by no means ought to feel the edg of your instrument Be mindful likewise to leave black stroaks for the draperie of garments and the distinction of one thing from another as for example if you were to work in this manner the great Bird which is in the 11th Print at the end of this Book You ought I say to carve where the white is and leave the black untouch't which shews not only the feathering of the wings but the form and fashion of the Bird it self the same means are to be used in all other things which you undertake But I should counsel that person who designs to imitate Bantam work to endeavour to procure a sight of some Skreen or other piece for one single survey of that will better inform him than ten pages can instruct or demonstrate Had it been a thing of little trouble or which might have been useful to the young and willing practitioner we had inserted a Plate or two of it for it differs vastly from the Japan in manner of draught but since t is now almost obsolete and out of fashion out of use and neglected we thought it a thankless trouble and charge to affix a Pattern which could neither advantage Us or oblige You I think no person is fond of it or gives it house-room except some who have made new Cabinets out of old Skreens And from that large old piece by the help of a Joyner make little ones such as Stands or Tables but never consider the situation of their figures so that in these things so torn and hacked to joint a new fancie you may observe the finest hodgpodg and medly of Men and Trees turned topsie turvie and instead of marching by Land you shall see them taking journeys through the Air as if they had found out Doctor Wilkinson's way of travelling to the Moon others they have placed in such order by their ignorance as if they were angling for Dolphins in a Wood or pursuing the Stag and chasing the Boar in the middle of the Ocean in a word they have so mixed and blended the Elements together have made a league between fire and water and have forc't the clouds and mountains to shake hands nay deprived every thing of its due site and position that if it were like any thing beside ruin and deformity it must represent to you the Earth when Noah's Floud was overwhelming it Such irregular pieces as these can never certainly be acceptable unless persons have an equal esteem for uglie ill-contrived works because rarities in their kind as for the greatest performances of beautie and proportion But to return to our business When you have finished your carved work and cut it out clean and smooth with your pencils lay the colours well and purely mixt into your carved work in the manner which your ingenuity shall suggest or the nature of it absolutely require When the colours are finished the gold may be laid in those places where you have designed it with powder-powder-gold or brass-brass-dust mixt with gum-gum-water but that looks not so bright and rich as leaf-Leaf-gold which the Bantam Artists always employ and so may you also if you make a very strong and thick Gum-Arabick water which you must laie with a pencil on your work and whilst it is wet take leaf-leaf-gold cut it with a very sharp smooth-edged knife on a piece of leather straitly nail'd to a board in little pieces shaped to the bigness and figure of the place where you dispose of it Take it up with a little Cotton and with the same dab it close to the gum-water and it will afford a rich lustre if your water be very strong otherwise 't will look starv'd and hungrie when t is drie Having thus finished your work you must very carefully clear up your black with oyl but touch not your colours lest you should quite rub them off or soil them for this is not secured as the other Bantam flat-work is if wet come at this the colours will be ruined and peel off I confess I have seen some even of the raised-work whose colours would not stir but none so secured and firm as flat in which you 'll seldom or never find some Colours that will not endure a security with varnish but with the loss of their native splendor but those who please may leave out the Tarnishing colours and secure their carved work with a pencil as formerly directed CHAP. XIV To take off any Japan-patterns in this Book upon any piece of work whatsoever VVHen your Black or any other colour is varnished and polish't fit for draught take a particular design out of this Book or any thing else that is drawn upon paper with whiting rub all over the back-side of your Print or Draught and use a linnen cloth to wipe off all the whiting that lies rough and dusty on the back-side of your paper so whited Then lay the Print on the Table or Box with the whited side next to it in the very place where you design the Draught should be made and with a needle or piece of iron-wyer round and smooth at the point fixed in a wooden handle for the purpose not sharp to cut or scratch your Paper and Print which we call a Tracing-pencil with this I say draw over and trace the Print as much as you think necessary taking the most material and outward stroaks or all others which you imagin are hard and difficult to draw without a pattern This by the assistance of the whiting with which your paper was rubb'd will give the fashion and lines of what you have done upon the Box or Table After this if you draw in Gold-size use Vermilion mixt with Gum-water and with a small pencil dipt in it go over those lines made by the whiting for by this operation it will not easily come off so that you may work at leisure with the Gold-size But if you will work your metals or colours in gum-water then trace or draw over your Design with Gum-water mixed with Brass or gold-Gold-dust Now either of these ways here mentioned when drie and finished will work either in gum-Gum-water or Gold-size as I have formerly discovered CHAP. XV. The manner of working and setting off some Draughts in this Book I Think by this time I may truly say That I have in a familiar and easie method proposed Rules for purchasing materials of all sorts the manner of their composition with the way of using Varnishes laying of Metals Colours and whatsoever else is necessary or may claim affinity and relation to the Varnishing and Japanning Art But because these lines have a double design to instruct and inform the ignorant as well as assist those that have a small knowledge and smattering in this Science though I am perswaded I have sufficiently obliged the latter yet because I may not be so clear and satisfactory in my Rules to those who before never attempted any thing of this nature to whom t is a
a lively and unlimited fancie is exercised in an Art that is equally boundless and unconfined To lay or make Chesnut-colour-Japan This colour is now very much used and of great esteem especially for Coaches I have also made other things as Tables Stands and Looking-glass-frames I must of necessity declare that it sets off Gold and Metals well and because variety in every thing that is new is acceptable but chiefly to the ingenious Gentry for whom these pages are intended I could not in silence pass this colour over The things that make up this colour are Indian Red or else Brown red Oaker which will serve as well of either what quantity you imagin will serve your turn and with a Muller or Marble-stone grind it mixed with ordinary size as fine as butter From thence translate it to a pottinger then take a little white-lead and laboriously grind it after the former manner and with the same size In the third place have Lamblack ready by you mix this and the white-lead with the Indian Red or Oaker in the pottinger stirring and incorporating them together If the colour produced by these three be too bright darken it with Lamblack if too dark and sad assist it with white-lead this do until you have mastered the colour you wish for One thing here commands your memory and observation The same colour exactly which you make when t is thus mixt and wet will also arise when t is varnished although when t is laid and dry t will look otherwise Now when the colours are thus managed in the pottinger set it over a gentle fire put to it so much common size as will give it a fit temper to work neither too thick or too thin Being thus qualified for business call for a fine proportionable Hogs-hair brush with it wash over smoothly your piece let it dry and repeat until your colour lie full and fair Again give it a drying time and rush it smooth but by no means close to the wood unless you intend to begin your work anew and varnish it a second time After a days rest adorn it with three or four washes of the fine Seed-Lacc-varnish when that is also dried on varnish it up to a body fit to receive a polish with your white varnish To conclude its due and necessary time being spent polish and clear it up with Lamblack and Oyl To make an Olive-colour This performance is every way answerable to the former only instead of those put English Pinck grind it with common size and when it has attained the consistence of butter convey it to a pottinger and there Lamblack and White-lead mixt with it produce the Olive-colour if too light Lamblack will prevent it if too dark the other But farther if you think it looks too green take raw Umber grinded very fine with size add of that enough to take away that greeness And nothing then remains but a due heed and observance of the foregoing rules for Chesnut But before we leave this Section remember That all colours laid in size will not endure so violent a polish as those in varnish but are more subject to be rubb'd off By these methods you may make any colour you can fancie with this admonition That all colours which are light and apt to tarnish and loose their glossy beauty with Seed-Lacc must be humour'd and varnished with White-varnish the Seed-Lacc being prejudicial CHAP. VI. To work Metals or Colours with Gum-water WHensoever you design to work Japan in Gum-water you are advised to mix all your Metals and Colours and every thing you make use of with this Gum-water But because there is no general Rule without exception therefore we understand all colours except those which before we called Transparent ones for they require a different and distinct way of operation as the beginning of this Treatise has directed When you design a mixture forget not to stir the ingredients very well together with the water in a Muscle-shell which I conceive is more proper for this undertaking and for that reason desired you to furnish your self with a great number of them Be cautious I beseech you that you make not the mixture of your metals or colours with the gum-water either too thick or thin but endeavour to keep the golden mean between both that it may run fine and smoothly from your pencil Beside be not prodigal lavish and profuse of your metals but make a quantity requisite for your present business only and provide not for time to come for from a mixture of this nature made in too large a proportion several inconveniences arise As first in some short time the metals standing useless wax dry so that they must be wetted for a second emploiment with the said gum-water which by repetition corrupts both the metal and the colour by receiving too much of gum in them and although this might be likwise prevented by adding fair water instead of that mixt with gum yet in spite of all care and diligence and beyond expectation too another trouble and fault accompanies it and that is the dust will gather to them and render 'em unfit and unserviceable Again for your colours especially your Shells must be often shifted and changed otherwise the gum and colours will be both knobby and drie in that unseemly posture sticking to your shells I believe it will be your own negligence and the fault will lie at your door if after every minute caution and remark whereby you may not fail of success if they are observed you should through inadvertency miscarry But to proceed Your metals or colours thus prepared well mixed and ready for the business stir them with the pencil about the shell and draw it often on the side of the shell that it may not be overloaded with the metal when you design to draw small stroaks on the other side not too drie because you must be careful in making all your stroaks full and fair by no means thin and craggy carry your hand even and steddy and finish your line before you draw off your hand otherwise you may incur making the stroak uneven and bigger in one place than another But when you attempt great broad things as Leaves or large work then charge your pencil very full with this proviso only that it does not drop Here is one observation to be made for Gum-water which in Gold-size is useless and unnecessary and indeed very advantagious for learners and the unskilful especially and by them in a particular manner to be remarkt and observed But first t is useful for all for that place you intend to make your draught in must be rubbed with a Tripolee-cloth the reason is this your black when cleared up will be so glossy and as it were greasie that your metal or colour will not lie on it unless it be primed with the Tripolee in that manner So when you find any such greasiness on your work rub it with your Tripolee-cloth and
perfect Terra incognita an undiscover'd Province for their sakes I shall willingly make an addition of a few pages to shew in a plain and more particular manner the way of working some Patterns in this Book either in Metals or Colours by the knowledge whereof they may be enabled with ease and inclination to perform any enter-prize that shall oppose them To these I shall affix the different ways of setting off and adorning your work which I have before rather mentioned and touch't upon than treated of The first eight Copper-prints at the end of this Book are several designs for small work of whose differences their Titles will inform you Two others for Drawers of Cabinets one of all sorts of Birds flying in Antick figures two of Birds great and less standing in various postures another of Beasts c. Two figures of Chinese men and women in untoward gestures and habits Others of Flower-pots Sprigs Trees and the like Lastly their Temples Structures and Palaces their manner of worship and reception of foreign Ministers and Embassadors with as much pleasing variety as can reasonably be expected Any part of these may be placed on the work as the fancy and ingenuity of the undertaker shall direct yet I shall give a little light after what manner they may be transposed Suppose then you have a large piece of work as a Table or Cabinet take one of the Prints which chiefly complies with your humour insert others also which may be most agreeable yet give variety too borrow a part from one a figure from another birds flying or standing from a third this you may practise until your Cabinet be sufficiently charged if after all this any thing be wanting your judgment must order beautifie and correct But observe this always that if you would exactly imitate and copie out the Japan avoid filling and thronging your black with draught and figure for they as you may remark if ever you happen to view any of the true Indian work never croud up their ground with many Figures Houses or Trees but allow a great space to little work And indeed t is much better and more delightful for then the Black adds lustre to the Gold and That by way of recompence gives beautie to the Black But here an Objection may be started That if a little work is most natural and according to the Pattern which the Indians have set us why have not I followed that Rule in my Draughts annexed to this Book To this I answer That if I had so done I must have provided thrice the number of Plates to shew the variety that these have sufficiently done not to mention a triple charge that would have attended Again should these have been beautified with little work I had then been liable to censure for being niggardly of my Patterns and depriving the practitioner of choice and variety But by what I have presented I have securely sailed between this Scylla and Charybdis have passed the Rock on one hand and the Gulph on the other and if I am not flattered have not only obtained the good liking of the Curious but sufficiently supplied the wants of those who are great undertakers Here you may alter and correct take out a piece from one add a fragment to the next and make an entire garment compleat in all its parts though t is wrought out of never so many disagreeing Patterns Besides I have not by this variety fixt a Ne plus ultra to your fancie but have left it free and unconfined I do advise that no one would oblige himself to keep close to the Copy for even the small Cutts will supply the place of a much larger Box than is there express'd and not injure or disgrace it I do with modesty and submission pretend not to confine but lead and assist your fancie Thus much in general terms I 'le detain you no longer on this large and pregnant Topick but regularly now descend to particulars and instruct you how to work off some of the fore-mentioned Draughts To work the First Draught This affords you ornaments for the tops and sides of little Boxes which when traced out according to the directions already given must be done with gold if you work in gum-water Take your gold-shell and with your pencil fill some of the tops of your houses and those parts which you observe in your Print to be mark't with black lines as the Doors Windows c afterwards the Sprigs Flowers and Birds all of them in a fair small but full stroak now if you paint these latter things with colours they may be variously managed with red some others with blew a third with silver until the whole be entirely compleated If you think to raise any of these be sure to practise on those that lie first and foremost for which I do refer you to the Chapter of Raised work When you have thus far advanced t is required that you should proceed to Setting off which I desire now to make my business to inform you as having never yet mentioned it yet I shall at present confine it only to that of Gum-water for this is not the way with Gold-size of which more properly hereafter When the leaves and tops of your Houses are fairly laid in Flat-work to make the black and shining veins of your leaves the tiling of your buildings and foldage of garments appear through your gold and metals as some of the Indian work does exercise your Tracing-pencil breathing on your work with your mouth close to it and when moistened with your breath streak or draw out the veins and foldage of the figures their hands face and parts so made in their proper order When your metal begins to drie and will not separate force it to part again by breathing on it for that moistness will reduce it to obedience which must be observed too in a moderate degree for if you make it over-wet and damp the tracing-iron t is true will disjoin it yet no sooner can it pass the place but it closes up and reduces it self to its former amicable conjunction as a Ship that ploughs and divides the Sea makes a channel in an instant but as that sails off the waters return the breach is healed and the place of its passage is no more to be found Too much moisture is therefore as great an inconvenience as none at all Perhaps your work may be rough and unhandsom before t is throughly drie yet after that a soft new pencil by brushing will cast off that disguise will command the loose rough particles to withdraw and represent the Veinings and Hatchments in a smooth and pleasant dress To set off Raised work with Black When your Raised work has been varnished and burnished put Lamp-black into a Muscle-shell and with gum-water hardly wet it for if you allow it too large a portion you 'l find it a difficult task to make it comply and incorporate but when it is mixt which
warmth you gave it makes the quicksilver also more ready to spread After these two or three visits made to the fire give it the thorough-heat at first mentioned then take it from the fire and with a scrub-brush that has never been toucht with quicksilver clean it as you did in the beginning Now if you perceive any spot of quicksilver untoucht you must lay your gold upon it again when t is cleaned with the scratch-brush you may after this manner heighten its colour if you think convenient Take of Salt Argal and Brimstone an equal quantity mix them with as much fair water as will cover the thing when put into it boil them over the fire and having tied your guilded work to a string put it into the boiling liquor for a little space looking on it every minute and when it has acquired a colour that pleases you dip it in cold water and the whole is finished But still if you would have the work more rich and lasting you may again quicken it with quicksilver and aqua fortis and guild it over again after the former method and repeat it so often if you please till your gold lies as thick as your nail upon the metal Another way to guild Silver Brass or Princes-metal First brush over your silver with Aqua fortis then quicken your work with Mercury as before taught Let your gold be beaten thin and put into a Crucible with just so much quicksilver as will cover it and let it stand till it begin to blubber then strain it through a piece of leather as before and the quicksilver will go through and leave your gold but discoloured as hath been said then lay it on with an iron-tool and in every thing do as you were taught in the other guilding Another way to heal or heighten the Colour of your Gold Take Sal Armoniack Salt-petre Sandiver Verdigreece white and green Vitriol grind them with white-wine vinegar which lay all over your work then lay it on a fire and give it a small heat that may make it smoak and then take it off and quench it in urine To take off Gold from any guilt Plate without the damage of one or loss of the other Put as much Sal Armoniack finely beaten into Aqua fortis as will make it thick like a Paste spread your Plate all over with it put it into the fire give it a thorough heat neal it or make it red hot then quench it in fair water and with a scrub-brush scratch and scrub the Plate very well which will fetch off all the gold into the water After a little time standing quietly pour off your water and the gold will he to your satisfaction found at the bottom if all the gold be not come off do the same again As for cleansing this plate or any other which we call Boiling of silver first make your plate red hot let it stand till t is cold then mix Argal and Salt with water when it boils put in your plate keeping it there for a quarter of an hour take it out and when washed and rinsed in fair water you 'l perceive by its beauty that t is sufficiently changed To Silver-over Brass or Copper as the Clockmakers do their Dial-plates Having Leaf or burnt-silver in readiness put it into as much Aqua fortis as will cover it after an hours standing pour off the Aqua fortis as clean as may be from the silver wash the silver three or four times with water let it dry and then mix it with one part of fine Argal to three of silver with a little fair water When you make use of it rub it on the work with a cork until t is all silvered and lie as fair as you could wish Next dry it well with a linnen cloth and having made it warm wash it over three or four times with the best white varnish spoken of in this book and it will not fail to secure it from Tarnishing and other injuries To guild Iron Brass or Steel with Leaf-gold or Silver If you are to guild Brass or old Iron you must cleanse it very well with a Scratch-brush before you hatch or guild on it but for new Iron or Steel after you have filed it very smooth take a hatching-knife which is only a knife with a short blade and long handle and hatch your work all over neatly then give it an heat whilst it looks blew on a charcoal fire from whence take it and lay on your gold or silver and with a sanguine-stone burnish it down a little then give it the same heat and burnish it all over Thus may you repeat three Or four of half a dozen or a dozen times if you please still observing to give it the same heat before and after you lay on your gold or silver and burnish it This leaf-gold and silver is much thicker than the other and four times as dear To refine Silver Take Silver be it never so coarse and melt it in a melting-pot then cast it into water to make it hollow after t is cold take it out and dry it mixing one ounce of Salt-petre to a penni-weight of Antimony so proportionably greater quantities if you have occasion These with your Silver confine again to a melting-pot covering that with another very closely luting them together with loam made of clay and horse-dung The two pots being thus cemented put 'em into the fire and give them a very strong heat after which remove them to a cooling place Break the pot when cold and you 'l perceive the silver fine at the bottom but the scorio and dross on the upper part like a cinder Copper may be separated from Gold after the same manner To separate Gold and Silver when incorporated with Aqua fortis Take as much Aqua fortis duplex as will something more than cover your metal in a strong vial or parting-glass Put it on sand over a gentle fire at first with the glass open and unstopt for if t is closed t will break in pieces as may also a fierce fire at the beginning by degrees therefore increase its heat till you make the Aqua fortis simper and boil continue so doing till your metal be dissolved This done pour the Aqua fortis gently into water the silver will invisibly go along with it but the gold remain at the bottom of the glass which gold when well washed with water you may melt down or preserve for guilding metals by mixing it with quicksilver and straining the latter through leather as you were instructed by Leaf and Ducket-gold Now to reduce the silver into its former body which appears to be a water and so would remain many years unless you take this method for its alteration pour the said water wherein your silver is floating like undiscernable Atoms into a copper vessel if in any other put in copper-plates and immediately all the silver will repair to the copper like an army to
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
and whilst it is wet mix brown Pink and Lake thin with varnish and lay all your faintest clouds or spots which you may soften very sweetly seeing your varnish is moist After three hours standing or longer if the colours are drie with a large soft Tool pass it lightly over and again wetting it lay in your clouds more warm and dark with Umber and Collins-earth before t is drie always observing the life and sweetning your work which is blending and mixing two colours after they are laid so that you cannot perceive where either of them begin or end but insensibly join with each other If the clouds are not dark enough repeat the varnishing and clouding once more where t is required When t is well dried glaze it two or three times with brown Pink yet a little tincture of Verdegreas in it will not be amis if you had rather you may varnish it with Lacc-varnish and finish it as you did the former Whiten and prepare your wood in all respects as you do for white Japan and after you have done it over with flake white or white-lead if you design a white with some veins use some Vine-black which is made of the cuttings of Vines burnt and grinded mix two or three degrees of it with white-lead and a very weak size being warmed until you have produced the intended colour for the clouds and veins of the Marble Being thus far advanc't call for a large clean brush wet your piece over with water and before t is dry with a great Camels-hair-pencil dipt in the palest thin mixture flush or lay the faintest large clouds and veins of your Marble which being laid on whilst the work is wet will lie so soft and sweet that the original will not exceed it Then if your work be not too drie take a smaller pencil and with a colour one degree darker than the first touch all the lesser veins and variety of the Marble If your work drie too fast wet it again with the brush and water and lay not on your colours when the water is running off lest they bear it company Lastly take a small-pointed feather and with the deepest colour touch and break all your suddain or smaller veins irregular wild and confused as you have them in the natural Marble After days drying cold-clear it that is do it over with Isinglass or Parchment-size and then varnish polish and clear it up exactly in all things according to the directions for white Japan to which places and others above mentioned we refer you By mixing other colours this way any sort of Marble is subject to your imitation and if neatly done well polisht and varnisht will not only exceed any Marbling in oyl but will in beauty and gloss equal the real stone CHAP. XXVII Of Dying or Staining Wood Ivory c. To Dye Wood a beautiful Red. VVoods that are very white take this dye the best of any set a kettle of water boiling with a handful of Allom cast your wood into it permitting it to boil a little that done take your wood but and put into the said water two handfuls of Brasil wood then return your wood into the vessel again to boil for a quarter of an hour and t is concluded When dry you may rush and polish it or varnish it with the tops of Seed-lacc-varnish and polish it by which management you will find the wood covered with a rich and beautiful colour To stain a fine Yellow Take Burr or knotty Ash or any other wood that is white curled and knotty smooth and rush it very well and having warmed it with a brush dipt in Aqua fortis wash over the wood and hold it to the fire as you do Japan-work until it leaves smoaking when dry rush it again for the Aqua fortis will make it very rough If to these you add a polish and varnish it with Seed-lacc and then again polish it you 'l find no outlandish wood surpass it for the curled and knotty parts admit of so much variety being in some places hard in others soft and open-grained to which Aqua fortis gives a deeper colour than to the harder and more resisting parts In short you 'l perceive a pleasing variety interwoven beyond what you could imagine or expect If you put filings or bits of metals as brass copper and iron into the Aqua fortis each metal will produce a different tincture the best French Pistols are stockt generally with this sort of wood and stained after this manner To Dye or Stain Woods of any colour for Inlaid or Flower'd work done by the Cabinet-makers Use the moistest horse-dung you can get that has been made the night before through a sieve or cloath squeez out what moisture you judge sufficient for the purpose convey it into several small vessels fit for the design in each of these dissolve of Roach-allom and Gum Arabick the bigness of a nutmeg and with them mix reds blews greens of what colours best please you suffering them to stand two or three days yet not without often stirring them Then take your woods of which I think Pear-tree is the best if t be white cut them as thick as an half-crown which is in all reason thick enough for any Fineered or Inlaid work and of what bredth you please making your liquors or colours boiling hot put the wood into it for as long time as will sufficiently colour them yet some must be taken out sooner than the rest by which means you 'l have different shades of the same colour for the longer they lie in the higher and deeper will be the colours and such variety you may well imagin contributes much to the beauty and neatness of the work and agrees with the nature of your parti-coloured flowers To Dye or Stain Wood Black Take Log-wood and boil it in water or vinegar and whilst very hot brush or stain over your wood with it two or three times then take the Galls and Copperas well beaten and boil them well in water with which wash or stain four work so often till it be a black to your mind the oftner it is layed the better will your black be if your work be small enough you may steep it in your liquors instead of washing it The best Black Dye for Ivory Horn Bone c. Put pieces of Brass into Aqua fortis letting it stand till t is turned green with which wash your Ivory being polished once or twice Next boil Logwood in water into which put your Ivory whilst t is warm and in a little time it gives a fine black which you must now rush and polish again and t will have as good a gloss and black as any Japan or Ebony If you desire any foldage flowers or the like fancies should remain white and of the same colour with the Ivory draw them neatly on the Ivory with Turpentine-varnish before you stain it for those places which you touch with the varnish are so secured by it that the Dye cannot approach or discolour them After t is dyed if you can hatch and shadow those fancies with a Graver and fill the lines by rubbing and clearing up the whole with Lamblack and Oyl it may add much to its ornament and perfection To Stain a Green colour on Wood Ivory Horn or Bones First prepare either of them in Allom-water by boiling them well in it as you were just now instructed Afterwards grind of Spanish-green or thick common Verdegreas a reasonable quantity with half as much Sal-Armoniack then put them into the strongest wine-vinegar together with the wood keeping it hot over the fire till t is green enough if the wood is too large then wash it over scalding hot as in the other instances To Dye Ivory c Red. Put quick-lime into rain-water for a night strain the clear through a cloath and to every pint of water add half an ounce of the scrapings of Brasil-wood having first boil'd it in Allom-water then boil it in this till t is red enough to please you Thus Courteous Reader are we at lenghth arriv'd at our desired Port. Our Performances have been no way inferiour to our Promises What we ingaged for in the beginning we have punctually accomplisht and nothing certainly remains but that you convert our Precepts to Practice for that will be the ready way to examin and try whether they are false or insufficient We have all along been directed by an unerring Guide Experience and do therefore advise you upon the least miscarriage to make a diligent review and doubt not but second thoughts will convince you of too slight an observance We desire you 'd be as exact and regular in your performances as we have been in ours for by these means Satisfaction will attend both Parties all our designs must succeed to our wish and our Labours shall be crowned with success and reputation FINIS The Lidd of a Powder Box The Lidd oF a Patch Box The side of a Patch Box The side of a Powder Box The Fellow to it The Fellow to it Other patterns for Powder Boxes Other Patterns for Patch Boxes The Sides The Sides The Fellow The Fellow Other patterns for Powder Boxes Other Patterns for Patch Boxes For the side of Patch Boxes Another Sort of work for the Sides of Powder Boxes The fellow to it The follow to it Cloth Brvshes Combe Brushes A Pincushing Trvnks for Pendents Necklace Rings Jewells The topp of a 12 Inch Frame for a Loâ—king Glass for Jappan Worke The Bottom of the Said frame The Side of the fram on the Right hand The side of the frame on the Left hand The topp of a halfe Rovnd Frame for Japan worke called a 10 Inch Dresing frame for a Looking Glas The Bottom of the Said Frame The side of the frame to the Right hand The side of the Frame to the Left hand For a Standish for Pen Inke paper 〈◊〉 allso may sarve for a Comb Box The Movlding The Fore Side of the Standish For the topp or Lid. of a Gombe Box The Movlding The fore side of the Combe Box Seuerall Figures to be plased as Occasion serveth in Japan Worke A Pagod Worshipp in the Indies Another For Drawers for Cabbinets to be Placed according to yoâ—… fancy Of Drawers som are Deepe som more narrow of the same Cabbinett An Embassy