Selected quad for the lemma: fire_n

Word A	Word B	Word C	Word D	Occurrence	Frequency Band	MI	MI Band	Prominent
fire_n	boil_v	little_a	put_v	6,484	5	5.8153	4	true

Text snippets containing the quad

ID	Title	Author	Corrected Date of Publication (TCP Date of Publication)	STC	Words	Pages
A39003	The Excellency of the pen and pencil exemplifying the uses of them in the most exquisite and mysterious arts of drawing, etching, engraving, limning, painting in oyl, washing of maps & pictures, also the way to cleanse any old painting, and preserve the colours : collected from the writings of the ablest masters both ancient and modern, as Albert Durer, P. Lomantius, and divers others ; furnished with divers cuts in copper, being copied from the best masters ...	Dürer, Albrecht, 1471-1528.	1668 (1668)	Wing E3779; ESTC R22483	50,246	138

water and they will not skin nor dry If your Grinding-stone be foul grind Curriers shavings upon it afterwards crumbs of bread and it will fetch off the filth If your Pencils be foul dip the ends of them in Oyl of Turpentine and squeeze them between your fingers When you work in Oyl let a little pot of Oyl stand by you into which dip your Pencil and streak it by the side of the pot and the Colour will go out that is within it and you may use it with another Colour The Discovery How to Cleanse any Old Painting so as to preserve the Colours with cautions to those that through ignorance have in stead of Cleansing quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting To Cleanse any old Picture in Oyl TAke your purest white Wood-ashes you can get and sift them very well in a fine lawn sieve or else some Smalt which is as some call it Powder-blew and with a fine Spunge and fair water wash the Picture you intend gently over but be sure you have a great care of the Shadows for by the ignorance of many persons many good Picture hath been abused but having carefully wash'd it as before mentioned take some of these Vernishes of which there be several but some are more prejudicial than others therefore choose those which may upon occasion be wash'd off again As Gum-water purely strain'd or pure Sizegelly or the whites of Eggs well beaten all these will wash off Your common Vernish will vernish over any dark part of a Picture But your distill'd Vernish is the best of all this will not wash off But observe that when you have wash'd the Picture you must dry it very well with a clean cloth very dry before you vernish it Divers there be which have pretended to be well skill'd or knowing in the Cleansing of Pictures and skill in Painting and have undertaken the spoyling of things they have been unworthy to understand as with Sope or Ashes and a Brush and divers other inventions by their ignorance to deface and spoyl those things which otherwise might have been worth great value and in stead of hindering the Painter of his employment have indeed created them new work OF WASHING or COLOURING OF Maps and Printed Pictures The Fifth Book TO Wash Maps or Printed Pictures is nothing else but to set them out in their proper Colours which to perform well is a very fine thing I have seen a Printed Picture printed upon fine Parchment only washed with Water-colours which could hardly be distinguished from a Limned piece and there are many now in England very excellent at it If any ingenious spirit that delights in Picture and hath not time or opportunity to study to be a proficient in Painting in Oyl or Limning I would advise him to practise this which is very delightfull and quickly attained the manner of performing of it I shall here in this Book teach CHAP. I. What things are necessary to be alwayes ready for Washing of Maps or Pictures SECT I. Of Colours for Washing HHRE note that all the Colours that are mentioned in the Second Chapter of the Third Book concerning Limning in Water-Colours are all to be used in Washing or Colouring of Pictures wherefore provide your self of those Colours grind them wash them and steep and temper them according as you are directed in that Second Chapter I say you must have all these Colours in a readiness and for Colouring of Prints some other Colours namely these that follow which how to order I will anon shew you Colours to be used in Washing which are not used in Limning BLACKS Printers Black or Franckford Black to be had of the Plate-Printers REDS. Vermilion Rosset BLEWS Verditure Litmos Flory YELLOWS Gumbooge Yellow-berries Orpiment Also these Brazeel and Log-wood grownd and Turnsoil Of these Colours above mentioned Printers Black Vermilion Rosset Verditure and Orpiment are to be Grownd as is taught in the second Section of the second Chapter of the third Book page 70. and therefore I say Grind them as you are there taught Now for the other Colours above mentioned they are to be ordered several wayes as followeth And 1. Of Litmos how to order it Take fine Litmos and cut it in small pieces then lay it in steep the space of twenty four hours at least in a weak Water of Gum-Lake The making of Gum-Lake Water is taught before in the first Chapter of the third Book pag. 66. it will be a pure Blew Water good to Wash withall 2. Of Flory Blew Take Flory Blew and grind it with the white of an Egg beat the white of the Egg with a spoon in a Porenger till it become a clear Water Flory thus grownd if you add thereto a little Rosset it maketh a light Violet-colour If you mix with it both Red and White Lead it maketh a Crane-Feather-colour It and Pink Masticote or Gum-booge make a fair Green 3. Of Gum-booge Take Gum-booge and dissolve it in fair spring-water and it maketh a most beautifull and transparent Yellow 4. Of Yellow-Berries Take Yellow-Berries bruise them a little and let them steep in Allum-water all night in the morning you will have a very fair Yellow to Wash withall 5. Of Turnsoil Turnsoil is made of pieces of Linnen cloth dyed of a kind of Violet-colour Take a dish and put some sharp Vinegar therein together with your Turnsoil then set the dish over a gentle fire in a chafingdish till the Vinegar boyl and be coloured then take out the Turnsoil and squeeze it into the Vinegar to which put a little Gum Arabick to dissolve it is an excellent good liquor to shadow upon any Carnation or Yellow 6. Of Brazeel Take Brazeel grownd to which put a quantity of small Beer and as much Vinegar set them in a pan upon a soft fire and there let it boyl gently a good while then put therein some fine powder of Allum to raise the Colour as also some Gum Arabick to bind it boyl it so long till it taste strong on the tongue it maketh a very transparent Red. 7. Of Log-wood If you boyl Log-wood grownd in all respects as you did your Brazeel it will make a very fair transparent Purple-colour SECT II. Of other necessaries 1. Of Allum-water how to make it TAke a quarter of a pint of Allum heat it to powder and boyl it in a quart of fair Water till it be dissolved With this Water wet over your Pictures that you intend to colour for it will keep the Colour from sinking into the Paper and it will add a lustre unto the Colours and make them shew fairer and it will make them continue longer without fading you must let the Paper dry of it self after you have wetted it before you lay on there Colours of before you wet it again for some Paper will need wetting four or five times But if you intend to Varnish your Pictures after you have

otherwise you may This I think fit to give you notice of because the skill of holding your Graver is that which you must first perfectly learn SECT V. The manner of holding your hand in Graving HAving described the way of holding your Graver the next thing is to shew you how to guide your Graver upon the plate in making of your strokes which are straight or crooked that you may work with the more ease and convenience you must have a strong round leather Cushion fill'd with sand or fine dust let it be made about half a foot broad in the diameter and three or four inches deep lay this upon a table which standeth fast and firm then lay your plate upon the cushion as is described in the 6. figure When you are to make any straight strokes hold your Graver as is directed in the former Section and if you will have your strokes deeper or broader in one place than in another in that place where you would have them deepest you must press your hand hardest but especially in making of a straight stroke be carefull to hold your plate firm and stedfast upon the cushion And if you make any crooked or winding strokes then hold your hand and Graver stedfast and as you work turn your plate against your Graver for otherwise it is impossible for you to make any crooked or winding stroke with that neatness and command which by this means you may if you do not move your plate and keep your arm and elbow fixed or rested upon the table If as you are working your Graver happen to break often on the point it is a sign it is tempered too hard to help this take a red hot charcoal and lay the end of your Graver upon it and when you perceive your Graver to wax yellowish dip it in the water If your Graver become blunt without breaking it is a sign it is nothing worth After you have graved part of your work it will be necessary to scrape it with the sharp edge of a Burnisher carrying it along even with the plate to take off the roughness of the strokes but in so doing take heed of making any scratches in your work To the end you may better see that which is graven they commonly roll up close a piece of a black Felt or Castor liquored over with a little Oyl and therewith rub the places graven And if you perceive any scratches in your plate rub them out with your Burnisher and if you have graved any of your strokes too deep you make them appear fainter with rubbing them with your Burnisher SECT VI. How to take off any Picture or Map-letters c. upon your Copper TAke your Plate and heat it over the fire and having a piece of yellow Bees wax put into and tyed up in a fine Holland rag try if your Plate be hot enough to melt your Wax if it be lightly wipe over your plate with that wax until you see it be covered over with wax but let it be but thin if it be not even after it is cold you may heat it again and with a feather lay it even which at first you will find a little difficult Now if wh●t you are to imitate be an exact copy you must note it must stand the contrary way in the plate and therefore your best way will be to track it over in every limb with a good Black-lead Pencil especially if it be an old picture which having done take an old Ivory haft of a knife and placing your picture exactly on your copper the face downward take your haft and lightly rub over your print and you shall perceive the perfect proportion remain upon the wax that is upon the plate then take a long Graver or another piece of steel grownd sharp and with the point thereof go over every particular limb in the out-stroke and there will be no difficulty to mark out all the shadows as you go to engrave your work having the proportion before you And it will be more ready if also you note your shadows how far they be dark and how far light with your black-lead before you rub it off but a learner may be puzzeled at first with too many observations At first you will find some difficulty for carrying your hand and for the depth of your stroke you are to engrave but take this experiment in your first beginning learn to carry your hand with such a slight that you may end your stroke with as light a stroke as you began it and though you may have occasion to have one part deeper or blacker than another do that by degrees and that you may the more distinctly do it observe your strokes that they be not too close nor too wide and for your more exact observation practice by those prints that are more loosly shadowed at first left by imitating those dark and more shadowed you be at a loss where to begin or where to end which to know is only got by practice Thus for Pictures Now for Letters if copies every word and letter must be either writ with ungumm'd Ink or else gone over with Black-lead and rubb'd on the plate when it is waxed as before but if a Map or other Mathematical Instrument every circle square or perpendicular must be drawn over as before or else you cannot exactly imitate the same but if you be to cut any Face Armes Instruments or Map not to be printed then if you black over the back-side as you are directed for your design in Etching that will serve your turn onely for Etching you use a mixt ground and for to Engrave you onely use wax And thus in a plain style I have given you an account of the whole mysterie of Engraving OF LIMNING IN WATER-COLOURS The Third Book THE pr●ctice of Limning is a quality commendable in any person and a p●actice meet for the Noblest personage of what quality soever I shall say no more in the praise of it it may speak for it self but come immediately to shew you the manner how to perform it therein fol●owing the Rules now practised by the most eminent Masters in that faculty and first I shall begin in this as in the other parts of this Book what things are to be in a readiness prepared for the practice of it CHAP. I. Of necessaries belonging to Limning TO the Limning in Water-colours th●re belongs sever●l thing as Gumms of several sorts and Waters made of them a Grinding-stone and Muller several Colours Liquid Gold and Silver several Sizes to lay Gold Parchment of the finest as of Abortive Skins Pencils of divers sorts of the making and preparing all these in their order and then to their use SECT I. Of Gumms and Gum-waters used in Limning THe principal Gum is Gum-Arabick get the best that may be which you shall know by the whiteness and clearness if it be yellowish of an Amber colour it is naught To make Gum-water hereof do thus take