The Method of Learning to Draw in Perspective Made easy and fully explained. As also, The Art of Painting upon Glass, and Drawing in Crayons, with Receipts for making them after the French and Italian Manner. Likewise, A New and Curious Method of Japaning, either upon Glass, Wood, or any Metal, so as to imitate China; and to make black or gilt Japan-Ware, as Beautiful and Light as any brought from the East-Indies; with proper Directions for making the hardest and most transparent Varnishes. And Particularly the Way to cast Amber in any Shape. Chiefly from the MSS of the Great Mr BOYLE. London: J. Peele, 1732. Books V and VI (on japanning) typed in by Simon St.Laurent, simonstl@simonstl.com, 2018. No copyright claimed. Part of a set at http://toolbytool.org/resources/Japanning.html . You can find the original at https://www.amazon.com/learning-perspective-explained-painting-japaning/dp/1171218915/ . Also, The Art of Drawing and Painting in Water-colours, http://echo.mpiwg-berlin.mpg.de/ECHOdocuView?url=/permanent/library/06XXF5KC/pageimg&start=21&pn=1&mode=imagepath , appears to be by the same pseudo-Boyle author. Please note that many of the ingredients used here are toxic! This is not yet proofread, but is still generally a major improvement over OCR versions. No, I don't plan to type in the entire book. If you do, let me know! 38 CHAP. V. Of Japanning, and Indian Varnishes. SECT. I Of Japanning Metals. IN japanning of Metals we must take notice, that Steel or Iron may be japanned or var- nished with any Colour. I have only seen it done by a young Gentleman of Montpelier, who performed it extreamly well, and from him I had the Receipt. The part of the Metal which we design to japan in Colours should not be polished, but the parts of the Metal, which out to be polish- ed, should be done first, or else, if we polish them after the painting, some of the Colour may be disturbed or taken off. The first Proof I saw of this Work was a Pair of Scizzars, where, from the Blades to the Rinds, there were the Figures of Storks holding the Rings in teir Mouths, which Rings were of Silver. I do not know that I ever saw any thing so genteel; and the Gentle- man beforementioned was kind enough to give me the following Method of doing it. Take any Colour you have a mind to, and grind it well with Water with a Stone and Muller, 39 then let it dry, and ground it in a Mortar, and sift it if there is Occasion, then, instead of Oil, mix it with white Varnish, and paint with it what you think proper. The Whites are Ceruse, or Flesh-white. Yellows are Yellow-oker, English-pink, and Dutch-pink. Reds are Vermillion, Red-lead, and Lake. Blues are blue Bise and Indigo. Blacks are Lamp-black, and Ivory or Bone- black. Greens are Verdigrease ground, or Verditer and Dutch-pink ground together Browns are Fullers-eath and Spanish-brown And Purples may be made between red and blue, till you see them mixed to your Mind. SECT. II. Of Japanning Iron Snuff-boxes, which now are generally covered with a black Varnish, that they may look like China, and gilt about the Edges. Take your Iron-plates or Snuff-boxes and lay on the following Preparation on the Top and Bottom, viz White-lead ground with Water, and dried, then beaten again to fine Powder, and mixed with Size; this lay equally on the Top and Bottom of your Snuff-box, and let it dry well. Then about the Rims, or Edges of the Box, lay on some Yellow-oker with Size, and over that some Gold-size; when the first is well dried, lay on the Gold-size I have mentioned in the Colour- box, you may buy it at the Colour-shops; when you lay this on, let it be near dry before you lay on your Leaf-gold, that it may stick the better. You must have a Cushion of Woollen Cloth to cut your Leaf-gold upon, that the piece of Gold may be exactly to your Size, or the Shape you desire. 40 Then take your Leaf-gold on some Cotton, and lay it on the part which is done with Gold- size, and dab it on till it lies smooth, and let all dry. When this is done, paint what Figures you please on the upper and under Side of your Box; upon the White-ground principally with blue Bise, mixed with white Varnish, and shaded with In- digo. The best Figures, to represent China, may be taken from Tea-cups, or from Saucers, or other pieces of China-ware, which will look best if they be blue and white, but one might paint Coats of Arms in all their Colours, or any other Device; and, when these are dry, wash the white part with white Varnish, and the golden part with the golden Varnish. SECT. III. White Varnish, or Amber-Varnish, from a Manuscript of Mr. Boyle's. Take white Rezin about two Drachms, melt it in a clean glazed Pipkin; then put into it an Ounce of the whitest Amber you can get (beat finely to Powder) by little and little, stirring it with a small stick over a gentle Fire till it dissolves, pouring in now and then a little Oil of Turpen- tine, when you find it growing stiff; so continue till all your Amber is melted, but you must take care you do not set your House on fire, for the very Vapours of the Oil of Turpentine will take fire by Heat only; but if it happens to do so any where, put immediately a flat Board, or wet Blanket over the firey Pot, and by keeping the Air from it you will put it out, or suffocate it. Therefore, when I make this Varnish, I use the Caution to melt my Rezin in a Glass of a Cylin- drick Figure in a Bed of hot Sand, after the Glass has been well annealed or warmed by degrees in the Sand, under which you must keep a gentle 41 Fire When you have made your Varnish, pour it into a coarse Linnen-bag, and press it between two hot Boards of Oak or Iron, and use it with any of your Colours, as well as to varnish them over when they are painted: But to cover Gold, you must take the following Varnish. You must note, that when you have varnished your Snuff-boxes with this white Varnish, you may put them in a declining Oven, which will harden the Varnish. SECT. IV. Hard varnish, that will bear the Muffle, (from a manuscript of Mr. Boyle's) to lay over Gold, or Brass, or any other. Metal that ap- pears like Gold, to keep it from changing black, as the Bath-Metal and such others will do, when they are exposed to the Air. Take of Colophony, which you may buy at the Druggists, half an Ounce, melt it in a glazed Vessel, then strew in by degress an Ounce of the Powder of Amber, stirring it all the while; and when it begins to harden, or resist the Stick, put in a little Oil of Turpentine, and strain the Varnish as I have directed in the foregoing. This is proper to lay upon your Gold, and the Things done with it must be put in a declining Oven three or four Days succesively, and then it will resist even Fire. SECT. V. To japan Brass, such as is used to gild Brass-buttons, or make them look like Gold. We may use this upon Gold-leaf, or upon that which is called the German Leaf-gold, or upon 42 Brass, or upon the Bath-Metal, which are design- ed to imitate Gold. Take a Quart of Spirit of Wine, and put it in a Retort-glass, then add half an Ounce of Gam- boge, an Ounce of Lake, and an Ounce of Gum- mastick; set this in a Sand-heat for six Days, or near the Fire, or put the Body of the Retort fre- quently in warm Water, shaking it twice or thrice a Day, then put it over a Pan of warm Smal- cole Dust; when your Metal is well cleaned, paint it over thinly with this Varnish, and it will ap- pear like the Colours of Gold. You may dry this in a declining Oven, and it will not rub off. N. B. This is a good Varnish to mix with any Colours, that incline to Red; and the white Varnish to mix with those Colors that are pale, or of any other Sort. CHAP. VI. Of Japanning upon Wood or Paper, with Receipts for making several Sorts of Japan- Wares, either Gold, Silver, or in Colours. IN Japan the People have a Method of making Bowls, Plates, and other Vessels of brown Paper, and sometimes of Saw-dust: These Vessels are very light and very strong, when they come to be varnished, and are in great Esteem among us. The Method of making such Utensils I shall here disclose. Take Slips of brown Paper, boil them in com- mon Water, mashing it with a Stick while it boils, till 'tis almost become a Paste, then take 43 it from the Water, and beat it well in a Mortar, till 'tis so reduced as the Rags are in a Paper- mill, then make a strong Gum-water with Gum- arabick and common Water, a Quantity sufficient to cover your Paper-paste an Inch, put these to- gether into a glazed Pipkin, and let them boil, stirring them very well, till you think the Paper- paste is impregnated with the Gum; then have ready your Mould to give your Paste the Figure you design for it. For Example, suppose you design to make any Thing of the Figure of a Plate, have a hard Piece of Wood turned on one Side of such a Figure, and make a Hole or two in the middle quite through the Wood; [You must observe this Mould must be like the back of a Plate.] when this is done turn another hard Piece of Wood of the same Figure, about the eighth part of an Inch less than the former, but about the Rim or Edge you may have some little Or- nament carved or ingraved in the Wood. When thse Moulds are made, oil them very well on the turned Sides, and continue to do so till they are well soaked with Oil, then they will be fit for Use; when you go to make your Plate of the Paper-paste, take the Mould with the Hole in it, and oil it afresh, set it even upon a strong Table, and spread over it some of your Paste as equal- ly as possible, so as to be in every Part about a quarter of an Inch thick, then oil the other Mould very well, and set it exactly as may be on your Paste, and press it hard down; then put a great Weight upon it, and let it remain Twenty four Hourse. [The Hole at the bottom is for the Water to pass through, that is pressed out of the Paste, and the oiling of the Moulds is to prevent the gummed Paste from sticking 44 to the Wood ] When you perceive the Paste dry, it will be as hard as a Board, and be fit to lay a Ground upon, made with strong Size and Lamp-black, letting it dry gently; and when that is dried throughly, then take some Ivory-black finely ground, and mix it with the following Varnish. SECT. I. To make the strong Japan-Varnish. Take half an Ounce of Colophony, melt it in a glazed Pipkin, then sprinkle into it by degrees an Ounce and half of Amber finely beaten and sift- ed, stirring it well, now and then adding some Spirit of Turpentine; when this is melted, then sprinkle in an Ounce and half of Sarcacole finely beaten, stirring it all the while, and putting frequently more Spirit of Turpentine, till all is melted, then pour it through a coarse Hair-bag, placed between two hot Boards, and press it gently, till the clear is received into a glazed warm Vessel, with this Varnish mix your ground Ivory-black, and, warming first your Paper-plate, paint it on before a Fire in a warm Room, as equally as you can, and set it in a gentle Oven; then the next Day put it in a hotter Oven, and the third Day into one very hot, and let it stand till the Oven is quite cold, and then it will be fit for any Use, either with Liquors that are cold or hot, and will never change, and 'tis with great Diffi- culty you can break them. I am of Opinion that if the Moulds were cast in any hard Metal, they would do as well as if they were turned in Wood SECT. II. Of making these China-Toys of the Colour of Gold. Prepare your Bowls, Plates, or other Ves- sel, in the same Manner as the former, or you 45 may take fine Saw-dust, if you can have it, and dry it well, then pour on it some Turpentine, melted with an equal Quantity of Rezin, and half as much Bees-wax, mix them well, and put to them your dry Saw-dust, stirring all together till the mixture becomes thick as a Paste, then take it off the Fire, and warm your Moulds, and spread some of your Mixture on that with the Hole in the middle, as equally as possible, and press down the Mould upon it, then set it to cool, and your Vessel will be fit for painting. You may put into this when your Turpentine is melt- ed some Sarcacole finely powdered, to the Quan- tity of half the Turpentine, stirring it well, and it will harden it: And you ought to make this Composition in the open Air, for it will en- danger your House. But which ever of the Mixtures you use, if you have a mind to have them appear like Gold, paint them over with Size, and when that begins to stick a little to the Figure, lay on Leaf-gold, either pure, or that Sort which is brought to us from Germany, but the last is apt to change green, as most of the Preparations of Brass will do, such as those which are called Bath-Metal, and other of the like Sort, which appear like Gold when they are fresh polished, or cleaned every Day: But as the Air coming up them will make them alter to an ugly Colour, so I chuse Gold, which is durable, and will never change, and a much finer Colour than any of the former for a Continuance. But though the Leaf-gold we are to use, is tender and may be subject to rub off; yet the Varnish, we shall put over it, will keep it bright and entire. When the Gold is laid on, and the flying Pieces brushed off, which must be done when the Gold-size is dry, then ap- 46 ply the following Varnish to brighten the Gold, and preserve it from rubbing. SECT. III. Varnish for Gold, or such Leaf of Metals as imitate Gold. Take some Colophony, melt it, and then put in two Ounces of Amber well pulverized, with some Spirit of Turpentine, as the Amber thickens, stirring it well, then put an Ounce of Gum0 elemi well powdered, and some more Spirit of Turpentine, still keeping the Liquor stirring, till 'tis all well mixed. However, use as little Spirit of Turpentine as you can, because the thicker you make your Varnish for Use, the harder it will be. Do this over a Sand-heat in an open Glass, and strain it, as you are directed for the former Varnish. Use this Varnish alone, first warming your Vessels made of the Paper-paste, and lay it on with a Painting-brush before the Fire, then harden it by degrees, at three several times, in Ovens, the first a slow Heat, the next a warmer Oven, and the third a very hot one, and your Vessels will look like polished Gold. Note, As for those Vessels, made with Saw- dust and the Gums, you may use a Varnish for them made of the same Ingredients as above, ex- ception th Gum-elemi; and this will dry in the Sun, or in a very gentle Warmth. SECT. IV. To make your Vessels of a red Colour with gilt Figures on them. Prepare your Vessels as before with brown Pa- per-paste, and when they are dry, and prepared as directed in the first, mix some Vermillion, 47 or Red-lead, with the Varnish first directed in this Chapter, and use it warm; then stove it or harden it by degrees in an Oven, and it will be extreamly bright, or else lay on your first Ground with Size and Vermillion, and in proper Places stick on, with Gum-arabick and Wa- ter, some Figures cut out of Prints, as little Sprigs of Flowers, or such like, and when they are dry, paint them over with Gold-size, and let that remain till 'tis a little sticking to the Touch; then lay on your Gold, and let that be well closed to the Gold-size, and dried; then, if you would shade any part of your Flower, take some Ox-gall, and, with a fine Camels Hair- pencil, trace over the shady Parts on the Leaf- gold, and upon that paint with deep Dutch- pink; and, when that is dry, use your Varnish in a warm Place, (I mean that Varnish directed for the Covering of Gold) and set it to harden by degrees in an Oven, which Varnish will secure the Leaf-gold (as the call it) brought from Germany, from changing, by keeping the Air from it. SECT. V. A Method to silver these Japan- Vessels. When you have made your Vessels, and they are well dried, paint them over with Size and ground Chalk, or Whiting; let them dry well, and then paint them over again with the brightest Gold- size you can get; (for there is much Difference in the Colour of it, some is almost white, and another is more yellow; the first is proper for Silver, and the other for Gold) when this Size is almost dry, lay on your Leaf-silver, and close it well to the Size, brushing off the loose Parts, when 'tis dry, 48 with some Cotton [Note, When you lay on your Silver or Leaf-gold, keep it free from the Air; for the least Motion of the Air will rumple your Leaves, and they will not lye smooth.] Then use the following Varnish to cover the Silver. SECT. VI. To make the Varnish to cover the Silver. Take some fine Turpentine, and melt it; then take of white Amber well pulverized about an Ounce an a half, put it by degrees into your glazed Pipkin to the Turpentine, and stir it well, adding sometimes some Spirit of Turpentine, till the Amber is all dissolved, then put to it half an Ounce of Sarcacole beaten, and half an Ounch of Gum-elemi well levigated, pouring in at times more of the Turpentine-spirit, till all is dissolved, let your Fire be gentle, and stir the Mixture continually while 'tis on the Fire This Varnish will be white and strong as the former, and should be used warm, and is as strong as that which we lay upon Gold, it must be hardened by degrees in an Oven, as the gold Varnish, and your Vessel will look like polished Silver. SECT. VII. Varnish in Japanning on Wood, to mix with several Colours. You must, if you design to use Varnish to mix with Colours, take Spirit of Turpentine and dis- solve in a little Gum-Taccamahacca over the Fire, till it is a little thickened, use this with any Colour that has been well ground with Water, and pulverized afterwards. When your Work is done, you may, if you will, varnish over your Piece with the same Varnish directed to colour Silver, 49 and one might also cover Tables of Wood, as well as Tea-boards and Plates, or Bowls of Wood, in the same Manner, as is mentioned for the Pastes of Paper and Saw-dust. SECT. VIII. Directions for imitating China, or Purslane-ware, upon Tea-tables, Tea-boards, &c. upon Gold or Silver Grounds. Prepare your Tea-tables, or any other useful Thing, as I have mentioned in the foregoing Rre- ceipts, and then mark out your Designs upon them; make Ovals or Rounds upon them in a good Dis- position so as to be uniform, or well adapted to the purpose, that they answer one another in a regular Manner, then paste on some Paper in proper Places, and, when your paper is dry, draw your Designs upon them, and paint them with Water-colours; then with a Brush lay Gold-size or Silver-size on the other part, and, when that is near dry, lay on your Leaf-gold or Silver, and, when all is well dried, varnish over with the white a Gold-ground, varnish with the strongest Var- nish, excepting only the Ovals or Circles of Paint- ing, for those must be done with the white Var- nish, which is so transparent, that all the Paint- ing will appear through it If you lay on a Gold- ground, or any Colour darker then that, then let your Paintings be blue and white; or, if it is Silver or Light-ground, then use the most fiery Colours in your Paintings. 50 SECT. IX. The Method of Glazing Prints with white Varnish, so as to bear Water, and the Polish. It is best in this Way, first to past your Print on a Board, or a Piece of Shock-cloth strained on a Frame; to do this well, prepare some stiff Starch, and with a Sponge, dipt in Water or thin Starch, wet the back of your Print, and, if you design to lay it on a Board, dip a large Brush in the thick Starch, and brush it over the Board as even as possibe, and let it dry, then a second Time repeat the same Work, and so con- tinue till the Veins or Grain of the Wood is quite filled In the last Operation, when the Starch is just laid on, lay upon it your wet Print as equal- ly as possible, so that there appear no Bubbles in it, press it close every where till it lyes smooth, and so let it dry. In this Operation your Hands must be very clean, or else you will soil the Print; in about twenty four Hours it will be dry enough to varnish with the follows, viz. White Varnish for Prints Take of Ichthyocolloa, or Isinglass, or Fish-glue, as some call it, four Ounces, and pull it into small Pieces, boild this in a Quart of Brandy, or strong Spirits, in a glazed Pipkin; and when, by taking out a little, you find it will make a strong Glue, by being a little exposed to the Air, it will do for your Purpose, but be sure to make it as strong as you can; and, while it is hot, with a large Brush, wash over the Print as quick as possible, and as smooth as may be, let this stand a Day, and then brush it over again with the same Varnish, or Glue, and let it dry very 51 well, the brush it over with white Varnish, at such a Distance from the Fire that it may not be too hot, or else it will blister, and do this two or three times over; then set it by for Day or two, and brush it over with white Varnish again three or four times, and let it stand a Day or two; then varnish it a third Time with two or three Passages of the Brush, and in three or four Days polish it with a soft Linnen-cloth and some fine Tripoli, rubbing it very gently, till it remains as smooth as possible, and clear it with Flour and oil, it will then appear as bright as Chrystal; and, if it should at any time be annoyed by Flies, you may wash it with a Sponge and Water, which will clean it The white Varnish. Take Gum-sandarack of the clearest and whitest Sort one Pound, Gum-mastick of the clearest Sort one Ounce, Gum Sarcacolla the whitest one Ounce and half, Venice-Turpentine three Ounces, Ben- zoin the clearest half an Ounce, white Rezin half an Ounce, Gum-animae an Ounce and half; these must be dissolved and mixt in the follow- ing Manner: Put your Sarcacolla, and Rezin into a little more Spirits than will cover them to dissolve; then put your Gum-animae, Benzoin, and Venice Turpentine into a Glass, or glazed Vessel, and pour on as much Spirit as will cover them an Inch, then provide a glazed Vessel, or Glass, for your Gum-mastick and Sandarack, and pour on them strong Spirits, enough to cover them about an Inch, to dissolve them rightly; then, in a distinct Vessel, or the same Sort as before, put your Gum- elemi, and cover it with Spirits to dissolve. [In this 52 Process, you need only pulverize the Gums Ani- mae, Sarcacolla and Benzoin, and you may break the Rezin a little.] While these are dissolving, for three or four Days, shake the Bottles twice or thrice each Day, then put all these togther in a glazed Vessel, stirring them well, and strain the Li- quor and Gums gently, beginning with the Gums, through a Linnen-cloth; [This will prevent any Dirt getting into your Varnish] then put it into a Bottle, and let it stand a Week before you use it, and pour off as much of the clear only, as you think you shall want for present Use. To paste Prints upon Cloth for Varnishing. If you put your Print upon Shock-cloth well strained in a Frame, brush over your Cloth with strong Paste, made with Flour and Water, and immediately brush over the back of your Print with well prepared Starch; and then as readily brush the Cloth over again with the same Starch, and lay on your Print as equally as possible, with- out letting any Bubbles or Blisters appear in the Paper; but you must observe, that, when you lay on your Paper upon the Cloth, as both the Cloth and the Paper are then wet, however close you lay the Paper to the Cloth, they will both together appear flagging, and unstrained, yet, as soon as they are dry, all will be smooth, as either was at the first: Let them remain so in a dry warm Place for a Day or two, and then varnish your Print, as before directed, with Glue made of Icthyocolla, and then with the white Var- nish. With this Varnish you may mix up any Colour, that has been ground dry, upon a Marble, and paint with it upon any Figure you have Drawn, 53 or upon any Print you have pasted upon your Work; but the varnished Colours should be chiefly put upon the shady parts. To know what Colours are proper Shades to one another, see the Chapter for making of Crayons. Varnish made with Seed-Lacca. Put a Quart of strong Spirit into a large Glass- vessel, and put to it six XXXXX ounce of Seed-lacca; let these stand together two Days, shaking them often, then take a Jelly-bag, or a Flannel-bag made like what is called Hippocrates's Sleeve, and pass it through, letting the Liquor drop into a Receiver, and squeezing the Gums every now and then; when the Varnish almost out of the Bag, add more, and press it gently, till all is strained, and the Dregs remain dry; [Take care you do not put this Dross into the Fire, for fear you set your House in a Flame] then put it in Bottles, and keep them close stopt, seetingit by till you perceive all thick Parts settled to the Bottom, which will be in three or four Days, then pour off the clear into a fresh Bottle, and 'twill be fit for Use. As for the Varnish made of Shell-lacca, 'tis not of any great Service, though often recommend- ed, for it will not bear the Polish. When you lay on your Varnishes, take the fol- lowing Method If you varnish Wood, let your Wood be very smooth, close grained, free from Grease, and rubbed with Rushes. 2dly, Lay on your Colours as smooth as possi- ble, and, if the Varnish has any Blisters in it, take them off by a Polish with Rushes. 54 3dly, When you varnish, keep your Work warm but not too hot. 4thly, In Laying on of your Varnish, begin in the Middle, and stroke the Brush to the Outside, then to another extreme Part, and so on till all is covered; for the Brush if you was to begin at the Edges would leave Blots there, and make the Work unequal. 5thly, In fine Works, use the finest Tripoli to polish; do not polish your Work at one Time, but, after the first polishing, let it dry two or three Days, and polish again for the last Time 6thly, In the first Polishing you must use a good deal of Tripoli, but in the next a very lit- tle will serve, wash off your Tripoli with a Sponge and Water, dry your Varnish with a dry Linnen rag, and clear your Work with Oil, Whiting, and Lamp-black. S E C T X. To take off the Figure from any Piece of China-Ware, though the Person has not been acquainted with Drawing. When you have any Figures to your liking upon any China-dish, Cup, Plate, or such like, you must lay a Piece of oiled Paper over them. so as to hold the Piece steady, till you can trace out the Lines of the Figures, then lay the oil- ed Paper on a Paper blacked on one side, and the blacked Paper on a clear Paper, then trace the Lines with a Pen, or blunted Point or a Needle, till the Lines are all impressed on the white Paper, and draw them over with a black Lead-pencil, and mark the Shades, where they separate from the light Parts of the Colour, that so you may lay on your Colours as you see them painted on the China-ware, then cut out your Figures close to the Out lines, and fix them upon 55 your Ground of Whiting and Size, or Size with ground Chalk, with thick Gum-arabick and Wa- ter, and, when they are quite dry, paint them, the lighter Parts in Water-colours, and the shady Parts with Varnish mixed with the darker Co- lours; when these are dry, wash all over with the white Varnish before a Fire, but not so hot as to make the Varnish rise in Blisters; when the Varnish is dry, lacker it again with the same Varnish, and repeat it a third Time; then scrape some Tripoli very fine, and with a soft Rag, dipt in Water, take up a little of the Tripoli at a time, and polish it, by gentle rub- bing, till 'tis smooth, then wash off the Tripoli with a soft Sponge and Water, and then, with a dry fine Cloth, wipe off the Tripoli, and, when that is dry, clean it with Whiting and Oil, if it is a white Varnish; or, with Oil and Lamp- black, where the Varnish is black. But the common Way is to cut out Prints, and paste them on such Parts as we think fit, and then colour them with Water-colours, and var- nish them with white Varnish 'Tis an easy Way of Painting,because the Shades of the Prints, when you lay on a transparent Water-colour, will give the Light and Shade that Colour to your purpose, without using a dark and light Colour. SECT, XI. Some remarkable Directions in Colouring of Draughts or Prints in Japanning, as Flowers, Birds, Fruits, &c. If you have Prints or Drawings in black and white of Flowers; if the Centre of the Flower is rising, just touch the Edges of the Lights with a thin Tincture of Gamboge, and lay on some 56 Dutch-ponk, or Gall-stne, over the Shades, so as to run into the Lights a very little. I say this because the Thrums in the Middle of Flowers are generally Yellow, but if of any other Colour, as by Observation I find they are sometimes Blue, sometimes more light, and sometimes darker, then touch on the Verges of the Lights a little Ul- tramarine-blue, to run a very little into the Ultra- marine, or else shade with Indigo; and, some of the White of the Print being left void of Colour, will then give a Life and Spirit to the Colours so disposed. All Flowers should be tenderly touched in the Lights, just to give a little Glare into the light Parts of the Colour you give to the Flower- Leaves; and, if you have a natural Flower to paint by, you will presently see, that on the shady Side you must lay on the most shady Part, such a Colou as will force the rest to appear forward; but do not dawb over the Shades with too heavy a Colour, let it be such as may be transparent, if possible, and scumble it into the light Colour, which was laid on before; use your Pencil lightly on this Occasion, wiht a very little Gum-water in it, and use it before the Colours are quite dry. In the Painting of the leaves of Herbs or Plants, we ought to have regard to the Colours of the Greens; the brightest is the Verdigrease- green, described in my former Book relating to Paint- ing the Water-colours; we should touch that Colour a little into the light Parts of the Leaft, from the Place where the light Parts of the Shades end; and then lay on some Sap-green on the shady Parts, so as to unite with the Verdigrease-green, and if the natural Leaf should be of a darkish 57 Colour, touch the lighter sides of the Leaves with a little Verdigrease-green, and Dutch yel- low Pink mixt together, or with a Tincture of French Berries, but so as to let the Verdigrease shine more than the Pink, and by Degrees shade it with Pink The Leaving the Lights, when we colour a Print, has two Advantages, viz. If we have the Lights on this Occasion, the Whiteness of the Paper serves instead of the Use of white Paint, which is a heavy Colour, and would rather confound the Edges of the Colours, which I have prescribed to be laid on, than do them any Service, but the Colours, which I have directed where there is no White laid on, will agreeably shine into the White of the Paper I am more particular in this, because several, if the see a Flower of a blue Colour, will lay it all over with one Colour, though it is thick enough to hide both the Lights and the Shades, and then it remains like a Penny Picture, where there is nothing to be seen but a Jargon of Reds, Blues, and Yellow With a little Practice of what I direct, you will soon see the good Effect of laying on Colours for this Use, though the Dawbing of Prints in the common Manner may please the Ignorant, when every one of Taste will soon discover the Im- pertinence In a Word, when you are about such Pieces of Work, scumble the Lightsinto the Shaddes of every Colour, and save the Middle of the Lights open on the Papers, for, as the Paper is white of itself, it makes a Light.