filth be quite removed that the Gold may more closely join it prepare then your Quick-silver by mixing it with a little Aquafortis in a Vial three or four drops of the Aquafortis to an ounce of the Quick-silver quicken your Work with it viz. rub it over with a Rag or your Finger till it appears all Silvered or touched This done Take your prepared Gold and with a small Knife or Iron Tool proper to the purpose spread or overlay the whole piece omitting no part give it two or three little heats before you give it a thorough heat so that with a Hair Brush like a Comb Brush you may dab and spread your Gold these little heats making the Quick-silver more ready to comply then give it the thorough-heat which will compel the Mercury or Quick-silver to evaporate or fly away then take it from the Fire and with a scrub Brush untouched with Quick-silver cleanse it as at first if you perceive any untouched spot of Quick-silver the Gold must be laid on it again when it is cleansed with a scratch Brush and after this manner you may heighten its colour if you see it necessary To heighten the colour of Gold Take an equal quantity of Salt Argal and Brimstone mix them with as much fair Water as will cover the gilded Mettal when put into it boil them well and tying your Gilded Mettal in a string plunge it in for a little space often plunging and looking as often on it as you draw it out and when the colour is heightened to your expectation dip it in cold water and the work is done you may in the foregoing manner double or treble Gild till the Gold enriches it to a lasting thickness and colour To Counterfeit Tortoiseshell To do this well let the Wood you intend to work on be very close grained clean and smooth wrought off as Pear-tree or the like but if rough grained you must Prime it with Whiting as you are taught in Black Japaning for coarse grained Woods Rush it smooth and go over it with Seed Lac-Varnish the breadth of a Silver Leaf which take up with Cotton and lay on it moist as close as may be then wash again and place on another Leaf of Silver and so continue till the Wood is over-spread with Silver and when dry sweep off all the loose Silver with a hair brush then finely grind Collins Earth and mâ—â— it with Gum Water or Common Size and with this havit added more Size or Gum Watâ—â— than it was ground withal Sâ—â— or Cloud the Ground-Worâ— having a fine true natural Shell by you to imitate and when this is done you will perceive several Reds lighter and and darker appear on the edges of the Black and many times lye in streaks on the transparent part of the Shell to imitate this finely grind Sanguis Draconis with Gum water and with a fine Pencil draw those warm Reds flushing it in about the dark places more thick but fainter thinner and lesser of colour towards the lighter parts so sweetening it that it may in a manner lose the Red being sunk in in the Silver or more transparent parts VVhen it is done and dried give at least six washes of Seed Lac-Varnish and when it has continued twenty four hours Rush it gently and when it is smooth and fit for the second operation grind Gambogium very finely in an equal small quantity put these into as much Seed Lac-Varnish as will serve to wash it another six times then let it stand twelve hours and give it the third Varnishing and with the last mixture wash it so often that the Silver is changed to a Golden colour and the work is done To Dye Wood a curious Red. The VVood that takes this colour must be very white and to begin it put a handful of Allom in a moderate Kettle of water and cast your wood into it and when well soaked take it out and put in two handfuls of Rasped Brasil-wood and when that has boiled well put the wood in again for a quarter of an hours boiling and it will take the colour To Stain a curious Yellow In this case take the knotty Ash or Bur that is very white knotty and curled Smooth and Rush it very well and when it is well warmed wash it over with a Brush dipped in Aqua-fortis then hold it to the fire till it desists to smoke Rush it again when dry then Pollish it and Varnish it with Seed-Lac and it will be of a curious colour not inferiour to any Outlandish Yellow wood and if you put filings or bits of Metal as Copper Brass c. each Metal will produce a different tincture To Stain or Dye Wood Black Boil Logwood in Water or Vinegar and two or three times Brush or Stain your Wood with it when very hot then take Nut-Galls and Copperas bruise them well and boil them in Water and with it Wash or Stain your Wood so often till it be a perfect Black or rather steep it in the hot Liquor if you can put it in and the Dye will penetrate the better To Dye or Stain Wood for Inlaying of Flowers or other things in Cabinets Get moist new Horse-Dung and squeeze out the moisture through a Cloth put it into several small Vessels fit for your purpose and dissolve Gum Arabick and Roach Allom each the quantity of a Walnut and with these mix Reds Greens Blues or any Colour that is sutable to the work stir them often three or four 〈…〉 then take your Wood particularly Pear-tree for VVhite cut into the thickness of half-crowns or so much as will suffice any Inlayed work and in a square or length according to your desire boil up the Liquors or Colours very hot and put in the VVood till the Colour has well taken some indeed you may take out sooner that the Colour being less strong may the better agree with your particoloured Flowers Shading and the like To Dye or Stain Ivory Bone or Horn Red. Soak fine Lime about twelve hours in fair Rain VVater then pour off the VVater well from the settling through a Linnen Cloth and to each Pint put half an ounce of Rasped Brasil wood and having boiled your materials in Allom water boil it in this and it will give a curious tincture To Stain Horn Bone Wood or Ivory Green Prepare your materials by first boiling in Allom-water then grind the common thick Verdigrise or Spanish Green a moderate quantity adding half as much Sal-Armoniack and put them into the sharpest VVine Vinegar as also the materials you intend to Stain and keep them there hot till they have taken a good tincture To Stain or Dye Horn Box or Ivory a curious Black To do this put small pieces of Brasil VVood into Aqua-fortis and so continue them till they appear green then wash well your materials in them and boil Logwood in VVater into which put them whilst they are warm and in a little time the Ivory c.
accounted the best in this business you must have in a readiness a considerable number of Muscle-shells to mix Colours and Minerals in as the occasion shall require it Dutch Rushes are another material useful in this matter to smooth the Work before it is Varnished or take off the knobs or grittiness from the Ground or when it is Varnished Tripoly is proper to Pollish this Work with when Varnished being reduced into fine powder and sifced as for Linnen Rags you must be provided with them both fine and course to clear and pollish this Work also Olive Oil for a clearing as many of these things shall be directed hereafter as they occur in due place in the Work Several things necessary to be used in this Art c. Of Spirit of Wine This is of main use in Varnishing and if it be not properly qualified it will spoil the Varnish and not be capable for want of strength to dissolve your Gums or make them spread and so consequently lye uneven upon the Work and to know when this Spirit is sufficiently rectified put some of it in a Spoon and put a little Gunpowder in and if it burns out blows up the Gun-powder and leaves the Spoon dry then it is a good Spirit but failing in this and leaving the Spoon moist when the flame extinguishes it is not fit for your use Of Gum Animae Gum Lac and Gum Sandarack To chuse these well as for the first take the most transparent clearest and whitest which is the best The second also called Seed Lac chuse that free from dross sticks or dust large grained and bright As for the third take that which is large and very white casting the least yellow free from dust and dross Of Shell Lac White Rosin Bo'e-Armeniâ—ck and Venice Turpentine As for the first that is best which is most perspicuously transparent will easily melt and draw out with your Fingers as fine as a hair As for the second chuse for your use that which is he whitest and clearest As for the third that is most fit for your purpose that is free from grittiness or gravel and is of a blackish red colour commonly called French-bole Of Gum Elemi Gum Arabick and Gum Capal As for the first chuse the hardest and freest from dirt and drâ—ss Chuse the second white and transparent As for the third that is best for your use that is whitest free from dross and the thick dark stuff incorporated with it Of Gambogium Isinglass Benjamin or Benzoin Dragons Blood c. These are other things necessary in this Art and ought to be well chosen As for the first the best is that of a bright yellow free from dirty thickness and dross Chuse as to the second that which is whitest and clearest free from yellowness As for the third the best is that of a bright red colour much like to clarified black Rosin free from all dross and filth The fourth when the best is of a bright red free from dross it may be had as the others at the Drugists but the prices I set not down because they generally rise and fall Of Silver Dust Brass Dust Green Gold Dirty Gold Coppers Powder Tin c. The Silver Dust the best is brought from beyond the Seas and is known from the Counterfeit by being squeezed between your Finger and Thumb giving a glorious Lustre as indeed it does in the Work Brass Dust by Artists called Dust Gold is the best made in Germany the best is of a fine bright colour nearest resembling Gold try it as the Silver Dust as for the course sort though it will work pretty well with Gold Size yet it will not do so with gum-Gum-water Green Gold a corrupt Mettal so called is very good in this Work for casting a fading Green colour Dirty Gold is a corrupt Metal casting a dark dull though Silverish colour bearing pretty well a resemblance to dirty drossy Gold Coppers are three sorts Natural Adulterate and Artificial as for the Natural being cleansed it may be ground without any mixture The Adulterate is most fit for a Ground and serves commonly to lay other Metals on as in hetching or heightening Gold or Silver on but the Artificial is of a higher and brighter colour than either There are also used in this Art those called Speckles of Copper Gold and Silver and divers other colours differing in fineness which may be worked as the Artist fancies either on the outsides of Boxes or Drawers or on Mouldings and may be purchased ready done Of Colours proper in Japaning Some of these are called transparent on which Gold and Silver are to be laid or some light colour so that by this means they appear in their proper colours lively and beautiful Of these for a Green are Distilled Verdigrise for a Red fine Lake for a Blue Smalt have to Grind these on a Porphiry or Marble Stone Grind with a Muller what quantity you please with Smalt or Verdigrise with Nut Oil as much as will moisten the Colours and grind them till they are as fine as Butter put then the Colours into Shells and mix them with Oil of Turpentine till they become thin for use lay them on Silver Gold or any other light colour and they will then become transparent altering their lightness or darkness according to that of the Metal or Colours that are placed under them this for a curious Red may be done with Lake but then use drying Oil to grind them with If you design Figures on the black of your Table or Boxes as Trees Birds or Flowers those may be done for White with White Lead for Blue Smalt mixing it with Gum Arabick Water and mingle them as you please to make them lighter or deeper Flake white is a very pure White but the other will do for ordinary Work and you must use either of these with Smalt or all other Colours that have not a Body of their own you may for a Purple use Russet fine Lake and Sea-green and it may be done with other sorts of Reds and Greens and except transparent Colours all must be laid with Gum-water Seed Lac Varnish how to make it Your Ground Work is good rectified Spirits of which you may take a Gallon put it into a wide a necked Bottle as you can get that the Gums may the better come out then of the best Seed Lac add a pound and a half let it Macerate twenty four hours or till the Gums are well dissolved with often shaking to keep them from cloging together then with Flannel Strainers strain it into a Tin Tunnel placed in the Mouth of the empty Bottle the Strainer may be made as before directed and squeeze the Dross in the Bag and throw it away as of no use then let the Varnish settle and pour it off into other Bottles till it rises thick and no longer then strain the thick part and settle that again and keep the fine Varnish for your use and this
on the sides and top of the Rock which sticking will render the Work more beautiful and give it a Shadow or Reflection This must be done with all diligence and no intermission had till finished till once covered and being once dry operate again and so one upon another successively to shape it to your mind and in sweeping the Speckles intermix not one portion of scattered parts with the other that are of a different colour but every parcel in the proper station to beautifie the better At first when laid it will look dull and heavy but the securing Varnish in a little time will add to it a pleasant beautiful colour and so you may do Flowers Trees Garments and many pleasant things to Adorn your Work Wood how to overlay with Gold or Silver To prepare this Work yea must be furnished with Parchment-Size that is the cuttings of Parchment boiled in fair water to a gelly and when strained and cooled it will prove a strong Size When you are to use it put as much as you shall want into an Earthen Pot and make it hot then as it is cooling scrape as much fine Whiting into it as will colour it mix them well with a clean Brush and with this mixture white your Wood or Frame striking or jobbing your Brush against it that it may the better enter in the hollownesses of carved work then give it rest that it may dry This done melt the Size again and put in more Whiting to render it some degrees thicker and with this do over the Frames seven or eight times or as you see there is a necessity and when it is dry open with a Gouge no bigger than a Wheat-straw the Veins in the Carved Work that the Whiting has stopped up then with a fine wet Rag and your Finger carefully smooth and water plain it over and Rush it smooth when dry if necessity require it and in this condition it will well receive your Gold or Silver Size but before I proceed I shall teach you to make these Sizes The best Gold-Size at present in use Take an equal quantity of the best French and English Bole-Armoniack grind these fine on a Marble stone with fair water then scrape into it a little Candle grease incorporate and grind all these well together then mix a little quantity of Parchment-Size with a double proportion of Water and the business is done The best Silver-Size in use Grind fine Tobacco-pipe Clay very small mix with it as much Lamp-black as will turn it of a light Ash-colour and to these add bits of Candle grease grind them very fine together a mixture of Size and Water and try these on the corner of the Frame if it be rough in burnishing put more Oil or Grease and as near as you can bring it to a due temper that it may work well To Size your Frames or other matters To do this make the Size Wood-warm and with a fine Brush stir it very well till it is somewhat thin go over the Frames with it twice or thrice yet touch not the hollow parts of the deepest Carvings where the Gold cannot conveniently be laid for the yellow colour nearly resembling first laid on the fault will not soon be discovered let it dry four or five hours and then try the Gold if it will Burnish on it if not alter the Size and do it over again To lay on the Gold in order to Burnishing Let your Frame or other matter intended be set on a Hazle place the Leaf Gold oâ— a Cushion to be held in your left hand with the Pallat and Pencil you must for this work have a Swans-Quill Pencil or a larger of Camels hair if the Work require it dip it in Water and wet no more of your Frame at a time than will take up three or four Leaves make your beginning at the lower end and so proceed upwards laying on whole leaves or half ones as it requires then wet such another part of your work and lay on the Gold with your Pencil or Cotton gently pressing it very close and having Gilded the upright sides turn the Frame and proceed the same way with the ends then survey the spots and places that are omitted and cut small parts of Gold to cover them when wetted with a smaller Pencil than before when it is so finished let it stand till the next day that time you leave off To Burnish the Gold-Work Take a Wolf or Dogs Tooth if you cannot get Aggats or Pebles formed into the same shapes and Burnish so much of the Work as you design leaving the Ground of the Carving untouched and some other parts as you see best convenient which in respect of the Burnishing being rough the better sets it off That which is omitted to be Burnished must be Matted or secured with Seed Lac-Varnish or Lacker if you design it a deeper colour then must your Work be repossest or set off with Lacker mixed with Saffron and Dragons-Blood or the colour called Ornator and with a fine Pencil dipped herein touch the hollownesses of the Carving and the Veins of the Foldages or Leaves if you fancy it is not deep enough you may by a repetition make it so and the Work is done To lay on Silver-Size Warm the Silver Size that is newly ground and mingled well with weak Size as you did the Gold Size do it once or twice and let it dry and try the Leaf Silver if it will Burnish on it it is prepared for the Work but if it will not make an alteration in the Size and for the rest lay on the Leaf-Silver and do as you did by the Gold and it will answer Note as farther Rules and ever observe them 1. Let your Parchment Size be somewhat strong keep it not long least it spoils 2. Grind no more Silver or Gold Size than just you have present occasion for 3. Ever keep your Work clean from Dust after it is Sized and Gilded or else in the Burnishing it will be full of scratches 4. Do not Whiten or Burnish Gold Size in hard Frosty Weather for then the Whiten will be apt to peel off and the Gold flaw The Art of Gilding Mettals To Prepare the Gold Take Ducket or Leaf Gold what quantity you desire observe to beat the Ducket very thin and put this Gold with as much Quick-silver as will just cover it into a Gally-Pot where let them continue half an hour where immediately after the mixture stir them with a stick then strain them through a piece of Leather squeezing with your hand till you have forced out as much Quick-silver as you can industriously do so that what remains in the Leather looks more like Silver than Gold yet this only must be employed in Gilding after the following manner To Gild with Gold Silver Copper Brass Princes Mettal c. Brush first your Mettal well with a Wire Brush wet it with Water or Beer and brush on till the dirtiness or
does as well without the danger of attempting to boil it which endangers firing the House and the Party's Life Shell Lac-Varnish how to make it This in curious glossy pieces of Work is not of value but in Varnisht Woods it succeeds to make put to a Gallon of Spirit â— pound and a half of the best Shell Lac order it as the former and though it has no Sediment it is proper however it should be strained to take away the sticks or straws that may be in the Gum nor will it ever be fine and clear as the former but turns in a few days to cloudiness yet is it fit for course work and much used White Varnish how to make it Take an ounce of White Gum Mastick and an ounce of White Gum Sandarach three ounces of the best and clearest Venice Turpentine Gum Elemi half an ounce Gum Capal an ounce and a half Gum Benjamin or Benzoin of the clearest half an ounce and half an ounce of White Rosin and the Gums being separated in their quantities provided put the Rosin and Capal in a glass Vial with half a pint of Spirits that they may be dissolved and to the same end in a Glass Bottle of three quarts of Spirits put the Venice Turpentine Animae and Benjamine and in another Bottle the Gum Mastick and Sandarack in a pint and a half of Spirits then dissolve the Gum Elemi in a quarter of a pint of Spirits powder very finely the Animae and Benjamin the better to dissolve in the Spirit and then pour them off into one large Bottle let them stand to fine as the former and then strain them through a Linnen cloth gently not hardly pressing the Sediment lest you carry the grittiness of the Gums along with you to injure the Varnish General Rules for Varnishing This is a point nicely to be observed or your labour and cost may be in vain 1. If you chuse Wood that requires to be Varnished let it be exempted from knots very close grained smooth clean well rushed and free from greasiness 2. As for your Colours and Blacks lay them even and exquisitely smooth sweep all roughness off with your rush 3. Keep your Work ever warm but not hot to raise blisters or crack it which no thing but scraping off all the Varnish can amend 4. After every distinct wash let your work be thoroughly dry for neglect in this point introduces the fault of roughness 5. After it is Varnished let it lye by and rest as long as your conveniency will admit and it will be the better 6. Ever take care to begin your Varnish strokes in the middle of the Table or what you do it on and not from one end to the other and your Brush being planted in the middle strike it to one end then take it off and fix it to the place you began at so draw or extend it to the other end and so continue it till the whole plain be Varnished over and beware you overlap not the Edges which is when the Varnish hangs in splashes or drops on them therefore to prevent it draw your Brush gently once or twice against your Gally-pot side 7. When you have proceeded so far as to come to pollish let your Tripoly be very fine and the finer the Work let it be still the finer and use fine Rags keeping your hand moderately hard upon it and brighten or pollish one place as much as you intend e're you leave it and pass to another and always have regard that you pollish your Work as smooth as you intend at one time but if your conveniency will admit let it rest two or three days before you give the finishing strokes after you have pollished it but come not too near the Wood to make it thin and hungry for then it will require another Varnish or remain to your discredit 8. Take a sufficient quantity of Tripoly at the first pollishing till it begins to come smooth and so lessen by degrees and carefully observe there be no scratches or grating in it 9. When you have a mind to clear up the Work wash off the Tripoly with a Spunge and soak up the wet with a fair Linnen Cloth and with Lamp-black mixed with Oil gently smeer the whole face of it let no corner nor moulding of it escape that the whole Piece may be freed then with other Linnen and a hard hand cleanse it of that and these things done there will be an admirable gloss For white work let your pollishing be gentle and easie do it nimbly and clear it with Oil and fine Flower and in exactly observing these Rules you will prove an Artist Of Black Varnishing or Japan Provide for this imatation of Japan a close grained Wood well wrought off Rush it smooth and keep it warm by a Fire but never so near as to burn scorch or blister your work then add to Seed-Lac-Varnish as much Lamp black as will at the first strokes colour the Wood do it three times permitting it to dry well between every doing and also Rush it well then with a quarter of a pint of the thickest Seed-Lac mixed with an ounce of Venice Turpentine put in more Lamp-black so much as may well colour it and with this wash it six times leting it stand twelve hours between the three first and the three last washings then with the finest Seed Lac just tinctured with the Black do it over twelve times leting it dry between every time doing after which let it remain for five or six days before you pollish it At the end of that time take Water and Tripole and Pollish it having first dipped your Cloth in Water and rub it till it gains a very fine smoothness and gloss but do not rub so as may any ways wear off the Varnish which cannot be easily repaired then use a Rag wetted without Tripole and clear it up with Oil and Lamp-black yet Pollish it not all at once but let it have some days respite between the first and last Pollishing and at least three or four days White Varnishing or Japan This must be curiously done without any soiling and therefore you must be cautious of letting any dirty thing come near whilst you are doing it To begin this Work scrape as much Isinglass as will make it of a reasonable thickness or when dipping your Pencil into it it will with a stroke whiten the Body which has been passed over with a Brush but let it be in neither of the extreams too thick or too thin then mix it with your Size whiten your Work over with it and when dry repeat the same covering it from all manner of Dust before it is Varnished it must be whited three times and dried between every one of them smooth and lay it as close as you can to the Wood with your Rushes then mix White Flake with your Size only so that it may lye with a full and fair body on the Piece and whiten your Work
three several times with this drying between each then make it with your Rushes very smooth but keep your distance from the Wood. In the next place take white Starch boiled in fair Water till it come to be somewhat thick and when it is luke-warm wash over your Work with it once or twice drying between whiles and let it then stand twenty four hours then take the finest of the white Varnish I have directed you to make wash your Pencil in Spirits and wash or anoint your Work six or seven times and after thirty or forty hours do the like again and if done with a dexterous hand a better gloss will be set on it than if it had been Pollished but if it miss of that gloss it is requisite that you Pollish it and in order thereto you must accommodate it with five or six washes of Varnish more than the former and it must continue to settle well about a Week before you Pollish it In Pollishing your Linnen and Tripolee must be of the finest being neat and careful in all this operation your hand carried light and gentle having your cloth neither too dry nor too wet and clear it up with fine Flower and Oil. Isinglass Size how to make it Break and divide an ounce of Isinglass into little pieces put it into a glazed clean and well covered Pipkin and let it for twelve hours soak in a pint and a half of fair Water then place it over a gentle fire till it boil well at leasure and when the Water is consumed to a pint let it stand to cool leisurely and then it will be a Gelly and may be used in the White Varnish and other Works but make no more at a time than you will use for in two or three days it will prove naught Red Japan to make it The Reds are properly three viz. the Common Red the Deep dark Red and the Lightpale Red. In the first Vermillion is proper mixed with the thickest of Seed Lac warm the work and mix your Vermillion with the Varnish in a Medium carry it over it four times permitting it to dry as the former and if your Reds be in a good body and full Rush it smooth then with the ordinary Seed Lac-Varnish wash eight times and after twelve hours Rush it again and then for a curious outward covering give it eight or ten washes with Seed Lac-Varnish and after five days Pollish it and clear it with Lamp-black and Oil. Of the Dark-red The Common Red laid as before directed deepen it with Dragon's-Blood mixed with your Varnish and when it has pretty good colour go over it with Lac-Varnish which will much deepen and strengthen the Colour and in all things else as to Pollishing and Clearing do as in the former Red. Of the Pale-red To do this grind white Lead with a Muller on a Stone and when it is finely done mix it with so much Vermillion as will make it a Pale-red mix Varnish with them and give the Work four washes and follow the prescription of the Common Red considering well that the after-Varnish will heighten the Colour An Olive coloured Japan Take English Pink colour grind it with common Size and when it is like Pap mix with it a proportion of Lamp-black and White Lead and work it as in other Japanning Chesnut coloured Japan To do this take Indian Red or else Brown-red Oker grind it well and mix it with ordinary Size then grind a little white Lead extraordinary well with the small Size mix with it Lamp-black and so both with the Indian Red-Oker stir and well incorporate them together if the Colour be too bright darken it with the Lamp-black if too dark lighten it with white Lead and so bring the Colour to your Mind considering always that your Varnish will heighten it With this wash over your Work let it dry and repeat it till your Colour lye full and fair Rush it smooth but not close to the Wood unless you design anew to begin your Work and give it a second Varnish After it has stood three or four days give it a Lustre with Seed-Lac and when dry fit it for Pollishing with white Lac-Varnish and clear it with Oil and Lamp-black Blue Japan To do this grind white Lead very fine add Smalt as finely ground mix them with Isinglass Size the white Lead grind with Gum-water let there be a proportion of White and Blue and mix them well to the thickness of common Paint go over your Work with it and when it is well dry proceed so three or four times till the Blue lyes with a fair body Rush it smooth and go over it again with stronger Blue and when dry wash it with the clearest Isinglass Size having a new Pencil for that purpose then when it is dry warm it by the fire and go over it with a Pencil dipped in white Varnish seven or eight times and so let it continue for a day or two then wash it as often as before and so continue many operations at intermitted times for a week at least must pass before you can well venture to Pollish it and when it is Pollished Clear it with Oil and Lamp-black Note that in no wise you mix your Colours with Isinglass Colours too strong lest when dried they be apt to crack fly and spoil the Piece but when you lay your Wash of clear Isinglass to keep your Varnish from tarnishing or soaking into your Colours then it is proper that it be of a full and strong body And thus much may very well suffice the Learner to give him an insight into this excellent Art from whence I shall proceed to other things useful and profitable Of Speckles for the Adorning Japan'd Work Mix so many Speckles as you have occasion for with ordinary Lac Gum-Varnish so much as when they are put into a Gally-pot will fit them for working with a convenient Pencil but not so thick as Colours keep them stirring very well with a Brush and generally warm by the fire This continue till you perceive the Speckles lye thick and even to your mind so beautifie them with three or four washes of Varnish mixed with Turpentine and this unless you intend to Pollish will be sufficient but then you must give it after all this eight or ten washings with the Prime Lac-Varnish drying between whiles and then Pollish and on this manner you may lay on all coloured Speckles but Silver requires Seed Lac-Varnish and the best White Varnish e're it can be brought to a good Pollish but if not to be Pollished you may spare your Varnish To lay on Speckles in Japan Work c. If you design to Adorn your Work with Flowers Rocks or Garments c. Varnish the places intended with a fine Pencil and through any small Sieve shake the Colours you design whilst the Varnish is wet and sweep up in Rock-Work all Speckles that straggle on the edges with a new dry Pencil lodge them