ther Shell: To these add Vermilion, so much as to make
it of a darkish Red. If now it is too thick for Drawing,
you must add so much Oil of Turpentine as may
make it thin enough for that purpose. The cheif use of
this Size is for laying on of Metals, which we shall here-
after teach you.

IV. The best Gold Size for Burnishing.

Rx fine Bole q. v. grind it finely on a Marble with
Water; then scrape into it a llittle tried Beef Suet, grind
all well together: after which mix a small proportion of
Parchment Size, with a double proportion of Water,
and it is done.

V. To make Silver Size.

Rx Fine Tobacco-pipe Clay, grind it small, (and if
you please, you may add a little Lamp-black, to turn
it of a light Ash color) scrape it into a little Deers Suet,
and grind them together extreamly fine; then add a
mixture of Size and Water as before-directed.

VI. Another Silver Size.

Rx. Fine Tobacco-pipe Clay in fine pouder q. v. scrape

865

into it some black Lead and a little Genoua Soap: grind
them all well together, then grind them with Parchment
Size, ut supra.

VII. A Size for Silver or Gold.

Rx Fine Bole in fine pouder LBj. black Lead OZij. in pou-
der, grind them together: then add Oil Olive OZij. Bees
Wax OZj. melted together: grind all these very finely in
a Mass; and lastly grind them together with Parchment
Size and Water. Remember this, That you never grind
more Gold or Silver Size at a time than will server the
present Occasion.

VIII. To make Parchment Size.

Rx Cuttings of clean Parchment LBj. (price about 3 d.)
fair Water LBiv. boil to a Gelly: strain hot, then let it
cool, and it will be a strong Size. This may be used,
as well as for the former Occasions, in white Japan-work,
instead of Ising-glass Size.

IX. The way to use this Size.

Melt some of it over a gentle Fire, and scrape into it
as much Whiting as may only color it: mix and incor-
porate them well together with a clean Pencil: with
this Frames, &c. may be whited or prepared, rubbing it
well in with your Brush, that it may enter into every
hollowness of your Carved-work, &c. letting it dry on.
Melt the Size again and put in more Whiting, so as to
make it somewhat thick; and with this you are to whi-
ten over your Frames, &c. 7 or 8 times, letting it
thoroughly dry between each time: but after the last go-
ing-over, before it is quite dry, you are to dip a clean
Brush-pencil in fair Water, to wet and smooth it over;
which, when thoroughly dry, you are to rush it over as
the necessity of the Work shall require. Afterwards with
a Gouge or Chizel, not half a quarter of an inch broad,
open the Veins of the Carved-work which the Whiting
had choakt up; then with a fine Rag wetted and you
Finger, carefully smooth and water plain it all over;
which, when dry, is then fit to receive the form Gold
and Silver Size.

X. To make Gold Size in Oil.

Rx Yellow Oker in fine pouder q. v. mix it with Lin-
seed Oil, which is somewhat fat q. s. grind them well
together, and put the Mass into a Gally-pot, upon which
put some far Oil to keep it from skinning: cover it close

866

with Bladder or Paper, and keep it for Use: it will
keep good 10 or 12 years, and be better, not worse. This
Gold Size is always present and ready for any urgent
Occasion: and if you would have your piece extraordi-
narily done, let it be twice thinly primed over with the
Priming in cap. 2. sect. 23. and laid by for 3, 4, or 5 days,
to dry thoroughly.

XI. To make Gum-Water.

Rx The whitest, clearest and best Gum-Arabick OZj. fair
water OZxij. mix and dissolve: when thoroughly dissolved,
strain it thro' a fine Holland Rag, and keep it in a Glass
Bottle for Use.

XII. Lastly, As to Ising-glass Size, this Caution is to be observed.

When you lay Blews, Whites, or any other Colors
with it, let it not be too strong, but rather very weak,
and sufficient to bind the Colors, and make them stick
on the Work; for if it is too strong, it will be apt to
crack and fly off. But when you lay or wash with clear
Ising-glass, to keep your Varnish from soaking into or
tarnishing your Colors, then it is to be strong, and of a
full body.

CHAP. IV.

Of making Varnishes.

I. The best white Varnish.

Rx Of the whitest and largest Gum-Sandarack which
casts the least yellow OZxvj. of clear Venice Turpentine OZiij.
whitest Gum-Animi and Gum-Copal, ana OZiss. choice Ma-
stiche OZi. clearest Benjamin, Gum-Elemi, white Rosin, ana
OZss. To the Sandarack and Mastiche in pouder, put rectified
Spirit of Wine LBiss. in a Bottle by it self. To the Venice
Turpentine, Animi and Benjamin (both in fine pouder; )
put of the said Spirit OZxij. To the Copal and Rosin in pouder,
put of Spirit OZviij. To the Elemi, by itself, put also of Spi-
rit OZiv. dissolve each apart, because they more easily and better
dissolve apart than together, shaking the Bottles once in two
hours for the first day, and then once or twice a day for 2 or 3

867

days more: this done, thro' a fine Linnen Strain strain
all the Dissolutions in each Bottle into one large one:
digest all together for 6 or 7 days, the longer the better.
and gently decant as much as will run clear, reserving
the thick and muddy part for ordinary Uses, as mixing
with other Varnish for black work, and to gloss the in-
sides of Boxes, &c.

II. Another white Varnish inferior to the former.

Rx. Gum- Sandarack in pouder OZxij. best rectified Spirits
LBiv. mix, shake them well together, and digest for 2 or 3
days: then decant or strain the clear into another Bottle. Rx
Mastiche in pouder OZxij. rectified S. V. LBiv. digest 2 or 3
days as before, then decant or strain into another Bottle, and
keep it for Use. Now, when you design to Varnish a
Print or any other thing with these Varnishes, you must
mix these two together thus. Rx of the Sandarack Var-
nish OZiv. of the Mastich Varnish OZviij. mix them well.
The reason of this Mixture is, that we may have the
Varnish to answer our desire in Hardness or Softness:
when you have set by your Work for 2 days, you may
try its Temperature, by pressing your warm Fingers on
it; if it leaves its Print behind it, it is then too soft, and
you must use a wash or two of the Sandarack Varnish,
to harden it: but if it not only resists your Touch, but
has some Streaks, Flaws or Crackles like Scratches in it,
more or less, it is then too hard, and then be helpt
with a wash or two of the Mastiche Varnish.

III. To make Seed-Lac Varnish.

Rx Best rectified Spirits LBviij. Seed Lac OZxxiv. put all into
a very wide-mouthed Glass Bottle; mix and digest 24 hours,
or till it is dissolved, often shaking it very well, to keep the
Gum from clotting together: this done, take another Glass
Bottle as large, and straing the dissolved Matter thro' a Strai-
ner of Flannel, shaking all well together before you pass it
thro' the Strainer; and then in straining, squeeze it with
your Hand, leaving the Faeces or Dregs behind, which are of
no Use, but to be cast away: then stop up the Bottles of Var-
nish, digest in a warm Sand heat 3 or 4 days, and being well
settled, decant off very gently the top or pure clear of your
Varnish, so long as it will run clear, and no longer. Let
the remainder settle again for 3 or 4 days, and decant off all
that which is fine, and keep it for Use.

IV. Now, here is to be noted, That upon any urgent

868

Occasion you may make this Varnish in less than 24
hours time, and use it immediately; but the former
Preparation is the better: besides which, the clear Var-
nish you thus decant off from the top of the Bottle, is of
extraordinary Use to adorn your Work, and make it
more glossy and beautiful. Some make this Varnish by
boiling, but that is an ill way, because the Strength of
the Spirit is lost, which ought especially to be preserved;
besides which, you may hazard the setting your House
on Fire, and therefore also to be avoided.

V. To make Shell-Lac Varnish.

Rx Of best rectified Spirits LBviij. of the best Shell Lac OZxxiv.
mix and shake them well together, and let them stand 24 or 48
hours, and so strain ut supra thro' a Flannel Bag, and keep
it close stopt for Use. This is that which the common
Varnishers mostly use, for that it has a double or treble
Advantage with it; 1. That you need not wait any
time for its Perfection, but it is fit for Use the same mo-
ment it is made. 2. It has a greater Body than that of
Seed Lac, and therefore less Labor and less Varnish goes
to perfecting the Work, and make it look tolerably
bright. 3. That it is a fit Varnish for ordinary Works
which require not polishing, it looking well when first
done, or fot a small time; but it is commonly attended
with a Mist or Dulness.

VI. These following things are also to be observed.

1. That the Seed-Lac Varnish has much Sediment and
Dregs in making it; whereas this Shell-Lac Varnish has
none, for it wholly dissolves, and is free from all Faeces
and Dross or Foulness; yet it is requisite to strain it, lest
any Sticks or Straws should be in it. 2. That tho' this
Varnish has no Sediment, yet it is much inferior to the
other in other Respects; for this Shell-Lac Varnish will
never be fine, clear, and transparent as the other is, and
therefore it will be in vain either by Art or Industry to
endeavor the making it so. 3. That if you design a neat
glossy piece of Work, you must totally banish this Var-
nish from your Use: but it is commonly used in ordina-
ry Varnishings, as of Olive-wood, Wallnut-tree, and
the like.

VII. Another mixt Shel-Lac Varnish.

Rx Of Shel-Lac Varnish LBiij. Venice Turpentine OZvi.
mix and dissolve in a gentle Sand heat. This will harden

869

well, and is a Varnish good enough for the insides of
Drawers, Frames of Tables, stand Pillars, Frames of
Chairs, Stools, and the like.

VIII. To make a Yellow Securing Varnish.

Rx Venice Turpentine q. v. boil it per se in a Pipkin with
a very gentle Char-coal Fire, stirring it continually with a
Stick: boil it so long till being cold, it may be crumbled into
a fine yellow Pouder. Take of this Pouder OZi. of the finest
Seed-Lac Varnish OZiv. mix them in a large Glass Bottle, stop
it close, and digest in a very gentle heat or only warmth, till
the Rosin is mostly dissolved, now and then unstopping the
Glass, to prevent its breaking: then digest 2 days cool, and
decant the clear into another Bottle, and keep it close stopt
for Use.

IX. Here is to be observed;

1. Whatever you design to do with this Varnish,
whether Gold-works, Metals, Colors, Rocks, Plains,
Woods, or other Figures, to give them a Gloss, and keep
them from Tarnishing, ought to be done in a warm
place, that it may also the sooner dry; if that cannot
be had, you must give it the space of half an hour to dry
in, between every wash, however it will become glossy
either way. 2. Take a Pencil proportionable to your
Work, dip it in the Varnish, and go over your Work
sprig by sprig, and part by part, as Leaves, Stalks,
Flowers, Rocks, Figures, &c. with a steady Hand, ha-
ving a care not to trespass in the least up your Black
or Ground-work. 3. Having run over all your Work
thus 3 or 4 times, (not oftner, lest you spoil the Color
of your Metal) rest satisfied, that your Work, whether
of Gold-size or Gum-water, is defended against any
thing of Tarnishing, or whatother Injury of Air or Age
soever, and that there is added to the native Lustre of
the Metals a very bright, admirable and durable Gloss.

X. A white polishing Varnish, much like some of
the Indian Performances.

Rx. Venice Turpentine LBj. fair Water LBiij. mix and boil
all over a gentle Fire in a clean Pipkins, stirring it often with
a Stick so long, till when cold, you can reduce it to fine pou-
der, which will be white as Paper. Rx of this Pouder OZi. of
Seed-lac Varnish OZviij. put all into a Bottle which will hold
OZxx. stop it close and digest over a gentle heat (now and then
opening the Glass) till the Turpentine is nearly all dissolved:

870

then digest in a cool place for 2 or 3 days, and decant the clear-
est for Use. You must wash oftner with this Varnish
than with that just before, before you can make your
Work acquire a glittering Polish.

XI. Here is to be observed;

First, That your piece now lying before you, drawn
and finished, you may secure against all Danger by
means of this last Varnish. Take a fit, neat, clean Var-
nish pencil, dip it into this Varnish, (put into a little
Gally-pot) always stroaking it against the sides of the
Pot, for fear it should be too full of Varnish; and with
this (without any distinction) wash over your whole
Work, both Draught and Ground, and repeat it 5 or 6
times, as you see your Gold or Metal keeps its color,
gently warming it and thoroughly drying it between each
wash, but let it be but just warm, for if more, it will
spoil all.

XII. Secondly, This being done, and that very evenly
and smoothly, let it lye 4 or 5 days or more, and then
polish it thus: Rx. Tripoli in fine pouder, and a fine Rag,
dip the Rag into a Bason of Water, and lick up with it
some of the Tripoli, with which rub your Work with a
gentle and even Hand, till it becomes smooth and glossy;
and let your chief Aim be to render your Ground or
Black smooth and bright.

XIII. Thirdly, To take off the Tripoli, you must use a
soft Spunge dipt in Water, to wash your Work with;
and then a clean, soft, dry Rag, to free it wholly: af-
ter which mix a little Oil and Lamp-black together, and
with a fine Rag rub it up with that, and then with a
dry Rage clear it from the Black and Oil: lastly, with
one clean, soft, dry Rag more, rub it gently so long till
it shines, and is sufficiently polisht, according to the
utmost of your desire.

XIV. To make Varnish for Prints or Pictures in Oil,
called Turpentine Varnish.

Rx Venice Turpentine OZiij. put it into an Earthen Pot over
the Fire: when melted, add to it Oil of Turpentine OZvj. as
soon as they boil, take off the Pot, and when cold, put it up
in a Glass Bottle, which keep close stopt for Use. With
this you may varnish your Prints on Glass, or other
things, to render them transparent; and this is what
the Shops sell for fine Varnish. If it should prove too

871

thick, you may make it thinner by an Addition of more
Oil of Turpentine.

XV. A more excellent Varnish for Pictures in Oil,
or making Prints transparent.

Rx Of the best Oil of Turpentine OZxlviij. pure, clear, white
Mastiche in fine pouder OZxviij. mix and shake them well toge-
ther till the Mastiche is dissolved: then hang the Bottle in a
Vessel of Water, but not so deep as to touch the bottom, and
make the Water boil for half or three quarters of an hour or
more, taking it out in that space 3 or 4 times, to shake it; so
will you have Varnish as good in its kind, for these
Purposes, as any other whatsoever.

CHAP. V.

Of making some other kinds of Varnishes.

I. COmmon Liquid Varnish.

Rx Linseed Oil q. v. Gum Sandarack q. s. being
in fine pouder, mix and dissolve over a gentle heat, and
keep it for Use.

II. A Varnish for Painted Pictures.

Rx White Rosin LBj. Gum Arabick, Venice Turpen-
tine, Linseed Oil, ana OZij. first melt the Rosin and Lin-
seed Oil together, and strain it very hot: steep the Gum
in Oil Olive, q. s. till it is dissolved, and strain it: mix
both these together, and add the Turpentine; then digest
over a Stove Fire till they are well mixed, and so keep it
for Use. When you have occasion for it, use it hot.

III. Another for the same.

Rx. Gum Sandarack, Olibanum, both in pouder, ana
OZiv. Venice Turpentine, q. s. mix, melt and incorporate
over a gentle Fire, and strain it hot out. When you
have need of it, use it hot, and it will dry immediately,
and shine, and be glossy.

IV. Another for the same.

Rx Pure clear Amber (dissolved in Oil of Turpentine)
OZiij. mix it with refined Linseed Oil OZj. over a gentle Fire,
stirring them well, and it is done,

872

V. A good Varnish for Gold, Silver, Brass, Copper, Iron,
Steel, Stone, Wood, Velom, or Paper.

Rx Benjamin in fine pouder q. v. rectified Spirirs so
much as to supernate 4 inches: digest 4 days, then
strain it, and it will be bright and shining, drying im-
mediately, and retain its Brightness many years. Note,
If it is to be Silver which is to be varnished, you ought to use
the white part of the Benjamin only; but if it is Gold,
or anything gilded, chuse the clear part of the Benja-
min; and before straining, put in a few Blades of Saf-
fron for the Color sake.

VI. A Varnish for Wood and Leather.

Rx Tincture of Saffron, or Turmerick made with re-
ctified Spirits LBj. prepared Gum-lac q. s. dissolve the
Gum in the Tincture, and it is done. This Varnish is
also of great Use to lay over Gold and Silver, or any
thing which is exposed to the Air.

VII. A Varnish particularly for Gold, Silver, Tin or
Copper.

Rx Linseed Oil OZxij. Mastiche, Aloes, ana OZj. (in pou-
der) mix all in a glazed Earthen Pot, which cover with
another; in the bottom of which let be a hole, wherein
to put a small Stick with a broad end, to stir withal:
cover them all over with Clay, (except the hole) set it
over a gentle FIre, and stir it as often as it boils up for a
while, and then strain it for Use. First let the Metal be
polished, then strike it over with this Varnish.

VIII. To make a common sort of Varnish.

Rx Rectified Spirit LBiv. Shell-lac OZix. Rosin OZiij. dissolve
the Gums in a gentle heat, (being close covered) then
let them settle, and strain or decant off the clear, which
keep close in a Glass Bottle for Use. The thick which
remains you may squeeze thro' a Strainer, and keep for
other Purposes.

IX. To make common Varnish.

Rx Gum Sandarack in pouder, Oil of Spike, Oil of
Turpentine, ana LBj. mix and dissolve over a gentle heat,
and it is done. If thro' Carelessness the Fire should
catch hold of it, clap a Pewter Dish or Cover, with a
wet Woolen Cloth, the top of the Vessel close, and it
will immediately go out.

X. Vernix Italica, The Italian Varnish.

Rx Pure Venice Turpentine OZviij. evaporate to dryness

873

over a very gentle heat, and reduce it into pouder: affuse
thereon gradatim Oil of Turpentine twice its weight;
digest till the Pouder is dissolved: decant the clear from
the Foeces, and keep it for Use.

XI. The Mastich Varnish.

Rx Oil of Turpentine LBij. Grains of Mastich in fine
pouder LBj.or so much as the Oil will dissolve: when
cold, separate the clear from the Faeces, and keep it for
Use.

XII. The Olibanum Varnish.

Rx It is made altogether as the former: so also a Var-
nish of Gum Animi, of Copal and of Gum Sandarack.
These Mastich, Olibanum, Animi, Copal and Sandarack
Varnishes are all of good Use for the preserving and set-
ting off of Pictures: and being laid upon things Gilded
or Silvered over, or laid over with the Leaves of any Me-
tal, they so preserve them, that they loose not their Co-
lor or Gloss.

XIII. To make a Red Varnish.

Rx Rectified Spirt LBij. Shell-lac OZiv. Sanguis Draconis
in fine pouder OZviij. Cochenele OZj. digest a week over
gentle heat, and strain out for Use.

XIV. To make a Yellow Varnish.

Rx Rectified Spirit LBij. Saffron OZj. infuse 4 days, strain
out, and add Sanguis Draconis OZij. fine Aloes OZj. digest
a week in gentle Sand heat, and strain out.

XV. An excellent Universal Varnish.

Rx Of the best rectified Spirits LBiv. of the best Oil of
Turpentine OZviiij. Gum Animi, or Copal, or Gum Sandar-
rack in fine pouder LBj. mix, and dissolve by digesting in a
gentle heat: decant the clear, and keep it in a Bottle
close stopt for Use.

XVI. The Amber Varnish.

Rx Clear Amber in subtil pouder q. v. affuse thereon
Linseed Oil or Oil of Walnuts, so much as may melt
the Pouder: gently boil them until they acquire a black
color; then pour all out upon a wet Marble: beat this
Mass into pouder, and dissolve gradatim in a sufficient
quantity of prepared Linseed Oil, and keep it for Use;
as varnishing Canes, Sticks, Fans, Pots, Cups, Tables,
Stones, Statues, Cabinets, &c. being laid on with a hard
Brush Pencil, the better to spread it over.

874

XVII. The Indian Varnish for Cabinets, Coaches, and
such like.

Rx Rectified Spirits LBiv. Seed-lac or Shell-lac OZxij. put
them into a Glass Body and dissolve in B. M. (but be
sure the Water in the Balneum boils not, for then it will
turn the Varnish white:) strain thro' a Flannel Bag,
and keep it in a Glass Bottle close stopt for Use. This
preserves Leaf Silver it is laid on from the Injuries of the
Air, and makes the Silver look of a Gold color; for which
Reason Coach-makers and others use it. If it is laid on any
other Color, it makes it look very much more beautiful:
and if in any place it lyes rough, you may polish it with
fine Pouder of Emery and Water, or rather with Tri-
poli.

XVIII. A strong Varnish or Cement to make a Dial
plain on a Wall.

Rx Lime and Sand, which temper with Linseed Oil
q. s. This spread upon the Wall, will harden to the
Hardness of a Stone, and will not decay in may Ages.
This is the strongest and most lasting Varnish, Cement or Pla-
ster for this Purpose; but if you cannot get Oil, you may
temper your Lime and Sand with scummed Milk; and this
you will find will last 6 times as long as the common or ordina-
ry Plaster, made of Lime and Hair with Water.

XIX. To make an excellent White Varnish.

Rx Rectified Spirits LBiv. Oil of Turpentine OZiv. Gum
Sandarack, Mastich in fine pouder, ana OZxiij. DRiij. Gum
Animi in fine pouder OZij. DRvj. mix; digest in a large
Bolt-head or Matrass, in a very gentle B. M. or Sand
heat, not full out boiling, which stop well or cover with
a blind Head; and in about 8 hours time all will be
dissolved: decant the clear into a Glass Bottle well
warmed before-hand, in which keep the Varnish close
stopt for Use.

XX. If you Varnish upon Paper pasted on a Board, you
must first prepare your Paper with Ising-glaÃŸ size, rubbing
it over with a Brush of Camels Hair 2 or 3 times, which
is to be thoroughly dryed each time; then putting a little
of the Varnish into a warm Gally-pot, (you must stop
the remainder close, for fear, if the Spirits should evapo-
rate, the Varnish should curdle and the Gums separate)
lay on the Varnish, with a Brush several times, letting
it stand an hour before the Fire between each washing o-

875

ver: after 3 or 4 days time of drying it, polish it with
fine Pouder of Tripoli, Emery or Putty, by help of a Rag
and a little fair Water.

XXI. Vernix Japanica, The Japan or Indian Varnish
by another ProceÃŸ.

Rx Rectified Spirits LBiv. Seed-lac in fine pouder OZxxxij.
mix them well, by strongly shaking them in a Glass so
long till the Spirit has dissolved the Lacca: digest 2 days,
shaking it 2 or 3 times a day: then let it settle and strain
thro' a Flannel, or decant the clear; which keep in a
Bottle close stopt for Use.

XX. Now, here is to be observed;

1. That this thin Varnish, being laid upon any thing,
immediately drys, and that it ought to be continually
laid on, till it is thick enough and the Superficies equal
and smooth. 2. That it is chiefly to be used in April,
May, June, July, or August in a clear shining days; or if
in cold Weather, in a close warm Room with an Iron
Stove in it, or before a good Fire; otherwise it will be
apt to chill, and your Work will be cloudy and opacous,
not clear and bright: after which it is to be dryed in a
gentle heat for 6 or 7 days. 3. That it may be laid o-
ver any Color, by which means the Color will look much
more beautiful and glorious; or otherwise it may be
mixt with the Color, being in fine pouder and moistned
with rectified Spirit; or if the Color will yeild a Tin-
cture, it may be mixt with a Tincture of the same color.
4. That being put upon Leaves of Metal, as of Gold,
Silver, Tin, Brass, it makes them look much more glo-
rious, and preserves them also. That the Varnished
things may be made smooth and even by rubbing them
with Pumice-Stone and Oil Olive: and lastly, the may
be farther polisht by rubbing them with Chalk or Putty,
by which means they will shine, and look as clear as
Glass.

XXIII. A Varnish to preserve Timber or Wooden Works
from Rotting.

Rx The best and hardest Rosin, purify it well: add to
it a sufficient quantity of Linseed Oil, so much as may
conveniently serve to toughen it; melt and incorporate
them well together: then take Umber ground very fine,
and mix therewith; which being well mixed together,

876

and whilst hot, you may lay on and varnish Timber or
other Wooden Work therewith at pleasure.

XXIV. Here it is also to be observers;
That it is an excellent Varnish to preserve Timber or
Wooden Work, the Border-boards of Gardens, or any
other thing, which you would have last long in Wet or
Moisture, as the Pillars of Horizontal Dials, Wooden
Pails, Rails, Gutters, Arbors, &c. for it lies like China
Varnish, and will endure 10 times as long as any Paint-
ing. 2. That it is an excellent thing to prime Hogsheads
or Barrels with which you use to keep Water in, Wooden
Cisterns, &c. which may be done both within and on
the outside; and being spread on Cloth with a Trowel,
it will make a most excellent Covering for Tents, Huts,
Pent-houses, Houses of Pleasure, &c. 3. That the burnt
Umber is the best Color to mix with it, yet you may
mix other Colors therewith, as Minium, Masticot, Li-
tharge, Verdigrise &c. but this last some object against,
because of its corroding Quality. 4. That the best way
of laying it on, is first to heat it hot, for so it will stick
the closer and faster to the Wood.

XXV. To Prepare Linseed Oil for the Amber Varnish
at Sect. 16 above.

Rx Linseed Oil q. v. put into it a piece of Bread; so
will an Effervescence be made by the Aqueous Particles:
then put in some Alcali, as Lime, Chalk, Whiting, and
several Calces of Lead, that the Acid may be absorbed:
let it settle, decant the clear, and clarify it; so it is pre-
pared. Rx of this prepared Oil, and put in per vices,
Pouder of Amber, Sandarack, &c.

CHAP. VI.

Of making Japan Varnishes.

I. White Japan Varnish.

Rx Thick Seed-lac Varnish or the best white
Varnish OZvj. white Lead or flake Lead in subtil pouder,
enough to color it white; mix them. 2. Rx of the thick-
est, or rather best white Varnish OZvj. Venice Turpen-

877

tine OZj. mix them well: add white or flake Lead enough
to color it. 3. Rx of the finest white Varnish OZvj. pure
flake Lead in fine pouder, enough to color it white:
mix them to be used as shall hereafter be directed.

II. Black Japan Varnish.

1. Rx Of the thickest Seed-lac Varnish OZvj. Lamp-black
enough to color it: mix them in a Gally-pot. 2. Rx of
the thickest Seed-lac Varnish OZvj. Venice Turpentine OZj.
3. Rx of the finest Seed-lac Varnish OZvj. Lamp-black q. s.
mix them, to be used as hereafter directed.

III. Another Black Japan Varnish.

Make the two first degrees as before: then take of the
finest Seed-lac Varnish, of the best white Varnish (in
cap. 4. sect. 1.) ana OZiij. mix them well; and then Tin-
cture it with Lamp-black as before-directed.

IV. Red Japan Varnish.

1. Rx The thickest Seed-lac Varnish OZvj. Vermilion
q. s. viz. as much as your Judgment and Experience
shall direct you, to give it a good Tincture: mix and
keep it for Use.

V. A deep or dark Red Japan.

1. Make the Red in the former Section. 2. Rx thick
Seed-lac Varnish OZvj. fine Sanguis Draconis in subtil pou-
der q. s. mix them. 3. Rx fine Seed-lac Varnish OZvj. San-
guis Draconis fine pouder q. s. mix them for Use.

VI. A pale Red Japan Varnish.

Rx Vermilion q. v. mix it with so much white Lead
as to make it become of the Paleness you desire, or re-
ther paler, because the Varnish will heighten it: mix
this with Seed-lac Varnish, according to the afore-going
Methods.

VII. Olive-colored Japan.

Rx Thick Seed-lac Varnish OZvj. English Pink in subtil
pouder, mixed with Lamp-black and white Lead in due
proportion q. s. mix them for Use. If it is too light,
help it with Lamp-black: if too dark, with white Lead:
if too green, with Umber ground fine, for this will take
away the Greenness.

VIII. Chestnut-colored Japan.

1. Rx Indian Red or Red-brown Oker, grind with or-
dinary Size or Water till it is as fine and as soft as But-
ter; then mix a little white Lead, which grind strongly
as before: and lastly Lamp-black in a fit proportion,

878

stirring and mixing them well together. 2. If the Mix-
ture is too bright, darken it with Lamp-black: if too
dark, lighten it with white Lead, varying the Proporti-
ons till you have perfected the Color you aim at; for
what Color exactly you have when thus mixt and wet,
the same also will arise when varnished, tho' drying
without Varnish, it will look otherwise. 3. Rx thick
Seed-lac Varnish OZvj. of the former prepared Color q. s.
mix them in a Gally-pot over a very gentle Fire, for
Use.

IX. Blew Japan.

1. Rx White Lead, grind it upon a Porphyry with
Gum-water till it is impalpable. 2. Rx the finest and
best Smalt, which mix with Ising-glass Size: to this put
of your white Lead such a proportional quantity as you
would have it in strength of Body: mix these together to
the Consistence of common Paint. 3. If the Blue is too
pale and weak, add more Smalt, and no white Lead;
but if it is too deep, then add more of the white Lead.

CHAP. VII.

Of making Lackering Varnishes

1. The common Lacker Varnish.

Rx Rectified Spirits LBiv. Shel-lac in pouder LBj.
put them into a Gallon Glass Bottle, and let them stand
till quite dissolved: strain, and then add a little com-
mon Sanguis Draconis in subtil pouder, and a little Tur-
merick in fine pouder, both tyed up in a Rag: digest a
day or two, often shaking it, and it is done. Where
not, That you may heighten or diminish the Color, by en-
creasing or diminishing the quantity of the coloring Ingre-
dients.

II. Another Lacker.

Rx Rectified Spirit LBiv. Shel-lac LBj. dissolveand strain:
then instead of common Sanguis Draconis, take a very
little of Drop or fine Sanguis Draconis in fine pouder, and
English Saffron dryden; which tye up in a fine Linnen
Rag, and put into the Varnish as before. If you would
have the Color deeper, or more like Copper, add more Sanguis

879

Draconis; but if lighter and more pleasant, then the more
Saffron.

III. A Lacker Varnish to be used without Fire or Sun.

Rx Of the following Varnish in sect.4. LBiv. Venice Tur-
pentine OZij iij. or iv. mix and dissolve it well with the
Varnish. With this you may Lacker or Varnish any thing
in the open Air, which, altho' it may look dull and cloudy
just after Varnishing, yet will that quickly vanish, and it
will obtain in a short time a pleasing and goodly Lustre.

IV. To make the bestsort of Lacker Varnish now used by
the Gilders.

1. Rx Fine Seed-lack Varnish (in cap.4. sect.3.) OZxij.
with which mix Ornatto in fine pouder s. q. dissolve it
in a Gally-pot over a gentle Fire, which reserve in a
Bottle close stopt. 2. Rx fine Seed-lac Varnish OZxij.
Cambogia in pouder as much as it will dissolve in a gen-
tle Sand heat: reserve this also in a Glass close stopt for
Use. 3. Rx Seed-lac Varnish LBij. and add to it 5 or 6
Spoonfuls of the first reserved Tincture, and 10 or 12
Spoonfuls of the second reserved varnish Tincture; to
which add dryed Saffron DRss. tyed up in a Rag: digest 24
hours, being first well shaked together. 4. Then make
a Tryal of this Varnish upon a bit of Silver; if it is too
yellow, put in more of the Ornatto or first reserved varn-
nish Tincture; but if too red, then put it more of the
Cambogia or second reserved varnish Tincture: thus en-
creasing or diminishing the Proportions till you have
brought it to the exact Golden color, which is the Ulti-
mate or only thing aimed at.

V. To Lacker Oil Painting, Sized Works, or Burnisht
Silver.

Warm your Frame or piece of Work before the Fire,
then putting out some of your Lacker into a large Gally-
pot, with a fine large and fast Brush of Hogs-hair or
Camels-hair, nimbly pass over your piece, and be sure
to miss no part of it, not yet to twice wash any of the
same; but be sure to lay it on thin and even, and presently
warm it by the Fire whilst it looks bright; for by these
means you may Lacker it again in a quarter of an hour,
warming it before and after the Operation. Repeat the
Work twice or thrice, and if the Color is not deep
enough, do it a fourth time; but beware of doing it too
deep, for that is a Fault not to be mended.

880

VI. To make Lackering look like Burnisht Gold.

If your Silver is before-hand well burnished, and your
Lacker of a true Gold color, and it be carefully laid on
with an even hand, not thicker in one place than in a-
nother, matting it as you do burnisht Gold; it will be
so exactly like Gold Foil or Gilding, that it will be able
to deceive the most subtil and curious Eye, not before-
hand acquainted with the Fallacy.

VII. Now, here is to be noted;

That in Lackering Carved Works, you must be quick,
and strike or jobb your Brush against the hollow parts of
it, to cover them also, matting or varnishing them deeper
and more dull than other parts of your Frame or Piece:
and this deepning is done with the Lacker Varnish made
deeper with the Ornatto Varnish, (or with Ornatto it self,
worth about 4d. per ounce;) which being well mixt,
with the same, all the hollow and deep Places and Veins
of your Work, are therewith to be touched and deepened,
whereby you accomplish its Color, and bring the Refle-
ction of a perfect Glory.

CHAP. VIII.

Of the Way and Manner of Varnishing.

I. THE Intent of Varnishing, is, either to preserve
the Gloss of Paintings or Pictures, or else to re-
present and imitate the Forms of shining and perlucid
Bodies.

II/ To Varnish Paintings and Pictures, 'tis no more
but with a Pencil dipt in the Varnish, to go over the
same, then letting it dry; and so going over it so often
as to Reason you shall see convenient.

III. If you are to imitate any thing, as Amber, Lapis
Lazuli, Marble, Tortoise-shell, &c. you must first make
the Imitation of them upon that which you would Var-
nish, with their proper Colors, as in Limning or Paint-
ing with Oil, which must be thoroughly dry: then by the
former Section go over all with the Varnish so often, till
you see it thick enough, letting it dry every time leisurely.

881

IV. How to use the Securing Varnish and the white
Polishing Varnish, we have at large taught you in cap. 4.
sect.9, 11, 12, 13. so that no more need be said of it in
this place.

V. Having Varnished your piece sufficiently over, and
being perfectly dry, according to the Nature and Curi-
osity of it, it is to go either unpolished, or to be polish-
ed. If it is to be polished, 1. You are to rub it with a
fine Rag, and fine Pouder of Tripoli and fair Water till
the greatest of its Roughness is taken away. 3. Then
washing it clean from the Tripoli, if it is black Varnish,
you must perfect the Polishing of it with another fine
Rag, Lamp-black, and a little Oil Olive, rubbing it so
long with them till it shines and looks like a perfect Mir-
ror or Looking-glass; but if it is a white or light-colored
Varnish, you must take (instead of the Lamp-black)
very fine Putty or Chalk, rubbing with that in like man-
ner till the Polishing is perfect.

VI. This being done, to clear the Varnishing of the
Lamp-black, or Putty, Chalk and Oil, you must rub
it with a fine, soft, dry Rag till the Lamp-black, Putty,
Chalk and Oil are lickt up with it, and totally vanish:
after which taking one clear, fine, soft, dry Rag more,
rub it gently and evenly till it acquires the Cleanness,
Gloss and Lustre you desire.

CHAP. IX.

Some general Observations in Varnishing.

I. LET the Wood you would Varnish be close grain'd,
free from a manner of Knots, Flaws, Holes or
Greasiness, and very smooth and clean; which, if so,
then Rush it well all over with your Dutch Rushes.

II. Lay with your Varnishing-pencils your Blacks or
other Colors very even and smooth, without any Knobs,
Asperities or Roughness: if any such thing appears, with
your Rush take them away: and this must conti-
nually do so long as those Impediments shall follow
your Work.

882

III. Work always in a Stoved Room (if in Winter)
and near a Fire, keeping your Work always warm, but
by no means hot, for then it will certainly blister, or
crack and flaw, which is irreparable, and can never be
rectified or amended but by scraping off all the Varnish.

IV. After every distinct wash you ought to let the
Work be thoroughly dry; if not, it will always be full
of Knobs Asperities or Roughnesses, which will enforce
you to the continual Use of your Rushes.

V. Let your Work lye and rest after it is Varnished
as long as may be, or as your Convenience will admit;
so will it prove the better, and receive the more exquisite
Polishing.

VI. In Varnishing, begin always your Stroak in the
middle of the Table, Box or Plain (and not from one
end to reach to another) and so strike it to one of the
ends; then taking it off, put it to the place you began
at, and draw it to the other end; and thus continue it
till the whole Plain is Varnisht over.

VII. For if you should at one stroak draw your Pen-
cil from one end to another, it would hang upon the
Edges and Mouldings of your Box or Piece, the Varnish
lying in Drops and Splashes, caused by the Brushes be-
ing at beginning of the Stroak over charged and too full
of Varnish; for which Reason you ought to stroak your
Pencil once or twice against the sides of the Gally-pot,
to hinder this Abundance or Superfluity.

VIII. When you come to Polishing, let your Tripoli
be scraped with Glass or a Knife, that it may be as fine
and soft as Pouder or Hair; let your Rags also be very
soft, fine and clean, tho' for the more ordinary or com-
mon Work, courser Tripoli and Rags may serve: rub
indifferently hard, but smooth and even, Polishing one
place as much as you intend for that time, before you
leave it and pass to another.

IX. Never Polish your Work to the ultimate smooth-
ness at one time, but let it rest 2, 3 or more days after
your first Endeavours, and then give it the finishing and
concluding Stroaks.

X. Be careful also that yo come not too near the
Wood, lest your Work looks thin and hungry, and as
it were Thread-bare: if you wear the Varnishing thus

883

too much away, there is no Remedy for it but by ano-
ther Varnishing.

XI. Use a large Quantity of Tripoli at first Polishing,
till it begins to be smooth; afterwards a small matter
will be sufficient; and be sure there be no Gravel, Grit,
Sand, or grating matter in it, lest it rase or scratch your
Work: if so, you must rub (with the Rag about your
Finger) till you have polisht them out.

XII. When you come to clearing up your Work, wash
off your Tripoli with a Spunge and Water, and after-
wards wipe it dry with old, soft, dry Linnen.

XIII. Then (your piece being black Varnish) mix
Lamp-black with Oil, and with another soft, dry Rag
rub your Work all over with it, letting no corner or
Moulding escape; for this will absolutly free your piece
from the remaining Tripoli.

XIV. This done, with another fine, clean, soft Rag
or Cloth, rub it well all over, not sparing any pains,
with a nimble and quick Stroak, and as hard as you well
can; so will its Gloss and Lustre be incomparable.

XV. But if it is white Work, when you are come to
clearing it up, you must no sully it with Lamp-black;
but give the finishing polish to it by Oil mixt with Putty,
or White Chalk, or Grounds of Hair Powder, concluding
with a fine, soft, dry Rag or Cloth, as in the former.

CHAP. X.

Of Varnishing Wood without Colors.

I. TO Varnish Olive Wood, Tables, Stands, Cabinets,
Looking Glasses, Dressing Boxes, &c. Rush over the
piece you intend to Varnish, which being well done, set
it by a soft and gentle Fire, that it may be well warm-
ed, and so made fit to receive the Varnish.

II. Then wash it 10 or 12 times over with thick Seed
lac Varnish (which remained after the top or fine was
poured off) with a Pencil fitted to the bigness of your
Table, Cabinet, Frame, &c. letting it throughly dry
between every washing.

882

IV. After every distinct wash you ought to let the
Work be thoroughly dry; if not, it will always be full
of Knobs, Asperities or Roughnesses, which will enforce
you to the continual Use of your Rushes.

V. Let your Work lye and rest after it is Varnished
as long as may be, or as your Convenience will admit;
so will it prove the better, and receive the more exquisite
Polishing.

VI. In Varnishing, begin always your Stroak in the
midde of the Table, Box or Plain, (and not from one
end to reach to another) and so strike it to one of the
ends; then taking it off, put it to the place you began
at, and draw it to the other end; and thus continue it
till the whole Plain is Varnisht over.

VIII. When you come to Polishing, let your Tripoli
be scraped with Glass or a Knife, that it may be as fine
and soft as Pouder for Hair; let your Rags also be very
soft, fine and clean, tho' for the more ordinary or com-
mon Work, courser Tripoli and Rags may serve: rub
indifferently hard, but smooth and even, Polishing one
place as much as you intend for that time, before you
leave it and pass to another.

IX. Never Polish your Work to the ultimate smooth-
ness at one time, but let it rest 2, 3 or more days after
your first Endeavours, and then give it the finishing and
concluding Stroaks.

X. Be careful also that you come not too near the
Wood, lest your Work looks thin and hungry, and as
it were Thread-bare: if you wear the Varnishing thus

883

too much away, there is no Remedy for it but by ano-
ther Varnishing.

XII. When you come to clearing up your Work, wash
off your Tripoli with a Spunge and Water, and after-
wards wipe it dry with old, soft, dry Linnen.

XV. But if it is white Work, when you are come to
clearing it up, you must not sully it with Lamp-black;
but give the finishing polish to it by Oil mixt with Putty,
or White Chalk, or Ground of Hair Pouder; concluding
with a fine, soft, dry Rag or Cloth, as in the former.

CHAP. X.

Of Varnishing Wood without Colors.

II. Then wash it 10 or 12 times over with thick Seed
lac Varnish (which remained after the top or fine was
poured off) with Pencil fitted to the bigness of your
Table, Cabinet, Frame, &c. letting it thoroughly dry
between every washing.

884

III. If any Hillocks, Knobs or roughness does appear,
when dry, then rush them off, at every turn as you
meet with them; and continue Rushing it, till it is very
smooth.

IV. After all this, wash it over again, fix several
times with the finest of the Seed lac Varnish; and so let it
stand three days, to dry thoroughly.

V. Then take Tripoli scraped with a Knife: and take
a fine soft Rag, dip it in fair water, and then in the
Tripoli, with which rub and polish it, till it acquires an
admirable smoothness and gloss.

VI. But you must be very careful, that you rub it not,
nor wear away the Varnish too much, for that is no
ways to be repaired, but by fresh Varnishing it again.

VII. After you have rubbed some considerable time
with the Rag and Tripoli, you will do well to use the
Rag often wetted without Tripoli, whereby you will ob-
tain the better Gloss.

VIII. Then wipe off your Tripoli with a Spunge full
of fair water; and afterwards wipe off the water with a
dry Rag: Rub it with Lamp-black and Oil all over, and
wipe off that with a dry Cloth: and clear it with
another.

IX. If after all this pains, your Work looks dull and
heavy, and the Varnishing misty, (which is caused by
polishing it before it was thoroughly dry, in moist, damp
Weather) you must gie it another slight Polish, and
clear it up, as before, and that will give it its due Lustre.

X. If you have been too sparing of your Varnish, so
that it is not thick enough to endure a thorough Polish,
you must use again your finest Seed lac Varnish, giving it
5 or 6 Washes more.

XI. And then, after 4 or 5 days time, in which it
will be thoroughly dryed, you must Polish it, and clear
it up, as before.

XII. If you desire to keep the absolute, true, natural
and genuine color of the Wood, you must then only use
the White Varnish (in Cap. 4. Sect 1.) for that is the only
thing which compleatly answers this end, for that being
often washed with it, it necessarily heightens and increa-
ses the true natural Olive Color.

XIII. To Varnish Wallnut Wood. The same Method is
to be observed in this as in that of Olive, and the same

885

Rules will hold exactly in all other sorts of Wood which
are close and hard, and of a smooth Grain, as Box,
Lime Tree, Pear Tree, Yew, &c.

CHAP. XI.

Of Drying or Staining Wood, Bones, Ivory and
Horns.

I. SOmetimes Tables, Stands, Cabinets, Dressing-Box-
es, Looking Glasses, Frames, &c. being made of
differing Woods, and of Colors which are disliked, you
may by the following Rules, Dye or Stain such sorts of
Woods, Bones, Horns, &c. of what Colors you please,
and then by the former Rules Varnish upon them; so
will they look very pleasing to the Eye, and as if truly
Natural.

II. To Dye Wood of a Beautiful Red.

Make a strong Alum water, put your Wood into it,
and let it boil a little: then take it out, and put into
the said Water a sufficient Quantity of Ground Brasil
Wood: put your Wood in again, and boil a Quarter of
an Hour, and it is done. When dry, Rush and Polish
it, and you will find it a Rich and Beautiful Color.
Note, Woods which are white, take this Dye best.

III. To Dye or Stain a fine Yellow.

Take Knotty Ash, or any other Wood which is white,
curled, and knotty; smooth and Rush it well; then
warm it at the Fire, and with a Brush dipt in A.F. wash
over the Wood, and hold it to the Fire (as you do Japan
work) till it leaves smoaking. When it is dry, Rush it
again, for the A.F. will make it very rough; Polish it,
and if you please Varnish it with fine Seed-lac Varnish;
and being dry, then Polish the Varnish, and you will
find (because the knotty and curled parts will admit of
great Variety) that no Out-landish Wood will surpass
it, and that a pleasing Variety will be interwoven, much
beyond whatever you could imagine or expect. Note,
If also you put Filings of Metals, as of Silver, Copper,
Brass or Iron into the A.F. or Gold into it with Salt or Sal

886

Ammoniack, each Metal will produce a different Tincture,
which will Dye the Wood accordingly. They oftentimes
Stock Pistols with such kind of Wood as this.

IV. To Dye or Stain Woods for Inlaid or Flowred Works
for Cabinet-makers.

Rx Juice of the moistest or new-made Horse-dung LBviij.
put it into 6, 7, or 8 several Vessels, and put into each
Vessel Roch Alum and Gum Arabick, ana about the
quantity of a large Nutmeg, dissolving them: then put
into each Vessel a different Color, as Red, Green, Blew,
Yellow, Orange Tawny, Purple, &c. suffering them to
stand 2 or 3 days, often stirring them: then take your
Wood, (cut thinner than an Half Crown, and of what
breadth you please) viz. Pear-tree or other white Wood,
put it into the said several Liquors boiling hot, in which
let it lye as long a time as is needful, to color it, but
some pieces longer than others, for the longer they lye in
the Liquor, the deeper and higher the Color; so will you
take them out thoroughly dyed, and of as many differing
Colors as there were Pots of Liquor.

V. To Dye or Stain Wood Black.

Rx Logwood and boil it in Water or Vinegar, and
whilst very hot brush over or dip your Wood in it 2 or 3
times: then take Galls p. iv. broken into bits, Copperas
p.j. boil them well in the Water, with which wash the
Wood so often, or steep it in the Liquor till it is perfectly
black.

VI. To Dye Bone, Horn, Ivory, &c. Black.

Rx A.F. q.v. put bits of Brass into it, letting it stand
till it is turned greed, with which was your Bone, Horn,
Ivory (being first Polished) 2 or 3 times: then put them
into a strong Decoction of Logwood in fair Water whilst
hot, letting them lye a while: which done, Rush and
Polish them, and they will be as black, and have as
good a Gloss as any Japan or Ebony.

VII. If you would have any Figure or set of Flowers, &c.
remain white upon the Ivory, draw them neatly on the
Ivory with Turpentine Varnish before you strain it; for
those places which are covered with the Varnish, are so
secured, that the Dye or staining Matter cannot touch or
discolor them. After the Matter is dyed, you may hatch,
engrave or cut them with a Graver according as you de-

887

sign, and then fill those Lines with Lamp-black mixt
with Oil, to make them appear in their Perfection.

VIII. To Dye or Stain Bones, Horn, Ivory, Wood of a
Green Color.

First boil them in Alum-water, then take Wine Vi-
negar q.v. Spanish Green or common Verdigrise well
ground, q.s. Sal Ammoniack half as much as of the Ver-
digrise, mix them, and put the Wood, Ivory, Horns or
Bones into the same, keeping them in a gentle boiling
heat till they are sufficiently stained. If the Wooden
Work is too large to go into the Vessel, wash it over se-
veral times boiling hot till the Color is good.

IX. To Dye Bones, Horn, Ivory or Wood Red.

Rx Rain Water q.v. Quick-lime q.s. mix and let it
dissolve, and stand for a night: then decant the clear
Water, straining it thro' a Cloth. Rx of this Water LBviij.
Brazil-wood scraped or ground OZiv. mix and boil gently:
then your Wood, Ivory, Horn or Bones (being first boiled
in Alum-water) put into and boil in the former Tin-
cture of Brazil till it is sufficiently Red.

CHAP. XII.

Of Varnishing Prints.

I. GET a smooth Board of a size fitting your Print or
Picture, and with strong common Size made of
Parchment or Leather, Size it over thus; Melt the Size
at the Fire, and scrape Whiting into it to make it of a
moderate thickness; and with a soft Hogs-hair Brush or
Pencil fit for your Work, wash it once over, letting it
dry: then white it again, and so repeat it till it lies with
a fair substantial Body, perfectly covering the Grain of
the Wood, whether it be Deal, Oak, Walnut-tree, or
any other.

II. Then with your Rushes Rush off some part of your
Whiting pretty close, and make it very smooth; but do
it not so much as to discover the Grain of the Wood.

III. With Flower or white Starch and Water make a Paste,
which with a large Brush-pencil besmear over the back-

888

side of the Print or Picture, and carefully with an even
and steady hand lay it upon the Board, pressing it down
and smoothing it on, that it may stick as close as may
be, without wrinkles, cockling, blistering or any rising
up; which if you find, lay another dry Paper upon it,
and by pressing and stroking the Paper every ways, free
it from the same.

IV. Be cautious in this Pasting, that it be so well
done, that not the least swelling or bubble be found up-
on your Work; for if it be, the whole Beauty of the
Picture will be lost and destroyed when you come to
Varnishing.

V. Being thus fixed to the Board, let it thoroughly dry:
then take the clearest of your Ising-glass Size (in cap.3.
sect.1.) being just warm, with a soft Pencil wash over
your Print or Picture: let it be perfectly dry, and repeat
this Washing again; which reiterate also the third time,
letting it be thoroughly dry.

VI. After 3 or 4 days time wash it over with your
finest white Varnish (in cap.4. sect.1.) in a gentle heat,
not too nigh the Fire to avoid blistering, letting it dry;
and then repeat it 5 or 6 times more.

VII. This done, let it rest 2 or 3 days, and give it 8
washes more of the same Varnish in like manner: let
it rest for 2 or 3 days more, and then give it 6 or 7 other
washes of the same Varnish.

VIII. Being at length throughly dry, Polish it with
fine Tripoli, a Rag and Water; and lastly clear it up
with Oil and Putty, or white Starch, or Wheat Flower,
as is before taught.

IX. To Varnish Pictures or Prints without Polishing.

Rx Of the best white Varnish, of Varnish made with
Mastich and Oil of Turpentine (in cap.4. sect. 15) ana
OZij. mix them. Into this Mixture dip a Camels-hair
Brush, and therewith Varnish over your Print 4 or 5
times by the Fire as you do other Varnish; and when it
is dry, it will have a very rich Gloss.

X. To Varnish Prints or Pictures, and Polish them like
Japan.

This is done with Japan Varnish, washing it 5, 6 or 7
times over in all respects as the former: then being dry,
Polish with Tripoli, and clear it up with Oil and Put-
ty, &c.

889

XI. To Finish, Polish and Varnish Pictures not laid up-
on Glass.

Touch the foreside of your Picture with shell Gold in
Gum-water; or else after you have Varnisht it 2 or 3
times with the best white Varnish, take Japan Gold
Size, with which hatch and lay it over with Gold Dust:
and as your Judgment and Experience shall advise, touch
and heighten all the strongest Lights, and deepend your
Shadows also, by which you will give so much Life and
Spirit to it, as that a Limner himself may mistake it for
a piece of real Painting.

CHAP. XIII.

Of Preparing Woods for Japanning.

I. Take Plaisters Size, dissolve it over the Fire, ma-
king it pretty warm; and mix Whiting with it
in fine pouder till it is of a good Body, but not too
thick.

II. Take a Brush of Hogs-hair fit for the purpose, with
which and the former Mixture lay your Work once over,
letting it dry very well: and so often repeat this till you
have hid all the Hollownesses, Crevices, Pores and Grain
of your Wood, letting it throughly dry between every
Laying.

III. Afterwards take a fine wet Rag and rub it over
all your Work, till you have made it as smooth as possi-
ble, and this is called Water-Plaining.

IV. When it is dry, Rush it even and smooth, and
as close to the Grain as possibly may be.

V. This done, wash over your Work twice with the
thickest of your Seed-lac Varnish, letting it dry each
time; and if it is not smooth, Rush it again to make
it so.

VI. A day or two after Varnish it over with Black,
or what other Color you design, according as has been
directed; and when sufficiently dry, you may finish it
by Polishing it.

890

VII. By the Method you must Prime Carved Frames
for Cabinets, Stands or Chairs, if you would have them
to look well, save that these are not to be Polished, and
therefore require not so great a body of Varnish, but on-
ly to make them to look shining and glossy.

VIII. But for the tops of Tables, Boxes, sides of Ca-
binets, &c. where the Wood is ordinary and rough
Grain'd, as Deal, Oak, &c. you may take common or
Joyners Glew, dissolve it in Water till it is fine and
thin, into which put the finest Saw-dust, till it is indif-
ferently thick.

IX. Then with a Brush fit for that purpose lay it all
over your Work; and being dry, repeat it so often till all
the Roughness and Grain of the Wood is sufficiently
hidden.

X. After 2 or 3 days let a Cabinet-maker scrape it
with his Scraper as Pear-tree and Olive-wood are done,
to make it as smooth and even as may be; then Varnish
it as formerly directed. This, if well done, will not
come behind any other Work for Beauty and Durabi-
lity.

XI. But after all, if every thing be weighed, your close,
firm and smooth Grain'd Woods are chiefly and only to
be chosen; of all which Pear-tree is the first in Estima-
tion.

CHAP. XIV.

Of Japanning Wood with Colors.

I. Black Japan.

I. YOur Wood being close Grain'd, well wrought and
smooth, Rush it smooth, and keep it warm by
the Fire or in some warm place; but be always careful,
that whilst you Varnish you suffer it not to come so near
the Fire as to burn, scorch or blister it, for which Fault
there is no other Remedy, but scraping it off and new Var-
nishing the piece again: in this case, to work in a Stove,
is doubtless the best way, because it gives an even and
moderate heat to all parts of the Room.

891

II. Then take of the Japan Varnish (in cap.6 sect.2.
No.1.) put it into a Gally-pot, and with it first wash
over or Varnish your piece 3 times, letting it dry thorough-
ly between each time: again with more of the same
Varnish wash it over 3 other several times, letting it
throughly dry between each time, and Rush it smooth
between each of them.

III. Take of the Japan Varnish (in cap.6. sect.2.n.2)
and wash your Work over with it 6 times, letting it
stand 12 hours between the 3 first and the 3 last Var-
nishings.

IV. Your Work being thus far done, take the Japan
Varnish (in cap.6. sect.2. n.3) and with that let it be
Varnished 12 times, standing 12 hours between the first
6 and the last 6 Washings; then let it lye 6 or 7 days;
after which Polish it with Tripoli and a Rag as before-
directed.

V. But in Polishing, you must work at it till it is al-
most smooth, and so let it lye for 2 days; then Polish it
again almost enough, and again let it lye 6 days: and
lastly Polish it fully, and so clear it up with Oil and
Lamp-black as formerly directed; so will you have a
good black Japan, scarcely at all inferior to the true
Indian.

II. Another Black Japan.

VI. Lay your Black as before (in sect.2, 3.) then
take of the Japan Varnish (in cap.6. sect.3.) with which
Varnish your Work 7 or 8 times, letting it stand 24
hours between each time to dry; and then repeat it 4 or
5 times more, keeping it but just warm.

VII. Then let it stand 2 days, and wash it 6 or 7
times with fine Seed-lac Varnish only; and after 6 or 7
days Polish it as before-directed in sect.4, 5. above.

VIII. If your Work should after a little time grow dull,
cloudy, and misty, it is to be remedied with a slight Polish,
and clearing it up afterwards; for that this Dulness
might be caused by reason that either your Varnish was
not yet throughly dry, or that it was not laid thick e-
nough on.

IX. If it is from the first Cause, a new Polishing mends
it: if it is from the latter Cause, you must mend it by 5
or 6 Washes more of your fine Seed-lack Varnish; and then
Polishing again as before.

892

X. It is also to be noted, That in this and all other Ja-
pan Works you must never strike your Pencil twice over
the same place, for it will make your Colors or Varnish
lye rough and ugly; but let every stroak wash a new
place, carrying a steady, quick and even hand, begin-
ning at the middle of the Table, and so drawing your
Brush to either end, till the whole piece has been passed
over.

III. White Japan.
XI. In doing this, you must let nothing come near it
which with foul or soil it: your first work must be to lay
the Ground, which is made with Ising-glass Size (in cap.
3 sect.1.) mixt with as much Whiting, scrapt into it,
as will make it of a reasonable thickness, or so long till
by a stroak of your Pencil dipt into it, it will whiten the
plain of your Work; but let it be neither too thick nor
too thin: this Whiting with your Hogs-hair Brush mix
very well with your Size.

XII. Whiten your Work once over with it, and when
it is throughly dry, do it again; and when dry, reiterate
it the third time: after which let it dry 12 or 24 hours,
covering it from Dust.

XIII. Then with some Dutch Rushes, let it be Rusht
as near to the Grain of the Wood as you see fitting.

XIV. Take fresh Ising-glass Size q.v. white Flake
q.s. so much as make the Size lye with a fair body; mix
them well together, and with this go over your Work 3
several times, letting it throughly dry between each time;
then Rush it very smooth.

XV. Then take white Starch boil'd in fair Water till
it is somewhat thick; and with it, almost Blood warm,
wash over the whole Work twice, letting it dry between
each time; and so let it stand 1 or 2 days.

XVI. With a pure clean Pencil (washt in rectified
Spirit, to free it from Dust) dipt into the finest white
Varnish (in cap.4. sect.1.) wash over your Work 6 or 7
times; and after 2 days, repeat the like number of Var-
nishings again: this, if well done, will give a finer Gloss
than if it was Polisht: but if it is slovenly done, Polish-
ing will then be absolutely necessary, for which reason
you must give it 5 or 6 Varnishings more.

XVII. If this last is well done, it will need no Polish-
ing; and then two washes more will do: but if it requires

893

Polishing, you must then give it 3, and a weeks time of
drying before you begin to Polish.

XVIII. In Polishing, you must use the finest Tripoli
and Rags, not too wet nor too dry, with a light and
gentle hand: and in clearing, instead of Lamp-black
and Oil) you must use Putty and Oil, and conclude
with white Starch mixt with Oil, to give it the finishing
Stroak.

XIX. But there are some who wholly reject this work
with Size, liking that only which is performed with
Varnish: and therefore such may, if they please, use the
white Japan Varnishes (in cap.6. sect.1 n.1,2,3.) ex-
actly, according to the method laid down for the black
Japan, in sect. 2, 3, 4, 16. above, which will give a
more than ordinary Satisfaction: and besides it will not
be so ready to Crack or Peel off.

IV. Blew Japan.

XX. Rx Gum-Water, q.v. white Lead, q.s. grind them
well upon a Porphyry. Rx Ising-glass Size, q.v. of the
finest and best Smalt, q.s. mix them well, to which add
of your white Lead before ground, so much as may give
it a sufficient Body; these mix together to the consist-
ence of Paint.

XXI. With this mixture, go over your Work, and do
it 3 or 4 times, till you see your Blew lies with a good
and fair Body, letting it dry throughly between each
time: if your Blew is too pale, put in more Smalt into
your Size, without any white Lead.

XXII. The Rush it very smooth, and go over it again
with a stronger Blew: and when it is through dry, wash
it twice over with the clearest Ising-glass Size alone; and
covering it, let it dry 2 days.

XXIII. Then gently warming your Piece at the Fire,
with a clean Pencil wash your Work over with the fi-
nest white Varnish, (in cap.4. sect.1.) repeating it 7 or
8 times, and let it dry again 2 days as before. After
which repeat again the third time, your washes 7 or 8
times in like manner.

XXIV. Let it now dry for a Week, and then Polish
it as before directed; and with Lamp-black and Oil
clear it up, to give it a Polite, and Glossy appearance.

XXV. As to the Color you must be guided by your Reason
and Fancy, whether you will have it light or deep, for a

894

small proportion of the Lead makes it deep, a greater
proportion light. Also the Site for laying Whites,
Blews, or any other Color, ought not to be too strong,
rather weaker, and just sufficient to bind the Colors,
to make them stick on the Work, for if it is too stiff, it
will be apt to Crack and fly off. And the Reason of
washing twice with clear Size, is to keep the Varnish
from sinking into, or tarnishing the Colors; and in this
case it ought to be of a strong and full Body.

VI. A deep or dark Red Japan.

XXX. First lay on your common Red, as before di-
rected: then take thick Seed-lac Varnish q.v. fine
Sanguis Draconis in subtil Pouder q.s mix it by little
and little with the Varnish: a very small matter of it
will extreamly heighten your Color, and every wash
will render it deeper.

XXXI. When the Color is almost as deep as you design, forbear the Sanguis Draconis, because the after lay-
ings of the Seed-lac Varnish, will add to the Color what
is wanting.

XXXII. Then consider how many Varnishings are
still to be laid on, and accordingly use your Sanguis
Draconis, perfecting the Work, as is directed in the for-
mer Common Red Japan.

895

VII. A pale Red Japan.

XXXIII. Take the pale Red Japan Varnish (in cap.
6. sect.6) and wash your Work over with it four times,
letting it dry between every time; and follow the Me-
thod exactly laid down in Sect. 27, 28, 29. aforego-
ing.

XXXIV. Where Note, that in making this mixture,
you must think with your self, how many time you
are to Varnish after your Red is laid on, for if many,
then know, that they will increase and heighten the
Color, for which reason you must make your mixture
the Paler. In these things you must be guided both by
Reason and Experience.

VIII. Olive Colored Japan.

XXXV. Take Isinglass or Parchment Size (in cap.3.
sect.1, 8.) q.v. English Pink in fine Pouder, q.s.
grind them together till they are as thick as Butter: then
mix with Lamp-black, and white Lead in due pro-
portion, which by some Tryals you will easily find; add-
Lamp-black, if too light; white Lead, if too dark.

XXXVI. If it is too Green, help it with Raw Umber,
ground very fine with Size, for this will take away the
Greenness.

XXXVII. Or, take the Olive colored Japan Varnish
described in cap.6. sect.7. which is very much the bet-
ter, and with either of these, Varnish over your piece
according to the aforegoing Rules, Polishing, and clean-
ing of it, as before directed.

XXXVIII. Where Note, 1. That no Colors laid in
Size, will endure so strong a Polish, as those in Var-
nish, but are much more subject to be rubbed off. 2. That the
finishing Varnish, must be the best white Varnish, that the
Colors may not Tarnish.

IX. Chestnut colored Japan.

XXXIX. It is made of Indian Red, or brown Red
Oker, either of them being ground with Ising-glass or
Parchment Size, upon a Porphiry, till they are as soft
and fine as Butter, &c. (In cap.6. sect.3. N.1 2.

XL. Or, take thick Seed-lac-Varnish, and mix it
with the same Colors as you did the Size; lightning it
with the white Lead, if too dark; and darkning it
with Lamp-black, if too bright or light, till the Color

896

results which you desire: this mixture with the Seed-
lac Varnish you will find to be much the better.

XLI. The Colors being thus mixt, if you use the Size
mixture, put some of it into a Gally-pot, over a gentle
Fire, to melt it, or give it a fit Temper, not too thick,
nor too thin; then with a Hogs-hair-brush, wash there-
with your piece smoothly over, and let it dry, which
repeat so often till your Color lies full and fair.

XLII. Being thro' dry, Rush it smooth, but not close
to the Wood, and so let it rest a day or two: and then
wash it with thick Seed-lac Varnish, (in sect.40.
above) going over your Work as with the Size mixture:
and then being dry and rushing of it; you may go over
with it 3 or 4 times again, with simple thick Seed-lac
Varnish, letting it dry as before.

X. Lapis Lazuli Japan.

XLV. Take Ising-glass Size, or thick Seed-lac Varnish,
and make a mixture with Spodium or white Lead, with
which Varnish your Piece 3 or 4 times over, laying it
for a ground Work; letting it dry between each time.

XLVI. For

XLVI. Let it lie 2 or 3 days, that it may be through-
ly dry, and then Rush it, till it is very smooth, letting
it lie after the Rushing 2 or 3 days more.

XLVII. Then take thick Seed-lac Varnish q.v. and
mix with it pure fine Blew Smalt, with which go over
your Work 4, 5, or 6 times, letting it dry between each
time: then let it lie 2 days, and Rush it again.

XLVIII. After it is smoothly Rusht, Varnish it twice
over with the best white Varnish and let it dry again for
two days more. Then mix pure Ultramarine, or fine
Blew Smalt, with the best white Varnish, and therewith
Varnish it 5, 6 or 7 times, till it comes to a full Bo-

897

dy, and a perfect likeness, letting it dry between each
time.

XLIX. In the last time of Varnishing with your blew
Varnish, run straglingly over all your piece, in wild ir-
regular Streaks (as a resemblance of Nature) with Li-
quid or Shell-Gold, filling the Blew as you see occasion,
and adding very small Specks up and down, and such
other various Colors, as are usual to be seen upon the
Stone.

L. This done, and the Work thoroughly dry, Varnish
it 3 or 4 times over again, with the best white Varnish,
letting it dry between each time: let it lie 2 or 3 days,
then Polish it with Tripoli, and clear it with Lamp-black,
or Putty and Oil, as formerly directed.

LI. Lastly, this is to be noted, that by these Methods,
you may make and use any Color you can Fancy, or
which Reason and Experience may direct you to: but
withal, that all Colors which are Light, and apt to
Tarnish, and loose their Beauty or Gloss with Seed-lac
Varnish, must be covered and finished with the best
white Varnish, that of Seed-lac, being prejudicial.

CHAP. XV.

Of Marble and Tortoise Shell Japan.

I. To make marble Japan.

I. PRepare your Wood in all respects as for white Ja-
pan; do it over with Flake white, or white Lead:
if you design a White, with some Veins, use some Vine
Black, (made of the cuttings of Vines, Burnt and
Ground) mix with a very weak Ising-glass Size, being
warmed, the said Vine black, and white Lead, making 2
or 3 degrees of it, till you have produced the intended
Colors for the Clouds, and Veins of the Marble.

II. Then with a large clean Brush, wet your Piece o-
ver with Water; and before it is dry, with a Camels
Hair Pencil dip in the palest thin mixture, and lay the
faintest large Clouds and Veins; which being laid on
while the Word is wet, will be soft and sweet, like
that which is Natural.

898

III. And before it is too dry, with a smaller Pencil,
and one degree darker, gently touch all the lesser Veins,
and variety of the Marble, endeavoring as much as may
be, to imitate, the exact foot-steeps of Nature.

IV. After this, with a small pointed feather, and the
deepest Color, touch and break all your smaller Veins,
making them irregular, wild, and confused, as they ap-
pear in the real Stone: then let it dry for a day or two,
and wash it over with Ising-glaÃŸ Size, or Parchment
Size.

V. Let it dry for 2 or 3 days, and then Varnish it
over with the best white Varnish (in cap.4. sect.1.) 5 or 6
times, letting it dry well between every time: Let it
rest seven days, and then Polish and clear it up, exactly
in all things, according to the directions for Varnish-
ing, in cap.8. sect.5,6.

VI. If you would have it white or grey Marble, you
must use the best white Varnish; but if yellowish, or of a
Parchment Color, you must use the best Seed-lac Varnish,
either alone, or mixt with the white Varnish at plea-
sure.

II. Another Marble Japan.

VII. Rx Of the best white Varnish (in cap.4. sect.
1.) or of the Varnish universal, (in cap.5. sect 15.) with
which mix white Lead in subtil Pouder and Lamp-
black, or Ivory-black in such proportings as you see fit;
making three several degrees of the same.

VIII. With the first and lightest Degree, go over your
whole Piece with a Brush Pencil, clouding and marble-
ing the thing as Nature requires; and go over it 4 times,
letting it dry between every time.

IX. With the second darker Degree, and a fresh clean
Pencil, go over your Work again, viz. Some of the
Clouds, and edges of the Clouds, as also some of the
greater and lesser Veins, something shadowing and ma-
rking them deeper; and this work repeat in differing Pla-
ces, in some twice, in some thrice, and in some four
times.

X. With the third and darkest Degree, go over the
edges of some of the greater Veins, and over all the lesser
Veins, repeating the work in Spots and particular Pla-
ces 4 times, as you did before.

899

XI. All this being done, let it lie 2 or 3 days, and
strike it over 4 or 5 times or more, either with the best
white Varnish, or with the best Seed-lac Varnish, letting it
dry between every time; then let it dry seven days, and
so Polish it, and clear it, as we have before taught.

III. To make Tortoise Shell Japan.

XII. That which we endeavor to imitate is Tortoise
Shell laid upon Silver Foil, which gives it life and beau-
ty: now to imitate this well, let your Wood be close
grain'd, smooth, and well wrought, as Box, Pear-tree,
Wallnut-tree, &c.

XIII. But if it is course grain'd, as Deal, Oak, &c.
you must prime it with Size and Whiting, as we have
taught in cap.13 sect. 1, 2, 3. letting it dry between
each time, and at last Rushing it smooth.

XIV. Then take a fit Varnishing Pencil, and with
your thickest Seed-lac Varnish, strike over the breadth of
a Silver Leaf, which taking up with Cotton, lay on
upon your Work whilst it is moist, dabbing it close to
the Work, as you are taught in Gilding.

XV. This done, Varnish another Place, and in like
manner lay on another Leaf of Silver as before, and so
continue, till the whole Work is covered over with
Leaf Silver: and then let it dry throughly, and with a
fine Hair Brush sweep off all the loose Silver.

XVI. Take Lamp-black, or rather Cologne Earth, (which
comes nearest to the Color of the Shell) q.v. and grind it
with Parchment Size, or Gum-water, will it becomes
very fine and impalpable: and being finely ground,
mix it with more Parchment Size or Gum-water, agree-
ing with that your first ground it withal.

XVII. With this mixture spot the darkest part of
your Shell, after a careless cloudy manner, imitating
Nature as much as may be, letting a piece of the true
Shell lie by you to look upon, thereby to acuate your
Fancy and Genius.

XVIII. Take Gum-water q.v. and therewith grind
fine Sanguis Draconis very soft; but some grind the San-
guis Draconis dry, till it is very fine, and then mix it
with fine Seed-lac Varnish, which is most proper and a-
greeable for this work, and not so apt to Polish off as
Size or Gum-water.

900

XIX. Now whereas, there are several Reds lighter
and darker to be found on the edges of the blacker Part,
and sometimes lie in Streaks, and Clouds, on the trans-
parent part of the Shell, we are now to imitate that
with on the two former mixtures of Dragons Blood.

XX. Dip a small Pencil into one of those mixutres,
and dash the said Reds, flushing them in and about the
dark Places, both thicker and thinner, fainter and ligh-
ter, and with less Color towards the lighter part of the
Shell: then sweeten it so, that by degrees, it may so
loose its strength of Redness, as to be quite lost in the
Silver, or more transparent parts of the Work.

XXI. This done, give it 6 or 7 washes of fine Seed-lac
Varnish (in cap.4. sect.3.) and letting it dry 1 or 2
days, rush it gently and very smooth, to make it fit for
the next Operation.

XXII. Rx Fine Sanguis Draconic, Cambogia, ana q.s.
grind them dry to a subtil Pouder: mix it with as
much fine Seed-lac Varnish, as may Varnish the piece 6
or 7 times more: and let it dry 12 hours or more.

XXIII. Then give it another or third Varnishing with
the last mixture, doing it so often over, till the Silver
seems to be changed into a Gold-like Color.

XXIV. Lastly, take heed that your Varnish be not
too think and high colored with the Sanguis and Cambi-
gia, but rather heighten it by degrees, lest your Silver
be too high colors, before it has received a sufficient Bo-
dy of Varnish. Let it dry 6 or 7 days, then Polish
and clear it up, as before directed.

IV. Another Tortoise Shell Japan.

XXV. First prime your piece very well, as you are
taught in cap.13. sect.1,2,3,4. The Lacker and Size
it in Oil, as you are taught in the Art of Gilding.

XXVI. Then lay on your Leaf Silver, and let it dry
very well: and have ready finely ground in Oil, these
Colors, vix. Red Lake, Cinnabar, brown Pink, Cologne's
Earth, and burnt Umber, placing them distinctly on your
Pallet.

XXVII. Strike over your work with Turpentine Var-
nish (in cap.4. sect.14.) and whilst it is wet; mix lake
and brown Pink, thin with Varnish, and with it lay all
your faintest Clouds or Spots, which soften sweetly
whilst the Varnish is moist.

901

XXVIII. Let it stand four hours or more, and if the
Colors are dry, with a large soft Pencil, pass it lightly
over again: and again moistning it, put in more
Clouds, which more and more darken with Umber, and
Cologne Earth, before it is dry; always observing the
Life, and sweetning your Work, which is by blending,
and insensibly mixing the Colors after they are laid,
so as you cannot perceive where each of them begin or
end.

XXIX. If the Clouds are not dark enough, reiterate the
Clouding and Varnishing once more, as you see need
requires: when well dryed, Glaze it 2 or 3 times with
brown Pink, with a little Tincture of Verdigrise in it:
or you may Varnish it with fine Seed-Lac Varnish, and
then finish it as the former.

V. Another Tortoise Shell Japan.

XXX. First lay a white Ground as before taught:
then with proper Colors, as Vermillion, Auripigment, &c.
duly mixt with common or Turpentine Varnish streak and
cloud, or shaddow the white Ground with any irregular
fancy you please, as nearly imitating Tortoise Shell as
you can.

XXXI. Let it thoroughly dry, and then strike it here
and thre with the reddish yellow Varnish, mixed with
a little Cinnaber, or Indian Lae, clouding it up and
down the Work as nature requires; and touching it al-
so with Varnish, mixt with Lamp or Ivory-black.

XXXII. This done, Varnish it 5 or 6 times over with
the finest white Varnish, in cap.4. sect.1. or the universal
Varnish, in cap.5. sect.15; or with fine Seed-lac Varnish,
letting dry between every time.

XXXIII. Let it now dry a Week, and with Pumice-
stone in fine Pouder, but rather fine Tripoli, and a wet
Cloth, Polish it by gentle rubbing.

XXXIV. Lastly, go over with it again 4 or 5 times
with the fine White, or fine Seed-lac Varnish; and when
throughly dry, Polish it with Tripoli, and clear it with
Putty and Oil, as before declared.

VI. Another Tortoise Shell Japan.

XXXV. First lay a white Ground as before, and
smear it over with Vermilion or some such like, over
which lay leaves of Gold or Silver, as before taught, with

902

Gum Ammoniacum, lacca Varnish, common Varnish, Size
or Glair.

XXXVI. This done, and being thoroughly dry, sha-
dow, cloud, and stain it, by some of the former Directi-
ons, according as the Reason and Nature of the thing
requires; striking it over here and there with yellow
Varnish, or redish yellow Varnish, and red Varnish
mixed, with yellow Varnish in perfect imitation of the
Shell.

XXXVIII. Lastly, strike it 6 or 7 times over either
with the best white Varnish (in cap.4. sect.1.) or with
the fine Seed-Lac Varnish (in cap.4. sect.3.) letting it dry
between every time: then after 7 days drying, Polish
and clear it as before.

CHAP. XVI.

Of laying Speckles or Strewings on Japan
Work.

I. TO lay Specles or Strewings on the out or insides of
Boxes, Drawers, Mouldings, &c. Mix your
Speckles (enough to answer the present Occasion) with
your ordinary lac Varnish, so much as may make it fit
to Work, but not so thick as for Colors, and mix them
well with a proper Brush.

II. Warm your Piece gently before a Fire, and with
a fit Pencil wash it over with the former mixture, and
being dry, repeat it again and so often, till your
Speckles lie as thick, and as even as your desire.

III. The being throughly dry, go over and beautify
your Work 3, 4, or 5 times with Seed-lac Varnish, mixt
with Turpentine, and so let it dry; the work being now
done, unless you intend to Polish it.

IV. But if you design a Polishing, then you must wash
it 8 or 10 times over with the best Seed-lac Varnish, let-
ting it dry every time, after which Polish it as former-
ly directed.

903

V. All sorts of colored Speckles may be thus used,
except those of Silver, the laying on of which requires
the best and finest of your Seed-lac Varnish, or the best white
Varnish, which must make it fit for Polishing: but if
you intend not to Polish it, fewer washes of your Var-
nish will suffice.

VI. To lay Speckles on the drawing part of Japan Work,
as on Flowers, Herbs, Trees, Fowls, Beasts, Rocks, Gar-
ments, &c. Make a Tiffany Sieve of a Wooden Pill-
Box, by striking out Bottom and Top, &c. Then with
your Varnish and Pencil strike over the Plates you
would Speckle.

VII. Which done, before it is dry, put some of your
Speckles into your Sieve, and gently shake the Sieve,
over the Places you design, till they are all speckled ac-
cording to your Intention.

VIII. But for Rocks, with a dry new Pencil, sweep
all the stragling Speckles, which lie beyond the wet
Parts, into, and upon the sides and top of the Rock,
which will render the work not only thicker of Speckles,
but also more Beautiful, and give it a kind of Shadow
and Reflexion.

IX. As soon as one Part is compleated, you must go
on with another, but not before the other is perfectly
dry; your Rock Works also, ought to be of different
Colors, and as many Shapes, till your whole design is
Compleated.

X. Your Work being cold, it will certainly for the
present look dull and cloudy, and as if very ill done, or
with ill Materials without either Life or Beauty; but
let not this discourage you, for it will in a little time
obtain its Lustre and Glory, and by the help of your
Securing Varnish be firm and durable.

904

CHAP. XVII.

Of Japanning Metals with Gum-Water.

I. TO work Metals or Colors with Gum-water.
When you design to work Japan in Gum-water,
it is only to be done with those Colors which have a bo-
dy, not with transparent Colors.

II. Take Gum-water (in cap.3 sect.11.) put it into
a Muscle Shell, with which mix so much of your Metal
or Color, as may make it neither too thick, nor too
thin, but that it may run fine and smooth from your
Pencil.

III. And before you mix no more for your Metals,
but so much as is requisite for your present Business; for
by keeping mixt they will spoil, and become useless;
besides their gathering of Dust which renders them un-
fit for use, and so unserviceable.

IV. And for your Colors, your Shells must be often
shifted and changed, for otherwise the Colors and Gums
will become knobby, thick, and out of Order.

V. Your Metals or Colors thus prepared, and well
mixed; with a Hogs Brush Pencil, lay on your design,
with a smooth and even Hand, drawing the Pencil on
the side of the Shell, that it may not be over loaded
with the Metal or Color, when you design to draw small
Lines or Stroaks, that they may be clear and fair.

VI. But when you draw broad things, as Leaves, or
other large Works, then charge your Pencil full, yet so
that it may not drop.

VII. Now here is to be Noted,
1. That the practice of Gum-water is useless and unn-
cessary, in the use of Gold Size. 2. That your Gum Work
being throughly dryed, you are to run it over 8 or 10
times with your fine Seed-lac Varnish, or best white Varnish:
and then Polish it, and clear it.

VIII. Your Black or Ground, you intend to make
your draught on, when cleared up, will be so Glossy,
as if it were Greasy, so that your Metal or Color will
not easily stick on: and therefore you ought to rub it
with a Tripoli Cloth, and suffer it to dry: so will the

905

draught of your Pencil be smooth and neat, and stick
on according as you desire.

IX. If your work with the Gum-water should not succeed
to your Satisfaction, as not being even, or regular, or
lines at a due distance (as it may sometimes happen to
young Beginners) you may with the Tripoli Cloth wipe
out all, or any part, of that which you think unhand-
som, of unfit to stand, and then immediately make a
new draught.

X. And so by these means, you may mend, alter,
add, detract, blot out, change, and variously contri-
bute to your Design, till the whole Piece is of one in-
tire perfection, and good, and answerable to each part
of the undertaking.

CHAP. XVIII.

Of Japanning in Gold Size.

I. THE make and preparing this Size for working,
we have taught in cap.3. sect.2,3. when there-
fore, you have wrought your Work, and that you pur-
pose to decipher on it, you must draw this Size all over that Part, and that Part only, which you resolve to
Gild, or adorn with Gold, passing over those places
where you intend to lay you other Metal or Colors, as
Silver, Copper, Brass, &c.

II. Your Size being thus wrought for the Gold, let it re-
main till it is so dry, that when you put your Finger
upon it, it must be glutinous and clammy, and stick a
little; but not so moist, that the least particle of it
should come off with your Fingers, but that it may be
much like to thick Glew, when it is half dry.

III. When it is in this condition, it is the very jun-
cture of Time wherein you must apply your Gold; then
take a piece of soft, washt Leather, or the like, wrap it
about your Fore-finger, dip it into your Gold Dust, and
rub it, where the Gold Size is laid, for it will stick on
the Size, and no where else.

906

IV. If any Gold Dust lies scattered about your
Work, brush it all away into your Gold Paper, with
a fine Varnishing Brush which has not been used.

V. Then take your Pencil again, and draw that part
which you design for the Copper, with Gold Size also:
and when it is dry as the former, cover it with Copper
Dust, just in like manner as you did it with the Gold
Dust.

VI. This done, take your Pencil again, and lay Sil-
ver Size (in cap.3. sect.5,6.) and when it is dry e-
nough, lay on your Silver Dust, in like manner, as you
did the two former.

VII. But this you must always observe, that you lay
these Metaline Colors successively one after another, let-
ting each to be covered and thoroughly dry, before you
begin a distinct Color.

VIII. After all these, lay your other Colors (not Me-
taline) if your design requires any, with Gum-water;
reserving the Rocks, &c. for the last part of your
work.

IX. If you have mixed more Gold Size, than you can
conveniently use at one time, or that you are called off
from your business, that you cannot finish till the next
Day, you will observice that your Size, even after 5 or 6
hours, will have a Skin upon it: to prevent this, put
the Size with the Pencils also into fair Water, so as to
be covered, till the next time you use them: and if your
Size should grow too thick, thin it with Venice Turpen-
tine: But know, that oftner doing these things than
once, will quite spoil your Size, and make it fit only to
be cast away.

X. Let your Size be so ordred, that being of a mean
Consistency, neither too thick nor too thin, it may run
smooth and clear, and your stroaks be fine and even, so
that you may be able to draw with it the most subtil and
hairy Lines.

XI. If you would exactly imitate Japan Work, avoid
filling and thronging your Black with Draughts and Fi-
gures: in true Indian Work the Ground is never crouded
up with many Figures, Houses or Trees, but a great space
is allowed to a little Work, for the Black adds Lustre to
the Gold; and the Gold gives an Excellency to the
Black.

907

XII. In these Works some Variety of Metals may be
indulged, but in a very slender proportion to that of
Gold, which is the general Ornament and Characteri-
stick of the genuine or true Japan-work.

XIII. Be always careful and exact in tracing or draw-
ing out your Design in Vermilion or Gold, that it may
be done with an even hand: then your Gold Size being
ready prepared, with a small Pencil make with your
Size the outward Lines, the Boundaries of Rocks, and
those things which seem to lye beyond the Buildings.

XIV. Begin also with those parts which are farthest
distant from you, for then you will not be liable to the
Inconvenience of rubbing or defacing any thing while
it is wet.

XV. The farthest parts being done, work just accordin-
ing to your Pattern, (if you have any) and draw your
Gold Size on the places answering to the black Lines of
your Print or Pattern, and no where else, leaving the
white for the black Japan or Ground of your Work.

XVI. And in all respects use your Size, as if you were to
Coppy the Print or Patty on white Paper with Ink or black
Lead; only take care, that whilst you are working in
one part, you suffer not that already done with Size, to
dry so much, that it will not hold fast your Metals; for
which cause you must often try what Condition your
already sized Work is in.

XVII. For this Cause sake, you must sometimes be
Drawing; sometimes Gilding: and then be Drawing a-
gain, and then Gilding; continuing thus alternately till
your whole piece is compleated.

XVIII. If you find it troublesome to draw the White,
and over-pass the Black; or on the contrary to draw the
Black and omit the White, on the tops of Houses, Fol-
dage of Figures, Faces, or the like; then for your Ease,
over-lay all those parts of Buildings, Foldages, Faces, &c.
with Gold Size, lay your Metals thereon; and when
well dryed, wash over those places only which you de-
sign to set off with Black, with your Securing Varnish.

XIX. Tho' in some Japan-work Silver is sometimes
made use of; yet it is but very seldem, except in some
raised Works, because the best and brightest Silver is too
splending a Metal for black Japan; and therefore we

908

chuse to use in place thereof a kind of dull or dirty Sil-
ver, which is Ponder Tin.

XX. Lastly, You may set off your plain Metals when
rubbed on Gold Size, either with Metals mixed with
Gum-water or Gold-size, viz. when the plain Metals are
laid and thoroughly dry, hatch or work in the Size for
setting off, as you would do with Metals mixed with
Gum-water; and without doubt you will find the Gold-
size to be best.

CHAP. XIX.

Of Japanning with Gold and Colors.

I. DRaw or trace out your Design, and fill most part
of your small Works with Gold, passing by, not-
withstanding, some few of them to be reserved for bright
Copper, green Gold, &x. to be so added to the pieces,
that they may grace and enliven the Work. It is usual
with the Japan Artists to fill frequently with dead Me-
tails, and bind them in with Gold.

II. Suppose you have great Flowers; one of these
Flowers you may fill the seeded part thereof with Silver,
the Leaves with Vermilion, and in setting off, work it
in Black Diamond-wise; andthe little spots of Black
which lye in the White, work with bright red Copper:
then the part which is filled with Red, bind in with Sil-
ver, and vein it with the same.

III. Another great Flower; you may fill the Seed
thereof with bright Copper; the Leaves with Silver: and
in setting off, border the Seed with Black, the inside
with Silver, and compass in the Leaves with Gold, hatch-
ing them with Black.

IV. If any great Flower is partly hide with a large
Leaf or Leaves of the Plant, let the Seed of this be green
Gold: some parts bright Gold; and if any Spots are in
those parts, let them be done with pure Cinnabar; the
Leaves of the Flower with Orange Tawney, and set
off with Silver: and the Leaves of the Plant with yellow
Green.

909

V. If there is another Flower, do it with green Gold,
its Seed with bright Gold, squared with Black: other
Flowers may be laid with Silver, seeded with bright Cop-
per, and hatched and quared with Black: other Flow-
ers witih Cinnabar, the Seeds with transparent Green:
enclose them with Vermilion, and hatch in the Leaves
with Silver.

VI. If another large Flower, let its Seed be red, bind
it in, and chequer it with Silver; cover the Leaves with
Blew, hatch and surround with Gold: other Flowers
which are less, make them with Red; their Seed with
Blew, and set off with Silver.

VII. Another great Flower may be laid with trans-
parent Blew, bounded and wrought with Gold; the
Leaves covered with Silver, and hatcht with pure fine
Cinnabar. If there be another Flower like to the for-
mer, let it be laid in like manner with Blew, its Seed
with dirty Copper, set off and enclosed with Silver, its
Leaves with deep bright red Copper, and hatch with
Black.

VIII. Other Flowers, lay their Seed in transparent
Red, set them off with Silver, border with Black, make
the Leaves Silver, and hatch with Black: or, make the
Seed bright Copper, compassed and set off with Black;
the Leaves red Copper, which you may hatch and en-
close with White.

IX. These things we have given you for Example
sake, and thought good to make the Exemplar in that of
Flowers, as being that in which the greatest Nicety and
Difficulty lyes, it not being so easily performed as other
things; and yet in this very thing the Licentia Picturalis is
very large, the Artist being left chiefly to his Fancy, on-
ly with this Caution, that every where he uses Va-
riety.

X. And tho' in what has been said, filling and set-
ting off has been mentioned together, for the more easy
apprehending of the Matter; yet you must be sure al-
ways to lay your plain Colors before you think of setting
them off, because you are more ready to set off with one
Color before you undertake another, and your Fancy is
more ready to adorn and furnish or fill every single
Flower and Leaf.

910

XI. But the Flowers being filled, you are next to
consider what is to be the Covering of the great Leaves:
adorn them with Metaline Colors, generally such as are
green, sullied Gold, pale, dull Copper; but intermix-
ing here and there transparent Blew and Green: bound
and vein them with such Colors as give the greatest Life,
such as may be chearful, pleasant and delightful.

XII. Sometimes double the Borders in the Leaves with
the Ground Black of your piece left between, as your
Patterns will instruct you; and make all your Veins,
finishing Lines, and the Stroaks you set off with, fine,
clean, even and smooth.

CHAP. XX.

Of Raised and Embossed Works.

I. THO' they who live in great Cities, where there
are variety of Artificers, have no need of some
part of the following Discourse; because they can buy
Embossed and Carved Frames, Boards, Tables, Pieces,
&c. ready made to their hands: yet for those who live
in the Country, and have not the opportunity or conve-
niency of procuring such, we thought good to add in this
place a few Rules and Directions how they may do the
same things, and supply those wants themselves.

I. The first Way.

II. You must first make the Model of your Design; and
that must be done with Clay.

Take good tough, well tempred Clay, and with pro-
per Tools model it, and work out any sort of Carving
or Embossments which you fancy; then lay it aside to
dry in the Shade, for either Sun or Fire will crack it.

III. When it is perfectly dry and hard, and you pur-
pose to cast the Moulds on the Models, Oul your Models
very well with Linseed Oil; and having wrought the
Paste extreamly well between your Hands, clap it on
and press it down close every where, that it may be a
perfect Mould in all parts; which, which it is dry, it is
finished.

911

IV. To make the Paste for making your Moulds of.

Make a Glew-water stronger than any Size, yet some-
thing weaker than Joyners melted Glew: mix Whiting
in fine pouder therewith, till it is as thick as Paste or
Dough; knead it very well, wrapping it up in a dou-
ble Cloth; in which it may lye and get heat from the
Fire; for you are not to let it grow cold, for then it will
harden, and so be made unfit for Use.

V. To make the Mould of any Carved Frame, thereby
to imitate it in Paste.

Take some of the former Paste, according to the length
and magnitude of the Leaves and Flowers you would
take off; you need not take off a whole length, for pos-
sibly you may find one and the same thing many times
over in one side, so that one Mould may serve all of that
sort, they being well united or joined together. Work
the Paste between your Hands, and clap it in that part
of the Frame which you intend to take a Mould of. Let
there be so much Paste as to make the back of the Mould
flat and even: and whilst the Mould is warm, take it
from the Frame, and at the same instant fix it to a Board
which is larger than it self. After this manner you may
take off any sort of Embost-work or Carving from any
part of your Frame; all which Moulds you may glew
on little Boards, and so leave them to dry and har-
den.

VI. To place your Paste on Frames.

The Joyner is to make your Frames according to your
Design, which being ready, as also the Paste and Moulds,
you are to Oil the Moulds very well with Linseed Oil,
striking the Brush into every little Crevice and Corner, to
prevent the Moulds sticking to the Paste: then take as
much warm Paste as will fill up the Moulds; work it
again between your Hands, and whilst thus warm and
in good temper, put it into the Mould, pressing all parts
of it with your Thumbs and Fingers; and then with a
Knife cut off the superfluous Paste even with the top of
the Mould. Turn out this new-fashioned Embost or
Carved work on your Hand, and before it cools brush it
over with thin Glew, as also the place it is design for,
and immediately put it upon your Frame in the samo
place, where it must always abide, pressing it down or
close gently.

912

VII. Now Oil your Mould again, and with fresh
Paste prepare more Embosments or Carved-works in like
manner, which cast off, and place it upon your Frame
as the former: and this Work so often repeat till your
whole Frame is filled with your Embosments according
as you desire.

VIII. Let it alone to dry for 5 or 6 days; after which
you may safely lay your white Ground, which you may
Paint, Varnish, Japan, Gild in Oil, or Burnish, as the
Nature of your Work requires.

II. Another way to make Raised or Embost Works.

IX. Make a strong Gum-Arabick Water, twice as
strong as that in cap. 3. sect. 11. take Whiting, fine Bole,
and OZj. grind these with the Gum-water q.s. till they are as fine and soft as Butter, and so thin, that if a Stick
pointed be dipt into it, the Mixture will just drop from
it: if it is too thick, make it thinner with Gum-water;
if too thin, add more of the Whiting and Bole.

X. Dip such a pointed or taper Stick into this Mixture,
and drop on the Rock, House, Tree, Flower or Fruit
which you design to Raise or Emboss, repeating this
dropping of the Mixture so often till you have raised your
Work as bold and as high as you think fit.

XI. Sometimes you will find your Paste to bladder or swell,
but this is caused from an insufficient grinding of the Whiting
and Bole with the Gum-water. These Bladders, if not pre-
vented or cured, will make your piece, when dried, to
be full of holes, and so spoil its Beauty. The preventive
part we have taught you: but to cure it, (if it is past
prevention) you must when dry, wet a fine Rag, and
with your Finger rub it over and over again, till the holes
and cracks are choakt and stopt up; and then being per-
fectly dry, Rush it well till it is very smooth.

XII. In the Japan, which is raised for Garments,
Rocks, &c. some parts are elevated and higher than o-
thers, as in Pleats and Foldings of Garments, those which
seem to lye underneath, are always at the greater di-
stance. In Flowers, those which are first and nearest the
Eye, are highest; and those Leave which lye first, are
higher than those which lye behind them. So in Rocks,
the first and nearest you must always rise higher, and
swell beyond that which is almost hidden, or seems to
lye behind.

913

XIII. This Rule holds firm in all things of like Quality,
and therefore you must raise your Design according to
Nature, to its due height, whether Figure, Tree, House,
Flower, Fruit or Landskip; and being well dryed, with
a little Gum-water, Vermilion and a Pencil, you must
trace out the Lines for the Face, Hands, Foldings of Gar-
ments, Leaves of Plants, Seeds of Flowers, Fruits, Houses,
Trees, Rocks, &c. in their proper Shape, according to
those Lines which were drawn as Boundaries, for laying
the Paste in its proper Figures.

XIV. Then you must have several Instruments; as,
1. A bending Graver, such as Engravers use. 2. Several
smal Chizels, the broadest not exceeding a quarter of an
Inch; all the other proportionably less.

XV. With these your Raised or Embost Works must be cut,
carved, cleared and scraped, in height, shape and proportion
to your Pattern, or what is agreeable with Nature and the
Design; in this case, your Instruments must be exquisit-
ly sharp, and the Hand of the Artist very easy and gen-
tle, lest the Work breaks off in any place, to the spoiling
of the Piece: lastly, smooth it with a brush, which has
been often used before, to make it fit for Painting, Var-
nishing, Japanning or Gilding.

III. Another way to perform these Raised or Embost
Works.

XVI. 1. Strike or trace out your Design, as well the
inside as the outside of Faces, Necks, Hands, Legs, the
chief Stroaks of the Foldings of Garments, Leaves of
Plants, Flowers, Seeds, Fruits, Houses, Trees, Rocks,
Birds, Beasts, &c.

XVII. 2. Take your Paste before made in sect. 9. yet
somewhat thinner, and with it raise the lower parts of
all or any of the Particulars afore-named, which require
the least height or raising; and let it dry throughly.

XVIII. 3. Then take the thickest Seed-Varnish,
and with a very small or fine Pencil dipt therein, var-
nish just the edges of your Raised-work, for this Reason,
that as you raise the other parts of the Work higher, it
may hider the fresh wet Paste from incorporating with
the dry, which would mkae the Work look ill.

X. 4. This Work of Varnishing the Edges, you must do as
often as you raise one part above another: and still as your
Work grows higher, your Paste must be made thicker,

914

and each part raised in order, beginning with the low-
est and ending with the highest.

XX. 5. When all is dry, smooth it (if need require)
with a Rush, to make it in a posture to receive your Co-
lors and Metals, or what else you are pleased to put up-
on it.

XXI. 6. Your Metaline Colors being ready, mix them
with Gum-water, and lay them on the Embosments and
places where they ought to lye; which being through
dry, burnish with a Burnisher (in cap. 1. sect. 18.) till it
is bright, and shines with a good Lustre.

XXII. 7. This done, with your fine Seed-lac Varnish
and a proper Pencil, go over all your Embosments twice
or thrice; and then set it off or shadow it, as the Rea-
son of the Design requires.

XXIII. 8. Grind up no more Paste than you can use at
once, lest it be dry before you use it a second time: but
if it be dry, you must grind it again, and it will be as fit
as before: it ought not to be made too weak; if it be, it
must be strengthened with more Gum-water, which by
many Tryals and Experiences you will at length fully
find out; and also see, that it is possible to make a Paste
so hard or stiff and tough, that a violent blow with a
Hammer shall hardly break or bruise it.

IV. To set off Raised or Embos'd Works with Black.

XXIV. Your Work being Varnished and Burnished,
with Lamp-black mixt with a little Gum-water, (hardly
enough to wet it, and incorporated with a Brush-pencil,
with so much fair Water added to it as with a small
well pointed Pencil will make it to run in fine black
Stroaks) draw the Lineaments and Features of the Faces,
Foldage of Garmets, Veins of Leaves, Flowers and Seeds,
with the black Hatchments of your Flowers, Bodies of
Trees, &c.

XXV. And if you would have any Rocks speckled,
first pass them over with the said Balck; and when dry,
give them two washes with the Securing Varnish;; and
lastly lay on the Speckles: but if the places you would
speckle should be too slippery, so as that there should be
a hazard of their sliding off; in this case, you must re-
move this greasy kind of Slipperyness by a soft and gen-
tle rubbing with a Tripoli Cloth.

915

XXVI. This way of setting off is more used that that
of a Tracing-pencil or breathing on it; not only for
Raised or Embost Work, but for Flat-work too: for
your piece being dry, stroak it once over with the Secu-
ring Varnish (in cap.4. sect.8.) then with a black-Lead-
Pencil hatch and vein at pleasure, and the same do with
other Metals and Colors besides Gold.

XXVII. For instance: If a red Flower is to be set off with
Silver; first secure your Red with Varnish; which being
dry, hatch and vein it with Silver: this Rule you must
observe in all cases, where you intend to work one thing
upon another, whether Color upon Meal, or Metal up-
on Color; or Metal sometimes upon Metal.

XXVIII. Your Work being thus adorned and set off,
if it is flat or plain Word, make use of white Polishing
Varnish (in cap.4. sect.10.) to secure it both as to Draught
and Ground-work, which will endure a Polishing.

XXIX. But if it is for Embost or Raised Work, then
you must use the Securing Varnish (in cap.4. sect.8.) be-
cause Embost-work will not bear a Polishing as the other
will; but must only be secured and cleared up: but
withal you may note, that this last named Varnish may
be used either for Plain or Embost-work, whereas the
former is only fit for flat Work.

XXX. In working with Gum-water, be careful that it be
not too stiff of the Gum, for then it will quite spoil the beau-
ty and lustre of the Metaline Colors: but when you have
sufficiently mixed them in the beginnig, if yo find the
mixture too strong of the Gum, you may afterward
weaken it, only with fair Water: and therefore streng-
then them only so much with Gum, as may cause them
to stick close to the Work, and endure Varnishing with-
out coming off.

V. To manage Rock-Work.

XXXI. These we formerly told you were to be done
last of all, because they could not be well finished, till
all the rest were compleated, except only some few
scattered Plants, suppos'd to grow upon them, that they
might not appear naked: yet not too many of them
neither, lest their number should interrupt the Shadow,
and confound the Sight.

916

XXXII. If these Rocks are to be covered with Metaline
Colors, then lay Gold, Silver or Copper with your Pencil,
in a full body, round the outward Streaks (which were
traced with your Pencil) in breadth about a quarter of
an Inch: but take care it be not too wet.

XXXIII. Then take a large Goose Quil Pencil, cut off
its Point, making it flat, and blunt at the End; and
with this touch or dab your Metal: after which do the
like to the black or brown part of the Rock, that so it
may be strewed with some of the Metal too, and by
little and little continue it, till the whole is strewed
over: but these Speckles should be thicker towards the
Sides and Top, than in or near the Middle.

XXXIV. Lastly, other Metals, Artificial and Adul-
terate, may be laid on, according to these Directions, which
you may dispose on and Work, both with your Finger,
and the blunt Goose Quil Pencil aforementioned, ac-
cording as your Reason shall inform you.

CHAP. XXI.

Of Bantam Work.

I. AS the Japan Work, is both Plain and Embossed,
and is wrought most in Gold and other Metals:
so the Bantam Work is also Plain and Carved, and is
wrought most of it in Colors, with a very small scatter-
ing of Gold here and there.

II. The Wood is prepared for this, as it is for the
Japan Work, and the Priming with Whiting is the same:
and for the flat Work, it is done in Colors mixt with
Gum-water, as the nature of the design requires, the or-
dering of which Colors with the Gum-water we have for-
merly taught you.

III. The Carved Work is performed thus.

Your Cabinet, Table, Boxes, &c. let be made of
Deal, or some other course Wood: this Prime with Size
and Whiting, letting it dry; this must be so often repeat-
ed till your Priming is almost a quarter of an Inch thick,
letting it dry between every time.

917

IV. But this you must note, that your Whiting and Size
must be made thinner than for Japan Work, but for that
reason it must be done much the oftner: for if it is
too thick, it will not only lie rougher, and be apt to
Crack, and fly off; but it will not so easily penetrate to
the bottom of any Crack, nor go into every little Cre-
vice, Notch and Hole, as it will certainly do, if it is
pretty thin.

V. Your Piece now Primed to its due thickness, and
through dry, is then to be Water plained, viz. to be
rubb'd with a fine Rag, and a little fair Water; after
which, being dry, Rush it as smooth as you can.

VI. Then lay on your Black, and Varnish it up with a
good Body; and after 6 or 7 days time of drying, Polish
it with Tripoli, Water and a fine Rag, rubbing it with
an even, easie and gentle Hand.

VII. This done, trace and draw out your design with
Cinnabar and Gum-water, in the very same manner in
which you intend to Cut and Carve it, with all the cir-
cumstances and exactness Possible.

VIII. Mass your humane Figures, Birds, Beasts, In-
sects, Houses, Trees, Flowers, Rocks, &c. in their due Mea-
sures and Proportions: The foldings of Garmnets, leaves
of Trees and Plants, withal other things, draw
them so, as if they were so to remain without the least
Alteration.

IX. Then having a sharp Graver, and other cutting In-
struments, of differing Forms, cut out your Work deep or
shallow, as you think best, but never Carving deeper
than the Whiting lies, for the Wood it self, ought not
to be touched with the Graver.

X. Leave also black Stroaks for the Drapery, and fold-
ings of Garments, and for the distinguishing of one thing
from another, Carving where the white is, and leaving
the black untouched, according as your Exemplar or
Pattern may be, taking instructions also from a variety
of Bantam Pieces, which differ vastly from those of ja-
pan, in the very manner of the Daughts, as well as in
their other performances and finishing.

XI. Your Carved Work being cut out clean and smooth,
and finished, and your Colors well mixed, with fine
and clean Pencils lay them into your Carved Work, as

918

your Reason, and the Nature of the thing shall direct
you.

XII. The Colors being laid on and finished, then lay the
Gold on those places you design it for, which may be
Pouder Gold, or Brass Dust, mixt with Gum-water; but
rather Leaf Gold, because it not only looks Richest, but
isthat which the Bantam Artists always use.

XIII. But it must be laid with something a stronger Gum-
water, and to be laid on with a Pencil, and whilst it is
moist, your Gold is to be laid on, being first cut with a
very sharp, smooth, edged Knife into little Pieces, either
on your Leather Cushion, or on a piece of Leather straight-
ly nailed to a Board.

XIV. Take up the Gold with a little Cotton, and with
the same Dab it close upon your Work, so (if your Gum-
water is strong) it will look Rich and Beautiful: other-
wise (if weak) it will appear as it were Hungry and
Starved when dry.

XV. All this done, see you carefully clear up your black
with Oil, but without touching your Colors, lest you should rub
them off, or sully them; for this is not secured as the flat
Bantam Work is; if any wet should come to them, the
Colors will be spoiled and come off. In this case, it is
best to leave out the Tarnishing Colors, and only use
such, as you may apply the Securing Varnish to, without
loss of their Splendor and Beauty.

CHAP. XXII.

Of taking off Japan Patterns.

I. YOUR black or other Colors being Varnished, then
Polish, and make it fit for drawing: but you must
have your draught or design before you, in Paper, either
drawn or printed.

II. The Draught or Print, let be rubbed all over the
back side with Whiting or fine Chalk, wiping off all
that Whiting or Chalk, which lies rough and dusty up-
on the Paper.

919

III. Then lay this Paper, Draught or Print, upon your
varnisht Table or Box, with the whited side next to it,
and up the very same place where you design the
Draught should be made, and with a piece of small
Wire, or a Needle fixed in a small Wooden Handle,
round (not sharp Pointed) which is called a Tracing
Pencil, go over, and Trace as much of the Print as you
see convenient.

IV. Take the most material and outward Stroaks with
all the rest, which you think will be hard and difficult to
draw without the Pattern or Draught.

V. Thus by the help of the Whiting or Chalk, you will
have the gross Fashion of your Print or Draught, and
such other lines, which will be a direction to you, how
to perform that which you would have done on your
Table or Box.

VI. Having thus finisht your Draught with Whiting, if
you draw in Gold Size, use fine Cinnabar mixt with Gum-
water, and with a small Pencil dipt in it, go over all the
lines made by the Whiting; for this will cause it, that
it shall not easily come off, but you may work upon it
with your Gold Size at pleasure.

VII. If you work Metals or Colors in Gum-water, then
trace or draw over your design with Gum-water, mixt
with Gold or Brass Dust: by either of these ways when
it is dry and finished, viz. either in Gum-water or Gold
Size, you may compleat and finish your Work.

CHAP. XXIII.

Of Gilding and Lackering in Oil.

I. TO mix and lay on the Gold Size.

First Prime the Piece with due priming in cap.
2. sect.23. Rx Then the best Gold Size, fat Oil, ana
so much of each as you think the piece may require:
Grind them well upon a Porphyry, and put all into a
Gally-pot. Dip a clean Brush into the Size, and pass
over all the Piece very thinly, jobbing and striking the

920

point of the Pencil into the hollow places of the Carved
Work, so that no part may escape.

II. If any place be untoucht with the Gold Size, the Gold
will not stick upon it, but it will be full of faults, and
look very ill.

III. Let it rest 24 hours or more, so as it may be but
clammy enough to hold the Metals: breath upon it, if your
breath stays upon it like a mist, you may then lay on
your Gold: or if it is so dry, that it does not discolor
nor stick to your Finger, but is clammy, and not very
willing to part with your Finger; it is then in a good
Condition.

IV. Should you Gild before the Size is dry enough, it
would as it were drown, and deprive your Gold of its
Gloss and Lustre, and if you stay till the Size is too
dry, you have then lost your opportunity, for the Gold
will not stick.

V. To lay on the Leaf Gold.

Upon your Cushion (in cap.1. sect.13.) you are to
cut the Gold and Silver, with a thin, broad, sharp,
smooth edged Knife. Then take your Pencil, Cotton, or
Pallet, (made of a Squirrels Tail) breath upon it, and
therewith touch, and take up the Gold; lay it upon
the place you intend, pressing it close with the said Pen-
cil or Cotton.

VI. Then cut some Leaves into small Pieces, to cover
several other parts of your Work, which may have escaped
Gilding: and thus must you proceed till the whole is
over-laid and finished: after 24 hours, with a fine large
Hogs-hair Brush, jobb down, and press over the Work
gently, that the Gold may be made to stick upon all
the uneven and hollow parts of the Carving: then with
fine soft shammy Leather, as it were, Polish and rub it
over smoothly.

VII. This being well done, your Gold will appear of an
admirable Lustre, and its beauty will be so durable, that
tho' explosed to the Wind and Weather, it will not re-
ceive any damage for many Years.

VIII. To Lacker in Oil, such things as are to be expo-
sed to the Weather.

You must observe the same method here, as in the
former, excepting in this, that your Priming ought to be

921

whiter than the last, which is done by mixing a little
white Lead, which has been Ground a long time with the
former Gold Size.

IX. Also your Silver Size ought not to be so dry as that
of Gold, when the Leaves are laid on: If these things be
rightly observed, you cannot possibly Err in performing
your Work.

X. To Gild Carved Worked in Oil which is not to be
exposed to the open Air.

Take Size, melt it, and put in so much Whiting as
will only make it of a white Color: with this Size -
ver your Frame once.

XI. The add more Whiting, till it is of a convenient
ThickneÃŸ: and with this lay it over 3 or 4 times or more,
as you find the Work requires it, letting it dry through-
ly between every time.

XII. Being now dry, with a piece of Fish skin, or Dutch
Rushes, rub and smooth your Work: after which, with
a fine Rag, dipt in Water, Water plain it, rubbing it
gently till it is very smooth, and so let it dry; and then
Size it with the strong Size.

XIII. When the Size is dryed, Lacker over your Piece twice,
by a gentle heat; and laying on your Gold size, perform
every thing, as is before directed.

CHAP. XXIV.

Of Gilding Wood with Burnisht Gold and
Silver.

I. Rx PArchment Size (in cap.3. sect.8,9.) and ma-
nage it as there directed, for the Priming or
Whiting of your Piece, which repeat 7 or 8 times over,
letting it dry between ever time.

II. But if it is a Carved Frame, and you intend Gilding
of i, then take yellow Oker, and grind it finely with
Water, adding a little Weak Size to bind it: with this
when warmed color over your Frame, and let it dry lei-
surely.

922

III. To Gold Size your Piece.

Rx. Either of the Gold Sizes (in cap.3. sect.3,7.) yet
rather the First of them, melt it, making it Blood warm,
but so as it may be somewhat thin; stir it well with a
fine Brush, and therewith Size over your Piece twice,
without touching the hollows, or deepest part of the
Carving; because the yellow Color first laid on, is near
in color to the Gold, and a fault in that kind will not
so easily be discovered, because of the shadows.

IV. After 5 or 6 hours dring, try if your Gold will
Burnish upon it, if not, alter your Gold Size, and do it
over again.

V. To lay on your Gold for Burnishing.

Having fixt your Work almost upright in a little re-
clining Posture, that the Water may run off, and not
settle in any of the Cavities; lay some Leaves of Gold
on your Cushion, which hold in your left Hand with your
Pallet and Pencil: have also a Bason of Water by you,
and dry Whiting, to run your Knife sometimes with,
that the Gold may not stick to it.

VI. Then with a Swans Quil Pencil, or a large one of
Camels-hair, being dipt into the Bason of Water, wet so
much of your Work, as will take up 3 or 4 Leaves, be-
gining at the lower end, ascending and Gilding up-
wards, laying on whole Leaves, or half Leaves, or lesser
pieces as your Work requires; and your interest also,
which is to lay them on without waste.

VII. This done, wet such another part of your Work, lay-
ing on your Gold Leaves, with your Pencil, Cotton, or
Pallet, and gently pressing it close: and this method
pursue till the whole Piece is finished.

VIII. Now view over your Work, and see what parts
have escaped your Pencil or Gilding: In this case cut some
Leaves of Gold into small Pieces, and with a small Pen-
cil, wet the ungilded Parts, and apply the bits of
Leaves as before directed: all this being done, let it
stand 24 hours and no longer, and then come to bur-
nishing of it.

IX. To Burnish your Work.

This is to be done with the Burnisher, (in cap.1. sect.
18.) by rubbing it smoothly thereon, till it attains a
Gloss: now having burnished so much of your Work
as you design, leave the Ground of your Carving un-

923

toucht, and some other parts which you shall think fit,
which being rough in respect of the other, will set off
and beautifie that which is Burnished.

X. That which is not Burnished must be clothed or se-
cured with Size, Seed-lac Varnish, or Lacker, if you
would have it to be deep colored: but you ought
to touch these parts only, and not that which is Bur-
nished.

XI. Then the Work must be set off with Lacker Varnish,
mixt with Sanguis Draconis and Saffron, or with Ornat-
to: with which and a fine Pencil touch the hollowness
of the Carving, hollow veins of Leaves, and foldings:
if you do not think it deep enough, go over it again,
with the aforesaid Lacker.

XII. To lay on your Silver Size.

Take Silver Size new ground, and mixed with weak
Size: warm it, and with a clear Pencil fit for the Work,
Size it over once or twice: let it dry to a just Temper:
and if your Silver will Burnish, it is well: if not,
you must Size it again, with some Alteration in the
Size.

XIII. Then wet your Work, and lay on your Leaf Silver,
in the same manner as you laid on the Leaf Gold without
in the least Alteration, and to Burnish it all over; if it be
not frosty Weather, these things may be done, but if
it is in time of hard Frost, your Priming will be apt
to Peel off, and the Gold and Silver Size will Freeze
in laying on.

XIV. Let your Parchment Size be something strong
and new; for if stale it looses its force: nor grind any
more Gold or Silver Size, than will serve the present
Occasion: Lastly, keep your Work clean and free from
Dust, both before and after it is Gold Sized, and
Gilded, otherwise in Burnishing it will be full of
scratches and look ill.

924

CHAP. XXV.

Of Gilding of Metals.

I. TO prepare the Gold for this Work.

Rx Leaf Gold, or Ducket Gold beaten very
thin, and cut into little bits q. v. put it into a Gally-
pot, and put so much Quick-silver to it, as will just co-
ver it: stir them with a Stick, and make an Amalgama:
which done, strain them thro' a piece of Shammy Lea-
ther, squeezing the Leather hard with your Hand: that
which remains behind in the Leather (and looks like
Silver) is the Gold Amalgamated, and that which we
must use in our design.

II. To Gild Silver, Brass, Copper, or Princes Metal.

First scrub the thing you would Gild with a Wire
Brush and a little fair Water, and continue scrubbing
and wetting it, till it is perfectly clean.

III. Take Quick-silver OZj. put it into a little Viol,
and drop into it 3, 4 or 5 drops of Aqua-fortis: with
this mixture and a Rag, rub over your Metal, till it is
every where as white as Silver.

IV. Now take your prepared or Amalgamated Gold,
and with a little Knife, spread it over the whole Piece,
not missing any part of it; and give it a heat over a
Fire, to force the Quick-silver to evaporate or fly away,
so will the Gold be left sticking close to the Piece.

V. But before you give it a through Heat, let it have
2 or 3 little Heats, that you may with a small Hair
Bursh almost like that of a Comb, dab and spread your
Gold, which you may the easier do, because the warmth
you give it, makes the Quick-silver the more ready to
spread: after which give it the through Heat as afore-
said.

VI. Take it from the Fire, and with a Hair scrub
Brush, which has never touched Quick-silver, rub and
cleanse it, as you did in the beginning. Where Note,
if there be any spot left ungilded, you must after it has
been cleansed with the Wire Brush, proceed again as
aforesaid.

VII. If you would have the Work more rich and lasting,
besmear it again with Quick-silver and A:F. and lay
on the Gold again after the former Method: and this
you may repeat so often, till your Gold lies as thick as
your Nail upon the Metal to be Gilded.

VIII. To heighen the Color, if you see convenient.

Rx Argal, Salt, Sulphur, and q. v. mix them; and put
to them as much fair Water, as will cover the thing
when put into it: boil them over the Fire, and having
tyed your gilded piece to a String, put it into the boil-
ing Liquor for a little space, viewing it every minute;
and when it has obtained the Color which pleases you,
put it immediately into cold Water and it is done.

IX. Another way to heighten the color of your Gold.

Rx Nitre, Sal-Ammoniack, Sandiver, Verdigrise, white
and green Vitriol, ana, grind them with white Wine
Vinegar, when lay over all your Work, then lay it
on a Fire, and give it a small Heat, that it may Smoak:
and so take it off, and quench it in Urine.

X. Another way to Gild Silver, Brass, &c. First cleanse
your Metal with A. F. then quicken your work with
Mercury, then take of the afore prepared Gold at Sect.1.
and lay it on with a little Knife, spreading it every
where, and do in all things, as in the other method.

XI. To Silver over Brass or Copper, as Clock-makers do
their Dial plates. Having Leaf or burnt Silver in a readi-
ness; put to it as much A. F. as will cover it: having
stood an hour or two, decant off the A. F. as clean as
may be: wash the Siler 3 or 4 times with fair Water,
and then let it dry; and then mix it with j. part of fine
Argal to iij. parts of the Silver, with a little fair Wa-
ter.

XII. Then when you make use of it, rub it on the work
with a Cork, till it is silvered all over; and lies very fair:
after which dry it well with a Linnen Cloth, and ha-
ving made it warm, wash it over 3 or 4 times with the
best white Varnish (in cap.4. sect.1.) which will pre-
serve it from Tarnishing, and other injuries of the Wea-
ther.

XIII. To Gild Brass, Copper, Iron or Steel with
Leaf Gold or Silver.

926

If it is Brass or old Iron cleanse it very well with a
Wire Brush; but if it is new Iron or Steel, having first
made it very smooth, hatch your work all over very
neatly with a hatching Knife, (which is a Knife with
a short Blade, and a long Handle.)

XIV. Then given it an heat so as to make it look Blew on
a Charcole Fire; from whence take it, and lay on your
Gold or Silver; and with a Blood-stone, or Burnisher,
Burnish it down a little: then give it the same heat a-
gain, and Burnish it all over.

XV. This work of Gilding, you may repeat 6, 8 or 10
times; still observing to give it the same heat, before
you lay on your Gold or Silver, and then Burnish it as
afore-said.

XVI. To refine Silver.
If you have some Silver which is course, and you are
loth to loose it, and are willing to make it serve for
this Occasion; first melt it in a Crucible, then cast it
into Water: when cold take it out and dry it; then
take Nitre LBss. Antimony OZss. mix and make a Pouder.
Lay some of this Pouder and your Silver in a Crucible, S. S.
S. cover it with another Crucible, luting them very close to-
gether: being dry, put them into the Fire, which at first let
be gentle, and encrease the heat Gradatim, to a melting
Heat: after a while remove them to a cooler Place; and
when cold, break the Crucible, and you will have the fine
Silver at bottom; but the Scoria or Dross in the upper part,
which cast away. After the same manner Gold may be
separated from Copper.

927

CHAP. XXVI.

Of Gilding and Painting Mezzotinto
Prints.

I. THese kinds of Prints, are to be preferred for this pur-
pose, before those of Graving; because that the
former, if don't with a neat and careful Hand, and on
a good and fine grounded Print can scarcely be di-
stinguisht from Limning: whereas, in all those that are
Engraved, all the stroaks of the Graver are plainly
Visible.

II. Of Mezzotinto Prints, some have a course Ground;
others have a fine and soft: the first are Rough, and look
as if they were the pricks of a Pen: whereas the other
has soft and fine Shadows, like a piece neatly drawn
with Indian Ink, or a black Lead Pencil.

III. Before you chuse your Prints to work upon, see to the
Paper they are Printed on: if it is too thick, you may
easily see it, by wetting a Corner of it with Water,
or your Tongue; where, if it passes not thro' the Pa-
per presently, 'tis not for your turn; but Paper which is
thin and spungy, is that which you must chuse.

IV. The Glass you make use of, ough to be true ground
Looking-GlaÃŸ, white, well Polisht, and not thick: all other
sorts of Glass whatever, will spoil your Work: if you
Paint on Window Glass, your Colors will never appear
Fair and Beautiful.

V. The Frames for GlaÃŸ Painting are commonly made of
stained Pear-tree, either Square or Oval, with narrow mould-
ings for little Pieces, which increase in breadth, accord-
ing to the largeness of your Picture, and are made with
Rabbets.

VI. But the Frames for those Prints which you Paint
without Glass, are called straining Frames; you may have
them Plain or Carved, Gilded, or Black, Flat, or with
a half round; and flat without a Rabbet on the back side,
half an Inch less than the Edge of the Cut, every way:
and the reason of this is, because the Edge of the Cut

928

almost breaks the Paper in pieces round about; so that
should not the Frame come in upon the Cut, every
way beyond its Edge, it would hazard Tearing.

VII. The next thing we come to is the painting of the
Print, and this is done with Colors either Transparent or
Opake. The transparent Colors are chiefly Carmine, fine
Lake, brown Pink, fine Smalt, distilled Verdigrise and Ul-
tramarine. The chief Opake Colors are Flake white, yel-
low or Dutch Pink, light and brown Red, Terra-vert, Umber,
Cologne Earth, Ivory-black, Blew-black, Vermillion, blew
Bice, Masticot yellow and pale, red Orpiment.

VIII. Carmine is the finest and most excellent Red,
and is sometimes sold for 3l. an ounce or more. Fine
Lake is also an admirable Red, and is worth about 2s.
or 2s. 6d. an ounce. Brown or Glazing Pink, is a Co-
lor much about the price of fine Lake. Fine Smalt is a
good Blew, and worth 4 or 5s. a pound. Distilled Ver-
digrise Ground may be has at the same rate with fine
Lake, or brown Pink. Ultramarine is the richest Blew
in the World, but of several Prices: the deepest and
best is worth 6 or 7l. an ouch; a mean sort is sold for
3 or 4l. and ouch, and this is very good and fit for
this Use: another sort is worth 20s. an ounce, which
may serve for Painting, but is too course for Gla-
zing.

IX. The Opake Colors.

Flake White, finely Ground with Nut Oil, is worth
about 2s. the pound. White Lead Ground in the same
Oil, 12d. a pound. Yellow or Dutch Pink when Ground,
3s. 6d. a pound. Light and brown Red, which are yel-
low and brown Oker, Burnt and Ground, 4s. the pound.
The same finely Ground in Linseed Oil, 3d. an ounce.
Terra-vert is but now and then used in this Painting,
but much in all others. Umber, Cologne Earth, Ivory-
black, and Blew-black when Ground, 3d. an ounce.
Vermillion finely Ground is now worth 10s. a pound.
Blew Bice only useful for making green Colors, 4d. or 6d.
an ounce. Masticot, the finest and free from Grit,
which is of the brightest Color is best, and is worth
2s. an ounce. Red Orpiment, which must be mixed with
drying Oil, 2d. an ounce.

929

X. All the transparent Colors must be Ground with Nut
Oil: see cap.2. sect.36. Opake Colors are ground mostly
with Gum-water, some with Gold Size, and some with
Linseed Oil and drying Oil.

XI. To prepare your prints without GlaÃŸ or straining
Frames.

First steep your Print in warm water flat ways, for
4 or 5 hours or more, if the Paper be thick, when it
is sufficiently steeped, lay it smooth on a wet Table,
with the Print side downwards, and rub it carefully
and lightly with a bit of Spunge, rubbing it off, and
peeling it so long, till the Print appears transparent on
the back-side: this done, with common Paste do the
back of your Frame, and Paste your Print upon t
whilst it is wet.

XII. Let it now dry, and then Varnish it on both sides,
4 or 5 times with Mastich or Turpentine Varnish, till it is so
transparent, that you may see the Picture as plain on
the back-side, as on the fore-side.

XIII. To Varnish, Polish, and finish Pictures not laid
upon Glass.

They are done as those on Glass, but if you have a
mind to adorn, Embroider, Fringe, or the like, with
Gold or Silver, touch then the fore-side of your Picture
with Shell Gold in Gum-water, or else after you have
Varnisht it 2 or 3 times with the best white Varnish, or
some other; take the best Gold Size, with which hatch,
and lay it over with Gold Dust: and with Judgment
touch and heighten all the strongest lights, and deepen
your shadows too, on the fore-side.

XIV. This gives so much life to your Work, that Artists
themselves have sometimes been deceived, and took it for a
piece of real Painting.

If now you would Varnish and Polish, any of these
kinds of Prints, lay on the Colors fine and soft, and ve-
ry even on the back-side, and after a Weeks time Var-
nish them.

XV. As to the disposing and laying on of Colors, it is
the part of a Limners work to do that, and therefore is not
our work to teach here: but if you would be fully instru-
cted in the method of doing it, have recourse to Lib.2.
Cap. 25, 26, 27, 28. where you cannot miss of all the di-

930

rections which are necessary for this purpose: see also,
Cap. 27. Sect.8, ad 31 following.

XVI. To Varnish these Prints.

Take the best white Varnish (in cap.4 sect.1.) Mastich
Varnish (in cap.4. sect.15.) ana: mix them together,
and with a fine Camels-hair Brush, Varnish over your
piece 4 or 5 times carefully by the Fire, as is formerly
taught, and you will find it to have a very good and
firm Gloss.

XVII. But if you would Polish them after Varnishing,
you must use only the best white Varnish, without any
Mastich Varnish mixt with it, and therewith was over
your Picture or Print, 5 or 6 times, directly observing
all the methods for Japanning: after 4 or 5 days, lay
the Picture on the Cushion, on which you cut your Leaf
Gold, and with Tripoli and Water Polish it, and then
clear it up as you do white Japan.

CHAP. XXVII.

Of laying Prints upon Glass.

I. TO prepare the Prints, whether Mezzotinto or En-
graved.

Steep your Prints flat-ways in warm Water 4 or 5
hours, or more if the Paper is thick; then with a thin
pliable Knife spread Venice Turpentine thin and even o-
ver the Glass; and with your Fingers dab it all over,
that it may appear rough.

II. Afterwards take the Print out of the Water, lay it on
a clean Napkin very smooth, and with another Napkin
press every part of it lightly to suck and drink up the
Water.

III. This done, lay the Print on the Glass by degrees, be-
ginning at one end, stroaking outwards that part which
is just fastning to the Glass, that no Wind or Water
may lye between it and the Print, and which you must
be always careful to stroak out.

IV. Then wet the back side of the Print, and with a bit of

931

Spunge or your Finger rub it lightly over, to rowl off the
Paper by degrees; but carefully avoid rubbing it into
holes, especially in the Lights which are most tender.

V. When you have peeled it so long, till the Print appears
transparent on the backside, let it dry for 2 hours; after
which Varnish it over with Mastich Varnish (in cap.4.
sect.15.) or Turpentine Varnish (in cap.4. sect.14.) 4 or 5
times, or so often till you may see clearly thro' it, ad
after 24 hours you may work or paint on it.

VI. Another way to do the same.

Soak the print in Water, and dry it with Cloths as a-
foresaid; and spread the Glass with Oil of Mastich and
some Turpentine, or with Mastich Varnish (in cap.4.
sect.15.)

VII. Then lay on the Print upon the GlaÃŸ exactly as be-
fore; and when it is almost dry, roul or rub off all the Pa-
per, leaving only a Shadow or Figure behind: you may
brush it off with a Brush till you see none but the inky
and shadowed part remains, then Varnish it over with
Mastich Varnish; which keep to dry, and from Dust, till
you begin to paint it.

I. To Paint Mezzotinto or Engraved Landskip.

VIII. When in Landskip or other Prints, the first
thing to be done in this Work, is to Glaze all those places
which require it: but do your Work sitting, not stand-
ing, because you will the more steadily move the Hand
and Pencil: besides, you ought then to have a Table
Easel, almost like a Reading Desk, saving that where-
as there is a Pannel or back Board for the Book, here the
Painting Desk is all open, with only 3 or 4 Wyes to
keep the Picture from falling through, and a narrow
Ledge at bottom to support it, and little holes made e-
qually distant on both sides thereof, as in Painters Ea-
sels, that by Pegs or Pins, and a Ledge laid up them,
you may raise your Picture higher or lower as best agrees
with your Conveniency: lay also a Sheet of pure white
Paper behind the Picture on the Table, and you'll find
it better for your Purpose; than placed against the
Window.

IX. If you would have your Glazing to lye thin and dry
quickly, mix Varnish when you lay it on the Pictures, and in
4 or 5 hours time they will be fit for to receive other Colors:

932

and in Landskips you should first Glaze the nearest and
great Trees, grounding them well with brown Pink; but
if you would have them greener, add distilled Verdi-
grise.

X. Trees which you would have of a lively and beautiful
Green, as also Leaves and Weeds, must be Glazed with
Dutch Pink and distilled Verdigrise: but the Trees far-
ther off with Verdigrise alone.

XI. Hills, Mountains and Trees at the greatest distance
of all, are to be Glazed with fine Smalt, a little Lake
and Verdigrise, all thinly mixt with Varnish.

XII. For the Sky, take Ultra-marine, or for want of it,
fine Smalt: mix it thin with Varnish, and Glaze it o-
ver 2 or 3 times with a clean large Pencil, and a very
swift Stroak, for it you are tedious, 'twill dry so fast,
that you cannot possibly lay it even.

XIII. If your Landskip is furnished with Figures, Build-
ings, Rocks, Ruins, &c. they require finishing first of all, be-
fore anything else is done: the Mixture of Colors for these
things consists chiefly of Blacks, Whites and Yellow, with
sometimes a little Red: but the Mixture, Composition
and Proportions of them must always be left to the Ex-
perience and Practice of the Artist, with this Considera-
tion, that all the Colors for this kind of Painting, ought
to be very light.

XIV. Now, to finish the Trees, Ground and Sky, with
the rest of the Picture, begin as before with the nearest or
greatest Trees: and with yellow Pink and white, Paint
over the lightest Leaves: but with a darker color of Pink,
and a little Smalt, go cleverly over the darkest and out-
ward Leaves with a small Pencil dipt in Varnish.

XV. These Trees you would have beautiful, Paint with a
Mixture of yellow Masticot, White and Verdigrise: the
darker parts with Pink, Verdigrise and White; as also
those Trees which you Glazed with Verdigrise only, they
being mixed very light with White.

XVI. But to finish the Sky and Foreskip, if any Clouds
appear, touch them with Vernish and light Color, made of
White, yellow Oker and Lake: and with these likewise
touch the lightest parts of Hills and Towns, at remotest
distances: mix also Smalt and White as light as you can
to Paint over the Sky: and to these add a Tincture of

933

Lake, to shadow over the darkest Clouds, letting all your
Colors lye thin and even.

XVII. If you would have the Picture look more lively, set
it against the Lighht or on the Easel, and tho' it is Paint-
ed all over, yet you will perceive the Lights and Shadows
through it; if not, what was before Painted will direct
you; your Skie and Foresight then are to be Limned
with the same, but lighter Colors than the former, and
every part besides respectively.

II. To Paint a Humane Body; and first the Face.

XVIII. Glaze and touch the deep Shadows thinly
with Lake, brown Pink and Varnish; and the white
Speck and black Ball of the Eye, as the Print shall di-
rect you: also the round white Ball of a convenient co-
lor. Make the Lips of a fine Red with Carmine or red
Lake: the dark side of the Face shadow with Vermilion,
yellow Pink and white. Give some touches on the
strongest Lights of the Face, as top of the Nose, Fore-
head, by the Eyes, Mouth and Chin, with a Color made
of white, pale Masticot, or yellow Oker, and a little
Vermillion, mixt as you shall see fit. Then mix it a
a little darker, and lay it all over the Face not painted
before; but the Mouth and Cheeks make somewhat red-
der. Then with a fine clean Pencil, a little worm
Hatch, and sweeten all your Colors and Shadows,
cleaning the Pencil as oft as it requires. If any part is
too pale, you may help it whilst your work is moist.

XIX. Now here is to be noted, that you must use no Var-
nish in painting of flesh Colors, except what is used in Gla-
zing the Ssaddows; for should you mix Varnish with
them, you will meet with this inconvenience, that the
Colors will dry so fast, that you cannot be able to
sweeten the Shadows with the Flesh.

XX. A swarthy Complexion.

Mix the Flesh color with white, yellow or brown
Oker, and light Red, with Shadows fitting. The like
observe in Painting Necks, Shoulders, Breasts, and
naked Bodies, as in the Face. When any of them are
dry, you may go over them again, by which second
Operation, you absolutely mix your Colors to your de-
sire. Let your Hand be steady, and let not your Pencil
traverse or go over upon Lines of a differing Color.

934

XXI. For the Hair.

Use not Varnish nor Colors near so dark as the Life,
for the Print will darken it; for black Hair, mix white,
black, red Oker, with a touch of Lake or light Red, all
which produce an Ash-color, and the Hair being
colored with it, will represent a natural Black. To
make the Curles shew stronger, touch the lightest parts
with a lighter Color, and the darkest witih the con-
trary, all which may be seen through, if not laid too
thick.

III. For Drapery.

(MISSING XXII.)
If the Color is broken, take care of its mixture, so as
to make 3 degrees of the said Color; one the very Co-
lor, another more Light, and the third Darker, which
is for the darkest Folds, as the lightest is for the light-
est parts; and the Color between both, for the other
parts of the Garment. Embroidery or Fringes are
done with Shell, or poudred Gold or Silver. Mix your
Metals with Gum-water, and with a fine Pencil Hatch,
or Embroider your Flowers, and touch the Fringes or
what else you desire, before you either Glaze or Paint
the Drapery designed.

XXIII. Changeable Drapery.

If you would have the ground Purple, and the lights
yellow; take a fine Pencil dipt in Varnish, and with
yellow Masticot, touch thinly all the lightest part of the
Folds, and if need be repeat it, for your Color must
be very thin with Varnish: when dry, glaze it over with
Lake and Ultramarine, or Smalt, with Varnish, once
or twice, letting it dry. The mix 3 degrees of a pur-
ple Color, of Lake, Smalt, and White, and lay them
on, as directed in the last Section.

XXIV. Yellow Drapery.

For the lightest Folds, mix yellow Oker, and White:
and brown Oker for the Shadow; or Umber, if you
would have it darker: but do the other Folds with yel-
low Oker; or with white mixt with yellow and brown
Pink.

XXV. The most beautiful Yellow.

Glaze your Drapery, or what you would have look
pleasant with brown Pink, once or twice, and the
darkest parts oftner: being dryed, touch the lightest

935

Folds with Pale Masticot, then with yellow Masticot;
and if any part requires a darker Color, with yellow
or brown Pink, and a little Umber: when dry, Paint
all with white except the Shadows.

XXVI. The best Blew.

Mix with thick Nut Oil Ultramarine: or, if you
cannot wait the drying, instead of Nut Oil, use Var-
nish, and glaze the Garment 3 or 4 times over, letting
it dry between every time: when dry, mix three de-
grees of Smalt and White, very light, and with the
clearest white, do the lightest Folds, and the rest as the
reason requires. If Ultramarine be too dear, you may
by the same method Glaze with fine Smalt, and Var-
nish it as often as the former, and Paint it with White
and Smalt. An ordinary Blew, is made with White
and Smalt, mixt in several degrees, but without Gla-
zing.

XXVII. Purple without Glazing.

Make a mixture of Lake, Smalt, and White, with
which perform your Drapery: heightning and dark-
ning the Folds, as before directed.

XXXVIII. Purple Drapery, Painted and Glazed.

Let it be thin Glazed once, with Carmine or Lake;
and when dry, Paint it every where with Smalt and
White, lighter or darker as you desire; letting still the
lightest Folds, have still a Color more light than the
other Parts. On the contrary you may have a Purple
by Glazing your Figure over with Ultramarine or
Smalt, and Painting it with Lake and White.

XXIX. Ordinary Red without Glazing.

Paint the strongest Lights with White mixt with
Vermillion; but the dark Shadows, with a dark or light
Red, and the rest with Vermillion: for the lightest Folds
mix light Red and White: for dark Folds, brown Red:
for the other Parts light Red Only.

XXX. Another Red, almost as good as the finest.

Grind red Lake finely in Oil, temper it well with
drying Oil and Varnish, and wiht this Glaze over
your Garments 2 or 3 times; and when dry, Pain the
lightest with White; the darkest with light or brown
Red; and the rest of the Drapery with light Red only.

936

XXXI. The finest of all Reds.

Take Carmine and mix it with Varnish alone, with
which once Glaze over your Garment, and if you would
have it very beautiful, two hours after do the same a-
gain: when dry, Paint all (except the dark Shadows
which should have Red) with Vermillion and White,
or with Vermillion only. If you can (when dry) see
thro' the Colors, touch the lightest Folds over with clear
Whites, and they will appear yet more Beautiful.

APPENDIX.

CHAP. XXVIII.

Of making Sealing Wax and Glews.

I. TO make an ordinary Red soft Sealing Wax.

Rx Common Bees Wax, LBj. Turpentine, OZiij.
Oil Olive, OZj. melt all these together, then add there
to red Lead, OZiij. boil a little, and stir till almost Cold:
cast it into fair Water, and make it up into Rouls or
Cakes.

II. The best Red soft Wax.

Rx White Bees Wax, LBj. Chio Turpentine, OZiij. Oil
Olive, OZj. mix and melt: then add pure Vermillion in
fine Pouder, well Ground. q. s. or OZj. mix and boil a
little, stir till almost Cold, cast it into cold Water,
and then make it up into Rouls or Cakes.

III. To make Green soft Wax.

Rx Bees Wax. LBj. Turpentine, OZiij. Oil Olive, OZj.
mix and melt: then add fine Verdigrise, OZj. mix and
make the Wax up as the former.

IV. To make Yellow soft Wax.

Rx Yellow Bees Wax, LBj. Turpentine, OZiij. Oil O-
live, OZj. mix and melt: then add Cambogia in fine

937

Pouder, OZij. Auripigment finely ground, OZj. mix and
make the Wax as before.

V. To make Black soft Wax.

Rx Bees Wax, LBj. Turpentine, OZiij. Oil Olive, OZj.
mix and melt them together, to which add black
Earth, or Lamp-black, or Ivory-black finely ground, OZj.
mix, &c.

VI. To make Perfumed soft Wax.

This is done by mixing with OZxx. of any of the for-
mer Compositions, Oil of Rhodium, DRj. Musk in fine
Pouder, SCj. Civet, SCss.mix them well.

VII. After the same manner you may make soft Wax of
all Colors, having what Scent you please, by mixing the
perfume intended either with the Oil Olive before
Hand; or else by working it into the Composition of
the Wax, after it is made.

VIII. To make fine Red hard Sealing Wax.

Rx Pure fine Shell-Lac, melt it in an Earthen Vessel;
and put into it a sufficient quantity of the Color you
design your Wax to be of; to every LBj. of Gum-Lac,
put of purely fine ground Vermillion OZiij. to OZiiij. melt,
stir, and mix them well over the Fire: then take it off,
and when it is of a fit heat, make it up into Rolls or
Sticks: upon which you may set a Gloss by gently heating
them over a naked Char-cole Fire, and rubbing them with
a cloth till they are cold.

IX. To make fine hard Sealing Wax of other Colors.

Blew Sealing Wax, is made after the same manner,
and in the same proportions, with Ultramarine, or fine
blew Smalt. Green Sealing Wax, with fine Verdigrise.
Yellow Sealing Wax, with finely ground Auripigmentum,
or yellow Masticot. Purple Sealing Wax, with Vermilli-
on mixt with Ivory-black, or Lamp-black. Black Seal-
ing Wax, with Ivory-black.

X. To make course hard Sealing Wax.

Rx Shell-Lac OZxij. Rosin OZvj. fine Vermillion, OZvijss.
melt and mix them together, and when in a due heat
make it up into Sticks or Rouls. Upon which you may
set a Gloss as directed in sect.8. aforegoing.

XI. To make mouth Glew.

Dissolve Ising-glass in fair Water, in a gentle B. M.
then strain it thro a wide Hair Sieve while it is hot,

938

upon another course, and close Hair Sieve; when it is
cold it will be thick like Gelly. Cut it into long hand-
some Pieces, which put on a Sring, so they touch not
one another, and hang them in the Sun, till they are
dry. You may give it a fine taste and smell by mixing
sweet and odoriferous things therewith.

XII. A strong Glew for Pipes and Aqueducts.

Take Tobacco Pipe Clay, dry and make it into Pou-
der: mix with it good store of short Flocks, and beat it
up with Linseed Oil to a stiff Paste, like kneaded
Dough. This makes a long and lasting Cement for
Pipes and Aquaeducts: and being put upon Pipes
(though long a drying) is very stanch and lasting.

XIII. To make a very strong Glew.

Soak the finest Ichthocolla or Ising-glaÃŸ 24 hours in
Brandy, then boil all very gently togeher, continually
stirring of it, that it burns not, so long till it becomes
one liquor or body (save some Strings not dissolvable)
which strain whilst hot, thro' a course Linnen Cloth,
into a Vessel where it may be kept close stopt. A gen-
tle heat will melt this Glew into a transparent Li-
quor, with which you may Glew things so strongly
together, that they will break rather in any other
Part, than in the place glewed. This muh exceeds com-
mon Glew.

XIV. To make the best and strongest Glew, for Glew-
ing the Joints of Boards.

Rx Scummed Milk which has stood so long, that no
more Cream will arise from it: Scum it very clean,
and set it over the Fire in a Leaden Pot, letting it
boil a little; and if any Cream arise take it off.
Then put into it a sufficient quantity of Joyners Glew
cut into small bits, which will soon melt: boil it to
a good body, that it may be neither too thick, nor
too thin, (for in this boiling lies much of the Art;)
take it from the Fire, and keep it for use, as other
Glew.

XV. This Glew binds beyond belief, and will not be
subject to resolve with any ordinary moisture of the Wea-
ther: and the reason is because the Curdy Part of the
Milk, freed from its Oil, is joined with the Glew. Now
you must take care, that it burns not to the sides of

938

the Pot, for then it will be deprived of its strength: To
prevent which, (both in its first making, and in your
after melting of it) you had best both to make and melt
it in B. M. or a boiling Vessel of Water, so will you
prevent burning, and by those means boil it more
safely to what body you please, without danger of
hurting the Glew.

Libri Undecimi & Ultimi.

FINIS

ADVERTISEMENT
A Compleat Dictionary of the Greek and Roman An-
tiquities, explaining all the obscure Places in all
the Classic Authors, and Ancient Historians. Compi-
led Originally in French for the Use of the Dauphin, &c.
Now made English, with the addition of very useful
Mapps. Printed for J. Nicholson, T. Newborough, and
J. Bullord.