from dust until you are at leisure to paint upon it To prepare Prints without glass or straining-frames When your prints are steeped sufficiently in water lay them on a smooth wet Table with the print-side downwards and rub 'em thin as before for glass Next with common paste do the backside of your frame and paste on your print while wet give it leisure to dry and then varnish it on both sides four or five times with Mastick or Turpentine-varnish until t is so transparent that you may see the Picture as plain on the back as foreside Lastly allow it a day or two for drying Of the posture and position of the Prints and those that paint them I may now very reasonably suppose that all things are in readiness and that nothing may hinder us from setting about the work in earnest Most Ladies that have practised this Art have made use of an uneasie posture for themselves and a disadvantagious situation for their piece for they generally stand to it when the windows are high against which they place the Print but whosoever stands cannot so steddily move the hand and pencil as the person that sits down I advise you therefore to a Table Hasel very like to and not improperly called a Reading-desk only with this difference That where the Panel or back-board for the book is there our Painting-desk may be all open with three or four wiers pendant-wise to keep the picture from falling through and a narrow ledge at the bottom to support it Beside these I would have little holes made equally distant on both sides of the Desk as t is remarkable in Painters Hasels that by pegs or pins and a narrow ledge laid upon them I may raise my Picture higher or lower as it best suits with my conveniency Being thus fixt lay a sheet of very white paper behind the picture on the table and you 'l find it much better and more conveniently placed than against the window How to paint a Mezzo-tinto-Landskip on Glass or otherwise The first thing to be attempted in this work whether Landskip or others is Glazing all those places that require it and if you desire they should lie thin and drie quickly as they ought to do mix varnish when you lay them on and in four hours time they 'l be ready for the reception of other colours In Landskip you should first glaze the nearest and great trees and ground 'em with brown Pink or if you fancie them greener add distilled Verdegreas The trees that are to appear with a lively beautiful green as also the leaves and weeds that are in some pictures must be glazed with Dutch-Pink and distill'd Verdegreas the trees farther off with Verdegreas alone the hills mountains and trees at the greatest distance of all remember to glaze with fine Smalt a little Lake and Verdegreas all thinly mixt with varnish As for the Skie although several Mistresses practise and teach the cutting of it out from the picture and painting it on the glass I do by no means allow of it for it agrees not with the eye but makes that part which should seem more distant appear too nigh and before the rest in a word it spoils and disparages the whole piece I cannot suggest to my self any reason for this foolish contrivance unless a sense of their inabilities to paint 'em beautifully obliges them to commit so great an absurdity Take then Ultramarine or for want of that fine Smalt mix it thin with varnish and glaze it over two or three times with a clean large Pencil and a very swift stroak for if you 're tedious it will dry so fast that you cannot possibly lay it even If the Landskip be adorned with Figures Buildings Rocks Ruins or the like they require finishing first of all The mixture of colours for these things consists chiefly of white black and yellow sometimes a tincture of red but the management and composition of them I leave to your inclination fancy and experience yet I would have you consider that all your Colours for this sort of Painting ought to be extraordinary light Now to finish the Trees Ground and Sky and the rest of the picture begin as before with the greatest or nearest trees and with yellow Pinke and white paint over the lightest leaves but with a darker colour of Pink and a little Smalt do neatly over the darkest and outward leaves with a small pencil dipt in varnish Those trees you would have beautiful paint with a mixture â—f yellow Masticott Verdegreas and white the darker parts with Pink Verdegreas and white as those trees also which you glazed with Verdegreas only they being mixt very light with white But to finish the skie and foreskip if any clouds appear touch them with varnish and light colour made of white yellow Oaker and Lake With these likewise touch the lightest parts of hills and towns at the remotest distance then mix Smalt and White as light as you can conveniently and paint over the skie add to these a tincture of Lake and do over the darker clouds Let your colours lie thin and even if the whole be finished grant it time to drie in If you would have your Picture look more strong brisk and lively set it against the light or on the Hasel as before and although t is painted all over you may perceive the shadows and lights through it if not what you painted before will guide you Paint then your skie and foresight with the same but lighter colours than before and so every thing else respectively CHAP. XXV To Paint a piece of figures as Men Women c. IN painting a Face the first thing required is if there are any deep shadows to glaze and touch them thinly with Lake brown Pink and Varnish also the white speck and black ball or sight of the eye as the Print will direct you the round white ball of a convenient colour too If you make the lips of a delicate red glaze them with Carramine or Lake For the rest of the face begin with the dark side and paint the shadows with a colour more red than ordinary for which Vermilion yellow Pink and white are most proper where note that all varnish is forbid in painting flesh-colours except what is used in glazing the shadows if you should mix varnish the inconvenience will be that the colours will drie so fast that you cannot sweeten the shadows with the flesh Then give some touches on the strongest lights of the face as the top of the nose forehead and by the eyes mouth and chin with a colour made of white pale Masticott or yellow Oaker and a little vermilion and mixed according to the complexion intended then mix that colour a thought darker and lay it on all the face that was not painted before very carefully yet for the mouth and cheeks somewhat redder Next with a fine clean pencil that has been used and worn a little hatch and sweeten all your
Lacc-varnish and Lacker and the other for your white varnish for the same use 3. You must be furnished with several Glass bottles and Vials small and great according to the quantities of varnish you make or use and also with Gally-pots of several sizes to put your varnish in when you intend to varnish and for your Blacks with which other things must sometimes be mixed Gally-pots are better than any other vessels to mix your blacks and hold your varnish because they are deeper than Pottingers and not so wide so that the varnish doth not so soon thicken for the Spirits in a deep Gally-pot do not so suddenly evaporate 4. You should provide several sorts of varnishing-tools or Pencils according to the greatness or smalness of the thing you design to work Your varnishing Pencils are soft and made of Camels hair and are of several prices according to the bigness of them the best that I know are sold in Blackamoor-street by Clare-market but you may have them also at several Colour-sellers in and about London from six-pence to half a Crown or three shillings the Pencil 5. You must procure Pencils to draw with small and greater Goose little Goose Duck and Swallow-quills according to your work The longest haired Pencils I esteem the best for this use you may have then all at the places aforesaid 6. You should get 200 of Musle-shells that you may have them always in readiness to mix your Metals or Colours in as occasion shall serve not that you need use the tenth part of them at once but that you may not be to seek when you want and for change when your metals or colours by frequent mixture shall grow dirty which will be if you work in Gum-water as I shall hereafter observe 7. You should furnish your self with Rushes which are called Dutch-Rushes with which you must smooth your work before you varnish it and as you lay your ground of Colour or Black if any knob or roughness appear on your work you must take a Rush and rush it off so must you do as oft as you find any roughness or grittiness upon your work either in laying your Grounds or varnishing it up You may buy them at the Iron-mongers 8. You must have Tripoly to polish your work after it is varnished which must be scraped or finely pounded and sifted But of this I shall have occasion to speak more largely when I come to give rules for varnishing you may have it at the Iron-mongers 9. You cant be without store of Linnen-rags as well coarse as fine with which you must polish and clear up your work as shall be shewed hereafter 10. You must have Sallet-oyl for clearing up your work as shall be notified in its proper place All these things every Practitioner ought to provide as being necessary to his future performances CHAP. I. A true Character of the best SPIRITS GUMS METALS c. To know a Strong Spirit TO make Varnish you must have Spirit of Wine which must be strong or it will spoyl the Varnish and not dissolve your Gums and consequently hinder your design for the stronger your Spirits are the better will the Varnish be the Spirits only being to dissolve the Gums in order to make them spread or lie even upon the work After it hath performed that work the sooner they evaporate the better and the higher the Spirits are drawn the less flegm or watery parts are in them and the less of watery parts are in the Varnish the sooner it dries and is fit for polishing is more permanent and will come to the greater and better gloss But this is of little use now Varnish is so much used for the Distillers have learned by practice and custom to make Spirits that just dissolve the gums only it requires the longer drying Yet these Spirits that are commonly used will sometimes be too weak either by neglect or dishonesty of the Distiller who hath not sufficiently deflegm'd or drawn all the watery from the spirituous parts Therefore the best way to prove your Spirits is to take some in a spoon and put a little Gun-powder in it and then set the Spirit on fire with a little paper or candle as you do Brandy and if it burn so long till it fire the Gunpowder before it go out it is fit for use and will dissolve your Gums All pretenders to this Art know this way of trying Spirits and the damage weak Spirits do the Varnish but since my design is to inform the ignorant and learner it is reasonable and necessary in this place to insert it To choose Gum Lac called Seed-Lac The best Seed-Lacc is that which is large-grained bright and clear freest from dust sticks and dross The Drugsters afford it at several rates proportionable to its goodness generally for 14 16 18 d. the pound To choose Gum Sandrick The best Gum-Sandrick is the largest and whitest or that which casts the least yellow Let it be as free from dust or dross as you can The value of it is commonly 12 or 14 d. the pound To choose Gum Animae The whitest clearest and most transparent is the best and the price is sometimes 3 4 or 5 s. the pound according to the goodness Venice-Turpentine The only directions that can be given for the choice of it are that the clearest finest and whitest is the best and is sold at 18 or 20 d. the pound White Rosine The best white Rosine is white and clear and purchased at 4 d. or 6 d. the pound Shell-Lacc The best Shell-Lacc is the most transparent and thinnest and that which if melted with a candle will draw out in the longest and finest hair like melted wax because the toughest There are counter feits which you must endeavour to discover by the aforementioned rule The true may be procured at 18 d. or 2 s. the pound Bole Armoniak The best Bole Armoniak is as fine as red Oker and of a deep dark blackish-red colour free from grittiness or gravel and is commonly called French-Bole Gum Arabick The best is clear transparent and white you may pick it your self from the Drugsters but then you must pay something more the common rate is 12 d. the pound Gum Capall The best Capall is the whitest freest from dross and thick dark stuff that is incorporated with the Gum. It is of it self a thick whitish heavy Gum and rarely without that dark and drossy mixture but that which is clearest and freest from the said stuff is the best The price is 12 16 or 18 d. the pound according to the goodness To choose Gum Elemni The best Gum Elemni is the hardest whitest and clearest freest from dross or dirt It is brought over commonly in the bark or husk of a Tree which you may take off as well as you can before you use it The Shops can afford it at 4 or 5 d. the ounce Rosine The best is the clear and transparent and clarified It may
be had at 3 d. the pound Isinglass The best Isinglass is that which is clearest and whitest freest from yellowness It is if good worth 3 or 4 d. the ounce you may have it cheaper by the pound The same may be observed by other things for the greater quantity you buy at a time the cheaper will your purchase be Gambogium The best is that of the brightest yellow and freest from dross Some of it is dirty thick and full of dross there is difference in the price according to the goodness the best is worth 6 d. the ounce To choose Benjamin or Benzoine The best is that of a bright reddish colour very like to clarified Rosine but never so fine freest from dross or filth T is as in goodness 4 d 6 d or 8 d the ounce Dragons Blood The best is the brightest red and freest from dross You may buy it in drops as the Drugsters call it which is the best They are made up in a kind of leaf or husk it is commonly 8 d. sometimes 12 d. the ounce according to the goodness I have here given you an account of those things and Gums you will have occasion for in Japanning and Varnishing and are all to be bought at the Drugsters at or neer the prizes I have specified and may serve to inform you in some measure of the Gums their excellencies and value but time and practice will make greater discoveries Indeed grains of Allowance must be made for their different prizes for their rise and fall depends upon the plenty or scarcity of them and varies according to the goodness of the commodity It is not necessary to furnish your self with all or any part of these but as you have occasion to make use of them for of some an ounce will serve you a great while of others a pound will be used at one time of which you will know more as I shall have occasion to treat of them in their order I shall now proceed to Metals which I will also give you some account of and first Of Brass-dust which is commonly amongst the Artists called Gold-dust This cannot be made in England fit for use though it hath often been attempted but comes from beyond Sea as the rest of the Metals do that are good Germany is the place where the best of all sorts is made The best Brass-dust is that which is finest and of the brightest and most gold-like colour which you may best discern by taking a little on your finger and squeezing it along your finger with your thumb and if it be good it will look with a bright and rich lustre if bad it will appear of a dull clayish colour and will never work lively and bright Several sorts of this Metal are imported here from foreign parts which differ vastly as to the coarsness and fineness and the different ways of working them As for instance the coarser sort will work well with Gold-size which will not with Gum-water other differences will arise also which are subject to the discoveries of practice and experience From this difference of Metals proceeds that of the prizes for some are worth 12 or 14 s. the ounce whilst that others amount to not above 4 or 5 s. for the same quantity But these are two extremes the first very good and the other altogether as vile and bad for there is a middle sort between both which is generally afforded by those that buy of the Merchant for 8 or 9 s. the ounce which will work well To choose Silver-dust Some have attempted to make Silver here in England but none I ever saw comparable to that beyond Sea for that enjoys a lively bright lustre like polished or new-coined silver which you may find by squeezing it between your finger and thumb whereas that which we make here is dull dead and heavy and indeed is a fitter representation of a Colour than a Metal and by comparison you may find how the dimness of the counterfeit is obscured by the dazling lustre of the true It s price is answerable to its goodness and excellency for its lowest rate is no less than 16 s. the ounce But I would not have the price fright any one so far as to prefer cheaper before it for t is neither so useful nor pleasant in the work and the best will go farther than this proportionable to its price T is customary in Japan to use several sorts of Metals that are corrupted and adulterate and they are layed too in garments flowers houses and the like which makes the work look more beautiful and surprizing these likewise are vended and sold for the aforesaid use and are commonly called First Green-gold Is a certain corrupted mettle casting a kind of a dead greenish colour and is commonly sold at 6 s. the ounce Is another kind of corrupted metal which bears some resemblance to drossy dirty Gold it may be purchased at 6 s. the ounce Powder-Tinn Is Tinn grinded to dust of a dull dark though silverish colour made use of in Rocks c. It s price the same with the former Of Coppers There are three sorts Natural Artificial and Adulterate The Natural is ground without mixture well cleansed and is of the true genuine colour of Copper and is sold at 6 or 7 s. the ounce The Artificial accordingly exceeds the Natural it is more deep and red but very clear and its bright glittering colour shews how far it is possible for Art to exceed Nature T is very rarely procured or sold under 10 s. the ounce The Adulterate Copper is of a thick heavy metallick colour and is commonly used to work other metals on as if that be layed for a Ground you hatch or highten with bright gold or other light metal and sold at 6 s. the ounce There is also used in Japan-work metals commonly called Speckles of divers sorts as Gold Silver Copper and many other colours some finer than other and worked according to the fancy of the Artist either on Mouldings the out or in-side of Boxes Drawers c. Of these those that are used in the Indian work are the Gold Silver and Copper though as aforesaid every one may take their own fancy or humor in the use of them They are made here in England very well and are sold each of them much at a price 5 or 6 shillings the ounce according as they are in fineness So that what I said concerning the rates of Gums will hold good here also That a glut or scarcity of these enhances or abates the price but generally these are exposed to sale at the rates I have affixed to each of them These are sold by great quantities by several Merchants in London and in lesser by as many I shall only mention two viz. a Gold-beater at the hand and hammer in Long-acre and another of the same trade over against Mercers-Chappel in Cheap-side Having given you an account of Gums and Metals I shall briefly
hitherto uttered big and glorious words hardly a Page that has not ecchoed Gold and Silver but if you 'l pardon us we will frankly and ingeniously confess that the expressions are as valuable as the things for Brass-dust and viler metals have been thus disguised to counterfeit the more noble and excellent yet it cannot be denied but that they are such cunning cheats as may almost impose upon the skilful and ingenious And this may be said in their behalf That although they deceive the eye they neither pick or endanger the purse which true gold would do after a most profuse and unnecessary manner Well then by way of requital we shall cast away the vizor and lay aside the mimick dress for the Art now in hand will not admit of the former couzenage Guilding accepts not of base materials is wholly unacquainted with dross or allay and the finest unadulterate gold is the only welcom and acceptable guest I am sensible that the Guilders on metals will quarrel at the name who pretend that Guilding is a term appropriated to the working on Metals only but the dispute is equally trivial and unreasonable for if I overlay Wood or any other body with Gold I cannot conceive how I transgress the rules of common sense or English if I say I have guilded such a wood and I shall therefore acquiesce in this title until the frivolous Enquirers furnish me with a more natural and proper appellation However since some of that profession have upon this occasion disputed the title with me though to no purpose to shew that I can and will be as good as my word I 'le give you their way of Guilding of Metals in full to end the dispute But to the business in hand I shall here instruct you in all things necessary for this way of Guilding as Primer Fat Oyl and Gold-size all which are to be gotten at the Colour-shops Priming may be afforded for 6 d. the pound the other two will cost each of them 3 d the ounce but because they are scarce commodities and seldom to be met with very good t is requisite for those who guild much to make it themselves alter this manner To make Priming Priming you may make of any colour that hath a body as white-lead brown or red Oker and Umber ground in oyl pretty light but the Painters have the best conveniency for this composition for t is made of the scraping of their pots the oldest skinny colours and the cleansing or filth of their Pencils All these being mixed grind very well put them into a canvas-bag that will hold a pint sowed very strongly for this purpose If the colour be too dark it may be alter'd by adding a little white-lead Being securely in-closed and tied up press it between a pair of Screws such as Apothecaries employ now and then turning the bag until all the fine primer be squeezed out which should be received into a Gallipot the skins and filth that remain are useless and may therefore be thrown away With this your piece must be very thinly primed over and permitted to drie Fat Oyl Is nothing else but Linseed oyl managed thus Put it into leaden vessels shaped like dripping-pans but so that the oyl may not be above an inch deep Set them out exposed to the Sun for five or six months until it become as thick as Turpentine the longer it stands the more fat it will be and by consequence the Gold will require a better gloss if it arrive to the consistence of butter that it may be almost cut with a knife reserve it carefully and as the best for use that can possibly be made Gold-Size in Oyl Provide the best yellow Oaker see it very finely grinded and thick with Linseed-oyl which is something fat This done confine them to a pipkin and put on it some fat oyl to keep it from skinning over cover it with paper or a bladder to guard it from dust and injury lay it aside for your occasions You may use it presently and if you keep it seven years t will come to no damage but on the contrary be much better for your purpose Should it happen that you might have old gold-size that is skinny and yellow and brown Oaker in the same condition grind them shut them up in a clean Canvas-bag press it between your Screw as your Primer was until you have made a separation and parted the good and serviceable from the bad and insignificant a Gallipot is a fit receptacle for the first and the dunghil for the latter This sort of Gold-size is ready to serve your present and more urgent necessities if you desire to have a piece extraordinary I advise you to prime it thinly over once niore allowing it four or five days to drie if your business will permit if not instead thereof Lacker over your work in the Sun or some such moderate heat and then t is rightly prepared for the reception of the Gold-size How to mix and lay on Gold-size Take of the best Gold-size and of fat Oyl an equal quantity yet no more than your piece requires Mix and incorporate them well together by the means of your Stone and Muller and put them into a pot procure a clean Brush that has been formerly used and with it dipt in the Size pass over all the piece very thinly jobbing and striking the point of the pencil into the hollow places of the carved work that no place creek or corner of your work may escape the salutation for every part of your Frame or thing that hath not been partaker of the Gold-size or touched with it is not in a condition to embrace or receive your Leaf-gold so that if care in this be wanting your work when it comes to be guilt will be full of faults and look scurvily Having thus done remove it to a convenient place for twenty four hours free and secure from dust the longer it stands the better gloss your Gold or Silver will be adorned with provided that it be tacky and clammy enough to hold your metals Now to distinguish the true exact time when the Gold-size is fit to be guilded breath on it if your breath covers it over like a mist t is evident that you may lay on your Gold or otherwise press your finger upon it somewhat hardly and if you perceive t is so drie that it will neither discolour or stick to your finger but is in some measure clammy tacky and unwilling to part with it conclude t is in a good condition should you attempt to guild before the Size is drie enough that moisture will drown and deprive your Gold of that gloss and lustre which it would acquire if skilfully performed on the contrary if the Size is over-drie you are come too late you have lost the opportunity for it will not accept of the Gold The first miscarriage of being too moist is rectified by suffering it to stand one day longer to
sort of Lacker Use the same quantity of Spirit of Wine and Shell-Lacc as before when dissolved strain it but to give it a tincture instead of common Dragons-blood and Turmerick employ a very little Sanguis Draconis in drops and Saffron dried which bruise and cloath with a piece of linnen and manage it as the other by putting it into the vessel If you desire the Lacker of a deeper or more copperish colour add more Sanguis if the contrary Saffron These being shakt well keep close stopt for your designs To make the best sort of Lacker now used by the Guilders Some use Shell-lacc-varnish only for this Lacker but Seed-lacc is much better the composition of which you are taught in the 8th page Take therefore of this seed-lacc-varnish a quantity answerable to the Lacker which give a tincture to after this manner Take the colour called Ornator ground and reduced to a very fine dry powder mix it and some of the varnish in a gallipot stir and dissolve it over a gentle fire after this confine 'em to a viol closely stopt Take likewise three or four ounces of Gambogium which I would have bruised dissolved on the fire and kept in a vial as the other To a quart of this varnish if you please two penniworth of Saffron dried and bruised may be added to these five or six spoonfuls of the Ornator and a double portion of Gambogium-varnish being shaked well together try it on a little bit of silver or a small frame if it appears too yellow afford more from your Ornator but if too red from your Gambogium vial by these contrivances you may continue the mixture until you arrive at the true golden colour which is the only excellence we design and aim at To make a Lacker that may be used without Fire or Sun To a quart of the aforesaid Lacker allow 2 penniworth of Venice Turpentine mix and incorporate them very well With this you may lacker any thing in the open Air and although it may look dull and misty immediately after every lackering that fright that seeming discouragement will quickly vanish that thin cloudy vapour will be dissipated by its sudden and piercing lustre To lacker Oyl Size or Burnisht Silver Let your Frame or Work be warmed before you lacker it and when some of your Lacker is poured into a large Gallipot with a fine large Brush that does not drop any of its hairs made of Hogs or Camels-hair be quick and pass over the piece carefully contriving to miss no part or to repass another that has been already lackered but in a manner observe the same rules here that are given for Japan yet with these exceptions in lackering Carved work for then you must be quick and strike or jobb your brush thereby to cover the deep parts also Be sure to lay it 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 If two or three varnishings will not produce a colour deep enough oblige it with a fourth but remember if you should carelesly do it too deep all assistance will be insignificant and no remedy whatsoever will avail you To make Lackering shew like Burnisht Gold If you are careful and neat in burnishing your silver and have graced your Lacker with a true gold-colour have with an even hand laid it no thicker in one place than another then Matt and Reposse it as you do burnisht gold and unless narrowly surveyed t will put a fallacy upon and deceive curious discerning eyes Matting is only the ground-work of your Carving altered or varnishing it deeper and more dull than the other part of the Frame Repossing is done with Lacker and Ornator which latter the Drugsters sell at 4 d the ounce with these mixt touch and deepen all the hollow deep places and veins of your work for it adorns and sets it off admirably well by ite colour and reflection CHAP. XXII Of Guilding Metals I Acquainted you before with a controversy between the Guilders concerning the Terms of Art who denied the name of Guilding to that of Wood and confined it to Metals only upon which account we promised you to treat of the latter too and thereby comprehend both although t is no question but one laies as just a claim to that title as the other They are certainly fine inventions that serve to please us with the shadow when the substance can't be purchased We are all of us great admirers of Gold and by consequence must be enamoured with Guilding which is so nearly related to it For Guilding is Gold in Miniature with which as with a golden Ray we beautify and adorn our viler Metals It s preparation therefore must first be discovered before we can proceed to the use and performance To prepare Gold Take Leaf or fine Ducket-gold which is more excellent for this use of either what quantity you please but be sure that the Ducket be beaten very thin put the gold and as much quick-silver as will just cover it into a gallipot Let them stand half an hour presently after the mixture stirring them with a stick This time being expired strain 'em through a piece of leather squeezing with your hand till you have brought out as much quick-silver as will be forc't through by all your industry Now that which remains in the leather looks more like silver than gold yet t is that and that alone which must be employed in the succeeding operation To guild Silver Copper Brass or Princes-metal Whatsoever you design for guilding should be first well scrubbed with a Wier-brush sold by the Iron-mongers Wet the piece with water or beer and continue scrubbing and wetting it until all filth and dirtiness be fetcht off that the two metals may more closely hug and embrace each other This being cleans'd make ready quick-silver by mixing it with a very small quantity of Aqua fortis in a vial which should always stand by you three or four drops only of Aqua fortis is sufficient I assure you for an ounce of quick-silver With this quicken your work that is with your finger or a fine rag rub this mixture on your metal till t is all oversilvered or toucht with the said quick-silver This done call for your gold formerly prepared and with an iron-tool or little knife fit for the purpose spread or overlay the whole work being careful to miss no part under the penalty of doing that place over again after you have given it an heat over a fire which you must do when the gold is laid to compel the Mercury or quick-silver to evaporate and flie away leaving the gold fixed and adhering close to the piece But before you give it a through heat let it have two or three little heats that you may with a hair-brush like that of a comb dab and spread your gold which by the little
their posts at beat of drum so that in two or three hours time that small parcel of silver which hath been separated into parts more innumerable than the Turks army will be this Campagne you find all hanging and clinging so lovingly to the copper and as loth to part as we from our Mistresses tho they 're sometimes more unconstant to us than the silver is to the copper for no other metal can tempt it to the same compliance The same silver so gathered you may use for silvering any metal doing with it as is here taught of the gold or instead of leaf or burnt silver dissolved in Aqua fortis as was before said in Clockmakers silvering Directions in Painting MEZZOTINTO-PRINTS on Glass or without it CHAP. XXIII THis most ingenious way of Painting justly claims applause and admiration if skill and dexterity are called to the performance Where these two combine beauty and perfection must dance attendance T is a pleasant insinuating Art which under a pretty disguise betrays us into a mistake We think a piece of Limning lies before us bur more strict enquiries will evince that t is Mezzo-tinto at the bottom Who can be displeased to be so innocently deluded and enamoured at the same time T is female policy at once to ravish and deceive the eyes and we not only caress the cheat but are in loves with the impostor too This manner of Painting is lookt upon to be the Womens more peculiar province and the Ladies are almost the only pretenders yet with modesty and submission I may adventure to affirm that I have not had the good fortune to meet with one of an hundred that had an excellent command of the Pencil or could deservedly be stiled a Mistress of this Art yet t is certainly no uneasie task to arrive to a great height in it but we are overstockt with no less conceited than ignorant Teachers well qualified to deface a Print and spoil the colours who abuse those young Ladies that desire instructions perswading 'em to the damage of their purses and loss of their time to attempt that which they are not able so much as to assist 'em in This is a sufficient inducement to perswade my self that these Rules will be acceptable tho I know very well that I have raised a discourse on a subject with which the world is very well acquainted yet by way of requital I shall make greater discoveries than the famous Mistress of it ever pretended to communicate in a word I promise to display it in its perfection I conceive t is requisite to advise you first in the election of Prints Frames and Glass of each in their order Mezzo-tinto Prints are to be preferred before all others being more fit and suitable for Painting than those that are engraved for in these all the stroaks of the Graver are plainly visible but the other if done with a neat and careful hand on a good fine-grounded print can hardly be distinguisht from Limning Consider that some of these Prints are of a coarse ground others of a fine the first are discernible for they seem to be rough and workt as it were with the pricks of a Pen but the latter hath soft and fine shadows like a piece neatly wrought in Indian ink or a picture in black and white Observe farther what paper they are drawn upon for if it be too thick which you may foresee by wetting a corner of it with water or your tongue and it pass not through the paper presently then conclude t is not for your purpose but on the contrary the thin and spungy paper must be elected Their value is enhanced by the different size and goodness of each Print some may be afforded for six pence or a shilling others for 18 d. or more Your Glass ought to be thin white and well polisht such as is made for Looking-glasses All blewish red green and window-glass cannot be allowed of here you must altogether despise and cashier it for if you paint on either of these especially window-glass your colours can never appear fair and beautiful Your Frames for glass-painting are usually made of stained Pear-tree with narrow mouldings for little pieces which increase in bredth as the size of your picture does in largeness they are made with Rabets and are afforded for 6 8 and 12 pence or more according to their several dimensions Another sort of Frames I recommend to you most proper for those Prints which you paint without glass called Straining-frames If you desire to have them Carved Guilded or black order them to be made flat and even without a Rabet on the backside half an inch less than the edge of the Cutt every way which is apt to rend when it undergoes the trial of straining This mischance is occasioned by the sharp edge of the Plate which almost cuts the paper when t is printed If you approve of black Frames command the Frame-maker to work them half round with Pear-tree would you stain or Japan them guild or raise their carved work this Book will sufficiently inform and direct you Thus much of these things in particular I shall now proceed to give a catalogue of such Colours as may be assistant to you in this business together with the Oyls and their several prices as also directions to make drying Oyl and various sorts of Varnish for Painting And first the names of your colours and their value as they are commonly sold ready prepared take in the very order that they are placed on your Pallet Flake White finely ground in Nut-oyl is sold at 2 s. the pound White-lead ground in the same oyl 1 s. per pound Yellow and brown Oaker finely ground in Linseed oyl is vended for 3 d. the ounce Yellow or Dutch Pink may be afforded when ground at the same rate Brown or glasing-Pink is indeed very dear the bigness of a Nutmeg grinded will stand you in 6 d. Fine Lake will cost as much Light and brown Red are only yellow and brown Oaker burnt t is 3 d. the ounce ready ground Italian Terravert is not much used in this Painting though very much in all others t is dearer sometimes than at others Umber Collins-Earth Ivory blew black are afforded at the ordinary price when ground which is 3 d. the ounce Distilled Verdegreas ground you may have at the same rate with Brown Pink and Lake but these three colours I would advise you to purchase by the Ounce and grind 'em your self if it will stand with your conveniency for the Colour-Grocers will afford these cheaper by the Ounce than Dram. Its price is 1 s. the Ounce indifferent brown Pink and Lake for the same value but that which is more pure and fine is 1 s. 6 d. 2 s. and 2 s. 6 d. or more as they excell in goodness Some Colours are in powder which you must of necessity have by you and should mix and temper on your Pallet as you shall have occasion
manner To varnish these Prints or other Pictures without polishing Take of the best white Japan-varnish and an equal quantity of Varnish made of Mastick and oyl of Turpentine into these mingled together dip a fine Camels-hair-brush and with it varnish over your piece four or five times carefully by the fire as you are taught to do Japan and you 'l find that it gives a very rich gloss To varnish pictures and polish them like Japan With white-Japan-varnish only wash over your work five or six times observing all the method for Japan directly When it has rested three or four days lay the Picture on the Cushion whereon you cut the Leaf-gold then with Tripole and water polish it and lastly clear it up as you do White-Japan These are the Rules in short I thought fit to lay down in the treatise of this pretty Art and I question not but they are full most exact and satisfactory and will be found so when the Ingenious Ladies shall put them into practice To Imitate and counterfeit TORTOISE-SHELL and MARBLE CHAP. XXVI BEfore Japan was made in England the imitation of Tortoise-shell was much in request for Cabinets Tables and the like but we being greedy of Novelty made these give way to modern Inventions not but that t is still in vogue and fancied by many for Glass-frames and small Boxes nay House-Painters have of late frequently endeavoured it for Battens and Mouldings of Rooms but I must of necessity say with such ill success that I have not to the best of my remembrance met with any that have humour'd the Shell so far as to make it look either natural or delightful But to avoid all reflections I must attribute this to that mistaken piece of frugality in them who think if they can agree with a Painter by the greatt their business is done for by these means they not allowing the Artist a Living price he cannot spend both his oyl and labour nor stretch his performances to the utmost extent of his skill On the other hand some there be who are indeed willing but not being Masters of what they profess sink and come short through their inabilities I believe the complaint is universal the ingenious and most excellent in each profession being destitute of a reward that is answerable and proportioned to the worthiness of his undertaking But t is high time that we close with the business in hand And first the Tortoise-shell I propose for your imitation is that which is laid upon Silver-Foil and is always made use of for Cabinets and Boxes for it gives life and beauty to the Shell which else would appear dull and heavy Now to counterfeit this very well your wood ought to be close-grain'd smooth and cleanly wrought off as Pear-tree but if it be a coarse-grained wood as Deal Oak or the like you must prime it with Whiting as you have been taught in the chapter of black Japan for coarse-grained woods When either of these are rushed smooth as is required take a fit varnishing tool dipt into a gallipot of the thickest of your Seed-lac-varnish and wet with this varnish the breadth of a Silver-leaf which you must take up with cotton and clap on it whilst t is moist dabbing it close to the work as you have been taught in Guilding This done wash again and lay on another leaf of Silver ordering it as before and so continue till the whole is so overspread with Silver When t is through drie with a fine hair-brush sweep off all the loose Silver Next grind Collins-earth very finely on a grinding-stone mixed either with common size or gum-water this I esteem better than Lamblack because Collins-earth comes much nearer to the colour of the Shell Being finely ground mix it with more common size or gum-water as you have made use of either in the grinding With this spot the darkest of your Shell striving to the utmost to imitate it as nearly as t is possible and in order hereunto I counsel you to procure a piece or more of the true right Shell that hath much variety in it this lying by you will quicken and assist your fancie and enable you to perform it with much more ease and cunning You may observe when this is done that several reds lighter and darker offer themselves to view on the edges of the black and sometimes lie in streaks on the transparent part of the shell To imitate this you must grind Sanguis Draconis very fine with gum-water and with a small pencil draw those warm reds flushing it in and about the dark places more thick but fainter thinner and with less colour towards the lighter parts of the shells sweetning it so that by degrees it may loose its strength of red being intermixt with and quite lost in the silver or more transparent part T is worthy your observation that those who are expert and ready at spotting or working this imitation do usually grind the forementioned colours drie and very finely upon a stone and mix 'em with fine Lacc-varnish as they work them which is most agreeable and proper as I have noted before being not so apt to polish off as Size or gum-water notwithstanding I advise young beginners to use size or gum-water for I suppose they are not able to do it so well that it should not require a review and correction for then they may with ease and a little care rub out any faulty place and go over it again until t is done artificially but this convenience is not to be had if you imploy Lacc-varnish at the first When this is done and dried give it six washes of your Seed-lacc-varnish let it rest one day after which time rush it gently till t is smooth and fit for the second operation in order to which grind Dragons-blood and Gambogium in an equal but small quantity very finely put them into as much Seed-lacc-varnish as will wash it six times more permit it to stand twelve hours and then allow it the third varnishing and with the last mixture wash it so often till your silver is changed into gold or a colour like it Note that your first washings may be with the coarse the two last with the fine and clearest of your Seed-lacc-varnish avoid making your varnish too thick and high coloured with Gambogium and Sanguis Draconis but heighten it by degrees otherwise your silver will be too high-coloured before you have given it a sufficient body of varnish When it has stood two days polish and clear it up as you have been instructed in the treatise of black varnishing Another way to counterfeit Tortoise-shell First prime lacker and size your work in oyl very thin as you are taught before in the Art of Guilding and when your silver is laid on and dried let these colours be ground fine and thick in drying-oyl placing them on your Pallet they are burnt Umber Coâ—lins-earth brown Pink and Lake Do over your work with Turpentine-varnish