Selected quad for the lemma: fire_n
Text snippets containing the quad
|
ID |
Title |
Author |
Corrected Date of Publication (TCP Date of Publication) |
STC |
Words |
Pages |
|
A40780
|
The art of graveing and etching wherein is exprest the true way of graueing in copper : allso [sic] the manner & method of that famous Callot & Mr. Bosse in their seuerall ways of etching.
|
Faithorne, William, 1616-1691.
|
1662
(1662)
|
Wing F294; ESTC R16827
|
26,069
|
59
|
Syrup Then take the pot from the fire and the varnish being a little more cooled strein it through a fine Linnen cloth or Taffata into a well varnished earthen pot or else put it into any thick glasse bottle or any other thing that will not drink it up and stop it well Varnish thus made will last twenty years and it will be the better the longer it is kept It is reported of Monsieur Callot that he had his varnish sent him ready made from Italy which was made there by the Joyners who used it to varnish their work They called it Vernice grosso de Lignaioly He gave some to the Author which he used a long time but since made use of the varnish whereof you have a description before Sect. 2. How to make the composition or mixture of grease and oyl to cover those places in your plate where you would not have the Aqua fortis to eat in TAke an earthen porrenger well leaded put into it a quantity of Sallad oyl and set it on the fâ—re and when the oyl is hot put into it a quantity of Candles-grease when that is melted take a pencil and dip it in and let a drop or two fall on a plate or any cold hard thing and if the drops be a little hardened and firm it sheweth that the mixture is well made For you may judge that if it is too liquid it is because there is too much oyl and if so then you must put in more grease and by the same reason if it be too hard you must put in more oyl having made it in this manner boyl it well the space of an hour that the oyl and the grease may be well mixed together and that you may perceive them of a reddish colour otherwise they will be apt to separate when you should use them The reason why you melt the oyl and the grease together is to make the grease more liquid and not cool too fast for should you melt the grease alone you shall no sooner take it up with the point of your pencil to carry it to the place where you would use it but it will grow cold Put in a greater quantity of oyl in Winter then in Summer Sect. 3. How to prepare the Ingredients for making the Aqua fortis for the hard varnish THe Aqua fortis is made of Vinegar Salt Armoniack Bay-salt and Vert de griz The Vinegar must be of the best sort of white-wine Vinegar but if it be distilled it is the better and not so subject to break up the varnish The Salt Armoniack must be clear transparent white pure and clean The Bay-salt must be also pure and clean The Vert de griz must be clean and free from any scrapings of brasse The Salt Armoniack and Vert de griz are commonly sold at the Druggists Sect. 4. How to make this Aqua fortis TAke three pints of Vinegar six ounces of Salt Armoniack six ounces of Bay salt and four ounces of Vert de griz or of each according to this proportion as you will make your quantity more or lesse put them all together in an earthen pot well varnished large enough that it may not boyl over Cover the pot and put it on a quick fire and let it speedily boyl two or three great walmes and no more When you perceive it ready to boyl and not before uncover the pot and stirre it with a little stick sometimes and take heed that it do not boil over Having thus boyled it two or three great walmes take off the pot from the fire and let it cool but keep the pot covered and when it is cold poure it into a glasse bottle and let it stand stopped a day or two before you use it and if you shall find it too strong in the etching poure into it a glasse or two of the same Vinegar you made it of Sect. 5. How to know good Copper from bad COpper is best for graving with a Graver or Aqua fortis Brasse is too brittle That Copper is best which is free from flaws and not too hard which you may perceive by its yellowish colour almost like brasse if it be too soft you may somewhat perceiv it by its too much pliableness in bending When you are to make use of it you shall perceive in that which is good a firm yet easie force in the entring of your graver and that Copper which is best for graving is also best for etching Sect. 6. How to planish and polish your Plate HEre in England you must buy your Copper ready forged from the Brasiers It is not necessary that they which desire to engrave should forge and polish their Copper themselves but because in divers places there is not conveniency of having it ready polished I have thought fit to set down the manner how it may be done Those Plates which you intend to forge and planish must be fully as thick as an half-crown because in their forgeing and planishing they will become somewhat thinner You must planish your Copper cold as the Silver-Smiths do their Plate And the more it is beaten or planished with an hammer the firmer it is and lesse subject to holes or flaws Your Plate being well planished make choice of the smoothest side for polishing Before you begin to polish it fix it upon a board and when you polish it let your board to which the plate is fixed stand a little declining or sloping To polish your Plate take a piece of a Grinding-stone about the bignesse of your fist and fair water and rub it firmly and evenly all over and in your rubbing throw water often on it and continue so doing till you cannot perceive any dints or flaws or marks of the hammer Then wash it clean with water Afterward take a good Pumice-stone and rub the same Plate with it and water till there appear none of the rough stroaks or marks of the stone Then wash it clean with water as you did before Again do the same thing with a fine smooth Hoan and water till all the marks of the Pumice-stone are quite rubbed out This done wash it clean with fair water Then choose out a Chark-cole smooth without any knots or rough grain and put it in a well-kindled fire let it be there till you may perceive it red hot Then take it out of the fire and immediately quench it in cold water Then take it out and pair off the uttermost rind and rub your Plate with it and water till all the small strokes of the Hone be rubbed out If the cole be naught it will only slide upon the Plate and not rub out the strokes After you have thus polished it with a Chark-cole if you perceive any small stroaks or scratches on your Plate then take a well-hardened piece of steel made somewhat roundish at the end which is commonly called a burnisher and with it rub those places firmly and evenly where you perceive any strokes or
THE ART OF GRAVEING and ETCHING wherein is exprest the true way of Graueing in Copper allso The manner method of that famous CALLOT Mr BOSSE in their Seuerall ways of Etching PVBLISHED by WILL m FAITHORNE And Sold at his Shop next to ye. Signe of the Drake without Temple Barr. 1662. To the Right Worshipfull Sir Robert Peake Knight SIR THe Honour of having serv'd his late Majesty under your Conduct in the Garrison of Basing hath given me some reputation in the World and the happinesse of having serv'd your self before the Warrs hath given me a Condition of living in it in both under the Regiment of your Command you chang'd the steel of my Tools into Weapons and the exercise of my Arts into Arms when the service of the King challenged the duty of his Subjests you then prompted me unto Loyalty that service unhappily ending you re-advised a returne to my imployment the whole course of my life having thus in some measure been an Observancy of your Directions to whom should I dedicate the Issues of my Labours in it but to you and having now to present my Countrey with something of use profit and delight take occasion by these to speake my gratitude and preserve to my self the honour of continuing what I have been Sir Your humble and devoted servant William Faithorne To the Lovers of this Art I Have had the thoughts oft-times to publish this ensuing Treatise of Graving and Etching because it hath arrived to such an height in these our latter times as it becomes a fit subject for our Kingdomes knowledge and practice We need no other witnesses to confirm this truth than the Works of those famous Masters the Sadlers Goltzius Blëumärt Mellan Natalis Pontius Poilly c. And as for Etching we are obliged to that Renowned Callot and his Disciple Bosse who hath not only practised but also hath been so courteous as to discover in the French Tongue this Art unto his Country men I have used him as an Author in this Work yet I have not traced him so closely as to make it a meer Translation but added something making use of what I thought necessary So as I hope I am neither so tedious as to be troublesome nor so short as to be obscure I shall not trouble my self to speak in the Commendation of this Art but to those that may seem to detract from it give me leave only to say thus much that the result of Ayre the Symetrie of parts the exact harmony of Proportions of lights and Shadows may be performed to the height in Graving Therfore I recommend it to publick view hoping of it's fair Reception by all Lovers of Arts which is the utmost aim and expectation of W. F. To my ingenious Friend Mr. Faithorne on his Book SHould I attempt an Elogy or frame A Paper structure to secure thy Name The lightning of one censure one stern frown Might quickly hazard that and thy renown But this thy Book prevents my slender pain One Line speaks purelier Thee than my best strain Those Mysteries once like the spightfull mold That bars the greedie Spaniard from his Gold Thine ingenuitie reveals and so By making plain thou dost Illustrious grow That hand whose curious Art protracts the date Of frail Mortalitie and baffles Fate With Brass and Steel can surelie potent be To rear a statelie Monument for Thee For my part I prefer to guard the Dead A Copper Plate before a sheet of Lead So long as Brasse so long as Books endure So long as neat-wrought Pieces Thour' t secure A Faithorne sculpsit is a Charm can save From dull Oblivion and a gaping Grave T. Flatman An Index directing to the several Sections contained in this Book HOw to make the hard Varnish for graving with Aqua fortis Page 1. How to make the Composition or mixture of Grease and Oyl to cover those places in your Plate where you would not have the Aqua fortis to eat in p. 2. How to prepare the Ingredients for making the Aqua fortis for the hard Varnish p. 3. How to make this Aqua fortis p. 3. How to know good Copper from bad p. 4. How to planish and polish your Plate p. 4. How to apply your hard Varnish on the plate and make it black p. 7. How to dry or harden the Varnish upon the Plate p. 9. How to chuse your Needles wherewith to make your Tooles to Etch with p. 10. How to whet the points of your Needles p. 10. To preserve the Varnish upon the Plate p. 11. How to Etch. p. 11. How to guide your Needles upon the Plate p. 12. How to use the Oval points to make large strokes in Etching or Graving with Aqua fortis p. 14. How to prepare your Plate to receive the Aqua fortis p. 16. How to make the Trough and Frame to hold the Plate when you will pour the Aqua fortis on it p. 18. The manner of casting the Aqua fortis upon the Plate as also how to cover the Places that are faintest and most remote from the eye with the forementioned mixture as occasion shall require p. 19. How to take the ground or the Varnish off the Plate after the Aqua fortis hath done its operation p. 25. Of soft Varnish How to make it the uses it is to be put to p. 27 The manner of laying your soft Ground or Varnish upon the Plate p. 28. How to border your Plate that it may contain the Aqua fortis p. 32. The manner how to lay a white ground upon the hard or soft Varnish p. 35. Another way how to lay a white upon the Varnish p. 38. Here followeth the manner after that your Plates are eaten into by the Aqua fortis how to touch up or regrave that which happily you may have forgotten or that which you would amend or supply p. 39. Of Graving The several wayes of drawing the design upon the plate p. 41. The forms of graving Tooles as also the manner of whetting your Graver p. 43. The manner how to hold your Graver with other particulars p. 45. The manner of governing your hand in Graving and other particulars p. 47. FINIS The Art of Graving with Aqua fortis Sect. 1. How to make the hard Varnish for engraving with Aqua fortis TAke five ounces of Greek pitch or for want of that Burgundy pitch five ounces of Rozin of Tyre or Colofonium or for want of that ordinary Rosine Melt them together upon a gentle fire in a new earthen pot well varnished or leaded and being very clean These two things being first melted and well mixt together put into them four ounces of the best Nut Oyl mix them well together upon the same fire the space of a full half hour and let them boyl well Then let this mixture cool a little upon a softer fire and afterwards touching it with the end of your finger it will rope if it be boyled enough like a glewy