Dossie, Robert. The Handmaid to the Arts. London: J. Nourse, 1758.

Typed in by Simon St.Laurent, simonstl@simonstl.com, 2018. No copyright claimed.  Part of a set at http://toolbytool.org/resources/Japanning.html .

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134

CHAP. III.

Of the vehicles, dryers, and other
substances used in painting for the
laying on and binding the colours.

SECT. I. Of the vehicles, dryers,
&c. in general.

THE qualities necessary in all vehiclles
(except in the case of crayons) are, that
they should be of a proper degree of fluidity to
spread the colour, - that they should be of such
a nature, with respect to their attractive dispo-
sition, as fits them to combine well with the
coloured pigments: - that they should become
dry within a due time, - and that they should
be capable of leaving a proper tenacious
body; when they are become dry, as well to
bind the colours to the ground, as to make
them adhere to each other where more than
one kind is used.  But the combination of all
these necessary qualities being to be found in
no one substance, (except oil in some cases,)
compositions have been formed to suit the
several intentions in a manner accomodated
to each particular occasion.

The principal vehicles hitherto used are
oils, - water, - spirit of wine, - and turpen-

135

tine: but as water, and spirit of wine, alone,
want the proper unctuous consistence for
spreading the colours, and dry away totally
without leaving any glutinous substance to
bind and fix such of the pigments as are of an
earthy or incohering texture, gums, - size, - 
sugar, - and other such viscid substances have
been superadded to supply the defects and ren-
der them of due consistence and body.

Though oils simply used are a perfect ve-
hicle of colours in some cases; yet in many
others, having been found to dry too slow-
ly, means have been sought after, by the ad-
dition of other bodies, to alter this quality
in such as may be defective in it; which has
consequently introduced another kind of sub-
stances into the materia pictoria; that from
their being employed in the intention of re-
medying this fault in the oils, of not drying
sufficiently fast, are called DRYERS.
These are either ingredients of a different na-
ture added to them, without any preparation
of the oils; or part of the oils themselves, into
which this quality has been introduced by the
operation of heat, either in their simple state,
or with the addition of the other drying inge-
dients: which oil, thus changed, being thence
rendered capable on its commixture with other
oil, to cause them to dry faster, is called dry-
ing oil; and frequently used in the same in-
tention as other dryers.

As water in its simple state is for the most
part incapable of being a vehicle to colours, they

136

being in general of an earthy or incohering
texture, it is necessary to give it a more viscid
consistence, and to join to it a body which will
dry with such a tenacity as may bind the colours.

This is done by adding gums, size, sugar,
or such other bodies as tend to inspissate and
impart to the water a more clamy and thick
consistence.  But where the colours themselves
are bodies of a gummous nature, and will
dissolve or grow viscid in water, as gam-
bodge, the juice of the buckthorn berries, or
of the French yellow berries, and such others,
further admixture, in the intention of a vehicle,
is needless, and tends only to weaken the effect,
or foul the colours.

The most usual addition where water is
used in nicer paintings, is the transparent gums,
such as the gum Arabic, and Senegal: and
the principal reason of their preference to o-
ther bodies, which render water viscid and
glutinous, lies in their suffering the mixture
made of them with the colours to be instantly
reduced to a working state, by the addition of
fresh water, at any time, though the quantity
originally used be intirely dried: by which
property in the substances employed to inspis-
sate the water, colours so prepared may be
kept in a condition ready for use in shells, or
other proper vessels, to any length of time.
But the gums have, nevertheless, a very un-
toward quality, when mixed with most kinds
of pigments, which is their being very liable
to crack and peel off from the paper or vel-

137

lum on which they are laid. To remedy
this, therefore, sugar candy, or what is bet-
ter, though seldomer used, honey is frequent-
ly added to them; and by some starch, boiled
flower, and other bodies of a like nature.

The painting in this kind of vehicle is call-
ed painting in water colours, and from its be-
ing of late mostly confined to small objects,
miniature painting: though it was till the in-
troduction of the use of oils, which is modern,
the only common method of painting in any
way, since the encaustic and other methods of
the antients have been lost.

For grosser paintings and purposes, water is
rendered a proper vehicle by the admixture of
size; which is free from that disadvantage of
cracking and peeling, that attends the use of
the gums: but then, on the other hand, it is
unfit for nicer purposes, where only a small
quantity of each kind of colour is required.
For as the compositions of the vehicle and
colours do, in such case, soon become dry,
and those mixt with size when once dry will
not again commix with water, by rubbing
with a brush or pencil, as those compounded
with the gums, it would be endless to em-
ploy size for such purposes; as all the kinds
of colours must be fresh ground up and pre-
pared every time there may be occasion to use
them.  The painting with size is, therefore,
confined principally to scenes, and such large
works; where it is now called fresco painting,
I suppose from its having been at first mostly

138

used for such pieces as were intended to be
placed without doors.

There are likewise particular cases where o-
ther fluid substances may be employed advan-
tageously along with the vehicles formed by
water: as in the case of verdigrise, where wa-
ter failing to dissolve it, vinegary, or juice of
rue, as was before mentioned, should be sub-
stituted in its place: but they are in fact only
natural compounds of water, and what may
be wanting to make the pigment dissolve in,
or commix with it.

Spirit of wine, as a vehicle for colours, is like-
wise insufficient to the end without being com-
pounded with other substances: as it wants a
proper thickness or viscidity, either to suspend
the pigments, or to bind and fix them to the
ground when dry. It is, therefore, found
necessary to dissolve in it such gummous or
resinous bodies, as seed or shell lac, mastic,
sanderac, or resin; which answer the same
purpose here, as gum Arabic in water. A
vehicle, however, formed from this mix-
ture, has some advantages over all others; as
the colours are so defended by the gummous
or resinous bodies, that the most tender kinds
stand very well; and retain their beauty to
any length of time, if no violence impair them.
The use of this kind of vehicle is called paint-
ing in varnish; which art has been greatly
improved and extended within these few years,
by the manufacturers at Birmingham; and
will probably hereafter, when the conveni-

139

ences and advantages of it are more generally
known, be applied to purposes of greater ac-
count, with respect to the species of painting.

It has lately been a practice with some e-
minent portrait painters, to make a compound
vehicle by mixing oils and varnish together: and
this likewise is, by them, called painting in var-
nish; though it ought, I think, rather to be call-
ed painting with varnish. The advantage that
has principally induced them to use this me-
thod, is the quick drying of the colours, which
is the result of it: but time will shew them
another yet great advantage in it; I mean
the preservation of the colours, to which it
will greatly contribute. The varnish used for
this purpose must be formed of oil of turpen-
tine: but the particular composition we shall
have occasion to speak of below.


SECTION II.

Of oils in general.

OILS of a nature suited to this purpose
have been the most commodious and
advantageous vehicle to colours hitherto
discovered; as well because the unctuous con-
sistence of them renders their being spread and
laid on more expedite than any other kind
of vehicle; as, because when dry they leave a
strong gluten or tenacious body, that holds to-

140

gether the colours, and defends them much
more from the injuries either of the air or ac-
cidental violence, than the vehicles formed of
water. Several qualities are not, however,
constantly found in the kind of oil proper
for painting, which are, nevertheless, indis-
pensibly requisite to the rendering them a
perfect vehicle for all purposes; but the want
of some of them can in many case be dispen-
sed with; and one of them, we shall first men-
tion, remedied by art in a great degree.

The principal and most general quality to
be required in oils, is their drying well; which,
though it may be assisted by additions, is yet
to be desired in the oil itself; as the effect of
the pigments used in it are sometimes such as
counteract those of the strongest dryers, and
occasion great delay and trouble from the
works remaining wet for a very long time;
and frequently never at all becoming dry as it
ought: and indeed there are some parcels of
the oils which have this vice in an irremedi-
able degree.

The next quality in oils is the limpidness or
approach to a colourless state, which is likewise
very material; for where they partake of a
brown or yellow colour, such brown or yel-
low intermixes itself necessarily with the teint
of the pigments used in the oil, and of con-
sequence depraves it. But besides the brown
colour which may appear in the oil when it
is used, a great increase of it is apt to suc-
ceed in time, if the oil be not good: and

141

therefore this should be guarded against as
much as possible, where it may be of ill con-
sequence.

Both these qualities are, however, greatly
remedied by keeping the oils a long time be-
fore they be used; and even linseed oil, tho'
much the most faulty in these respects, is
greatly improved by times; and sometimes
rendered fit for almost any purpose whatever.

There are three changes that oils of the kind
proper for painting are liable to suffer in their
nature, and which affect them as vehicles,
that are confounded by painters under one
term, viz. fattening; notwithstanding they
are brought about by very different means,
and relate to very different properties in the
oils.

The first is the coagulation before spoken
of by admixture of the oils with some kinds
of pigments unduly prepared. This indeed is
called the fattening of the colours; but the
real change is in the oils; and the pigments are
only the means of producing them. This
change is generally a separation of the oil into
two different substances: the one a viscid
pitchy body, which remains combined with
the pigment: the other a thin fluid matter,
which divides itself from the colour and thick-
er part. This last appears in very various pro-
portions under different circumstances; and
in some cases is not found at all, where the
pigment happens to be of a more earthy and
alkaline nature: for then only a thick clammy

142

substance, that can scarcely be squeezed out of
the bladder, if it be put up in one, is the
result of the fattening.  This fattening not
only succeeds when the oil and pigments are
mixed together, and kept for any length of
time in bladders or otherwise; but even some-
times after they have been spread or laid on
the proper ground: when, instead of drying,
the separation will happen; and one part of
the oil will run off in small drops or streams,
while the other will remain with the colour
without shewing the least tendency to dry.

The second is a change, which happens in
oils from long keeping, by which they grow
more colourless, become more ready to dry,
and acquire a more unctuous consistence. In
this case the oils are said to become fat; tho'
they are in a very different state from that a-
bove mentioned, which is caused by unsuit-
able pigments: for when this change does
not exceed a certain degree, it is, as I before
said, every way a great improvement of the
oils.

The third is a change produced by artificial
means, from exposing the oil a long time to
the sun and air, (of the particular manner and
use of which we shall speak more fully in its
proper place) whereby it is freed from its
grosser and more feculent parts,  and rendered
colourless and of a more thick and less fluid
consistence, than can be produced by any o-
ther treatment: but at the same time made
more reluctant to dry, particularly with ver-

143

milion, lake, Prussian blue, brown pink, and
King's yellow, and indued with other proper-
ties that disqualify it for common use as a
vehicle in painting. These qualities, never-
theless, may be rendered advantageously sub-
servient to some particular purposes: though
the nature, and even the preparation of fat
oil is less understood at present than one could
imagine it possible, with regard to a substance
of so much consequence, both to some kinds
of painting, and several other kindred arts.
Oils in this state are called also fat oils; tho'
it is a change that has not the least affinity
with either of the others; but, on the contra-
ry, differs oppositely from both of them in
some very essential circumstances.

In speaking therefore of the fattening of oils
or colours, attentio should be had to the not
confounding these three several kinds, one
with another; which can scarcely be avoided
in some cases, but by considering the occasion
where the term is used, and judging from the
circumstances which kind is meant.

These are the several qualities by which oils
are rendered suitable to, or improper for the
purposes of painting. When they dry quickly,
are colourless, (especially though age,) and are
somewhat fat in the second of the above senses
of that word, they are perfect with respect to
the wants of painters: where they dry, tho'
more slowly, they may, nevertheless, be im-
proved to a tolerable state by additions: and
wher they are discoloured, they may serve for

144

some uses; but where, as is frequently found,
they will dry only in a great length of time,
or not at all, they are absolutely unfit for this
application.


SECTION III.

Of particular oils.

Of linseed oil.

LINSEED oil is expressed for the seed of
line, by those who manufacture it in large
quantities, and have mills turned by water for
the expeditious dispatch of the work: it
is the principal oil used in all kinds of paint-
ings; or, indeed, the only kind, except for
some very nice purposes, where its brownness
renders it unfit. The general defects of lin-
seed oil are this brown colour, and a tardiness
in drying; both which are in a much greater
degree in some parcels than others; and there
is sometimes formed such, as, in consequence of
its being commixed with the oil of some other
vegetable (accidentally growing with it) that
partakes of the nature of olive oil, can-
not be brought to dry by any art or means
whatever.

The goodness of linseed oil, therefore, con-
sists in its nearer approach to a colourless state;
and in tis drying soon. Its state, with respect

145

to the first quality, may of course be distinguish-
ed by inspection only: but the latter can only
be discovered by actual trial of it; for there is
no particular appearance, or other perceptible
mark, attending this quality.

Linseed oil is in general used without any
other preparation than the mixing it with the
proper dryer: but the keeping it a consider-
able time before it be used, will always be
found to improve it. It is, nevertheless, used
sometimes, after it is prepared into the state of
drying oil, not to commix and make other
unprepared parcels dry, but alone, as the sole
vehicle of the colours. The convenience of
this is the speedy drying of the paint so com-
posed; but it cannot be practiced where the
beauty of the colour is of the least consequence;
for the oil imparts in this case a very strong
brown to the mixture.

Of nut oil.

Nut oil is the oil of walnuts pressed out of
the kernels by means of a screw-press. It is
used for the mixing with flake white, or other
pigments, where the clearness of the colour
is of great consequence, and would be injured
by the brownness of linseed oil.

It is used without any other preparation
than keeping, which is always of advantage
to it, both with regard to its colour and qua-
lity of drying.

146

The faults of nut oil, when not good, is
the being turbid, and not perfectly colourless;
and the drying too slowly: the first shews it-
self; but the other must be examined by trial.
If, however, there be no adulteration in the
case, time will generally cure it of all these
defects.

Whoever would have nut oil perfectly good,
should peel off the skin of the kernels before
they be pressed, in the same manner as when
they are eaten: for the skins contain an acrid
oil of a very different nature from that of the
white substance of the kernel; which is ex-
tremely subject to turn brown, or even black;
and consequently tinge the other when com-
mixt with it.

Of poppy oil.

Poppy oil is expressed from the ripe seed of
poppies, in the same manner as nut oil from
the walnuts.  Its qualities and uses, as like-
wise its defects and the remedy for them, are
also much the same as those of the nut oil
only when it is perfectly good, it is more clear
and limpid, and will dry better than the best
nut oil whatever.

Oil of spike and lavender.

Oil of spike or lavender are essential or
distilled oils, obtained by distilling the spike
or any other lavender, with water. It is

147

used in painting only as the vehicle for laying
on the composition formed of the flax and co-
lours in enamel painting; which by its fluidity
it renders capable of being worked with a
pencil, its volatile nature afterwards making
it wholly dry away without leaving any matter
that might affect the substances of the enamel;
which would be otherwise, if any but an es-
sential oil were used.

Oil of spike or lavender is subject to be
adulterated by the oil of rosemary; which,
though much of the same nature, yet being
of a less unctuous or thick consistence, is not
so well adapted to make the colours spread
and work well with the pencil. This adul-
teration is not easily discoverable, where it
cannot be distinguished by the smell; and the
best method therefore to be certain of the
goodness of the oil of spike or lavender for
this purpose, is to make an actual trial of it.

SECTION IV.

Of particular dryers.

Of drying oil.

DRYING oil is formed of linseed oi,
prepared by the means of boiling, some-
times with the addition of other substances,
and sometimes without. The substances add-

148

ed to oil, in this preparation, are very various;
there being many different recipes in the hands
of different persons; some of which prescribes
a less number of ingredients, and others al-
most every kind. These substances are, white
vitriol, sugar of lead, seed lac, gum mastic,
gum sandarac, gum animi, gum copal, umber,
colcothar, litharge, and red lead. But the
first eight of these articles being dearer; when
great quantities of drying oil are prepared for
common purposes, they are usually omitted;
and the others, or some of them, only em-
ployed: and indeed if the linseed oil be good,
and boiled for a proper time even alone, it
will have nearly the same properties, as if the
most efficacious of these substances be added
to it. I will, however, give two of the most
approved recipes for preparing drying oil, with
the addition of the usual ingredients. The
one for the kind supposed proper for the more
nice and delicate painting: the other for com-
mon work.

" Take of nut or poppy oil one pint, of
" gum sandarac two ounces, of white vi-
" triol and sugar of lead each one ounce.
" Boil the whole, till the solid ingredients be
" dissolved, and the mixture be of the colour
" of linseed oil."

This oil will dry fast; and, mixed with an
equal quantity of nut oil, and the proportion
of oil of turpentine each person may find most
convenient to use, will render any other oil
capable of drying well without the least hazard

149

of fattening, however disposed to it: and it
may be, therefore, used for all nicer purposes,
where common drying oil would be injurious
by the brownness of its colour.

Drying oil may be well prepared for coarser
work according to the commonly approved
method, in the following manner:

" Take of linseed oil one gallon, of litharge
" of gold or silver one pound, of white vi-
" triol half a pound, of sugar of lead, gum
" Arabic, and umber, each a quarter of a
" pound. Boil them so long as the discolour-
" ing the oil, which is the gradual conse-
" quence of the boiling, will permit it: for
" the oil must not be burnt till it approach
" too near to blackness."

The drying oil prepared in a simpler man-
ner, as by those who make it for sale, will
not differ much from the above in its qualities,
though it be prepared as follows.

" Take linseed oil one gallon, red lead one
" pound and a half. Boil them so long as the
" colour will bear it."

This last may be much improved by the
addition of gum sandarac; and will then be
perhaps more useful than the more complex
and expensive composition above given. In-
deed a gallon of linseed oil, in which two
pounds of gum sandarac, and one pound of
gum Arabic has been dissolved, is the drying
oil I would recommend for common purposes:
and it need not be boiled near so high as that
sold in the shops; for, as the gums give it a very

150

considerable body, the colours may be brought
to a proper state for working by little of this
with a larger proportion of spirit of turpentine,
either with or without the addition of unpre-
pared oil; and consequently the proportion of
brown given to the colours is less, than where
a greater quantity of the oil must be used.

The drying oil of any kind may be boiled
in an earthen pipkin, or iron pot: but great
care must be taken in the operation, if it be
performed within any building, that the mat-
ter do not boil over; which, when it happens,
greatly endangers the firing such building. It
is therefore much better, especially where any
larger quantities are made, to have an iron
furnace that can be moved about, or to build
an occasional one of bricks; which, for this
purpose may be done without mortar; and
need only be a cylinder of bricks, in which a
frame with bars to support the fewel is fixed,
with a hole about eight inches above the bars
for feeding the fire, and another in the high-
est part of the hollow for venting the smoke.

When the drying oil is taken off the fire, it
may well yet hot be strained through flannel:
but if umber, or any ingredients which will
not dissolve, are added to it, it should first
stand to settle, that the clearer part may be
poured off from the grosser: and, after strain-
ing, if any sediment appear, the oil should be
again decanted off from it, and the foul part
heated and passed again through the flannel.

151

Of oil of turpentine.

Oil of turpentine is distilled from turpentine.
It is an ethereal oil, which quickly exhales
in the air; and if mixt with linseed, nut, or
poppy oils, in flying off carries with it the more
volatile part of such oils, and causes them to
dry much sooner than they would otherwise.
On this account it is very generally used as a
dryer to mix with the other oils: for which
purpose it has greatly the advantage over dry-
ing oil, with regard to colour, as it is perfect-
ly transparent and white.

It is used without any other preparation than
mixing it, either alone or together with drying
oil, with the other oils and colours: and it is
not subject to any adulteration, except the dis-
solving crude turpentine or resin in it; which
do not greatly injure it with regard to this ap-
plication of it: such adulteration may, how-
ever, be perceived, when in a greater propor-
tion, by a slight degree of yellow colour and
glutinous consistence, the unsophisticate being
quite limpid and without the least tenacity; and
every degree may be discovered by evaporat-
ing part of what is suspected with a very gentle
heat, when a resinous or terebinthate sub-
stance will be left behid, if any such have
been mixt with the oil.

152

Of sugar of lead.

Sugar of lead is a chemical preparation of
lead, by dissolving it in vinegar, and reducing
the salt, formed, to chrystals by evaporation:
but it is to be had so constantly, and at so
much less expense at the shops of chemists
and druggists, than it can be made in small
quantties, that it is needless to give any more
particular recipe for making it for the pur-
poses of painting. It is supposed to have a
quality, when mixt with oils, of rendering them
much more prone to dry: and on that account
is very frequently used, as well in the making
drying oil, as in the common use of the oils,
where it is ground up with them together with
the colours. It requires no other treatment,
but to be well commixt with the oil with
which it is used: and it is not subject to any
adulteration if it be obtained in its chrystalline
form and not powdered, for there the appearance
alone is sufficient to shew whether it is clear
from any mixture of heterogeneous matter.

It is, notwithstanding, the general confi-
dence which painters have in this substance as
a dryer, dubious whether the use of it, except
in the preparation of drying oil, answers in
any material degree the end: for though it
may seem the best in producing that change
in oils which renders them drying oil, yet it
does not necessarily follow, that any such ef-
fect is produced by it without heat; though it

153

is very probable, that the supposition of this
has been the occasion of its being introduced
into practice, as a dryer that will operate on
oils by barely mixing it with them.

Of white vitriol.

White vitriol is a mineral substance found in
Hungary, and many other places. It is used
in the same manner, and for the same purposes,
in painting, as sugar of lead; with which it is
generally joined in practice, both in the mak-
ing drying oils, and the admixture with the
common oils and colours. It is not liable to be
adulterated, on account of its low price: but it
has not been unusual to sell common green vi-
tril or coperas calcined to whiteness in the place
of it: and as they are very different substances,
this ought to be guarded against. Those who are
acquainted with the appearance of both
may easily distinguish them by view; but o-
thers may make themselves certain they are
not imposed upon in this particular, by put-
ting a small piece into the fire on a poker, or by
any other method; when, if the parcel in ques-
tion be true white vitriol, no redness will come
upon it; but if it be the green vitriol calcined
to whiteness, it will turn red by this greater
heat, and have the appearance of Indian red,
or brown oker.

What was said of the dubiousness of the
efficacy of sugar of lead as a dryer, except in
the preparation of drying oil, holds equally

154

good with respect to white vitriol: though
from a strong persuasion of the contrary, it is
used very generally, and in a large propor-
tion.


SECTION V.

Of the substances used for rendering
water a proper vehicle for colours.

Of gum Arabic.

GUM Arabic is a transparent gum brought
from Africa and the Levant, that is easily
soluble in water, which it renders viscid. From
these qualities, and the drying with a consider-
able degree of tenacity, it is the best ingredient,
for making an aqueous vehicle for colours, hi-
therto known. When good, however, as it
is apt to become perfectly dry, it is subject to
crack and separate from the cartoon or grounds,
on which the colour is laid with it: from
whence some mixture becomes necessary to
remove this defect.

The goodness of gum Arabic must be con-
cluded from is transparent whiteness, the be-
ing perfectly dry and brittle, and free from all
dust and heterogeneous matter. Gum Senegal,
which is of lower price, is frequently sold for
it: but this fraud may be easily guarded against,
by taking care to observe, that it be not soft and

155

clammy; which properties are always in some
degree found in gum Senegal.

There is no other preparation necessary for
gum Arabic, previously to being used with the
water, except powdering it in order to its dis-
solving the more easily: only it is proper to pick
out all brown and discoloured pieces, or any
foulness that may accidentally be in it.

Of gum Senegal.

Gum Senegal is much of the same nature
as gum Arabic; and applicable to many of the
same uses: but it is apt to retain some propor-
tion of moisture, which consequently renders
it more soft and clammy. This property makes
it, when alone, a less fit ingredient for a vehicle
for water colours than gum Arabic: but yet, ne-
vertheless, a third or fourth part of the gum Se-
negal, mixed with the gum Arabic, will greatly
improve it: for, as the gum Senegal is too slow
and reluctant to the drying perfectly, so the
gum Arabic on the contrary dries in too great
a degree; and a due mixture of them there-
fore produces the proper medium or tempera-
ment betwixt the two extremes.

The treatment of the gum Senegal, when
used in a vehicle for water colours, must
be in all other points the same as the gum
Arabic.

156

Of size.

Size is made of leather boiled in water till it
become of a viscid consistence.

It is a very proper ingredient for a vehicle for
colours used in water in larger works: but its
reluctance to be redissolved after it has been
mixed with colours, and is become dry, ren-
ders the employing it incommodious in minia-
ture painting. Size is commonly prepared in
great quantities by those who make a trade of
manufacturing it, together with glue, from all
refuse pieces of leather and skins of beasts: but
where it is wanted for painting for nicer pur-
poses, it should be prepared from the cuttings
and shreds of the glovers in the following
manner.

" Take any quantity of the shreds or cuttings
" of glovers leather; and put to each pound
" a gallon of water: boil them six or eight
" hours, recruiting the water so that it shall
" not diminish to less than two quarts. Then
" take it off the fire; and strain the fluid thro'
" flannel while hot: and afterwards evapo-
" rate it again, till it become of the consist-
" ence of a jelly when cold."

Of sugar and sugar candy.

Sugar, and white sugar candy, are used as
ingredients to render water a vehicle for colours
in miniature painting. The intention of them

157

is to prevent the colours from cracking when
mixed with gum Arabic; which the sugar pre-
vents by hindering that perfect dryness, and
great shrinking, which happens on the use of
gum Arabic alone: and also to make the gum
water work more kindly with the pencil.
There is no preparation of the sugar and sugar
candy necessary before they be used, except
powdering, to make them melt the more
easily.

Starch.

Starch is sometimes used instead of sugar-
candy for mixing with the colours that are
used in strong gum water, to make them work
more freely, and to prevent their cracking. It
is a kind of secret with some persons, who lay
a considerable stress upon it.

Of isinglass.

Isinglass is a glue formed from the cartilages
of a large fish, which is found in the rivers that
flow into the northern seas. It is used in mi-
niature painting, in the same manner as the
gums Arabic or Senegal, for rendering water
a proper vehicle, by giving it a due viscidity
for spreading and binding the pigments of an
earthy texture.

158

SECTION VI.

Of the substances used to render spirit
of wine a vehicle for colours.

Of seed lac.

SEED lac is a substance formed on the
boughs of trees by small files, as their
nidus or habitation. It dissolves in spirit of
wine; and being left dry again, by the eva-
poration of the spirit re-attains its original hard
and tough texture. It is therefore extremely
beneficial in defending and securing colours
from any injuries, the air or slight violence
might do them: but the brownness of its co-
lour, and its not rendering the spirit of wine
in which it is dissolved of a consistence suffi-
ciently thick and viscid to suspend the pow-
dered pigments when they are commixed with
it, are defects which greatly destroy its value
as an ingredient for making spirit of wine a
proper vehicle for colours. It may, however,
be improved for this purpose by the addition
of turpentine, and other substances: as we
shall observe in its due place.

The goodness of seed lac consists in its ap-
proaching toward a transparent colourless state,
and being free from heterogeneous matter and
opake parts: for, as the brownness is its great-
est defect, the diminuition of that quality conse-
quently inhances its value.

159

The preparation of seed lac, for mixing with
the spirit of wine, is to pick out, or wash from
it by means of water, all the little woody or
other feculent parts; and then to powder it
grossly: for if it be reduced to a fine powder
the whole  will run together, and cohere, so
as to hinder the spirit of wine from commix-
ing with the particles and dissolving them.
Those who want seed lac for using with co-
lours, where whiteness or brightness are de-
manded, must pick uout the lightest coloured
grains; and use them only; reserving the
browner for coarser purposes.

Of shell lac.

Shell lac is a substance brought hither in
very thin pieces; and partaking greatly of the
nature of seed lac: from which nevertheless
it differs so much in some properties, as clearly
shews they are not the same substance under a
different form, as has been supposed by many.
Shell lac dissolves in spirit of wine as well as
seed lac; but never becomes perfectly clear
and transparent. To compensate however for
this defect; it renders the spirit much more
viscid, and capable of keeping the colours su-
spended: from when it derives a considera-
ble value in this kind of painting.

The goodness of shell lac consists in its ap-
proaching to transparency and whiteness; but
it is never found without a great deal of
brownness. There is no more preparation of

160

shell lac than seed lac required previously to its
being used for this purpose with  spirit of wine;
the reducing it to gross powder being the
whole.

Of turpentine.

Turpentine is capable of dissolving in spirit
of wine, and giving it a viscid consistence; on
which account it is sometimes used along with
other bodies to render the spirit a fit vehicle for
colours. A composition formed of it with
mastic, sandarac, resin, and in some cases
seed lac, with serve for purposes where the
painted body is not subject to great rubbing,
or any violence: but with respect to hardness
and durableness, all such compositions fall far
short of the solution of shell lac.

Turpentine must be chosen by its clearness
and purity: and requires no preparation previ-
ously to its being applied to this purpose.

Of the gums mastic and sandarac.

The mastic and sandarac are much of the
same nature; and applied to the same purposes
with regard to painting. They are gum resins
intirely white and transparent when good; and
dissolve perfectly in spirit of wine: on which
accounts they are used for rendering spirit of
wine a vehicle for colours: but they are of so
soft a nature, and so ready to melt with a slight
heat, that the colours laid on with them would

161

sully and be injured even by a gentle handling.
On this account they require to be mixed with
seed lac: and, to inspissate the mixture suffici-
ently to suspend the colours, some turpentine
is also necessary.

Mastic and sandarc must be chosen for
their whiteness and transparency: and require
no other preparation for this use of them, than
to be well picked and powdered.

Of resin.

Resin is the caput mortuum or residuum
left in the distillation of turpentine for extract-
ing the oil. It is of two kinds, white and
brown: the white is made when the turpen-
tine is distilled with water; the brown when
no water is added to it. The white turpentine
is used for rendering spirit of win a vehicle for
colours in the same manner as mastic or san-
darac; with which it aggrees in its qualities, ex-
cept that it is yet less hard and more liable to
sully on handling: and the same preparation
and treatment is required for it as for them.

162

CHAP. IV.

Of the manner of compounding and
mixing the colours, with their proper
vehicles for each kind of painting.

[SKIP TO]

176

SECTION IV.

Of the colours proper to be used in
varnish painting; and the manner
of mixing and compounding them
with the proper vehicles.

IN painting in varnish, all pigments or solid
colours whatever may be used: and the
peculiar disadvantages, which attend several
kinds, with respect to oil, or water, cease
with regard to this sort of vehicle: as they
are secured by it, when properly managed,
from the least hazard of changing or flying;
and will all work well, provided they be pre-
viously reduced to the state of an impalpable
powder.

The preparation of colours for this use,
consists, therefore, in bringing them to a due
state of fineness: this may be best done by
grinding on the stone, such as are of cohering
texture, as lake, Prussian blue, indico, verdi-
grise, and distilled verdigrise, in spirit of wine,
or oil of turpentine; which last I think the
better of the two for this use: but all the
okers, or other earthy substances, together
with vermilion, red lead, and turpeth mi-
neral, require only to be previously well wash-
ed over; and carmine, ultramarine, and
King's yellow, are necessarily in a due state

177

when well prepared in their original manu-
facture.

The best composition of varnish for spread-
ing and penciling the colours, with respect to
the convenience of working, and the bind-
ing and preserving of them, is shell-lac with
spirit of wine; which, when judiciously ma-
naged, gives such a firmness and hardness to
the work, that if it be afterwards further se-
cured with a moderately thick coat of seed-lac
varnish, it will be almost as hard and durable
as glass; and will bear any rubbing, or wear,
or even scratching with a sharp pointed instru-
ment, almost as well as enamel. The man-
ner of preparing the shell-lac varnish is as fol-
lows.

" Take of the best shell-lac five ounces.
" Break it into a very gross powder: and put
" it into a bottle, that will hold about three
" pints or two quarts.  Add to it one quart
" of rectified spirit of wine: and place the
" bottle in a gentle heat; where it must con-
" tinue two or three days; but should be fre-
" quently well shaken. The gum will then
" be dissolved: and the solution should be
" filtered through a flannel bag: and, when
" what will pass through freely is come off,
" it should be put into a proper sized bottle;
" and kept carefully stopped up for use: and
" the bag may then be pressed with the hand
" till the remainder of the fluid be forced out;
" which if it be tolerably clear, may be em-
" ployed for coarser purposes, or kept to be

178

" added to the next quantity that shall be
" made."

The shell-lac varnish being thus prepared,
a proper quantity of it must be put into small
phials of a long form; or into small tin vessels
nearly of the form of glass-phials; but in such
proportion, that they may never be filled above
two thirds; and the colours must be added
very gradually, and well shaken with the var-
nish as each quantity is put in, till the pro-
portion appear fit for working; which must
be known by trying with a pencil: and, if
the varnish appear too thick, the fault must be
remedied by the adding a little rectified spirit
of wine; which will at any time immediately
dilute the mixture to any degree. The phials,
or tin vessels, in which the colours mixt with
the varnish are kept, must be always securely
stopt to prevent the exhalation of the spirit;
and they must be preserved in a working state
in that manner for almost any length of time:
but they must always be well shaken before
they be used; as well as during the time of
using at proper intervals; otherwise the co-
lour will be apt to settle to the bottom.

This is by much the best method hitherto
found out of painting in varnish: the shell-
lac not only rendering the spirit of wine cap-
able of suspending the colours much better
than any other composition of this nature
but giving them tenacity and hardness, that
would render paintings on copper almost eter-
nal, if not injured by fire or some extraordi-

179

nary violence: and it were to be wished, that
in very elabroate works, this method had been
always persured instead of painting in oil;
which is subject to so many accidents from
slight external violences, besides the decay and
injurious change which the oil and colours
suffer from their own internal nature, and the
improper means of cleaning, that few pictures
or paintings of older date are to be found per-
fect.

There are, however, other compositions of
varnish, which are used for painting: as the
seed-lac varnish; and also the following; which
requires, however, previously, the prepara-
tion of the mastic varnish; that must be thus
made.

" Take five ounces of mastic in powder:
" and put it into a proper bottle with a pound
" of spirit of turpentine. Set them to boil
" in balneo mariae, till the mastic be dissolv-
" ed, and if there appear to be any foulness,
" strain off the solution through flannel."

The mastic varnish being thus prepared, it
may be converted into a proper varnish for
painting by the following method.

" Take then gum animi one ounce. Grind
" it on the stone with water, till it become
" an impalpable powder. The dry it 
" thoroughly: and grind it again with half
" an ounce of turpentine; and afterwards
" with the colours; moistening it with the
" mastic varnish till the mixture be of a due
" consistence for working with the pencil:

180

" when it must be put into phials or tin ves-
" sels, as was before directed for the compo-
" sition with shell-lac; and diluted, where
" there may be occasion, with spirit of tur-
" pentine."

This is inferior in all respects to the shell-
lac composition, except where touches of pure
white, or very bright colours, are wanted:
which suffer by the brownness of the shell-
lac; and are preserved in this, that is nearly
colourless: on which account, in the painting
of flowers, or draperies, in miniature, the fine
colours may be used with advantage this way,
to heighten the lights; and the rest may be
painted with the shell-lac varnish.

The method of painting in varnish being,
however, more tedious than in oil, or water,
it is now very usual in the Japan work, for
the sake of dispatch, to lay the colours on
with oil diluted with oil of turpentine: tak-
ing care to have the mixture very thin; and
to make the work rise from the surface as lit-
tle as possible; and when the whole is per-
fectly dry, to lay over it several coats of thick
seed-lac varnish; which will secure the colours
extremely well, though not so as to render
the whole equally hard and strong with the
work done in shell-lac varnish.

The method of painting varnished work
with oil may be greatly improved, by dissolv-
ing the white gums or resin in the oils, as
was before advised p. 148, for common oil
painting, in case of more delicate and valuable

181

undertakings. Which composition being di-
luted with oil of turpentine, would work
equally well with, dry much harder, and as-
similate more with the texture of the varnish
laid over or under the paintings, than the oils
simply used: and it would likewise be attend-
ed with another advantage, which, in large
manufactures, is an object of consequence.

The manner of preparing the seed-lac var-
nish, and using it, being the same for this as
for other purposes, will be shewn in its pro-
per place.

[SKIP TO 208-16]

208

SECTION IV.

Of the grounds for varnish painting.

THE substance or matter on which varn-
ish paintings are made is for the most
part copper, iron, and wood. As the paint-
ing ground is not covered with the colours, in
most works of this kind, it must consequently
be of the varnish itself the work consists of;
but were it is intended to be painted over, as
in the case of regular pictures, a priming may
be given of shell or seed-lac varnish mixed with
the proper colours for the ground desired.

CHAP. VII.

Of the methods of varnishing, and
preserving pictures and paintings. 

THE method of preserving paintings
in oil is by coating them with some
transparent and hard substance, as a varnish, to
secure the colours from the injuries of the air
or moisture; and to defend the surface from
scratches or any damages the painting might
receive from slight violences.

The substances, that have been, or may be
used for this purpose, are gum Arabic, glair or

209

whites of eggs, isinglass size, and varnishes
formed of gum resins dissolved in spirit of
wine, or oil of turpentine; which last, where
oil of turpentine is used, are called oil var-
nishes.

Gum Arabic has been used, dissolved in wa-
ter, as a varnish for pictures and paintings, on
account of its being both more easily laid on,
and taken off, than the varnishes formed of
spirit of wine or oil of turpentine. It is more
easily laid on, because it may be made exactly
of that degree of viscidity with which it can
be best worked with a brush or pencil; and
because it is totally free from that accident
called chilling, which attends all varnish made
with spirit of wine. There is, however, a-
long with these, another quality of so bad a
kind, that its effects more than countervail
these advantages in the use of gum Arabic, as
a varnish for paintings; which is, that as it dries,
it is extremely apt to crack; and give such ap-
pearance of flaws and scratches, as obscure and
difform the painting to an intolerable degree;
and, therefore, this gum is at present much
rejected with respect to this application; and
the substance we shall next consider substituted
in its place. The addition of sugar or sugar-
candy will greatly prevent the cracking of gum
Arabic; but then it gives a viscidity or sticki-
ness to the gum that makes the surface of the
painting sully, and is in a manner equally de-
trimental with the cracking of the gum.

210

Glair of eggs, beat to an unctuous consist-
ence, and spread with a proper brush over the
paintings, answers much the same end as gum
Arabic: but has the like advantages with
much less of the bad quality of cracking: for
which reason it is generally preferred to that
gum. It has, nevertheless, on great defect,
which is its not lasting, for it requires to be
renewed frequently, as either moisture or great
dryness of the air injure it. It is usual to mix
a little brandy or spirit of wine with the glair
of the eggs, in order to make it work more
freely with a brush; as also a lump of sugar to
give it more body and prevent its cracking;
from which, after all, it will not be intirely free,
after it has some time laid on, if the picture be
put into a very dry place.

Isinglass size may be used for a varnish in
the same manner as the solution of gum Ara-
bic or the glair of eggs; and if a little honey
or sugar, about a fourth or fifth of the weight of
the isinglas, be added to it, it will cover more
effectually than either of them, and yet be free
from cracking. This is not, however, so last-
ing a varnish as the gum resins, especially if the
painting or picture be brought into a damp si-
tuation; and indeed in all cases it is appt to turn
very yellow with time: but where there is a pro-
spect of having occasion to take off the varnish
for altering the painting, this will be found a
very good one; as it may be intirely removed
by means of a sponge and hot water.

211

There have been many compositions in-
vented for spirit and oil varnishes for paintings;
but the multiplying a number of ingredients in
such compositions is by no means attended with
advantages that are equivalent to the trouble.
I will, however, give one of the applauded
recipes of each kind; and then subjoin to it
another more simple, which I believe will bet-
ter answer the purpose.

" Take of gum sandarac half a pound, of
" Venice turpentine one ounce and halp, of the
" gums animi, and copal, each three quarters
" of an ounce, of mastic half an ounce, of Ben-
" jamin, gum elemi, and white resin, each two
" drams, of rectified spirit of wine one pound.
" Powder the Benjamin and gum animi; and
" put to them and the Venice turpentine, con-
" tained in a proper sized phial, eight ounces
" of the spirit of wine; to the copal and resin
" powdered, put, in like manner, in a phial,
" six ounces; and to the powdered gum elemi
" two ounces.  Let them stand, shaking the
" phials frequently, till the gums, &c. be
" dissolved. Then strain all the solutions
" thro' a piece of fine linnen into one bottle;
" and, after the mixture has stood some days,
" decant off as much as will separate clear;
" and keep it in a bottle well stopt for use."

Some omit the copal, which is in fact so
much the same with the animi, that there is
no certain mark of distinction known; and
put in its place the same quantity of gum
sarcocol: but it is not of any consequence,

212

which is admitted; nor whether three parts
in four of the ingredient be rejected: for the
following will answer the end equally well.

" Take of the gums mastic and sandarac,
" powdered grossly, each six ounces, of Venice
" turpentine half an ounce, dissolve them in
" a quart of highly rectified spirit of wine,
" and strain off the solution as the above. If
" this be wanted harder an equal weight of
" the gums animi or copal may be added,
" and the quantity of spirit of wine doubled."

In the using this kind of varnish great care
must be taken that the picture receive no
damage from it: for the dissolving power of
the spirit of wine will sometimes reach the oil
of the painting, and consequently disturb the
colours.

The varnish should, therefore, be spread
with as little and as gentle work of the pencil
as possible; and care should be taken, likewise
that the painting be thoroughly dry before
the operation be attempted. There is also an-
other circumstance to be attended to in the
use of this kind of varnish, which, is to avoid
what is called the chilling of it; and will cer-
tainly happen, if the varnish be not laid on in
a very warm place, or the picture itself warmed
to a moderate degree: and this will be still
more liable to happen if the spirit of wine em-
ployed be not very highly rectified. If the
varnish appear to be chilled, (that is when the
parts of the gums do not attract each other;
but precipitate from the phlegm, left by the

213

spirit on its evaporating away, in the form of
a powder, which gives a misty turbid appear-
ance to the surface, instead of a transparent
shining one,) another coat should be laid over
it, which will in general remedy the mischief;
and indeed less that two or three coats of this
kind of varnish is not sufficient to preserve the
painting, and bring out the due effect of the co-
lours, if there are in that state called sunk in,
occasioned by the attraction of the cloth on the
oils mixed with them.

The following is a recipe for an oil of tur-
pentine varnish of the more compound kind.

" Take of the gums mastic and sandarac,
" each four ounces, or white resin two ounces,
" of the gums sarcocal, animi, copal, and oli-
" banum, each one ounce. Powder them
" grossly; and put them into a phial with two
" pounds of oil of turpentine; stop the phial,
" but not too fast, lest it burst; and place it
" in any heat; the greater the better, under
" that which will make it boil. Let it stand
" there, till the gums be dissolved, or at least
" so much of them as will be dissolved, then
" strain off the solution for use."

The ingredients, except the mastic and
sandarac, may be omitted at discretion: and
with respect to the gums animi and copal, un-
der which names, a variety of gums brought
from the East and West-Indies, as well as
Africa, pass, there are a very few parcels which
will be found to dissolve in oil of turpentine.
Indeed I have never found any that would be

214

so dissolved: but recipes like this have been
given upon very good authority. The follow-
ing, therefore, will be found a much cheaper,
less troublesome, and equally good varnish with
that made by this complex mixture.

" Take of gum sandarac two ounces, of
" mastic and olibanum each an ounce and a half;
" or three ounces of mastic, and Venice tur-
" pentine half an ounce: powder them; and
" dissolve them in half a pound of oil of tur-
" pentine; proceeding as in the above."

When this kind of varnish is used, it is par-
ticularly necessary that the painting should be
thoroughly dry; and the pencil used as gently
and sparingly in the laying it on as possible:
for the oil of turpentine is extremely ready to
dissolve the oil of the painting, if it be the
least within its power: on which account the
varnishes of this sort are much less used now
than formerly. This varnish, however, will
spread much more easily than that with spirit
of wine; and is not subject to chill, even
though it be laid on without the aid of any
warmth: but it is proper, nevertheless, to be
very careful, that there be no damp or moisture
on the surface of the painting; which would
prevent the varnish from taking hold; and
wholly frustrate the intention of it.

Varnishes have been used, likewise, formed
of the gums sandarac, olibanum, and Arabic,
with white resin and turpentine, dissolved in
linseed oil; but they are greatly out of use now,
as such varnishes are slow in drying; and the
linseed oil will turn yellow; besides the disad-
vantage arising from the impracticability of
ever taking them off the painting again, what-
ever occasion there may be for it. But a very
secure and good varnish may, neverthessl, be
made, by dissolving two ounces of sandarac
and olibanum, with half an ounce of Venice
turpentine, in half a pound of old nut or
poppy oil which is white; and if too far for
other use, the better.

All these varnishes must be carefully laid on
with a pencil or brush, according to the circum-
stances before intimated to be proper for each
kind: but with respect to those made of spirit
or wine or oil of turpentine, particular care
must be taken not to pass the pencil or brush
more than once over the same place: for, o-
therwise, it will produce streaks and inequali-
ties which spoil the effect.

Paintings in miniature are preserved by means
of plates of glass, or the talc called isinglass,
placed in the frame before them. There is no
particular method to be observed in doing this:
but to make the frame so compact, that the air
may have no access; which, otherwise, will
sometimes prey upon the colours.

Paintings in fresco, where they are of con-
sequence enough to merit such care, may be
rendered more durable, and preserved from
foulness, by varnishing them with hot size
boiled to a strong consistence, in which a fif-
teenth or twentieth part of honey has been dis-
solved.

216

Paintings in varnish require no means of pre-
servation, but from violence; the varnish itself
being a very sufficient defence of the colours
against the air, moisture, or all other substances
that might effect them.

Crayons must be preserved as paintings with
water colours, by plates of glass or isinglass.
There have been many experiments made to
discover a method of varnishing and giving
adhesion to the colours, to prevent their being
so easily rubbed off, or indeed shaken off, with
any very brisk motion: but the success has not
been hitherto such as makes it material to com-
municate the particulars of them here.


[SKIP TO 367]

367

PART III.

Of gilding, silvering, bronzing, ja-
paning, laquering, and the staining
different kinds of substances, with
all the variety of colours.

CHAP. I.

Of gilding.

SECT. I. Of gilding in general.

THE gilding different substances is per-
formed by a variety of means accom-
modated to the nature of each: but
the principle is the same in all; (except with
respect to one kind practiced on metals, where
quicksilver or heat is used, which I omit here
as not properly a part of the subject of this
work;) being only the putting some proper
cement on the body to be gilt; and then lay-
ing the gold either in the form of leaves, or
powder, on the cement; which binds it to the
body.

368

The principal kinds of gilding are those
called oil gilding; - varnish gilding; - and ja-
panners gilding or gilding with gold size.
These may be promiscuously used on grounds
either of wood, metal, or and other firm and
rigid body: but paper and leather require a
treatment in some cases peculiar to them-
selves.

The first attention, in most kinds of gild-
ing, is the choice of leaf gold: which should
be pure, and of the colour accomodated to
the purpose, or taste, of the work. Purity is
requisite in all cases: for if the gold be allayed
with silver it will be of too pale and greenish a
hue for any application; and if it contain much
copper, it will in time turn to a yet much stron-
ger green. The purity may be ascertained with
accuracy enough for this purpose, by the touch-
stone, and aqua fortis; and the fitness of the
colour, to any particular purpose, may be
distinguished by the eye. The full yellow is
certainly the most beautiful and truest colour
of gold: but the deep reddish cast has been of
late most-esteemed from the caprice of fasion:
which ever may be chosen, the colour ought
nevertheless to be good of the kind; for there
is a great variation in the force and effect of
different parcels of the same teint; some ap-
pearing more foul and muddy; others bright
and clear.

The best method however of judging of
the colour of leaf gold with nicety, is by keep-
ing a specimen of such as is perfect: with

369

which any fresh parcel may be occasionally
compared.

There is, besides the true leaf gold, another
kind in use, called Dutch gold: which is cop-
per gilt and beaten into leaves like the genuine.
It is much cheaper; and has when good great-
ly the effect of the true at the time of its being
laid on the ground; but, with any access of
moisture, it loses its colour, and turns green in
spots; and, indeed, in all cases, its beauty is
soon impaired, unless well secured by laquer or
varnish. It is nevertheless serviceable for coarser
gilding, where large masses are wanted; espe-
ally where it is to be seen by artificial light as in
the cafe of of theatres: and if well varnished will
there in a great measure answer the end of the
genuine kinds.

The other preparations of gold, belonging
to particular kinds of gilding, I shall treat of
them, as likewise the cements or other sub-
stances employed, in their respective places;
and proceed now to shew, what the instru-
ments are, which are common to the three
principal methods.

370

SECTION II.

Of the instruments that are common to
the oil, varnish, and japaners gilding.

THE first necessary instrument is, a
cushion for receiving the leaves of gold
from the paper, in order to its being cut into
proper size and figures, for covering the places
to be gilt. This cushion should be made of
leather, and fastened to a square board, which
should have a handle. It may be of any size
from fourteen inches square to ten; and should
be stuffed betwixt the leather and board with
fine tow or wool; but in such manner that the
surface may be perfectly flat and even.

A proper knife is the next, and an equally
requisite instrument; as it is necessary in all
cases to cut or divide the gold into parts corre-
spondent to those, which are to be covered.
This knife may be the same in all respects as
those used in painting, called pallet knives; the
blade of which may be four or six inches long,
and somewhat more than half an inch in breadth,
with a handle proportionable.

A squirrel's tail is likewise generally provided,
for taking up the whole leaves, and for com-
pressing the gold to the surface where it is laid,
and giving it the position required; and is used
also by some for taking up the parts of leaves;
but this is better done by means of a ball of

371

cotton wool; which will both answer this end
and that of compressing the gold in a more easy
and effectual manner. This squirrel's tail is
cut short, and sometimes spread in the fan
fashion by means of a piece of wood formed
like a pencil stick, but broad at one end, and
split to receive the tail; but it will equally
serve the purpose in its own form when the
hair is cut to a proper length. This instru-
ment is by some called a pallet; but impro-
perly; as the board for holding the colours in
painting, and which is frequently in use along
with this, being called by the same name, would
necessarily produce a confusion in speaking of
either.

A brush of very soft hog's hair, or of the fitch
kind, made large, is likewise commonly used
for passing over the work when it is become
dry, in order to take off the loose gold.

Some fine cotton wool is also necessary for
taking up the smaller parts of the leaves, and
laying them on the work: as also for com-
pressing and adjusting them when laid on.
The cotton should be formed into a ball by
tying it up in a piece of fine linnen rag;
for if it be used without the rag, the fibres
adhere to the gold size, and embarrass the
work.

A small stone and muller, with a propor-
tionable pallet knife, are required for grinding
and tempering the mixtures made of the fat
oil, or gold size, with each other, and the co-
lours that may be added to them: as also pro-

372

per brushes for laying on, and spreading the
fat oil, or size, on the work: and some of
these should be fitches of different size; in
order to convey, and settle the gold, where
the relief of carved work forms deep hollows.

These are all the instruments that are com-
mon to all the three principal kinds of gilding;
such as are peculiar to each, I shall take no-
tice of where they more properly occur.


SECTION III.

Of the manner of gilding, and the
preparation of fat oil.

THE gilding with oil is the most easy and
cheap, as well as most durable kind;
and, therefore, is mostly applied to common
purposes. It is performed by cementing the
gold to the ground, by means of fat oil. The
preparation of which is, therefore, previosly
necessary to be known; and may be much
better managed in the following manner, than
by any method hitherto taught, or commonly
practiced.

" Take any quantity of linseed oil; and
" put it into an earthen, or any other vessel of
" a broad form: so that the oil may lie in it
" with a very large surface; but the propor-

373

" tion should be so limited that the oil may be
" about an inch thick in the vessel. The earthen
" pans used for milk in the forming cream for
" butter are very well accomodated to this
" purpose. Along with the oil as much wa-
" ter should be also put into the vessel, as will
" rise six inches or more above the bottom.
" Place it then, with the oil swimming on
" the water, in any open place where the sun
" and rain may have access to it; but where
" it may be as free from receiving dust and
" filth as possible. Let it stand in this condi-
" tion, stirring it on every opportunity, for
" five or six weeks, or till it appear of the
" consistence of treacle. Take it then from
" off the water, into a phial, or bottle of a
" long form, or what is better, into a separat-
" ing funnel, such as is used by the chemists,
" and there draw off the remainder of the
" water. Place it afterwards, being in the long
" bottle or phial, in such heat as will ren-
" der it perfectly fluid; and the foulnesses it
" may contain will soon subside to the bot-
" tom; when the clear part must be poured
" off; and the remainder strained through a
" flannel, while yet water, and will then be
" fit for use."

It is to be observed that this method is only
practicable in summer: as the sun has not
sufficient power in winter to produce a due
change in the oil.

This method differs from that commonly
practiced, in the addition of the water; which

374

suffers the foulness to separate from the oil and
sink to the bottom, where it remains without
being again mixed with the oil every time it is
stirred, as is unavoidable were no water is
used: and likewise greatly contributes to
bleach the oil, and improve it in other re-
spects.

The best previous preparation of the piece
to be gilded, if it have not already any coat of
oil paint, is to prime it with drying oil mixed
with a little yellow oker; to which, also, a very
small proportion of vermilion may be added:
but where greater nicety and perfection is re-
quired in the work, the wood should be first
rubbed with fish skin; and then with Dutch
rushes.

This priming being dry, the next part of 
the operation is the sizing the work; which
may be done, either with the fat oil alone;
(but diluted with drying oil, if too thick to be
worked without) or with fat oil and the japa-
ner's gold size, (of which the preparation is
below taught) either in equal quantities, or in
any less proportion with respect to the gold size.
The difference betwixt the use and omission of
the gold size, in this way of gilding, lies in two
particulars; the one is, that the sizing dried
faster according to the proportion of the quan-
tity of the gold size to the fat oil, and is con-
sequently so much the sooner fit to be gilded:
the other is, that the gilding is also rendered,
in the same proportion, less shining and glossy;
which is esteemed a perfection in this kind of

375

gilding: though, taking away the prejudice of
fashion, I should think the most shining the
most beautiful; and of the strongest effect.

The fat oil, or the compound of that and the
gold size, must be ground with some yellow
oker; and then, by means of a brush, laid
thinly over the work to be gilt: but, in doing
this, care must be taken, to pass the brush in-
to all the hollows and cavities, if the subject be
carved, or have any other way projecting parts.
For where the size fails to be laid on, the gold
will never take, till the work be again repaired
by passing over the defective places with fresh
size: which should be avoided as much as pos-
sible. Where great perfection is required, the
gold should not be laid on the first sizing; but
that being suffered to dry, the work should be
again sized a second time: and some who are
very nice even proceed to a third.

The work being thus sized must be kept till
it appear in a proper condition to receive the
gold: which must be distinguished by touch-
ing with the finger; when, if it appear a lit-
tle adhesive or clammy; but not so as to be
brought off by the finger, it is in a fit condi-
tion to be gilt: but if it be so clammy as to
daub or come off on being touched, it is not
sufficiently dry, and must be kept longer: or
if there be no clamminess or sticky quality re-
maining, it is too dry, and must be sized over
again before it can be gilt.

When the work is thus ready to receive the
gold, the leaves of gold, where the surface is

376

sufficiently large and plain to contain them,
may be laid on, either by means of the squir-
rel's tail; or immediately from the paper in
which they were originally put; a method, that,
by those who have the proper dexterity of do-
ing it, is found to be much the simplest and
quickest, as well as best, for the perfection of
the work. Being laid on the proper parts of
the work, the leaves must then be settled
to the ground, by compressing those, which
appear to want it, gently with the squirrel's
tail or cotton ball; and if any part of the gold
has flown off, or been displaced, so as to leave
a naked or uncovered part, a piece of another
leaf, of size and figure correspondent to such
part, must be laid upon it. Where the parts
are too small to admit of the laying on whole
leaves, or where vacancies are left after laying on
whole leaves which are less than require others
to cover them, the leaves which are to be used
must be turned from the paper upon the cushion
(described above amongst the instruments;) and
cut, by scoring over them, with the knife, (a-
bove described likewise,) into such divisions or
slips as may be most commodiously laid on the
parts of the work to be covered: and then,
being separated, and taken up as they are
wanted by means of the cotton wool, to which
being breathed upon they will adhere, they
must be laid in the places they are designed to
cover; and gently pressed by the cotton, till they
touch every where, and lie even on the ground.

377

Where the work is very hollow, and small
pieces are wanted to cover parts that lie deep
and out of the reach of the squirrel's tail or the
cotton, they may be taken up by the point of a
fitch pencil (being first breathed upon) and
by that means conveyed to and settled in their
proper place: and those who are accustomed
to it use the pencil commodiously for a great
part of the work where the large parts of the
leaves cannot be used.

The whole of the work being thus covered
should be suffered to remain till it be dry; and
may then be brushed over by a camel's hair
pencil or soft hog's hair brush, to take off from
it all loose parts of the gold.

If after the burshing any defective parts, or
vacancies appear in the gilding, such parts must
be again sized; and treated in the same manner
as the whole was before: but the japaner's gold
size alone is much better for this purpose than
either the fat oil alone, or any mixture.


SECTION IV.

Of burnish gilding; with the prepara-
tion of the proper sizes, &c.

THE gilding with burnisht gold is sel-
dom practiced, but upon wood; and at
present mostly in the case of carved work, or
where carved work is mixed with plain. The

378

chief difference in the manner betwixt this and
oil gilding lies in the preparing the work to re-
ceive the gold; and in the substituting a size
made of parchment, or the cuttings of glover's
leather in the place of the fat oil, as a cement:
the preparation of which size should, there-
fore, be previously known; and may be as
follows.

" Take a pound of cuttings of parchment,
" or of the leather used by glovers; and,
" having added them to six quarts of water,
" boil them till the quantity of fluid be re-
" duced to two quarts: or till, on the tak-
" ing out a little, it will appear like a jelly on
" growing cold. Strain it through flannel
" while hot; and it will then be fit for use."

This size is employed in burnish gilding,
not only in forming the gold size, or cement
for binding the gold to the ground; but also
in priming, or previously preparing the work:
but before I proceed to shew the manner of
using it so, it is necessary to give the composi-
tions for the proper cement or gilding size em-
ployed in this kind of gilding. The are a
multiplicity of recipes for this composition,
which are approved of by different persons:
but as in general they vary not essentially from
each other, I will only give two, which I be-
lieve to be each the best in their kinds.

" Take any quantity of bole armoniac, and
" add some water to it, that it may soak till it
" grow soft; levigate it then on the stone,
" but not with more water than will prevent

379

" its being of a stiff consistence; and add to it
" a little purified suet or tallow scraped; and
" grind them together. When this is wanted for
" use, dilute it to the consistence of cream, by
" parchment or glovers size, mixt with double
" its quantity of water, and made warm. Some
" melt the suet or tallow, and mix it previously
" with fix or six times its weight of chalk be-
" fore it is put to the bole, to facilitate their
" commixture; to which in this wet state they
" are otherwise somewhat repugnant. It is
" also sometimes practiced to put sope-suds to
" the bole; which will contribute to its unit-
" ing with the tallow."

This is the simplest composition, and equal-
ly good with the following, or any other;
but for the indulgence of the variety of opi-
nions, which reigns in all these kinds of mat-
ters, I will insert another.

" Take of bole in fine powder one pound,
" and of black lead two ounces. Mix them
" well by grinding; and then add of olive
" oil two ounces, and of bees-wax one ounce,
" melted together; and repeat the grinding
" till the whole be thoroughly incorporated.
" When this mixture is to be used, dilute it
" with the parchment or glovers size, as was
" directed in the former recipe: but, in the
" mean time, both this and the foregoing
" should be kept immersed in water, which
" will preserve them good."

To prepare the wood for burnish gilding,
it should first be well-rubbed with the fish-

380

skin; and then with the Dutch rushes: but
this can only be practiced in the larger and
plainer parts of the work, otherwise it may
damage the carving, or render it less sharp by
wearing off the points. It must then be prim-
ed with the glovers size, mixed with as much
whiting as will give it a tolerable body of co-
lour: which mixture must be made by melt-
ing the size, and strewing the whiting in a
powdered state gradually into it; stirring them
well together, that they may be thoroughly
incorporated. Of this priming seven or eight
coats should be given, time being allowed for
the drying of each before the other be put on;
and care should be taken, in doing this, to
work the priming well, with the brush, into
all the cavities or hollows there may be in the
carved work. After the last coat is laid on,
and before it be quite dry, a brush pencil dipt in
water should be passed over the whole to smooth
it and take away any lumps or inequalities that
may have been formed: and when it is dry
the parts which admit of it should be again
rushed over till they be perfectly even. The
work should then be repaired by freeing all
the cavities and hollow parts from the priming,
which may choak them, or injure the relief
of the carving: after which a water polish
should be given to the parts designed to be
burnished, by rubbing them gently with a fine
linnen rag moistened with water.

The work being thus prepared, when it is
to be gilt, dilute the composition of bole, &c.

381

with warm size mixt with two thirds of water;
and with a brush spread it over the whole of
the work, and then suffer it to dry; and go
over it again with the mixture, in the same
manner, at least once more. After the last
coat, rub it in the parts to be burnished, with
a soft cloth, till it be perfectly even. Some
add a little vermilion to the gilding size, and
others colour the work, if carved, before it
be laid on, with yellow and the glovers size;
to which a little vermilion, or red lead, should
be added. This last method is to give the ap-
pearance of gilding to the deeper and obscure
parts of the carving, where the gold cannot,
or is not thought necessary, to be put: but
this practice is at present much disused; and
instead of it such parts of the work are colour-
ed after the gilding; which taeatment is call-
ed matting.

Having the work properly prepared, and
set in a position almost perpendicular, but de-
clining a little from you, and having the
gilding size, and all the necessary instru-
ments above described ready, as also a ba-
son of clean water, wet the uppermost part
of the work, but means of a large camel's
hair pencil dipped in the water; and then
lay on the gold upon the part so wet, in
the manner above directed for the gilding in
oil, till it be completely covered, or become
too dry to take the gold: and then proceed
to wet the next part of the work, or the
same over again if necessary, and gild it as the

382

first; repeating the same method till the whole
be finished.  Some wet the work with brandy,
or spirit of wine, instead of water; but I do
not conceive any advantage can arise from
it, that may not be equally obtained by a ju-
dicious use of water; and this manner is much
more troublesome and difficult, as well as ex-
pensive, for only a small part must be wet at
one time, and the gold laid instantly upon it,
or the brandy or spirits will fly off, and leave
the ground too dry to take the gold.

The work being thus gone over with the
gilding, must be then examined; and such
parts as require it repaired, by wetting them
with the camels hair pencil, and covering
them with the gold; but as little as possibe of
the perfect part of the gilding should be wet,
as the gold is very apt to turn black in this
state. When the repaired part also is dry, the
work may be matted if it require it: that is,
the hollow parts must be covered with a co-
lour the nearest in appearance to gold. For
this purpose some recommend red lead, with
a little vermilion ground up with the white of
an egg: but I think yellow oker or Dutch
pink with red lead, would better answer the
end: or the terra de Siena very slightly burnt
or mixed with a little red lead would have a
much better effect; and be more durable than
any other mixture so near the colour of gold
in shade. Isinglass size will likewise equally
well supply the place of the whites of eggs in
the composition for matting.

383

The work being thus gilt, it must remain
about twenty-four hours; and then the parts
of it that are designed to be burnished, must
be polished with the dog's tooth, or with the
burnishers of agate or flint made for this pur-
pose: but it should be previously tried, whe-
ther it be of the proper temper as to the dry-
ness; for though twenty-four hours be the
most general space of time, in which it be-
comes fit, yet the difference of season, or the
degree of wet given to the work, make the
drying irregular, with regard to any fixt
period. The way of distinguishing the fitness
of the work to take the burnish, is to try two
or three particular parts at a distance from
each other; which, if they take the polish in
a kindly manner, the whole may be conclud-
ed fit: but if the gold peel off, or be disor-
dered by the rubbing, the work must be
deemed not yet dry enough: and if the gold
abide well the rubbing, and yet receives the
polish slowly, it is a proof of its being too
dry: which should be always prevented by
watching the proper time; as the work, when
too dry, both requires much more labout to
burnish it, and fails at last of taking so fine
a polish.

384

SECTION V.

Of Japaners gilding.

THE Japaners gilding is performed by
means of gold powder, or imitations
of it, cemented to the ground by a kind of
gold size much of the nature of drying oil:
for the making which, there are various re-
cipes followed by different persons. I shall,
however, only give one of the more compound,
that is much approved; and another very
simple, but which, nevertheless, is equally
good for the purpose with the most elaborate.
The more compound gold size may be thus
made.

" Take of gum animi and asphaltum each
" one ounce, of red lead, litharge of gold, and
" umbre, each one ounce and a half. Re-
" duce the grosser ingredients to a fine pow-
" der; and having mixed them, put them,
" together with a pound of linseed oil, into
" a proper vessel, and boil them gently; con-
" stantly stirring them, with a stick or to-
" bacco-pipe, till the whole appear to be in-
" corporated. Continue the boiling, fre-
" quently stirring them, till on taking out a
" small quantity, it appear thick like tar, as
" it grows cold. Strain the mixture then
" through flannel; and keep it carefully stopt
" up in a bottle, having a wide mouth, for

385

" use. But when it is wanted, it must be
" ground with as much vermilion, as will
" give it an opake body, and at the same
" time diluted with oil of turpentine, so as to
" render it of a consistence proper for work-
" ing freely with the pencil."

The asphaltum does not, I conceive, con-
tribute to the intention of this kind of size:
and the litharge of fold, and red lead, are
both the same thing, with respect to this pur-
pose, under different names: and neither they
nor the umbre necessary, but clogging ingre-
dients to the composition.

This gold size may therefore be equally
well, or perhaps better prepared, in the fol-
lowing manner:

" Take of linseed oil one pound, and of
" gum animi four ounces. Set this oil to
" boil in a proper vessel; and then add the
" gum animi gradually in powder; stirring
" each quantity about in the oil, till it
" appear to be dissolved; and then putting in ano-
" ther, till the whole be commixt with the
" oil. Let the mixture continue to boil, till,
" on taking a small quantity out, it appear of
" a thicker consistence than tar: and then
" strain the whole through a coarse cloth, and
" keep it for use: but it must, when used, be
" mixed with vermilion and oil of turpentine,
" in the manner directed for the foregoing."

This gold size may be used on metals,
wood, or any other ground whatever: but be-
fore I enter on the particular manner of gild-

386

ing with it, the preparation of the true, and
counterfeit, gold powders are necessary to be
shewn.

The true gold powder may be well and
easily made by the following method.

" Take any quantity of leaf gold; and grind
" it with virgin hony, on a stone, till the
" texture of the leaves be perfectly broken,
" and their parts divided to the minutest de-
" gree. Then take the mixture of gold and
" hony from off the stone; and put it into a
" China or other such bason, with water;
" and stir it well about, that the hony may
" be melted; and the gold by that means
" freed from it. Let the bason afterwards
" stand at rest, till the gold be subsided; and
" when it is so, pour off the water from it;
" and add fresh quantities till the hony be in-
" tirely washed away; after which the gold
" may be put on paper, and dried for use."

The German gold powder, which is the
kind most generally used, and, where it is
well secured with varnish, will equally answer
the end in this kind of gilding with the ge-
nuine, may be prepared from the sort of leaf
gold, called the Dutch gold, exactly in the
same manner as the true.

The aurum Mosaicum, which is tin colour-
ed, and rendered of a flaky or pulverine tex-
ture, by a chemical process, so as greatly to
resemble gold powder, may be likewise used
in this kind of gilding; and prepared in the
following manner.

387

" Take of tin one pound, of flowers of
" sulphur seven ounces, of sal ammoniacum
" and purified quicksilver each half a pound.
" Melt the tin; and add the quicksilver to it
" in that state: and when the mixture is be-
" come cold, powder it, and grind it with
" the sal ammoniacum, and sulphur, till the
" whole be thoroughly commixt. Calcine
" them then in a mattrass; and the other in-
" gredients subliming, the tin will be convert-
" ed into the aurum Mosaicum; and will be
" found in the bottom of the glass like a mass
" of bright flaky gold powder: but if any
" black or discoloured parts appear in it, they
" must be carefully pickt or cut out."

The sal ammoniacum employed ought to
be perfectly white and clean; and care should
be taken, that the quicksilver be not such as
is undulterate with lead, which may be known
by putting a small quantity in a crucible, into
the fire, and observing when it is taken out,
whether it be wholly sublimed away, or have
left any lead behind it. The calcination may
be best performed in a coated glass body,
hung in the naked fire; and the body should
be of a long figure, that the other ingredi-
ents may rise so as to leave the coloured tin
clear of them. The quicksilver, though it
be formed into cinnabar along with the sul-
phur, need not be wasted; but may be re-
vived by distilling it with the addition of
quick-lime; for which a very cheap and com-

388

modious method and apparatus may be found
in a late treatise on practical chemistry, in-
titled, The Elaboratory laid open, &c.

There are some other coarser poders in
imitation of gold, which are formed of preci-
pitations of copper: but as they are seldom
used now for gilding, I shall defer shewing the
manner of preparing them, till I come to
speak of bronzing, where they more properly
occur.

Besides these powders, the genuine leaf or
Dutch gold may be used with the japaners
gold size, where a more shining and glossy
effect is desired in the gilding: but in that
kind of gilding which is intended to be var-
nished over, or to be mixed with other japan
work or paintings in varnish, the powders are
most frequently employed.

The gilding with japaners gold size may
be practiced on almost any substance whatever,
whether wood, metal, leather, or paper: and
there is no further preparation of the work
necessary to its being gilt, than the having the
surface even and perfectly clean.

The manner of using the japaners size
is to put a proper quantity of it, prepared as
above directed, and mixt with the due pro-
portion of oil of turpentine and vermilion,
into a small gally pot, or one of those tin ves-
sels above described, for containing the colours
when used for painting on varnish; and ei-
ther to spread it with a brush over the work,

389

where the whole surface is to be gilt; for to draw
with it by means of a pencil the proper figure de-
sired, avoiding carefully to let it touch any other
parts; and then to suffer it to rest till it be fit to
receive the gold: which must be distinguished
by the finger, in the same manner as with the
fat oil; the having a proper clamminess or
sticky quality without being so fluid as to take
to the finger, being alike the criterion in both
cases. Being found of a proper dryness, when
the gold powders are to be used, a piece of
the soft leather, called wash-leather, wrapt
round the fore-finger, must be dipt in the
powder, and then rubbed very lightly over
the sized work; or, what is much better,
the powder may be spread by a soft camel's
hair pencil; and the whole being covered, it
must be left to dry; and the loose powder
may then be cleared away from the gilded
part, and collected, by means of a soft ca-
mel's hair brush. When leaf gold is used, the
method of sizing must be the same as for the
powders: but the point of due dryness is very
nice and delicate in these cases; for the leaves
must be laid on while the matter is in a due
state, otherwise the whole of what is done
must be sized and gilt over again.

When more gold size is mixt up with the
oil of turpentine, and vermilion, than can be
used at one time, it may be kept by immersing
it under water till it be again wanted: which is
indeed a general method of preserving all kind

390

of paint, or other such compositions as contain
oily substances.


SECTION VI.

Of gilding paper, and vellum or
parchment. 

THERE are a variety of methods used
for gilding paper, according to the se-
veral ends it is designed to answer; but for
the most part size, properly so called, and gum
water, are used as the cements; and the
powders are more generally employed than
the leaf gold.  As I have given the prepara-
tion of these several substances before, it is
needless to repeat them here; and I shall
therefore only point out those circumstances in
the manner of their use, which are peculiar
to the application of them to this purpose.

Of the gildings on paper proper to be used along
with painting in water colours, or fresco.

The gilding proper to be used with water
colours may be either with the leaf gold, or
powder; which last, when mixt with the
proper vehicle, is called shell gold.

The leaf gold is necessary in all cases, where
a metalline and shining appearance is wanted:

391

and it may be laid on the designed ground by
means either of gum water, or isinglass size.
The gum water or size should be of the weak-
er kind, and not laid to freely on the
ground; and proper time should likewise be
given for it to dry: the judgment on which
must be formed, in this case, as in the other
kinds of gilding, by touching with the finger.
The management of the gold also is much
the same in this as in the former: and where
a polisht appearance is wanting, the dog's
tooth or other kind of burnisher may be used.
In the gilding larger surfaces, it will be found
advantageous to colour the ground with the
gall-stone: and where colours are to be laid
on the gilding, the brushing the gold over
with the gall of any beast, will make it take
them in a much more kindly manner.

When the gold powders are used along with
paintings in water colours, it is previously
formed into shell gold, (as it is called, from its
being usually put into muscle shells, in the
same manner as the colours).  This shell
gold is prepared by tempering the gold powder
with very weak gum water; to which a
little sope-suds may be put, to make the gold
work more easily and freely. The preparation
of the gold powders is before given, p. 386,
and that of the gum water p. 168.

392

Of the gilding proper for the coloured paper for
binding books, and other such projects.

This kind of gilding is performed in much
the same manner as that for mixing with paint-
ing in water colours; except that in this case,
the gilding being intended generally to form
some figure or design, the gum water or
size, instead of being laid on with a brush or
pencil, is most generally conveyed to the
ground by means of a wooden plate, or print,
and most expediently by an engraved roller,
which make an impression of the figure or de-
sign intended; and that, as the rising of the
gold from the surface of the ground is not dis-
advantage in this kind of gilding, as it is in
that mixt with paintings, the gum water or
size may be much stronger; which will con-
tribute both to bind the gold firmer, and to
give it a sort of embossed appareance that imp-
roves the effect. In this kind of gilding,
the japaners gold size may be also commodi-
ously employed; for, as the paper must be
moistened before it be printed, there is no in-
convenience liable to happen from the running
of the gold size thus used. Where the em-
bossed appearance is wanted in the greatest de-
gree, the gold size should indeed always be
used: and in this case should be thickened
with yellow oker mixt with as much red
lead, as the proper working of the print will
admit.

393

The wooden plates or prints used for gild-
ing in this manner, are worked by the hand,
and are to be charged with the gum water or
size, of whatever kind it be, by letting it gent-
ly and evenly down on a cushion on which
the gum water or size has been copiously
spread by means of a proper brush; and then
pressing it on the paper prepared by moisten-
ing with water, and laid horizontally with some
sheets of other paper under it. Where the roll-
ing print is employed, the gum water or size
must be laid on it by a proper bush, immediately
out of the pot or vessel which contains it: but
too copious an use must be avoided for fear of
spreading it beyond the lines of the design or
pattern. The subsequent management of the
gold, whether leaf or powder, must be the
same in the foregoing kinds of gilding.

It rarely answers to use the leaf gold in this
kind of painting, nor even the true gold pow-
der: but the German powder, or that formed
of the leaves called Dutch gold, is mostly em-
ployed, and answers well enough the purpose.
The manufactures of the gilt and marbled
papers have not been so much cultivated in our
own country, as it were to be wished, since
very great sums have been always annually
paid, both to Germany and Genoa, on this
account: and the improvement of this manu-
facture is, therefore, a very fit object of at-
tention to that most laudable society for the
establishment and encouragement of useful
arts, who have offered premiums to those who

394

would give proofs of their endeavours or suc-
cess in parallel instances.

Of gilding proper for letters of gold on paper,
and the embellishment of manuscripts.

The most easy and neat method of forming
letters of gold on paper, and for ornaments of
writings is, by the gold armoniac, as it was
formerly called: the method of managing
whicih is as follows:

" Take gumm Ammoniacum, and powder
" it; and then dissolve it in water previously
" impregnated with a little gum Arabic, and
" some juice of garlic. The gum Ammonia-
" cum will not dissolve in water, so as to form
" a transparent fluid, but produces a milky
" appearance; from whence the mixture is
" called in medicine the lac Ammonicaum.
" With the lac Ammoniacum thus prepared,
" draw with a pencil, or write with a pen on
" paper, or vellum, the intended figure or
" letters of the gilding. Suffer the paper
" to dry; and then, or any time afterwards,
" breath on it till it be moistened; and
" immediately lay leaves of gold, or parts
" of leaves cut in the most advantageous man-
" ner to save the gold, over the parts drawm

395

" with a soft pencil, or rub off by a fine lin-
" nen rag, the redundant gold which covered
" the parts between the lines of the drawing
" or writing; and the finest hair strokes of
" the pencil or pen, as well as the broader, will
" appear perfectly gilt."

It is usual to see in old manuscripts, that are
highly ornamented, letters of gold which rise
considerably from the surface of the paper or
parchment containing them in the manner of
embossed work; and of these some are less
shining, and others have a very high polish.
The method of producing these letters is of
two kinds; the one by friction on a proper
body with a solid piece of gold: the other by
leaf gold. The method of making these let-
ters by means of solid gold is as follows.

" Take chrystal; and reduce it to powder.
" Temper it then with strong gum water, till
" it be of the consistence of paste; and with
" this, form the letters; and, when they are
" dry, rub them with a piece of gold of good
" colour, as in the manner of polishing; and
" the letters will appear as if gilt with bur-
" nisht gold." 

Kunckel has, in his fifty curious experiments,
given this receipt: but omitted to take the least
notice of the manner, how these letters are to
be formed; though the most difficult circum-
stance in the production of them. It may, how-
ever, be done by means of a stamp in this man-
ner. Let the embossed figure, either of the
separate letters or of whole words, be cut in

396

steel; and, when the stamps are to be used,
anoint each letter carefully with the end of a
large feather dipt in oil; but not so wet as to
leave drops in the hollows of the stamps. Fill
these concave letters, in the stamps, with the
above mixture of powdered chrystal and
gum water; and, wiping the other parts of
them perfectly clean, place them then on the
paper or vellum, laid over some sheets of pa-
per: taking care, that the letters may be in the
exact position where they ought to lie, strike
then the stamp in a perpendicular direction,
but not too forcibly; and take it off in the same
direction.  The letters will be left in their pro-
per places by this means, and will have the same
proportions as their archetypes in the stamps.

Where leaf gold is used for making em-
bossed letters in manuscripts, the above com-
position cannot be used; but there are several
others, which will very well supply its place:
of which the following has been given as very
excellent.

" Take the whites of eggs; and beat them
" to an oily consistence. Then take as much
" vermilion as will be required to thicken the
" whites of the eggs to the consistence of paste.
" Form the letters of this paste, by means of
" the stamps, in the manner before directed;
" and when they are become dry, moisten
" them by a small pencil with strong gum
" water, observing not to let it run beyond the
" bounds of the letters. When the gum wa-
" ter is of a proper dryness, which must be

397

" judged of the rule before given, cover
" the letters with leaf gold; and press it close
" to every part of them, by cotton or soft
" leather. After the gilding is dry, it may be
" polished by the dog's tooth, or the other pro-
" per burnishes."

Of gilding proper for the edges of books and paper.

There are several various methods, with re-
spect to the cement used, by which the edges
of books or paper may be gilt: as strong gum
water, or isinglass size, or glover's size, may
be employed: but as the gum water, and
weaker sizes, are apt to run beyond the edge;
and stick theleaves together, isinglass melted
with the addition of some common proof spirit
of wine, and a sixth part of hony or sugar
candy is greatly preferable: but a third of bole
armoniac well powdered must be added.

The following composition has been like-
wise approved of for this purpose.

" Take bole armoniac, and sugar candy well
" powdered, each equal parts: mix them with
" the whites of eggs beaten to an oily consist-
" ence; and the cement will be fit for use."

In order to the using of any of these cements,
the paper, whether it be in quires, or books,
should be well cut, and polished on the edges
to be gilt; and then strongly screwed down by
the press: in which state, it is to be brushed
over, first with a little of the cement without
the sugar candy, or the bole; and when that

398

is dry, either with the cement above given, or
any other solution of gum or size with the proper
proportion of the bole: after which it may be
suffered to dry; and then water polished by
rubbing it with a fine linnen rag lightly moist-
ned.  It is then in a state fit for receiving the
gold; only it must be again gently moistned at
that time: and the leaves may then be laid on,
being cut according to the breadth they are to
cover; and pressed closely down by a cotton
ball: and after the gilding is thoroughly dry
and firm, it may be polisht in the manner of
the foregoing kinds.


SECTION VII.

Of gilding leather.

LEATHER may be gilded by all
the same methods which have been
given for gilding paper, or vellum; except,
that where to gold size is used, there is no
occasion to wet the leather to prevent the run-
ning of the oil out of the bounds. Either
leaf gold or the powders may therefore be
employed as well for leather, as paper: but,
unless in the finer work of the japaning leather
gilders, or other particular uses, the German
powder alone is used. It is needless conse-
quently to repeat here the methods above
shewn with respect to the gilding paper for

399

covers to books, &c. which equally well suit
for this purpose in general: but as there is a
manner of gilding leather peculiar to the book-
binders, it is requisite to explain it.

The method of gilding used by the book-
binder is to have the letters, or copartments,
scrolls, or other ornaments, cut in steel stampsl
not by sinking, as in most other cases, but by
the projection of the figure from the ground.
These stamps are made hot; and leaves of
gold being laid on the parts accomodated
to the pattern or design of the gilding, the
hot stamps are prest strongly on the gold
and leather; and bind the gold to it in the
hollows formed by the stamp: the other re-
dundant part of the gold being afterwards
brushed or rubbed off.

SECTION VIII.

Of gilding of glass without annealing
or burning.

GLASS may be gilt, by applying as a
cement any gold size, or other size, gum
water, or varnish; and, when it is of a pro-
per degree of dryness, laying on the gold as in
the other methods of gilding: and polishing
it also in the same manner, if the burnisht ap-
pearance be desired: but where that is in-
tended, it is proper to add bole armoniac,

400

chalk, or other such substance to the ce-
ment.

When drinking glasses are to be gilt, with-
out burning, the cement should be either some
gold size formed of oil, or some kind of var-
nish compounded of the gum resins, that will
not dissolve in water; but require either spirit
of wine or oil or turpentine for their solution:
at present, nevertheless, this is not only neg-
lected by those who gild drinking glasses for
sale; but glasses gilded with gum arabic, or
the sizes which will dissolve in water, are im-
posed upon the public for the German glasses
gilt with the annealed gold; and sold at a dear
rate under that pretence; though after they
have been used for a very short time, the gold
peals and rubs off in spots when the glasses are
cleaned; and renders them very unsightly.
As the glasses with gilt edges are at present
much in fashion, and the true kind are brought
from Germany or elsewhere, the incitement
of the cultivating this branch of gilding here
would not be an unfit object of the premiums
of the worthy society for the encouragement of
arts: since for the doing this work in perfec-
tion, there is nothing more wanting than that
dexterity of the manoevre, which arises from
a little practice in matters of this kind; as I
have before shewn in treating particularly of
this article p. 320, the general method, and ex-
plained fully there and elsewhere, the nature
of the substances proper to be employed as far
as respects this operation.

401

CHAP. II.

Of silvering

SILVERING may be practiced on the
same substances; and by all the same me-
thods, either with leaf or powder we have be-
fore pointed out with regard to gilding; varia-
tion being made in a few circumstances below
mentioned. It is nevertheless but seldom used,
notwithstanding the effect would be very beau-
tiful and proper in many cases; and there is an
extreme good reason for such a neglect of it.
This reason is, its tarnishing in a very short
time; and acquiring frequently, besides the
general depravity of the whiteness, such spots
of various colours, as render it very unsightly:
and this tarnish and specking is not only the
constant result of time; but will be often pro-
duced instantly by any extraordinary moisture
in the air, or dampness, as well as by the fumes
and effluvia of many bodies which may happen
to approach it.

Wherever, therefore, silvering is admitted,
a strong varnish ought to be put over it: and
this even is not sufficient wholly to secure it
from this destructive consequence. The var-
nish must be some of the compositions of mas-
tic, sanderac, the gums animi or copal, and
white resin; (the particular treatment of which
in the forming varnishes will be found in other

402

parts of this work;) for the other substances
used for compounding varnishes are too yel-
low. Some put a coat of isinglass size over
the silver: but, besides that the size itself in-
jures the whiteness in time by turning yellow,
it preserves the silver but in a small degree.

The methods of making the silver powders
is also the same as those of gold, except with
regard to one of the German powders, which
is correspondent both in its appearance and use,
abating the difference of colour, to the aurum
mosaicum or musivum: whence it has been indeed,
though improperly, called the argen-
tum musivum. The process for this being,
therefore, different from any before given, it
is proper to insert it fully, as follows.

" Take of very pure tin one pound. Put it into
" a crucible; and set it on fire to melt: when it
" begins to run into fusion, add to it an equal
" proportion of bismuth or tin glass: and stir
" the mixture with an iron rod, or the small end
" of a tobacco-pipe, till the whole be intirely
" melted, and incorporated. Take the cruci-
" ble then from the fire; and, after the melted
" composition is become a little cooler, but
" while it is yet in a fluid state, pour into it
" a pound of quicksilver gradually; stirring
" it in the meantime, that the mercury
" may be thoroughly conjoined with the o-
" ther ingredients. When the whole is thus
" commixy, pour the mass out of the cruci-
" ble on a stone; where, as it cools, it will
" take the form of an amalgama or metalling

403

" paste; which will be easily bruised into a flaky
" powder; and is then fit for use."

This powder may be either tempered, in the
manner of the shell gold, with gum water; or
rubbed over a ground properly sized, according
to any of the methods above directed for gold
powders; and it will take a very good polish
from the dog's tooth or burnishers; and hold
its colour much better with a slight coat of
varnish over it, than any true silver powder.

The sizes for silvering ought not to be mixed,
as in the case of gold, with yellow, or bole ar-
moniac; but with some white substance, whose
effect may prevent any small failures in the
covering the ground with the silver from being
seen, in the same manner as the yellow sub-
stances do the gold. This may be done with
flake white, or white lead, when the sizes
formed of oil are used: but whiting is the
proper matter in the burnish for silvering; or
where the glover's or parchment size is used.
Some recommend tobacco-pipe clay in the
place of whiting; and add a little lamp black
to give a silver-like greyishness to the composi-
tion.

404

CHAP. III.

Of bronzing.

BRONZING is colouring, by metalline
powders, plaster, or other busts and fi-
gures, in order to make them appear as if cast
of copper or other metals.

This is sometimes done by means of cement;
and sometimes without, in the instance of pla-
ster figures: but the bronzing is more durable
and secure when a cement is used.

The gold powders, and the aurum mosai-
cum, we have before given the preparation of,
are frequently employed for this purpose; but
the proper bronzing ought to be of a deeper
and redder colour, more resembling copper;
which effect may be produced by grinding a
very small quantity of red lead with these
powders; or the proper powder of copper may
be used: and may be prepared as follows.

" Take filings of copper or slips of cop-
" per plates; and dissolve them in any kind
" of aqua fortis put into a glass receiver, or
" other proper formed vessel. When the
" aqua fortis is saturated with the copper, take
" out the slips of the plates; or if filings were
" used, pour off the solution from what re-
" mains undissolved: and put into it small
" bars of iron: which will precipitate the
" copper from the aqua fortis in a powder of

405

" the proper appearance and colour of cop-
" per. Pour off the water then from the
" powder; and wash it clean from the
" salts, by several successive quantities of fresh
" water."

Where the appearance of brass is designed,
the gold powders, or the aurum mosaicum,
may be mixt with a little of the powder called
argentum musivum; of which the prepara-
tion is above given.

Where no cement is used in bronzing, the
powder must be rubbed on the subject intend-
ed to be bronzed, by means of a soft
leather, or fine linnen rag, till the whole sur-
face be colored.

The former method of using a cement in
bronzing was, to mix the powders with strong
gum water, or isinglass size; and then with a
brush, or pencil, to lay them on the subject:
but at present some use the japanner's gold size:
and proceed in all respects in the same manner
as in gilding with the powders in other cases:
for which ample directions have been before
given.

This is the best method hitherto practiced;
for the japanner's gold size binds the powders
to the ground, without the least hazard of
peeling or falling off; which is liable to hap-
pen when the gum water or glover's or isinglass
sizes are used: though, not withstanding the au-
thority of the old practice for the contrary, even
these cements will much better secure them
when they are laid on the ground, and the

406

powders rubbed over them, than when both
are mixed together, and the effect particularly
of the aurum mosaicum will be much better in
this way than the other.

The fictitious silver powder, called the argen-
tum musivum, may be applied in the manner
of bronze, by those whose caprice disposes
them to silver figures or busts: but it is the
only sort of silver powder, that should be used
in this way, for the reason above given: and
all such kind of silvering is much better omit-
ted: as the whiteness itself of plaster in fi-
gures or busts, and much more a glossy or
shining whiteness, is injurious to their right ef-
fect; by its eluding the judgment of the eye,
with respect to the proper form and proportion
of the parts, from the false and pointed reflec-
tion of the lights, and the too faint force of
the shades: to remove which inconvenience
it is probable was the first inducement to
bronzing.


CHAP. IV.

Of japanning.

SECT. I. Of japanning in general.

BY japanning is to be here understood the
art of covering bodies by grounds of
opake colors in varnish; which may be either

407

afterwards decorated by paintings or gilding,
or left in a plain state.  This is not at present
practiced so frequently on chairs, tables, and
other furniture of houses, except tea waiters,
as formerly: but the introduction of it for or-
namenting coaches, snuff-boxes, and skreens,
in which there is a rivalship betwixt ourselves
and the French, renders the cultivation and
propagation of this art of great importance to
commerce. I shall therefore be more explicit
in shewing the methods both now and former-
ly in use; with the application of each to the
several purposes to which they are best adapted;
and point out at the same time several very ma-
terial improvements, that are at present en-
joyed only by particular persons; or not at all
hitherto brought into practice.

The substances which admit of being ja-
panned are almost every kind that are dry and
rigid, or not too flexible: as wood, metals, lea-
there, and paper prepared.

Wood and metals do not require any other
preparation, but to have their surfaces perfectly
even and clean: but leather should be securely
strained either on frames, or on boards; as its
bending or forming folds would otherwise
crack and force off the coats of varnish; and
paper should be treated in the same manner;
and have a previous strong coat of some kind
of size; but it is rarely made the subject
of japanning till it is converted into papier
machè, or wrought by other means, into

408

such form that its original state, particularly
with respect to flexibility, is lost.

One principal variation in the manner of
japanning is, the using or omitting any priming
or undercoat on the work to be japanned. In the
older practice, such priming was always used:
and is at present retained in the French man-
ner of japanning coaches and snuff-boxes of
the papier machè: but in the Birmingham
manufacture here, it has always been re-
jected. The advantage of using such priming
or undercoat is, that it makes a saving in the
quantity of varnish used; because the matter
of which the priming is composed fills up the
inequalities of the body to be varnished: and
makes it easy, by means of rubbing and water-
polishing, to gain an even surface for the var-
nish: and this was therefore such a convenience
in the case of wood, as the giving a hardness and
firmness to the ground was also in the case of
leather, that it became an established method;
and is therefore retained even in the instance of
the papier machè, by the French who applied
the received method of japanning to that kind of
work on its introduction. There is neverthe-
less this inconvenience always attending the use
of an undercoat of size, that the japan coats
of varnish and colour will be constantly lia-
ble to be craked and peeled off, by any vio-
lence, and will not endure near so long as the
bodies japanned in the same manner, but with-
out any such priming: as may be easily ob-
served in comparing the wear of the Paris and

409

Birmingham snuff-boxes; which latter, when
good of their kind, never peel or crack, or suffer
any damage, unless by great violence, and such
a continued rubbing, as wastes away the sub-
stance of the varnish: while the japan coats of
the Parisian crack and fly off in flakes when-
ever any knock or fall, particularly near the
edges, exposes them to be injured. But the
Birmingham manufacturers, who originally
practiced the japanning only on metals, to which
the reason above given for the use of priming
did not extend, and who took up this art of
themselves as an invention, of course omitted
at first the use of any such undercoat; and
not finding it more necessary in the instance of
papier machè, then on metals, continue still
to reject it. On which account the boxes of
their manufacture are, with regard to the wear,
greatly better than the French.

The laying on the colours in gum water, in-
stead of varnish, is also another variation from
the method of japanning formerly practiced: but
the much greater strength of the work, where
they are laid on in varnish or oil, has occasioned
this way to be exploded with the greatest rea-
son in all regular manufactures: however, they
who may practice japanning on cabinets, or other
such pieces, as are not exposed to much wear
and violence, for their amusement only, and
consequently may not find it worth their while
to encumber themselves with the preparations
necessary for the other methods, may paint
with water colours on an undercoat laid on

410

the wood, or other substance of which the
piece to be japanned is formed; and then finish
with the proper coats of varnish according to the
methods below taught: and if the colours are
tempered with the strongest isinglass size and
hony instead of gum water, and laid on very
flat and even, the work will not be much
inferior in appearance to that done by the o-
ther method; and will last as long as the old
japan. 

It is practiced likewise, in imitation of what
is sometimes done in the Indian work, to paint
with water colours on grounds of gold; in
which case the isinglass size, with sugar candy
or hony, as above directed, is the best ve-
hicle.

Of japan grounds

The proper japan grounds are either such as
are formed by the varnish and colour, where the
whole is to remain of one simple colour; or by
the varnish either coloured, or without colour,
on which some painting or other decoration is
afterwards to be laid. It is necessary, how-
ever, before I proceed to speak of the particu-
lar grounds, to shew the manner of laying on
the priming or undercoat, where any such is
used.

The priming is of the same nature with
that called clear coating (or vulgarly clear
coaling) practiced erroneously by the house
painters; and consists only in laying on and

411

drying in the most even manner, a composi-
tion of size and whiting. The common size
has been generally used for this purpose: but
where the work is of a nicer kind, it is better
to employ the glover's or the parchment size;
and if a third of isinglass be added, it will be
still better; and if not laid on too thick, much
less liable to peel and crack. The work should
be prepared for this priming, by being well
smoothed with the fish-skin, or glass shaver;
and, being made thoroughly clean, should be
brushed over once or twice with hot size, di-
luted with two thirds of water, if it be of the
common strength. The priming should then
be laid on with a brush as even as possible;
and should be formed of a size, whose consist-
ence is betwixt the common kind and glue,
mixt with as much whiting as will give it a
sufficient body of colour to hide the surface of
whatever it is laid upon, but not more.

If the surface be very even, on which the
priming is used, two coats of it, laid on in
this manner, will be sufficient: but if, on trial
with a fine rag wet, it will not receive a pro-
per water polish, on account of any inequali-
ties not sufficiently filled up and covered, two
or more coats must be given it: and whether
a greater or less number be used, the work
should be smoothed, after the last coat but one is
dry, by rubbing it with the Dutch rushes. When
the last coat is dry, the water polish should be
given, by passing over every part of it with a
fine rag gently moistned, till the whole appear

412

perfectly plain and even. The priming will
then be completed, and the work ready to re-
ceive the painting, or coloured varnish: the
rest of the proceedings being the same in this
case as where no priming is used.


Of common grounds of varnish, which are to be
painted upon.

Where wood or leather is to be japanned,
and no priming is used, the best preparation is,
to lay two or three coats of coarse varnish com-
posed in the following manner.

" Take of rectified spirit of wine one pint,
" and of coarse seed-lac and resin each two
" ounces. Dissolve the seed-lac and resin in
" the spirit: and then strain off the varnish."

This varnish, as well as all others formed of
spirit of wine, must be laid on in a warm
place; and, if it can be conveniently managed,
the piece of work to be varnished should be
made warm likewise: and for the same reason
all dampness should be avoided; for either
cold or moisture chill this kind of varnish;
and prevent its taking proper hold of the sub-
stance on which it is laid.

When the work is so prepared, or by
the priming with the composition of size
and whiting above described, the proper
japan ground must be laid on: which is much
the best formed of shell-lac varnish, and the
colour desired; if white be not in question,
which demands a peculiar treatment, as I shall

413

below explain; or great brightness be not re-
quired, when also other means must be per-
sued. The composition of the shell-lac var-
nish, with the reasons why it is preferable to
all other kinds as a vehicle for colours, I have
before given p. 177; and therefore need not
repeat them here; though the advantage of
this method over all others, where great bright-
ness is not demanded, and the durableness is
of consequence, can scarcely be too much
urged.

The colours used with the shell-lac varnish
may be, any pigments whatever which give the
teint of the ground desired; and they may be
mix together to form browns or any compound
colours: but with respect to such as require pe-
culiar methods for the producing them of the
first degree of brightness, I shall particularize
them below.

The colours for grounds may otherwise be
mixed with the white varnishes formed in oil
of turpentine; of which the preparation is
given p. 179 - 213 and 214: but these var-
nishes have no advantages over the shell-lac
but in their whiteness, that preserves the
brightness of the colours; and they are at the
same time greatly inferior in hardness to it.

As metals never require to be under coated
with whiting, the may be treated in the same
manner as wood or leather when the under-
coat is omitted, except in the instances parti-
cularly spoken of below.

414

Of white japan grounds.

The forming a ground perfectly white, and
of the first degree of hardness, remains hither-
to a desideratum, or matter sought for, in the
art of japanning. As there are no substances
which form a very hard varnish, but what
have too much colour not to deprave the
whiteness, when laid on of a due thickness
over the work.

The nearest approach, however to a perfect
white varnish, already known, is made by the
following composition.

" Take flake white, or white lead, washed
" over and over and ground up with a sixth of its
" weight of starch, and then dried; and
" temper it, properly for spreading, with the
" mastic varnish prepared as in p. 179, or
" compound them with the gum animi, ac-
" cording to the directions given in the same
" page."  Lay these on the body to be ja-
panned, prepared either with or without the
undercoat of whiting, in the manner as above
ordered: and then varnish over it with five or
six coats of the following varnish.

" Provide any quantity of the best seed
" lac; and pick out of it all the clearest and
" whitest grains; reserving the more coloured
" and fouler parts for the coarser varnishes,
" such as that above mentioned for priming
" or preparing wood or leather. Take of this
" pickt seed-lac two ounces; and of gum animi

415

" three ounces; and dissolve them being
" previously reduced to a gross powder, in a-
" bout a quart of spirit of wine; and strain off
" the clear varnish."

The seed-lac will yet give a slight tinge to
this composition; but cannot be omitted,
where the varnish is wanted to be hard:
though, where a softer will answer the end,
the proportion may be diminished; and a little
crude turpentine added to the gum animi to
take off the brittleness.

A very good varnish, free intirely from all
brittleness, may be formed by dissolving as
much gum animi, as the oil will take, in old
nut or poppy oil; which must be made to boil
gently, when the gum is put into it. The
ground of white colour itself may be laid on
in this varnish; and then a coat or two of it
may be put over the ground: but it must be
well diluted with oil of turpentine when it is
used. This, though free from brittleness, is,
nevertheless, liable to suffer by being indent-
ed or bruised by any slight strokes; and it will
not well bear any polish, but may be brought
to a very smooth surface without, if it be judi-
ciously managed in the laying it on. It is
likewise somewhat tedious in drying, and will
require some time where several coats are laid
on; as the last ought not to contain much oil
of turpentine.


Of blue japan grounds.

Blue japan grounds may be formed of
bright Prussian blue; or of verditer glazed
over by Prussian blue; or of smalt. The co-
lour may be best mixed with shell-lac varnish;
and brought to a polishing state by five or six
coats of varnish of seed-lac; but the varnish,
nevertheless, will somewhat injure the colour,
by giving to true blue a cast of green; and
fouling in some degree a warm blue, by the
yellow it contains. Where, therefore, a bright
blue is required, and a less degree of hardness
can be dispensed with, the method before di-
rected, in the case of white grounds, must be
persued.


Of red japan grounds.

For a scarlet japan ground, vermilion may
be used: but the vermilion has a glaring ef-
fect, that renders it much less beautiful than
the crimson produced by glazing it over with
carmine or fine lake; or even with rose
pink, which has a very good effect used for
this purpose. For a very bright crimson,
nevertheless, instead of glazing with car-
mine, the Indian lake should be used, dis-
solved in the spirit of which the varnish is
compounded (which it readily admits of
when good): and, in this case, instead of
glazing with the shell-lac varnish, the upper

417

or polishing coats need only be used; as they
will equally receive and convey the tinge of
the Indian lake, which may be actually dis-
solved by spirit of wine: and this will be found
a much cheaper method than the using car-
mine. If, nevertheless, the highest degree of
brightness be required, the white varnishes
must be used.


Of yellow japan grounds.

For bright yellow grounds, the King's
yellow, or the turpeth mineral, should be em-
ployed, either alone or mixed with fine Dutch
pink: and the effect may be still more height-
ened by dissolving powdered turmeric root in
the spirit of wine of which the upper or po-
lishing coat is made; which spirit of wine
must be strained off from the dregs, before
the seed-lac be added to it to form the varnish.

The seed-lac varnish is not equally injurious
here, and with greens, as in the case of o-
ther colours; because, being only tinged with
a reddish yellow, it is little more than an ad-
dition to the force of the colours.

Yellow grounds may be likewise formed of
the Dutch pink only; which, when good, will
not be wanting in brightness, though ex-
tremely cheap.

418

Of green japan grounds.

Green grounds may be produced by mixing
the King's yellow and bright Prussian blue;
or rather, the turpeth mineral and Prussian blue:
and a cheap, but fouler kind, by verdigrise
with a little of the above mentioned yellows,
or Dutch pink. But where a very bright
green is wanted, the chrystals of verdigrise,
(called distilled verdigrise) should be employ-
ed; and to heighten the effect, they should
be laid on a ground of leaf gold, which ren-
ders the colour extremely brilliant and pleasing.

They may any of them be used success-
fully with good seed-lac varnish, for the rea-
son before given: but will be still brighter
with the white varnish.


Of orange coloured japan grounds.

Orange coloured japan grounds may be
formed, by mixing vermilion, or red lead,
with King's yellow, or Dutch pink; or the
orange lake, prepared as directed in p. 111,
will make a brighter orange ground than can
be produced by any mixture.

Of purple japan grounds.

Purple japan grounds may be produced by
the mixture of lake, and Prussian blue: or a
fouler kind, by vermilion and Prussian blue.

419

They may be treated as the rest, with respect
to the varnish.


Of black japan grounds, to be produced without
heat.

Black grounds may be formed by either
ivory-black, or lamp-black: but the former
is preferable, where it is perfectly good.

These may be always laid on with the shell-
lac varnish: and have their upper or polishing
coats of common seed-lac varnish; as the
tinge or foulness of the varnish can here be no
injury.


Of common black japan grounds on iron or
copper, produced by means of heat.

For forming the common black japan
grounds by means of heat, the piece of work
to be japanned must be painted over with dry-
ing oil: and when it is of a moderate dryness,
must be put in a stove of such degree of heat,
as will change the oil black, without burning
it so as to destroy or weaken its tenacity.
The stove should not be too hot when the
work is put into it, nor the heat increased too
fast; either of which errors would make it
blister: but the slower the heat is augmented,
and the longer it is continued, provided it be
restrained within the due degree, the harder
will be the coat of japan.  This kind of var-
nish requires no polish, having received, when

420

properly managed, a sufficient one from the
heat.


Of the fine tortoise shell japan ground, produced
by means of heat.

The best kind of tortoise shell ground pro-
duced by heat is not less valuable for its great
hardness, and enduring to be made hotter than
boiling water without damage, than for its
beautiful appearance. It is to be made by
means of a varnish prepared in the following
manner.

" Take of good linseed oil one gallon, and
" of umbre half a pound. Boil them toge-
" ther till the oil become very brown and
" thick: strain it then through a coarse cloth;
" and set it again to boil; in which state it
" must be continued till it acquire a pitchy
" consistence, when it will be fit for use."

Having prepared thus the varnish, clean
well the iron or copper-plate, or other piece
which is to be japanned; and then lay vermi-
lion tempered with shell-lac varnish, or with
drying oil diluted with oil of turpentine very
thinly, on the places intended to imitate the
more transparent parts of the tortoise shell.
When the vermilion is dry, brush over the
whole with the black varnish tempered to a
due consistence with oil of turpentine; and
when it is set and firm, put the work into a
stove, where it may undergo a very strong
heat, and must be continued a considerable

421

time, if even three weeks or a month, it will
be the better.

This was given amongst other receipts by
Kunkel; but appears to have been neglected
till it was revived with great success in the Bir-
mingham manufactures, where it was not only
the ground of snuff boxes, dressing boxes, and
other such lesser pieces, but of those beauti-
ful tea waiters, which have been so justly e-
steemed and admired in several parts of Europe
where they have been sent. This ground
may be decorated with painting and gilding,
in the same manner as any other varnished
surface, which had best be done after the
ground has been duly hardened by the hot
stove: but it is well to give a second anneal-
ing with a more gentle heat after it is finished.


SECTION III.

Of painting japan work.

JAPAN work ought properly to be paint-
ed with colours in varnish; the methods
of which, I have before given, under the
article of painting in varnish, in p. 176, and the
following: though, in order for the greater
dispatch, and, in some very nice works in small,
for the freer use of the pencil, the colours are
sometimes tempered in oil: which should
previously have a fourth part of its weight of

422

gum animi dissolved in it; or, in default of
that, of the gums sanderac or mastic, as I
have likewise before intimated. When the
oil is thus used, it should be well diluted with
spirit of turpentine, that the colours may be
laid more evenly and thin: by which means,
fewer of the polishing or upper coats of varnish
become necessary.

In some instances, water colours, as I be-
fore mentioned, are laid on grounds of gold,
in the manner of other paintings; and are best,
when so used, in their proper appearance with-
out any varnish over them; and they are also
sometimes so managed as to have the effect of
embossed work. The colours employed in
this way, for painting, are (as I before inti-
mated) best prepared by means of isinglass size
corrected with hony, or sugar candy. The
body of which the embossed work is raised,
need not, however, be tinged with the exte-
rior colour; but may be best formed of very
strong gum water, thickened to a proper con-
sistence by bole armoniac and whiting in equal
parts: which being laid on in the proper figure,
and repaired when dry, may be then painted
with the proper colours tempered in the isin-
glass size, or in the general manner with
shell-lac varnish.

423

SECTION IV.

Of varnishing japan work.

THE last, and finishing part of japanning,
lies in the laying on and polishing the
outer coats of varnish; which are necesssary,
as well in the pieces that have only one simple
ground of colour; as with those that are paint-
ed.  This is in general best done with com-
mon seed-lac varnish; except in the instances,
and on those occasions, where I have already
shewn other methods to be more expedient:
and the same reasons, which decide as to the
fitness or impropriety of the varnishes, with
respect to the colours of the groud, hold e-
qually well with regard to those of the paint-
ing. For where brightness is the most mate-
rial point, and a tinge of yellow will injure it,
seed-lac must give way to the whiter gums:
but where hardness, and a greater tenacity,
are most essential, it must be adhered to: and
where both are so necessary, that it is proper
one should give way to the other, in a certain
degree reciprocally, a mixt varnish must be
adopted.

This mixt varnish, as I before observed,
should be made of the pickt seed-lac, as di-
rected in p. 414.  The common seed-lac var-
nish, which is the most useful preparation of
the kind hitherto invented, may be thus made.

424

" Take of seed-lac three ounces, and put
" into water to free it from the sticks and
" filth that frequently are intermixed with it;
" and which must be done by stirring it about
" and then pouring off the water, and adding
" fresh quanties in order to repeat the opera-
" tion, till it be freed from all impurities; as
" it very effectually may be by this this means.
" Dry it then, and powder it grossly; and
" put it, with a pint of rectified spirit of wine,
" into a bottle, of which it will not fill above
" two thirds. Shake the mixture well to-
" gether; and place the bottle in a gentle
" heat, till the seed appear to be dissolved;
" the shaking being in the mean time repeat-
" ed as often as may be convenient: and then
" pour off all which can be obtained clear
" by that method: and straing the remainder
" through a coarse cloth. The varnish thus
" prepared must be kept for use in a bottle
" well stopt."

When the spirit of wine is very strong, it
will dissolve a greater propoertion of the seed-
lac: but this will saturate the common, which
is seldom of a strength sufficient for making
varnishes in perfection.  As the chilling, which
is the most inconvenient accident attending
those of this kind, is prevented, or produced
more frequently, according to the strength of
the spirit, I will take this opportunity of shew-
ing a method by which, weaker rectified spirits
may with great ease, at any time, be freed

425

from the phlegm, and rendered of the first
degree of strength.

" Take a pint of the common rectified
" spirit of wine; and put it into a bottle, of
" which it will not fill above three parts.
" Add to it half an ounce of pearl-ashes, salt
" of tartar, or any other alkaline salt, heated
" red hot, and powdered, as well as it can be
" without much loss of heat. Shake the
" mixture frequently for the space of half an
" hour; before which time, a great part of
" the phlegm will be separated from the
" spirit; and will appear, together wiht the
" undissolved part of the salts, in the bottom
" of the bottle. Let the spirit then be pour-
" ed off, or freed from the phlegm and salts
" by means of a tritorium or separating fun-
" nel; and let half an ounce of the pearl-ashes,
" heated and powdered as before, be added
" to it, and the same treatment repeated.
" This may be done a third time, if the
" quantity of phlegm separated by the addi-
" tion of the pearl-ashes appear considerable.
" An ounce of alum reduced to powder and
" made hot, but not burnt, must then be put
" into the spirit; and suffered to remain some
" hours; the bottle being frequently shaken.
" After which, the spirit, being poured off
" from it, will be fit for use."

The addition of the alum is necessary, to
neutralize the remains of the alkaline salt or
pearl-ashes; which would otherwise greatly
deprave the spirit with respect to varnishes and

426

lacquers, where vegetable colours are concern-
ed; and must consequently render another di-
stillation necessary.

The manner of using the seed-lac, or white
varnishes, is the same; except with regard to
the substance used in polishing; which, where
a pure white, or great clearness of other co-
lours, is in question, should be itself white:
whereas the browner sorts of polishing dust,
as being cheap, and doing their business
with greater dispatch,  may be used in other
cases. The pieces of work to be varnished
should be placed near a fire, or in a room
where there is a stove; and made perfectly
dry: and then the varnish may be rubbed
over them by the proper brushes made for that
purpose, beginning in the middle, and passing
the brush to one end; and then, with another
stroke from the middle, passing it to the o-
ther. But no part should be crossed or twice
passed over, in forming one coat, where it
can possibly be avoided. When one coat is
dry, another must be laid over it; and this
must be continued at least five or six times,
or more; if, on trial, there be not a suffici-
ent thickness of varnish to bear the polish,
without laying bare the painting, or the ground
colour underneath.

When a sufficient number of coats is thus
laid on, the work is fit to be polished: which
must be done, in common cases, by rubbing
it with a rag dipped in tripoli or pumice stone
(commonly called rotten stone) finely powder-

427

ed: but towards the end of the rubbing, a
little oil of any kind should be used along with
the powder; and when the work appears suf-
ficiently bright and glossy, it should be well
rubbed with the oil alone, to clean it from
the powder; and give it a still brighter lustre.

In the case of white grounds, instead of the
tripoli or pumice stone, fine putty or whiting
must be used; both which should be washed
over to prevent the danger of damaging the
work from any sand or other gritty matter,
that may happen to be commixt with them.

It is a great improvement of all kinds of
japan work, to harden the varnish by means
of heat; which, in every degree that it
can be applied short of what would burn or
calcine the matter, tends to give it a more
firm and strong texture. Where metals form
the body, therefore, a very hot stove may be
used, and the pieces of work may be conti-
nued in it a considerable time; especially if the
heat be gradually increased: but where wood
is in question, heat must be sparingly used;
as it would otherwise warp or shrink the body,
so as to injure the general figure.

428

SECTION V.

Of gilding japan work.

ALL the methods of gilding, which are
applicable to the ornamenting japan
work, having been before taught under the
article of gilding, it is needless to repeat them
here; I shall only observe, that in gilding
with gold size (which is almost the only me-
thod now practiced in japan work,) where it is
desired to have the gold not shine, or approach
in the least towards the burnishing state, the
size should be used either with oil or turpen-
tine only, or with a very little fat oil; but
where a greater lustre, and appearance of po-
lish, are wanting, without the trouble of bur-
nishing, and the preparation necessary for it,
fat oil alone, or mixed with a little gold size,
should be used; and the same proportionable
effect will be produced from a mean propor-
tion of them.


CHAP. V.

Of laquering.

LAQUERING is the laying either co-
loured or transparent varnishes on me-
tals, in order to produce the appearance of a

429

different colour in the metal; or to preserve it
from rust and the injuries of the weather.

Laquering is therefore much of the same
nature with japanning, both with regard to the
principles and practice; except that no opake
colours, but transparent tinges alone, are to be
employed.

The occasions on which laquering is now
in general used are three: where brass is to
be made to have the appearance of being gilt:
where tin is wanted to have the resemblance of
yellow metals: and where brass or copper
locks, nails, or other such matters, are to be
defended from the corrosion of the air or
moisture. There was indeed formerly ano-
ther very frequent application of laquering;
which was colouring frames of pictures, &c.
previously silvered, in order to give them the
effect of gilding; but this is now greatly dis-
used. These various intentions of laquering
require different compositions for the effetu-
ating each kind; and as there is a multiplicity
of ingredients which may be conducive to each
purpose, a proportionable number of recipes
have been devised, and introduced into prac-
tice; especially for the lacquering brass work
to imitate gilding; which is a considerable ob-
ject in this kind of art; and has been im-
proved to the greatest degree of perfection. I
shall, however, only give one or two recipes
for each; as they are all which are necessary;
the others being either made too complex by
ingredients not essential to the intention, or too

430

costly by the use of such as are expensive; or
inferior in goodness, from the improper choice
or proportion of the component substances.

The principal body or matter of all good
laquers used at present is seed-lac; but, for
coarser uses, resin, or turpentine, is added; in
order to make the laquer cheaper, than if the
seed-lac, which is a much dearer article, be used
alone. Spirit of wine is also consequently the
fluid or menstruum of which laquers is formed;
as the ethereal oils will not dissolve the seed-lac:
and it is proper that the spirit should be highly
rectified for this purpose. As it is seldom prac-
ticable, nevertheless, to procure such spirits
from the shops, it will be found very advan-
tageous to use the method above given for de-
phlegmating it by alkaline salts; but the use of
the alum, directed in that process, must not
be forgotten on this occasion; as the effect of
the alkaline salt would otherwise be the turn-
ing the metal of a purplish instead of a golden
colour, by laying on the laquer.

The following are excellent compositions for
brass work which is to resemble gilding.

" Take of turmeric ground, as it may be had
" at the dry salters, one ounce, and of saffron
" and Spanish annatto each two drams. Put
" them into a proper bottle, with a pint of
" highly rectified spirit of wine; and place
" them in a moderate heat, if convenient,
" often shaking them for several days. A
" very strong yellow will then be ob-
" tained; which must be strained off from the

431

" dregs through a coase linnen cloth: and
" then, being put back into the bottle, three
" ounces of good seed-lac powdered grossly
" must be added, and the mixture placed a-
" gain in a moderate heat, and shaken, till the
" seed-lac be dissolved; or at least such part of
" it as may. The laquer must then be strained
" as before; and will be fit for use; but must
" be kept in a bottle carefully stopt.

" When it is desired to have the laquer
" warmer or redder than this composition may
" prove, the proportion of the annatto must
" be increased; and where it is wanted cooler,
" or nearer a true yellow, it must be dimi-
" nished."

The above, properly managed, is an extreme
good laquer; and of moderate price: but the
following, which is cheaper, and may be made
where the Spanish annatto cannot be procured
good, is not greatly inferior to it.

" Take of turmeric root ground one ounce,
" of the best dragon's blood half a dram.
" Put them to a pint of spirit of wine, and
" proceed as with the above."

By diminishing the proportion of the dra-
gon's blood, the varnish may be rendered of a
redder, or truer yellow cast.

Saffron is sometimes used to form the body
of colour in this kind of laquer, instead of the
turmeric; but though it makes a warmer yel-
low, yet the dearness of it, and the advantage
which turmeric has in forming a much stronger
tinge in spirit of wine, not only than the saf-

432

fron, but than any other vegetable matter hi-
therto known, gives it the preference. Though
being a true yellow, and consequently not suf-
ficiently warm to overcome the greenish cast of
brass, it requires the addition of some orange
coloured tinge to make a perfect laquer for this
purpose.

Aloes and gamboge are also sometimes used
in laquers; but the aloes is not necessary where
turmeric or saffron are used; and the gamboge,
though a very strong milky yellow in water,
affords only a very weak tinge in spirit of
wine.

The varnish for tin may be made as fol-
lows.

" Take of turmeric root one ounce, of dra-
" gon's blood two drams, and of spirit of wine
" one pint.  Proceed as in the former."

This may, like the former, have the red or
yellow rendered more prevalent by the in-
creasing or diminishing the proportion of the
dragon's blood.  Where a coarser or cheaper
kind is wanted, the quantity of seed-lac may
be abated; and the deficiency thence arising
supplied by the same proportion of resin.

The laquer for locks, nails, &c. where lit-
tle or no colours is desired, may either be seed-
lac varnish alone as prepared above, or with a
little dragon's blood: or a compound varnish
of equal parts of seed-lac and resin, with or
without the dragon's blood.

The manner of lying on the laquer is as
follows.

433

First let the pieces of work to be laquered be
made thoroughly clean; which, if they be new
founded, this must be done by means of aqua
fortis. Being ready, they must be heated by
a small charcoal fire in a proper vessel, or any
way that may be most convenient: the degree
must not be greater than will admit of their
being taken hold of without burning the hand.
The laquer must then be laid on by a proper
brush in the manner of other varnishes; and
the pieces immediately set again in the same
warm situation. After the laquer is thorough-
ly dry and firm, the same operation must be
renewed again for four or five times, or till the
work appear of the colour and brightness in-
tended. For very fine work, some use a less
proportion of seed-lac; which occasions the
laquer to lie evener on the metal: but in this
case a greater number of coats are required;
which multiplies the proportion of labour;
though, where the price of the work will al-
low for such additional trouble, it will be the
more perfect for it.

The laquering tin may be performed in the
same manner, as is here directed for brass:
but being for coarser purposes less nicety is ob-
served; and fewer coats (or perhaps one only)
are made to suffice; as the laquer is made very
red, that the tinge may have the stronger effect.

Locks, nails, &c. where laquer is only used
in a defensative view, to keep them from cor-
roding, and not for the improvement of the
colours, may be treated in the same manner:

434

but one or two coats are generally thought suf-
ficient. Though where any regard is hard to
the wear, the coats of laquer or varnish should
always be of a due thickness, when they are
to be exposed to the air; otherwise the first
moist weather makes them chill, and look
great and misty, in such manner, that they are
rather injurious than beneficial to the work
they are laid upon.


CHAP. VI.

Of staining wood, ivory, bone, horn,
alabaster, marble, and other stones,
of various colors.


SECT. I. Of staining wood.

Of staining wood yellow.

TAKE any white wood; and brush it
over several times with the tincture of
turmeric root, made by putting an ounce of
the turmeric ground to powder to a pint of
spirit; and, after they have stood some days,
straining off the tincture. If the yellow co-
lour be desired to have a redder cast, a little
dragon's blood must be added, in the propor-
tion that will produce the teint required.

435

A cheaper, but least strong and bright yel-
low, may be given to wood by running it over
several times with the tincture of the French
berries, prepared as in p. 102, and made boiling
hot. After the wood is again dry, it should be
brushed over with a weak alum water used cold.

Lesser pieces of wood, instead of brushed over
with them, may be soaked in the decoctions or
tinctures.

Wood may be also stained yellow by means
of aqua fortis; which will sometimes produce a
very beautiful yellow colour, but at other times
a browner. The wood should be warm, when
the aqua fortis is laid on; and be held to the
fire immediately afterwards; and care must be
taken, that either the aqua fortis be not too strong;
or that it be sparingly used; otherwise a brown,
sometimes even blackish, may be the result.

In order to render any of these stains more
beautiful and durable, the wood should be
rushed after it is coloured; and then varnished
by the seed-lac varnish; or, when desired to be
very strong, and to take a high polish, with
three or four coats of shell-lac varnish, and as
many of that of seed-lac.

Of staining wood red.

For a bright red stain for wood, make a
strong infusion of Brazil in stale urine, or wa-
ter impregnated with pearl ashes in the pro-
portion of an ounce to a gallon; to a gallon of
either of which, the proportion of Brazil wood

436

must be a pound: which being put to them,
they must stand together two or three days,
often stirring the mixture. With this infusion
strained, and made boiling hot, brush over
the wood to be stained, till it appear strongly
coloured: then, while yet wet, brush it over
with alum water made in the proportion of two
ounces of alum to a quart of water.

For a less bright red, dissolve an ounce of
dragon's blood in a pint of spirit of wine; and
brush over the wood with the tincture, till the
stain appear to be as strong as is desired.

For a pink or rose red, add to a gallon of
the above infusion of Brazil wood two additi-
onal ounces of the pearl ashes, and use it as
was before directed: but it is necessary, in this
case, to brush the wood over often with the
alum water. By increasing the proportion of
pearl ashes, the red may be rendered yet paler:
but it is proper, when more than this quantity
is added, to make the alum water stronger.

These reds, when it is necessary, may be
varnished as the yellows.

Of staining wood blue.

Wood may be stained blue by means either
of copper, or indico: but the first will afford
a brighter colour; and is more generally prac-
ticable than the latter; because the indico can
be used only in that state to which it is brought
by the manner of preparation used by the
dyers: of whom indeed it must be had, as it

437

cannot be properly so prepared but in large
quantities, and with a particular apparatus.
The method of staining blue with the copper
is therefore as follows.

" Take a solution of copper, made accord-
" ing to the directions given in p. 86; and
" brush it while hot several times over the
" wood. Then make a solution of pearl
" ashes, in the proportion of two ounces to a
" pint of water; and brush it hot over the
" wood, stained with the solution of copper,
" till it be of a perfectly blue colour."

Wood stained green as above by verdigrise,
may likewise be made blue, by using the so-
lution of the pearl ashes in the same manner.

When indico is used for staining wood blue,
it must be managed thus.

" Take indico prepared with sope-lees as
" when used by the dyers; and brush the wood
" with it boiling hot. Prepare then a solution
" of white tartar or cream of tartar, which is
" to be made by boiling three ounces of the 
" tartar, or cream, in a quart of water: and
" with this solution, used copiously, brush
" over the wood before the moisture of the
" tincture of indico be quite dried out of it."

These blues may be rushed and varnished as
the reds where there is occasion.

Of staining wood of mahogony colour.

Mahogony colour is the most useful of any
stain for wood (especially since the fineering

438

with different colours is out of fashion) as it is
much practised at present for chairs and other
furniture made in imitation of mahogony;
which, when well managed, may be brought
to have a very near resemblance.

This stain maybe of different hues, as the
natural wood varies greatly, being of all the
intermediate teints betwixt the red brown, and
purple brown, according to the age, or some-
times the original nature of different pieces.

For the light red brown, use a decoction of
madder, or fustic wood, ground in water; the
proportion may be half a pound of madder, and
a quarter of a pound of fustic, to a gallon: or
in default of fustic an ounce of the yellow ber-
ries may be used. This must be brushed over
the wood to be stained, while boiling hot, till
the due colour be obtained: and, if the wood
be kindly grained, it will have greatly the ap-
pearance of new mahogony.

The same effect nearly may be produced by
the tincture of dragon's blood, and turmeric
root, in spirit of wine: by increasing or dimi-
nishing the proportion of each of which in-
gredients, the brown stain may be varied to a
more red or yellow cast at pleasure. This
succeeds better upon wood which has already
some tinge of brown, than upon whiter.

For the dark mahogony take the infusion
of madder made as above, except the exchang-
ing the fustic for two ounces of logwood: and
when the wood to be stained has been several
times brushed over, and is again dry, it must

439

be slightly brushed over with water in which
pearl ashes have been dissolved, in the pro-
portion of about a quarter of an ouch to a
quart.

Any stains of the intermediate colours may
be made by mixing these ingredients, or vary-
ing the proportion of them.

Where these stains are used for better kind
of work, the wood should be afterwards var-
nished with three or four coats of seed-lac var-
nish; but for coarse work, the varnish of resin
and seed-lac may be employed, or they may be
only well rubbed over with drying oil.

Of staining wood green.

Dissolve verdigrise in vinegar, or chrystals of
verdigrise in water; and, with the hot solution,
brush over the wood till it be duly stained.

This may be rushed and varnished as the
above.

Of staining wood purple.

Brush the wood to be stained several times
with a strong decoction of logwood and Brasil,
made in the proportion of one pound of the
logwood, and a quarter of a pound of the
Brazil, to a gallon of water; and boiled for an
hour or more. When the wood has been brush-
ed over till there be a sufficient body of colour,
let it dry; and then be slightly passed over by
a solution of one dram of pearl ashes in a quart

440

of water. This solution must be carefully used,
as it will gradually change the colour from a
brown red, which is will be originally found to
be, to a dark blue purple; and therefore its
effect must be restrained to the due point for
producing the colour desired.

This may be varnished as the rest.

Of staining wood black.

Brush the wood several times with the hot
decoction of logwood made as above; but with-
out the Brasil: then, having prepared an in-
fusion of galls, by putting a quarter of a pound
of powdered galls to two quarts of water, and
setting them in the sun-shine, or any other
gentle heat, for three or four days, brush the
wood three or four times over with it: and
then pass over it again, while yet wet, with a
solution of green vitriol in water, in the pro-
portion of two ounces to a quart.

The above is the cheapest method: but a
very fine black may be produced, by brushing
the wood several times over with a solution of
copper in aqua fortis; and afterwards with the
decoction of logwood, which must be re-
peated till the colour be of sufficient force;
and the greenness, produced by the solution of
the copper, wholly overcome.

These blacks may be varnished as the other
colours.

441

Where the stains are desired to be very
strong, as in the case of wood intended to be
used for fineering, it is in general necessary,
the should be soaked, and not brushed; to
render which the more practicable the wood
may be previously slit, or sawed, into pieces
of a proper thickness for inlaying.

It is to be understood also, that when the
wood is above ordered to be brushed several
times over with the tinging substances, it should
be suffered to dry betwixt each time.


SECTION II.

Of staining ivory, bone, or horn.

Of staining ivory, bone, or horn yellow.

BOIL them first in a solution of alum, in
the proportion of one pound to two
quarts of water: and then prepare a tincture
of the French berries, by boiling half a pound
of the berries, pounded, in a gallon of water
with a quarter of a pound of pearl ashes. After
this tincture has boiled about an hour, put the
ivory, &c. previously boiled in the alum wa-
ter into it; and let them remain there half an
hour.

If turmeric root be used, instead of the
French berries, a brighter yellow may be ob-

442

tained; but the ivory, &c. must in that case
be again dipt in alum water after it is taken
out of the tincture; otherwise an orange co-
lour, not a yellow, will be produced from the
effect of the pearl ashes on the turmeric.

Of staining ivory, bone, and horn green.

They must be boiled in a solution of verdi-
grise in vinegar; or of copper in aqua fortis,
prepared as above directed, (a vessel of glass
or earthen ware being employed for this pur-
pose,) till they be of the colour desired.

Of staining ivory, bone, and horn red.

Take strong lime water, prepared as for o-
ther purposes; and the raspings of Brasil wood,
in the proportion of half a pound to a gallon.
Let them boil for an hour; and then put in the
ivory, &c. prepared by boiling in alum water in
the manner above directed for the yellow; and
continue it there till it be sufficiently coloured.
If it be too crimson, or verge toward the pur-
ple, it may be rendered more scarlet, by dip-
ping again in the alum water.

Of staining ivory, bone, and horn blue.

Stain the ivory, &c. first green, according to
the manner above directed; and then dip it in
a solution of pearl ashes made strong and boiling
hot: but it must not be continued longer, nor

443

dipt oftner, than is necessary to convert the
green to blue.

The ivory, &c. may otherwise be boiled in
the tincture of indico prepared as by the dyers;
and afterwards in the solution of tartar made as is
directed for the staining wood.

Of staining ivory, bone, and horn purple.

Treat them in the same manner as was di-
rected for red; except that logwood must be
substituted in the place of Brasil wood; and
the use of the alum water must be omitted
wholly.

If a redder purple be wanted, a mixture of
the logwood and Brasil must be employed, in-
stead of the logwood alone. The proportion
may be equal parts; or any less proportion of
the Brasil, according to the colour desired.

Of staining horn to imitate tortoise shell.

The horn to be stained must be first pressed
into proper plates, or scales, or other flat form.
The following mixture must then be prepared:

" Take of quicklime two parts, and of li-
" tharge one; and temper them to the consist-
" end of a soft paste with sope-lye."

Put this paste over all the parts of the horn,
except such as are proper to be left transparent,
in order to get the greater resemblance of the tor-
toise shell. The horn must then remain thus
covered with the paste till it be thoroughly dry:

444

when the paste being brushed off, the horn will
be found partly opake, and partly transparent,
in the manner of a tortoise shell; and when put
over a foil, of the kind of latten called affidue,
will be scarcely distinguishable from it. It re-
quires some degree of fancy, and judgment, to
dispose of the paste in such a manner, as to
form a variety of transparent parts of different
magnitude and figure, to look like the effect of
nature; and it will be an improvement to add
semi-transparent parts: which may be done
by mixing whiting with some of the paste to
weaken its operation in particular places: by
which spots of a reddish brown will be pro-
duced; that, if properly interspersed, especially
on the edges of the dark parts, will greatly in-
crease as well the beauty of the work, as its
similitude with the real tortoise shell.

To stain ivory, bone, and horn, black.

Proceed in the same manner as is above di-
rected for wood.

445

SECTION III.

Of staining paper, or parchment, of
various colours.

Of staining paper, or parchment, yellow.

PAPER may be stained yellow by the
tincture of French berries prepared as in
p. 102: but a much more beautiful colour
may be obtained by using the tincture of tur-
meric, formed by infusing an ounce or more of
the root, powdered, in a pint of spirit of wine.
This may be made to give any teint of yellow
from the lightest straw to the full colour called
French yellow; and will be equal in bright-
ness even to the best dyed silks. If yellow be
wanted of a warmer or redder cast, annatto, or
dragon's blood, must be added to the tincture.

The best manner of using these, and the
following tinctures, is to spread them even on
the paper or parchment by means of a broad
brush in the manner of varnishing.

Of staining paper, or parchment, red.

Paper, or parchment, may be stained red by
treating it in the same manner as is directed
for wood p. 435; or by red ink. It may also
be stained of a scarlet hue by the tincture of
dragon's blood in spirit of wine: but this will
not be bright.

446

A very fine crimson stain may be given to
paper, by a tincture of the Indian lake; which
may be made by infusing the lake some days
in spirit of wine; and then pouring off the
tincture from the dregs.

Of staining paper, or parchment, green.

Paper, or parchment, maybe stained green,
by the solution of verdigrise in vinegar; or by
the chrystals of verdigrise dissolved in water.
As also by the solution of copper in aqua fortis
made by adding filings of copper gradually to
the aqua fortis till no ebullition ensues: or
spirit of salt may be used in the place of the
aqua fortis.

Of staining paper, or parchment, blue.

A blue colour may be given to paper, or
parchment, by staining it green by any of the
abovementioned methods; and treating it after-
wards as is directed for the staining wood blue,
by the same means; or by indico, in the man-
ner there explained likewise.

Of staining paper, or parchment, orange.

Stain the paper, or parchment, first of a
full yellow, by means of the tincture of tur-
meric as above directed. Then brus it over
with a solution of fixt alkaline salt, made by
dissolving half an ounce of pearl ashes, or salt

447

of tartar, in a quart of water, and filtering the
solution.

Of staining paper, or parchment, purple.

Paper, or parchment, may be stained purple
by archal: or by the tincture of logwood, ac-
cording to the method above directed for stain-
ing wood. The juice of ripe privet berries ex-
pressed will likewise give a purple dye to paper
or parchment.


SECTION IV.

Of staining alabaster, marble and other
stones, of various colours.

ALABASTER, marble, and other stones,
may be stained of a yellow, red, green,
blue, purple, black, or any of the compound
colours, by the means above given for staining
wood: but it is better, when a strong tinge is
wanted, to pour the tincture, if made in wa-
ter, boiling hot on the alabaster, &c. spreading
it equally on every part, than to brush it over
only; though that may be sufficient where a
slighter dye will suffice. When tinctures in
spirit of wine are used, they must not be heat-
ed; as the spirit would evaporate, and leave
the tinging gums in an undissolved state.

448

Where stones are not perfectly white, but
partake of brownness or greyness, the co-
lour produced by the tinges will be propor-
tionably wanting in brightness: because the
natural colour of the stone is not hid or covered
by these tinges; but combines with them:
and, for the same reason, if the stone be of
any of the pure colours, the result will be a
compound of such colour and that of the
tinge.