Selected quad for the lemma: book_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
book_n	wood_n	work_n	work_v	31	3	7.8955	4	false

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A61253	A treatise of japaning and varnishing being a compleat discovery of those arts : with the best way of making all sorts of varnish ... : together with above an hundred distinct patterns of japan-work ... : curiously engraven on 24 large copper plates / by John Stalker.	Stalker, John.; Parker, George, 17th cent.	1688 (1688)	Wing S5187A; ESTC R229848	89,451	139

varnish black Japan Page 19 How to make Isinglass-size Page 22 How to make Blew Japan Page 23 How to make Gum-water Page 24 How to make Red Japan Page 24 How to make Chesnut-colour Japan Page 25 How to make Olive-colour Japan Page 26 How to work Metals or Colours with gum-water Page 26 How to make Gold-size for Japan Page 28 How to varnish Prints with white Varnish Page 30 How to lay Speckles or strowings on the out or inside of Boxes Drawers Mouldings c. Page 31 To lay Speckles on the Drawing part of japan-Japan-work as Rocks Garments Flowers c. Page 32 How to make Raised work in imitateon of Japan and of the Paste Page 33 To prepare ordinary rough-grained woods as Deal Oak c. whereby they may be Japaned and look well Page 35 How to imitate bantam-Bantam-work Page 36 How to take off any Japan-patterns in this Book upon any piece of work whatsoever Page 39 The manner of working and setting off of some Draughts in this Book Page 39 How to work the first Draught Page 41 To set oft Raised work with Black Page 42 To work the second Pattern Page 43 To work the third Draught Page 44 How to work in Colours and Gold the great Sprig in the 13th Print Page 45 To work in gold-size the 20th Print of this Book Page 47 To work in gold-size the 23d Draught of this Book with perfect and corrupt metals Page 49 To guild any thing in Oyl Of Guilding whereby it may safely be exposed to the weather Page 53 How to make Primer Page 54 Of Fat oyl Page 54 Of Gold-size in oyl Page 54 How to mix and lay on Gold-size Page 55 Of the laying on the Gold and the Tools required in and for the business Page 55 To lacker in oyl such things as are to be exposed to the weather Page 56 To prepare and guild Carved Frames in oyl that are not to be exposed abroad Page 56 To overlay wood with Burnisht gold or silver Page 57 Of Gold and Silver-size for burnishing Of Burnishing Page 57 The best way to make Silver-size Page 58 The best Gold-size now in use Page 58 Another Size for Silver Page 58 How to gold-size your Frame Page 59 How to lay on Gold for Burnishing Page 59 How to burnish your work Page 60 How to lay on Silver-size Page 60 How to make Paste fit to mould or raise Carved work on Frames for Guilding Page 61 How to make Paste Page 61 How to make a Mould of any Carved frame thereby to imitate it in Paste Page 61 Of placing Paste or Carved work on Frames Page 62 Of Lackering Page 62 How to make common Lacker Page 63 Another sort of Lacker Page 63 How to make the best of Lacker now used by the Guilders Page 63 To make a Lacker that may be used wothout fire or Sun Page 63 To lacker on Oyl or Burnished Silver Page 64 To make Lackering shew like Burnished gold Page 64 Of Guilding Metals Page 64 How to prepare Gold Page 65 To guild Silver Copper Brass or Princes metal Page 65 Another way to guild Silver Brass c. Page 66 How to heal or heighten the colour of the Gold Page 66 To take off Gold from any Guilt Plate without damage to the one or loss to the other Page 66 To silver over Brass or Copper as the Clock-makers do their Dial-plates Page 66 To guild Iron Brass or Steel with leaf-gold or silver Page 67 How to refine Silver Page 67 To separate Gold and Silver when incorporated Page 67 Directions to paint Mezzotinto Prints on Glass or without Glass and the colours therein used Page 69 To wash any of the powdered colours fine Page 71 Of Oyls and their price Page 72 How to make the best Drying oyl Page 72 A Drying oyl more ordinary Page 72 To make Varnishes for these prints or pictures in oyl Page 72 Another more excellent Varnish either for pictures in oyl or making Prints transparent Page 72 How to lay Prints on Glass Page 73 To lay prints either Graved or Mezzotinto's on glass in such manner that your may role off all the Paper and leave only the shadow behind Page 73 To prepare prints without glass or straining frames Page 73 Of the posture and position of the Prints and those that paint them Page 74 How to paint a Mezzotinto Landskip on a Glass or otherwise Page 74 To paint a piece of figures as Men Women c Page 75 How to paint Hair Page 76 How to paint Drapery or Garments Page 76 How to paint changeable Drapery Page 77 To paint several sorts of Red Drapery and first of the finest Page 77 Another Red near the same Page 77 Other Reds more ordinary without glazing Page 77 To paint the best Blew and glaze with Ultramarine Page 77 To glaze and paint the best purple Drapery Page 78 Purple without glazing Page 78 Yellow Drapery Page 78 How to paint the most beautiful Yellow Page 78 To finish varnish and polish pictures that are not laid on glass Page 78 To varnish these prints or other pictures without polishing Page 79 To varnish pictures and polish them like Japan Page 79 To imitate or counterfeit Tortoise-shell Page 79 Another way to counterfeit Tortoise-shell Page 81 How to Dye Wood a beautiful Red. Page 82 How to stain a fine Yellow Page 82 To stain or dye woods of any colour for inlaied or flowred work done by the Cabinet-makers Page 83 How to dye or stain wood Black Page 83 The best Black Dye for Ivory Horn Bone c. Page 83 To stain a green colour on Wood Ivory Horn or Bones Page 84 How to dye Ivory c red Page 84 THE ART OF JAPANNING VARNISHING c. EVery Artist who undertakes to treat of his Profession before he enters on the work must describe the Instruments and Materials with which it must be performed and by observing this method those persons who either for diversion or advantage design to be Masters of this Art furnish themselves with all things necessary after the best manner shall lay a good foundation and may proceed to practise with chearfulness and success And that no one may impose upon you in the Price or Goodness of your Drugs that your Spirits be very strong your Gums and Metals of the best take this following account as your only security against all cousenage and imposture But before I speak of these things which the Shops supply us with I presume t is convenient to acquaint you with others that conduce to the composition mixture and preservation of the Varnish Colours c. And 1. two Strainers are required made of pretty fine Flannel or ordinary course Linnen in shape like a Tunnel or Sugar-loaf or a Jelly-bag that women strain Jellies through one is useful for straining your white Varnish and the other for your Lacc-varnish and Lackers when you make any 2. You must have two Tin-tunnels one to use with your