Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, vernishing, japaning, gilding, &c. Book 11 (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://archive.org/details/polygraphiceor00salm. (You can find earlier editions, which lack the Japanning chapter, at https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t07w7cz72;view=1up;seq=23 and https://babel.hathitrust.org/cgi/pt?id=ucm.5325113900;view=1up;seq=37 .) Please note that many of the ingredients used here are toxic! You can find an amazing exploration of creating and using these finishes starting at http://mariannewebb.com/archives/256 . (I think Salmon copied from Stalker & Parker, not the other way around, but otherwise those articles are GLORIOUS.) 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 vast book. If you do, let me know! 854 POLYGRAPHICES LIBER UNDECIMUS Of Varnishing, Japanning and Gilding. CHAP. I. Of Instruments and Utensils for these Works. I. The Chief Instruments are, 1. Strainers. 2. Funnels. 3. Glass Bottles. 4. Varnishing Pen- cils. 5. Drawing pencils. 6. Muscle Shells. 7. Dutch Rushes. 8. Tripoli. 9. Linnen. 10. Oil Olive. 11. A Cushion. 12. Swan-quill Pen- cils. 13. Cotton. 14. A Pallet. 15. A Brush. 16. Shammy Leather. 17. A Burnisher. 18. A Wyre Brush. 19. Grinding Stone and Muller. 20. Putty. II. Strainers. They ought to be 3 or 4, made of course Linnen Cloth, Sugar-loaf fashion; some of which are for straining your ordinary Varnishes; some for white Varnish, and some for Lacca Varnish. III. Funnels. You may have of them also 3 or 4, or more, and that of Glass or Tin; some for common Var- nishes; some for white Varnish; some for Lacca Var- nish, and some for Lackering. IV. Glass Bottles and Vials. These are to hold your several sorts of Varnishes, and they may be either great or small, according to your Quantities. V. Varnishing Pencils. These must be great or small according to your Design: they are made of Camels Hair, and are very soft: of differing Prizes, according to their Magnitude, from 6 d. to 3 s. the Pencil. 855 VI. Drawing Pencils. These must be both greater and lesser, as great Goose, little Goose, Duck, Crow and Swallow Quills, according to your Design: the longest haired Pencils are the best. VII. Swans-quill Pencils. You ought to have 3 or 4 of these, of finer Hair than ordinary, which are general- ly sold for 6 d. a piece, and are used chiefly in Gilding. VIII. Muscle Shells. Fine, smooth, middle-sized Horse Muscle-shells are fittest for these Occasions; of which you ought always to have 2 or 3 hundred in a readiness, for mixing your Metals or Colors in, as need requires; not that you will need the 10tk part of them at once, but that you might not be to seek for them when you want them. IX. Dutch Rushes. You ought to be furnished with a great number of them, which are to be had at the Iron- mongers in Foster-lane. They are to smooth your Work before you varnish it; and as you lay on your Ground or Color, if any Knob or Roughness appears, with them to rush it off. X. Tripoli. It ought to be made into subtil pouder and sifted; it is to polish your Work after it is varnish- ed, and may be had at the Iron-mongers. XI. Linnen. It may be old Linnen or Rags, both course and fine, which are for clearing up the Work. XII. Oil Olive. It is also for smoothing, clearing up your Work, and giving it an exact Polish. XIII. A Cushion. It must be made of Leather, stufft very evenly and smoothly with fine Tow, and strained on a Board, 14 inches one way and 10 inches another. On this you are to cut your Leaves of Gold and Silver, with a thin, narrow, and sometimes broad, sharp and smooth edged Knife. Gilders commonly border this Cushion at one end and 4 or 5 inches down each side with a slip of Parchment or Velom 2 inches high, to be as a Fence to keep their Leaves of Gold from Wind and Air. XIV. Cotton Wool. It is of Use to press down the Leaves of Gold or Silver gently and evenly upon the Work; you are to breath upon it, and then with it to touch and take up the Gold, and so to lay it upon the place you design, pressing it down, and close therewith: some use a Hares Foot for the same Purpose. 856 XV. A Pallet. It is the end of a Squirrels Tail, spread abroad and fastned to a flat Pencil-stick, which is broad at one end and split, much like a House-painter's graining Tool, but much less. It serves for taking up and laying on whole Leaves of Gold or Silver at a time; and serves for all the same Uses with the Cotton afore- mentioned. XVI. A Brush. It is to be made of Hogs-hair, and is of Use after Gilding, and that it has lain by a day, to beat over the Work gently, that the Gold or Silver may be pressed close and forced into all the uneven hollow parts of the Carving; and after all, to brush off all the loose Leaves into a Sheet of Paper for other Uses. XVII. Shammy Leather. It is of Use after the Gilding is thoroughly dry, to rub it over, smooth and polish it. The Leather ought to be white, and very fine and soft. XVIII. A Burnisher. They were used to be made of a Dogs Tooth put into a Pencil-stick, or some such-like thing: But of late they are made of Agats and Pebbles, which being form'd or shap'd, are highly polisht, that they may the more contribute to heighten the Lustre of the Gold and Silver. These make a quicker dispatch, performing with a more facil Expedition. These Peb- ble Burnishers are worth 5 s. apiece, and much to be preferred before those of Dogs Teeth. XIX. A Wyre Brush. It is sold at the Iron-mongers, and is designed to scrub those Silver, Copper and Brass pieces which you design to Gild over; thereby perfectly to free them from any Dirt, Rust, Nastiness or Filthi- ness which may adhere to them; which not being taken off, would hinder the closing of the Gold therewith. XX. Grinding Stone and Muller. These are not only for grinding Pouder and Colors very small and subtil, but also to grind your Gold Size and Oil together, when you intend to Gild in Oil. XXI. Putty. It is Calx of Tin, and is of Use in Po- lishing, to give the last Smoothness, Shining and Gloss upon Varnished and Japanned Works after the Use of Tripoli. 857 CHAP. II. Of the Materials necessary for these Works. I. The chief Materials are, 1. Rectified Spirits. 2. Gums. 3. Rosins. 4. Colors. 5. Metals and Minerals prepared for this Purpose. II. Rectified Spirits. They are made from Wine, or Sugar, or Mault Liquors; or from Cyder, Perry, or Mo- lossos; or from the commeon Spirits made of those things by Rectification. They are for the Dissolution of Rosins or Gum Rosins; and therefore if not highly rectified, are unprofitable for these Uses. Now, to know whe- ther your Spirit is good or no, you must put some of it into a Spoon, and put a little Gun-pouder to it; then set the Spirit on Fire, if it burns all away and fires the Gun-pouder after it, it is good, and will dissolve your Gums; otherwise, not. III. Gum-Arabick. Chuse that which is whitest, clear and transparent: it is of Use for to make Gum-water, and is worth about 12 d. a pound. IV. Ising-glass or Ichthyocolla. That which is clearest, whitest and freest from Yellow, is the best. It is of Use for making Size; and may be had for about 4 s. a pound, more or less. V. Sanguis Draconis or Dragons Blood. You must chuse that which is the brightest Red, and freest from Dross or Filth: the best is that which is call Drops, made up in a kind of Leaf or Husk, worth about 7, 8 or 9 d. an ounce, according to its Goodness: that which is in Lumps or Cakes, is course. VI. Cambogia or Gutta Gamba. You are to chuse that which is the brightest Yellow, and freest from Dross; not that which is brown, dirty, gross, and thick or clou- dy. It easily dissolves in Water, and makes a yellow- staining Liquor, to wash Pictures and Maps with; and is worth about 7s. a pound. VII. Gum-Lac, called Seed-Lac. The best is that which is bright, clean, large grain'd, and free from Dust, Sticks and Dross: it is worth from 12 to 18 d. the pound, according to the Goodness. 858 VIII. Gum-Lac, called Shell-Lac. The best is that which is most transparent and thinnest, and which, if melted with a Candle, will draw out into the longest and finest Hair, like melted Sealing-wax, because if uts toughness. It is sometimes adulterate, and therefore you may discern the true by these Directions: besides its Use for making Varnishes, it is the principal Ingredent for making Sealing-wax: the best is worth from 16 d. to 2 s. the pound. IX. Gum-Animi. It is either Oriental, coming from the East Indies, or Occidental, coming from the West In- dies, as in Hispaniola, Cuba, Jamaica, New Spain, &c. It is a Rosin of a whitish Yellow, much resembling Gum- Copal. The best is whitish and clear, like unto white Amber, and that which is most transparent, is the best: this Garzias will have to be Cancamum, but it is not. X. Gum-Copal. It comes from Hispaniola, Cuba, and other places of the Spanish West Indies: it is of a yellow- ish white color, odoriferous, fine, clear and transparent, and freest from Dross. It is not so sweet or odoriferous as the Gum-Animi, nor so fat or oily; but it is more pure, clear and white, and of the more excellent Sub- stance; and therefore to be chosen before the Animi for mechanical Uses. XI. Gum-Sandarack. It is brought from Barbary in little longish Tears or Drops, of a whitish-yellow color, and almost transparent, very hard, and if reduced into fine pouder, is called Pounce: this dissolved in Linseed Oil, makes that called Liquid Varnish. That which is largest and whitest, and casts the least yellow, is best, be- ing free from Dross or Dust. It is worth about 12 d. a pound. XII. Benjamine. That which is the brightest and of the most transparent color, and very like to clarified Rosin, is the best. There are several kinds of it; as, 1. The Amygdaloides, which has white bits or spots in it like blanched Almonds. 2. The Greyish. 3. The Black- ish: but that which is hardest and most transparent, is to be chosen for our Uses. XIII. Rosin. The best is that which is clear and transparent, and clarified or freed from its Dross and Filth, worth about 4 d. a pound: but there is a white 859 Rosin, which is also white and clear, and worth about 5 d. or 6 d. a pound. XIV. Mastiche. It is the Gum of the Lentisk-tree growing in Chio, AEgypt and Syria, and is brought to us out of Turky, from Smyrna and Aleppo, but the best is from Chio, which is of a light color or whitish yellow, free from Dross or Filth, in grains or drops, friable, clear, and almost transparent. XV. Olibanum. This was the true ancient Incense; but from what Tree it is produced, Authors have not a- greed. But my self being in the West Indies, I gathered it plentifully from the Floridian Cedar, which is the Ce- drus Baccifera: See my Seplasium, lib. 9. cap. 38. sect. 3,4. The best is in roundish drops, some bigger, some lesser, and it is pure without either Bark or Wood, of a yellow- ish white (but the whiter the better) and which, if crackt or broken, are very clear, and almost transparent. This may supply and be used in place of Mastiche (it that is wanting) and possibly is the better Rosin of the two. XVI. Gum-Elemi. That which is the stiffest, whitest and clearest, and freest from Dross or Filth, is the best. It comes from the Spanish West Indies, and is a bright, white, soft, and almost transparent rosin, enclining to a yellowish-greenish color. XVII. Turpentine. There are several sorts of Turpen- tine, as the Common, Venetian, Strasburg, Cyprus, and Chio; of all which Varnishes may be made: but that which is chiefly in use in these Works, are the Venetian and Strasburg; of which two, the former is the most useful; chuse that which is whitest, clearest and finest, which is worth about 16 or 18 d. the Pound. XVIII. Bole Armenius. This is that which we call fine Bole, and is as fine as Red Oker, and is of a deep dark, blackish Red Color, soft, and as it were greasy, and free from Gravel, Sand, or other filth: if it is choice and good, it will stick very fast to the Tongue when it touch- es it. XIX. Lamp-Black. It is made by the burning of Lamps, having many Wieks, covered with a very large top, at a due distance, to receive the Smoak, which continually sticking upon thie Top, produces this black Color: every half Hour take off the Top, and with a 860 Feather sweep off all the black on it: snuff your Wicks, and put on the Cover again; and thus continue till you have what Color you desire, or all your Oil is burnt up. A Quart of Oil, valued at 6 d. will make Black enough to do a large Cabinet: It is of Excellent Use for Black Varnish. XX. Masticot. It is a Mineral Yellow, and made of Lead. Rx The first Calx of Lead made by Incineration, viz. the grey Ashes: calcine them in a Reverberatory Furnace with flaming Fire, so ordered, notwithstanding that the Calx may not melt. And when the Calx has changed Color, and begins to grow yellow, it becomes that Color or Pigment (so much in request among Painters) which they call Masticot. This, if it be yet Calcined till it is Red, it becomes that which they call Minium. XXI. Red Lake, the common sort used by Painters. Rx any Roots, Woods, Leaves, Flowers, as of Alkanet, Bra- sil, Logwood, Red Sanders, Madder Safflower, Clove-Gilli- flowers, Red Roses, &c. q.v. add to them about a sixth or eighth part of Salt of Pot Ashes, and fair way a sufficient Quantity, which boil away to one half: filter the Liquor, and precipitate the Lake with water in which Alum is dissolved, or that it is actuated with Spirit of Vinegar, Sulphur, Vitriol or Nitre, putting in so much till the effervescence ceases: im- mediately the whole Liquor will become thick, as if it was Coagulated or Curdled. This Coagulum edulcorate by the re- peated Affusion of fair water, separate the Lake by filtration, which dry upon Paper, and keep for Use. XXII. Florentine Red Lake. It is made from Scarlet Cloth, or from Cochenele, or Kermes Berries, (with which the Scarlet is Dyed) exactly according to the former Me- thod in all respects. And in the same manner all other subtil Vegetable Colors are produced. XXIII. Priming. It is made of any Color which has a Body; as Ceruse, White Lead, Whiting, Brown or Red Oker, Umber, fine Bole, &C. ground in Oil pretty light. If the color is too dark, it may be altered, by adding a little White Lead: with this your Work may be thinly primed over, and so suffered to dry. XXIV. Fat Oil. Put Linseed Oil into Leaden Vessels made like Dripping Pans, so much as to be an Inch deep: expose them to the Sun for 6 Months, till it be- comes as thick as Turpentine: the longer it stands the 861 fatter it will be, and give to Gold a greater gloss. If it is almost as thick as Butter, so as you may in a manner cut it with a Knife, it is admirable, and ought to be care- fully kept for Use. XXV. Drying Oil. Mix Linseed Oil a Quart, with Litharge of gold OZij. or iij. and boil them for a Quarter of an Hour: if you would have it more drying, boil it a while longer; but have a care of boiling it till it is too thick, and unfit for use. Or thus. Take Red Lead and Umber in fine pouder, ana OZiss. Linseed Oil LBij. boil as before: If when it has stood 2 days, it has a Skin over it, it is then fit for Use. Drying Oil is worth 2 d. an ounce, and fine Varnish 3 d. an Ounce at the Color Shops. XXVI. Oil of Turpentine. It is used to dissolve the Colors, and make them spread the better, and to make the Work to dry the sooner, and is now worth about 6 d. or 8 d. a Pound. XXVII. Brass Dust, commonly called Gold Dust. The best, (which comes from Germany) is that which is finest, and of the brightest and most Gold-like Color, which you may perceive, by taking a little of it between your Finger and Thumb, and rubbing them together; if it is good, it will be of a bright, rich, Golden Lustre: if bad, it will be of a dull clayish Color. The courser sort works well with Gold Size, but not with Gum Water: It is of differing Prizes, according to the goodness: the best is worth 12 or 14 s. the Ounce, whilst some other sorts of it is not worth about 4 or 5 s. the Ounce, being very mean and bad. The middle sort, which is worth 8 or 9 s. the Ounce, will work well. XXVIII. Silver Dust. The best comes from beyond Sea, having a lively bright Lustre, like that of Polished or new Coined Silver, which you may find by rubbing it between your Finger and Thumb: whereas the worser sort (which is made in England) is dull, dead, and hea- vy, more fit for a Color, than a Metal: by comparing them together, you may see the difference. The best is worth 16 s. the Ounce: the other counterfeit is not va- luable. XXIX. Green Gold. It is an Adulterated or mixt Metal, casting a kind of dead greenish color; and is work about 6 s. the Ounce. this, as also the following 862 are used in Garments, Flowers, Houses, and the like, making the work look more beautiful and surprizing. XXX. Sullied or Dirty Gold. It is another kind of A- dulterated Metal, bearing some resemblance to drossy Gold, its price is 6 s. the Ounce, and is used for the same occasions as the former. XXXI. Tin Dust, or Pouder. It is made of Block Tin ground to Pouder, which is of a dull, dark; but Silverish Color, made use of in Rocks, &c. and is Sold for 6s. an Ounce. XXXII. Natural Copper Pouder. It is made of Copper ground without mixture, to Dust: this is of the true na- tural color of Copper, and is Sold for 6 or 7 s. the Ounce. XXXIII. Artificial Copper Pouder. This exceeds the Natural, and is more deep and Red, but very clear, and of a bright shining color, which shews how far Art can out-do Nature: it is Sold for about 10 s. the Ounce. XXXIV. Adulterate Copper. It is of a thick, heavy, dull, Metalick color, and commonly used to work other Metals on: for being laid as a Ground, you may hatch or heighten with bright Gold, or other shining Metal: and is Sold for about 6 s. an Ounce. XXXV. Speckles. They are of divers sorts, as Golden, Silver, Copper, and many other colors, some finer, some courser, which are to be used according to the Fancy of the Artist, and as the nature of the matter may require: they are used on Mouldings, outsides and insides of Bowls, Cups, Boxes, Drawers, &c. Those of Gold, Silver and Copper are used about Indian Work. They are made in England very well, and are Sold each of them at the same price, viz. 4, 5 or 6s. an Ounce, according as they are in fineness, and to be had at a Gold Beaters, over- against Mercers Chappel in Cheapside; and at another of the same Trade, at the Hand and Hammer in Long Acre. XXXVI. Colors Transparent. These are laid upon Gold, Silver, or some light color; by which they are made to appear in their true colors, very lively and beau- tiful. Of these there is, 1. Fine Verdigrise for a Green. 2. Fine Lake, for a Red. 3. Fine Smalt for a Blew. These must be ground upon a Porphyry, with Nut Oil, so much as will just moisten the Quantity, and it 863 fit to work, grinding till the Mass is as fine and as smooth as Butter: then it is to be put into Muscle Shells and mixed with Oil of Turpentine, till it is thin enough for Use. XXXVII. These being laid upon Gold, Silver, or any other light color, will be Transparent, and change their Lightness or Darkness, according to the Metals, Colors, or Ground you lay under them: but in grinding Red Lake, you must used Drying Oil, instead of Nut Oil. XXXVIII. Opake or Embodied Colors. These are laid upon the Black of your designed Work, where you would have Birds, Beasts, Flowers, Shrubs, Trees, &c. The chief of these are, 1. Vermilion for a Red. 2. White Lead for a White. 3. Flake White, which is a pure white, if it be for any Nice Work. 4. Oker or Orpiment for a Yellow. 5. An Opake Blew: this must be made with Smalt, grinding it with Gum Arabick water and adding White Lead to give it a Body, in such Quantitys, as to make it lighter or deeper, as you desire it: and thus you must do with all transparent Colors, which have not a Body of themselves. XXXIX. Some use Rosett, Fine Lake, and Sea Green for a Purple: as also other sorts of Reds and Greens; which ways of working are very manifold, and require much Practice and Experience to find out what things to mix together, and their various and just proportions for lightness or deepness of the Color. XL. Lastly, all these Opake Colors are to be layed with Gum Water: those who have a mind to work either in Gum Water or Gold Size, shall in what follows receive sufficient Directions: But the Transparent Colors are to be wrought with Nut Oil, as has been said already. CHAP. III. Of Sizes and Gum Water. I. To make Isinglass Size. Rx Fine Isinglass in smalll bits OZi. fair water lbiss let it stand 12 Hours only warm: afterwards let it boil, 864 but very gently, and continue the simmering till it is all dissolved, the water being also washed away to a Pint or less: let it cool, and keep it for Use. It will be think like a Gelly, but will not keep above 2 or 3 days; so that you ought to make no more than present occasion requires. II. To make Gold Size. Rx Gum Animi, Asphaltum, ana OZj. Minium, Litharge of Gold, Umber, ana OZss. all being in very fine pouder, add thereto Linseed Oil OZiiij. Drying Oil OZviiij. (in Cap. 2. Sect. 25.) digest over a gen- tle Fire which does not Flame, so as it may only simmer or bubble up, not boil, (for fear of setting the House on Fire, should it run over) keep it constantly stirring with a Stick, till the whole Mass of Ingredients are dissolved and incorporated, and forbear not stirring it till it be- comes thick and Ropie, and is boiled enough: being al- most cold, strain it through a course Linnen Cloth, and keep it for Use. III. To prepare it for working. Rx of this Gold Size q. v. put it into a Muscle Shell, adding Oil of Turpen- tine enough to dissolve it, making it as thin as the bot- tom of your Seed-lac-Varnish, hold it over a Candle to melt, and then Strain it thro' a Linnen Rag into ano- ther Shell: To these add Vermilion, so much as to make it of a darkish Red. If now it is too thick for Drawing, you must add so much Oil of Turpentine as may make it thin enough for that purpose. The cheif use of this Size is for laying on of Metals, which we shall here- after teach you. IV. The best Gold Size for Burnishing. Rx fine Bole q. v. grind it finely on a Marble with Water; then scrape into it a llittle tried Beef Suet, grind all well together: after which mix a small proportion of Parchment Size, with a double proportion of Water, and it is done. V. To make Silver Size. Rx Fine Tobacco-pipe Clay, grind it small, (and if you please, you may add a little Lamp-black, to turn it of a light Ash color) scrape it into a little Deers Suet, and grind them together extreamly fine; then add a mixture of Size and Water as before-directed. VI. Another Silver Size. Rx. Fine Tobacco-pipe Clay in fine pouder q. v. scrape 865 into it some black Lead and a little Genoua Soap: grind them all well together, then grind them with Parchment Size, ut supra. VII. A Size for Silver or Gold. Rx Fine Bole in fine pouder LBj. black Lead OZij. in pou- der, grind them together: then add Oil Olive OZij. Bees Wax OZj. melted together: grind all these very finely in a Mass; and lastly grind them together with Parchment Size and Water. Remember this, That you never grind more Gold or Silver Size at a time than will server the present Occasion. VIII. To make Parchment Size. Rx Cuttings of clean Parchment LBj. (price about 3 d.) fair Water LBiv. boil to a Gelly: strain hot, then let it cool, and it will be a strong Size. This may be used, as well as for the former Occasions, in white Japan-work, instead of Ising-glass Size. IX. The way to use this Size. Melt some of it over a gentle Fire, and scrape into it as much Whiting as may only color it: mix and incor- porate them well together with a clean Pencil: with this Frames, &c. may be whited or prepared, rubbing it well in with your Brush, that it may enter into every hollowness of your Carved-work, &c. letting it dry on. Melt the Size again and put in more Whiting, so as to make it somewhat thick; and with this you are to whi- ten over your Frames, &c. 7 or 8 times, letting it thoroughly dry between each time: but after the last go- ing-over, before it is quite dry, you are to dip a clean Brush-pencil in fair Water, to wet and smooth it over; which, when thoroughly dry, you are to rush it over as the necessity of the Work shall require. Afterwards with a Gouge or Chizel, not half a quarter of an inch broad, open the Veins of the Carved-work which the Whiting had choakt up; then with a fine Rag wetted and you Finger, carefully smooth and water plain it all over; which, when dry, is then fit to receive the form Gold and Silver Size. X. To make Gold Size in Oil. Rx Yellow Oker in fine pouder q. v. mix it with Lin- seed Oil, which is somewhat fat q. s. grind them well together, and put the Mass into a Gally-pot, upon which put some far Oil to keep it from skinning: cover it close 866 with Bladder or Paper, and keep it for Use: it will keep good 10 or 12 years, and be better, not worse. This Gold Size is always present and ready for any urgent Occasion: and if you would have your piece extraordi- narily done, let it be twice thinly primed over with the Priming in cap. 2. sect. 23. and laid by for 3, 4, or 5 days, to dry thoroughly. XI. To make Gum-Water. Rx The whitest, clearest and best Gum-Arabick OZj. fair water OZxij. mix and dissolve: when thoroughly dissolved, strain it thro' a fine Holland Rag, and keep it in a Glass Bottle for Use. XII. Lastly, As to Ising-glass Size, this Caution is to be observed. When you lay Blews, Whites, or any other Colors with it, let it not be too strong, but rather very weak, and sufficient to bind the Colors, and make them stick on the Work; for if it is too strong, it will be apt to crack and fly off. But when you lay or wash with clear Ising-glass, to keep your Varnish from soaking into or tarnishing your Colors, then it is to be strong, and of a full body. CHAP. IV. Of making Varnishes. I. The best white Varnish. Rx Of the whitest and largest Gum-Sandarack which casts the least yellow OZxvj. of clear Venice Turpentine OZiij. whitest Gum-Animi and Gum-Copal, ana OZiss. choice Ma- stiche OZi. clearest Benjamin, Gum-Elemi, white Rosin, ana OZss. To the Sandarack and Mastiche in pouder, put rectified Spirit of Wine LBiss. in a Bottle by it self. To the Venice Turpentine, Animi and Benjamin (both in fine pouder; ) put of the said Spirit OZxij. To the Copal and Rosin in pouder, put of Spirit OZviij. To the Elemi, by itself, put also of Spi- rit OZiv. dissolve each apart, because they more easily and better dissolve apart than together, shaking the Bottles once in two hours for the first day, and then once or twice a day for 2 or 3 867 days more: this done, thro' a fine Linnen Strain strain all the Dissolutions in each Bottle into one large one: digest all together for 6 or 7 days, the longer the better. and gently decant as much as will run clear, reserving the thick and muddy part for ordinary Uses, as mixing with other Varnish for black work, and to gloss the in- sides of Boxes, &c. II. Another white Varnish inferior to the former. Rx. Gum- Sandarack in pouder OZxij. best rectified Spirits LBiv. mix, shake them well together, and digest for 2 or 3 days: then decant or strain the clear into another Bottle. Rx Mastiche in pouder OZxij. rectified S. V. LBiv. digest 2 or 3 days as before, then decant or strain into another Bottle, and keep it for Use. Now, when you design to Varnish a Print or any other thing with these Varnishes, you must mix these two together thus. Rx of the Sandarack Var- nish OZiv. of the Mastich Varnish OZviij. mix them well. The reason of this Mixture is, that we may have the Varnish to answer our desire in Hardness or Softness: when you have set by your Work for 2 days, you may try its Temperature, by pressing your warm Fingers on it; if it leaves its Print behind it, it is then too soft, and you must use a wash or two of the Sandarack Varnish, to harden it: but if it not only resists your Touch, but has some Streaks, Flaws or Crackles like Scratches in it, more or less, it is then too hard, and then be helpt with a wash or two of the Mastiche Varnish. III. To make Seed-Lac Varnish. Rx Best rectified Spirits LBviij. Seed Lac OZxxiv. put all into a very wide-mouthed Glass Bottle; mix and digest 24 hours, or till it is dissolved, often shaking it very well, to keep the Gum from clotting together: this done, take another Glass Bottle as large, and straing the dissolved Matter thro' a Strai- ner of Flannel, shaking all well together before you pass it thro' the Strainer; and then in straining, squeeze it with your Hand, leaving the Faeces or Dregs behind, which are of no Use, but to be cast away: then stop up the Bottles of Var- nish, digest in a warm Sand heat 3 or 4 days, and being well settled, decant off very gently the top or pure clear of your Varnish, so long as it will run clear, and no longer. Let the remainder settle again for 3 or 4 days, and decant off all that which is fine, and keep it for Use. IV. Now, here is to be noted, That upon any urgent 868 Occasion you may make this Varnish in less than 24 hours time, and use it immediately; but the former Preparation is the better: besides which, the clear Var- nish you thus decant off from the top of the Bottle, is of extraordinary Use to adorn your Work, and make it more glossy and beautiful. Some make this Varnish by boiling, but that is an ill way, because the Strength of the Spirit is lost, which ought especially to be preserved; besides which, you may hazard the setting your House on Fire, and therefore also to be avoided. V. To make Shell-Lac Varnish. Rx Of best rectified Spirits LBviij. of the best Shell Lac OZxxiv. mix and shake them well together, and let them stand 24 or 48 hours, and so strain ut supra thro' a Flannel Bag, and keep it close stopt for Use. This is that which the common Varnishers mostly use, for that it has a double or treble Advantage with it; 1. That you need not wait any time for its Perfection, but it is fit for Use the same mo- ment it is made. 2. It has a greater Body than that of Seed Lac, and therefore less Labor and less Varnish goes to perfecting the Work, and make it look tolerably bright. 3. That it is a fit Varnish for ordinary Works which require not polishing, it looking well when first done, or fot a small time; but it is commonly attended with a Mist or Dulness. VI. These following things are also to be observed. 1. That the Seed-Lac Varnish has much Sediment and Dregs in making it; whereas this Shell-Lac Varnish has none, for it wholly dissolves, and is free from all Faeces and Dross or Foulness; yet it is requisite to strain it, lest any Sticks or Straws should be in it. 2. That tho' this Varnish has no Sediment, yet it is much inferior to the other in other Respects; for this Shell-Lac Varnish will never be fine, clear, and transparent as the other is, and therefore it will be in vain either by Art or Industry to endeavor the making it so. 3. That if you design a neat glossy piece of Work, you must totally banish this Var- nish from your Use: but it is commonly used in ordina- ry Varnishings, as of Olive-wood, Wallnut-tree, and the like. VII. Another mixt Shel-Lac Varnish. Rx Of Shel-Lac Varnish LBiij. Venice Turpentine OZvi. mix and dissolve in a gentle Sand heat. This will harden 869 well, and is a Varnish good enough for the insides of Drawers, Frames of Tables, stand Pillars, Frames of Chairs, Stools, and the like. VIII. To make a Yellow Securing Varnish. Rx Venice Turpentine q. v. boil it per se in a Pipkin with a very gentle Char-coal Fire, stirring it continually with a Stick: boil it so long till being cold, it may be crumbled into a fine yellow Pouder. Take of this Pouder OZi. of the finest Seed-Lac Varnish OZiv. mix them in a large Glass Bottle, stop it close, and digest in a very gentle heat or only warmth, till the Rosin is mostly dissolved, now and then unstopping the Glass, to prevent its breaking: then digest 2 days cool, and decant the clear into another Bottle, and keep it close stopt for Use. IX. Here is to be observed; 1. Whatever you design to do with this Varnish, whether Gold-works, Metals, Colors, Rocks, Plains, Woods, or other Figures, to give them a Gloss, and keep them from Tarnishing, ought to be done in a warm place, that it may also the sooner dry; if that cannot be had, you must give it the space of half an hour to dry in, between every wash, however it will become glossy either way. 2. Take a Pencil proportionable to your Work, dip it in the Varnish, and go over your Work sprig by sprig, and part by part, as Leaves, Stalks, Flowers, Rocks, Figures, &c. with a steady Hand, ha- ving a care not to trespass in the least up your Black or Ground-work. 3. Having run over all your Work thus 3 or 4 times, (not oftner, lest you spoil the Color of your Metal) rest satisfied, that your Work, whether of Gold-size or Gum-water, is defended against any thing of Tarnishing, or whatother Injury of Air or Age soever, and that there is added to the native Lustre of the Metals a very bright, admirable and durable Gloss. X. A white polishing Varnish, much like some of the Indian Performances. Rx. Venice Turpentine LBj. fair Water LBiij. mix and boil all over a gentle Fire in a clean Pipkins, stirring it often with a Stick so long, till when cold, you can reduce it to fine pou- der, which will be white as Paper. Rx of this Pouder OZi. of Seed-lac Varnish OZviij. put all into a Bottle which will hold OZxx. stop it close and digest over a gentle heat (now and then opening the Glass) till the Turpentine is nearly all dissolved: 870 then digest in a cool place for 2 or 3 days, and decant the clear- est for Use. You must wash oftner with this Varnish than with that just before, before you can make your Work acquire a glittering Polish. XI. Here is to be observed; First, That your piece now lying before you, drawn and finished, you may secure against all Danger by means of this last Varnish. Take a fit, neat, clean Var- nish pencil, dip it into this Varnish, (put into a little Gally-pot) always stroaking it against the sides of the Pot, for fear it should be too full of Varnish; and with this (without any distinction) wash over your whole Work, both Draught and Ground, and repeat it 5 or 6 times, as you see your Gold or Metal keeps its color, gently warming it and thoroughly drying it between each wash, but let it be but just warm, for if more, it will spoil all. XII. Secondly, This being done, and that very evenly and smoothly, let it lye 4 or 5 days or more, and then polish it thus: Rx. Tripoli in fine pouder, and a fine Rag, dip the Rag into a Bason of Water, and lick up with it some of the Tripoli, with which rub your Work with a gentle and even Hand, till it becomes smooth and glossy; and let your chief Aim be to render your Ground or Black smooth and bright. XIII. Thirdly, To take off the Tripoli, you must use a soft Spunge dipt in Water, to wash your Work with; and then a clean, soft, dry Rag, to free it wholly: af- ter which mix a little Oil and Lamp-black together, and with a fine Rag rub it up with that, and then with a dry Rage clear it from the Black and Oil: lastly, with one clean, soft, dry Rag more, rub it gently so long till it shines, and is sufficiently polisht, according to the utmost of your desire. XIV. To make Varnish for Prints or Pictures in Oil, called Turpentine Varnish. Rx Venice Turpentine OZiij. put it into an Earthen Pot over the Fire: when melted, add to it Oil of Turpentine OZvj. as soon as they boil, take off the Pot, and when cold, put it up in a Glass Bottle, which keep close stopt for Use. With this you may varnish your Prints on Glass, or other things, to render them transparent; and this is what the Shops sell for fine Varnish. If it should prove too 871 thick, you may make it thinner by an Addition of more Oil of Turpentine. XV. A more excellent Varnish for Pictures in Oil, or making Prints transparent. Rx Of the best Oil of Turpentine OZxlviij. pure, clear, white Mastiche in fine pouder OZxviij. mix and shake them well toge- ther till the Mastiche is dissolved: then hang the Bottle in a Vessel of Water, but not so deep as to touch the bottom, and make the Water boil for half or three quarters of an hour or more, taking it out in that space 3 or 4 times, to shake it; so will you have Varnish as good in its kind, for these Purposes, as any other whatsoever. CHAP. V. Of making some other kinds of Varnishes. I. COmmon Liquid Varnish. Rx Linseed Oil q. v. Gum Sandarack q. s. being in fine pouder, mix and dissolve over a gentle heat, and keep it for Use. II. A Varnish for Painted Pictures. Rx White Rosin LBj. Gum Arabick, Venice Turpen- tine, Linseed Oil, ana OZij. first melt the Rosin and Lin- seed Oil together, and strain it very hot: steep the Gum in Oil Olive, q. s. till it is dissolved, and strain it: mix both these together, and add the Turpentine; then digest over a Stove Fire till they are well mixed, and so keep it for Use. When you have occasion for it, use it hot. III. Another for the same. Rx. Gum Sandarack, Olibanum, both in pouder, ana OZiv. Venice Turpentine, q. s. mix, melt and incorporate over a gentle Fire, and strain it hot out. When you have need of it, use it hot, and it will dry immediately, and shine, and be glossy. IV. Another for the same. Rx Pure clear Amber (dissolved in Oil of Turpentine) OZiij. mix it with refined Linseed Oil OZj. over a gentle Fire, stirring them well, and it is done, 872 V. A good Varnish for Gold, Silver, Brass, Copper, Iron, Steel, Stone, Wood, Velom, or Paper. Rx Benjamin in fine pouder q. v. rectified Spirirs so much as to supernate 4 inches: digest 4 days, then strain it, and it will be bright and shining, drying im- mediately, and retain its Brightness many years. Note, If it is to be Silver which is to be varnished, you ought to use the white part of the Benjamin only; but if it is Gold, or anything gilded, chuse the clear part of the Benja- min; and before straining, put in a few Blades of Saf- fron for the Color sake. VI. A Varnish for Wood and Leather. Rx Tincture of Saffron, or Turmerick made with re- ctified Spirits LBj. prepared Gum-lac q. s. dissolve the Gum in the Tincture, and it is done. This Varnish is also of great Use to lay over Gold and Silver, or any thing which is exposed to the Air. VII. A Varnish particularly for Gold, Silver, Tin or Copper. Rx Linseed Oil OZxij. Mastiche, Aloes, ana OZj. (in pou- der) mix all in a glazed Earthen Pot, which cover with another; in the bottom of which let be a hole, wherein to put a small Stick with a broad end, to stir withal: cover them all over with Clay, (except the hole) set it over a gentle FIre, and stir it as often as it boils up for a while, and then strain it for Use. First let the Metal be polished, then strike it over with this Varnish. VIII. To make a common sort of Varnish. Rx Rectified Spirit LBiv. Shell-lac OZix. Rosin OZiij. dissolve the Gums in a gentle heat, (being close covered) then let them settle, and strain or decant off the clear, which keep close in a Glass Bottle for Use. The thick which remains you may squeeze thro' a Strainer, and keep for other Purposes. IX. To make common Varnish. Rx Gum Sandarack in pouder, Oil of Spike, Oil of Turpentine, ana LBj. mix and dissolve over a gentle heat, and it is done. If thro' Carelessness the Fire should catch hold of it, clap a Pewter Dish or Cover, with a wet Woolen Cloth, the top of the Vessel close, and it will immediately go out. X. Vernix Italica, The Italian Varnish. Rx Pure Venice Turpentine OZviij. evaporate to dryness 873 over a very gentle heat, and reduce it into pouder: affuse thereon gradatim Oil of Turpentine twice its weight; digest till the Pouder is dissolved: decant the clear from the Foeces, and keep it for Use. XI. The Mastich Varnish. Rx Oil of Turpentine LBij. Grains of Mastich in fine pouder LBj.or so much as the Oil will dissolve: when cold, separate the clear from the Faeces, and keep it for Use. XII. The Olibanum Varnish. Rx It is made altogether as the former: so also a Var- nish of Gum Animi, of Copal and of Gum Sandarack. These Mastich, Olibanum, Animi, Copal and Sandarack Varnishes are all of good Use for the preserving and set- ting off of Pictures: and being laid upon things Gilded or Silvered over, or laid over with the Leaves of any Me- tal, they so preserve them, that they loose not their Co- lor or Gloss. XIII. To make a Red Varnish. Rx Rectified Spirt LBij. Shell-lac OZiv. Sanguis Draconis in fine pouder OZviij. Cochenele OZj. digest a week over gentle heat, and strain out for Use. XIV. To make a Yellow Varnish. Rx Rectified Spirit LBij. Saffron OZj. infuse 4 days, strain out, and add Sanguis Draconis OZij. fine Aloes OZj. digest a week in gentle Sand heat, and strain out. XV. An excellent Universal Varnish. Rx Of the best rectified Spirits LBiv. of the best Oil of Turpentine OZviiij. Gum Animi, or Copal, or Gum Sandar- rack in fine pouder LBj. mix, and dissolve by digesting in a gentle heat: decant the clear, and keep it in a Bottle close stopt for Use. XVI. The Amber Varnish. Rx Clear Amber in subtil pouder q. v. affuse thereon Linseed Oil or Oil of Walnuts, so much as may melt the Pouder: gently boil them until they acquire a black color; then pour all out upon a wet Marble: beat this Mass into pouder, and dissolve gradatim in a sufficient quantity of prepared Linseed Oil, and keep it for Use; as varnishing Canes, Sticks, Fans, Pots, Cups, Tables, Stones, Statues, Cabinets, &c. being laid on with a hard Brush Pencil, the better to spread it over. 874 XVII. The Indian Varnish for Cabinets, Coaches, and such like. Rx Rectified Spirits LBiv. Seed-lac or Shell-lac OZxij. put them into a Glass Body and dissolve in B. M. (but be sure the Water in the Balneum boils not, for then it will turn the Varnish white:) strain thro' a Flannel Bag, and keep it in a Glass Bottle close stopt for Use. This preserves Leaf Silver it is laid on from the Injuries of the Air, and makes the Silver look of a Gold color; for which Reason Coach-makers and others use it. If it is laid on any other Color, it makes it look very much more beautiful: and if in any place it lyes rough, you may polish it with fine Pouder of Emery and Water, or rather with Tri- poli. XVIII. A strong Varnish or Cement to make a Dial plain on a Wall. Rx Lime and Sand, which temper with Linseed Oil q. s. This spread upon the Wall, will harden to the Hardness of a Stone, and will not decay in may Ages. This is the strongest and most lasting Varnish, Cement or Pla- ster for this Purpose; but if you cannot get Oil, you may temper your Lime and Sand with scummed Milk; and this you will find will last 6 times as long as the common or ordina- ry Plaster, made of Lime and Hair with Water. XIX. To make an excellent White Varnish. Rx Rectified Spirits LBiv. Oil of Turpentine OZiv. Gum Sandarack, Mastich in fine pouder, ana OZxiij. DRiij. Gum Animi in fine pouder OZij. DRvj. mix; digest in a large Bolt-head or Matrass, in a very gentle B. M. or Sand heat, not full out boiling, which stop well or cover with a blind Head; and in about 8 hours time all will be dissolved: decant the clear into a Glass Bottle well warmed before-hand, in which keep the Varnish close stopt for Use. XX. If you Varnish upon Paper pasted on a Board, you must first prepare your Paper with Ising-glaß size, rubbing it over with a Brush of Camels Hair 2 or 3 times, which is to be thoroughly dryed each time; then putting a little of the Varnish into a warm Gally-pot, (you must stop the remainder close, for fear, if the Spirits should evapo- rate, the Varnish should curdle and the Gums separate) lay on the Varnish, with a Brush several times, letting it stand an hour before the Fire between each washing o- 875 ver: after 3 or 4 days time of drying it, polish it with fine Pouder of Tripoli, Emery or Putty, by help of a Rag and a little fair Water. XXI. Vernix Japanica, The Japan or Indian Varnish by another Proceß. Rx Rectified Spirits LBiv. Seed-lac in fine pouder OZxxxij. mix them well, by strongly shaking them in a Glass so long till the Spirit has dissolved the Lacca: digest 2 days, shaking it 2 or 3 times a day: then let it settle and strain thro' a Flannel, or decant the clear; which keep in a Bottle close stopt for Use. XX. Now, here is to be observed; 1. That this thin Varnish, being laid upon any thing, immediately drys, and that it ought to be continually laid on, till it is thick enough and the Superficies equal and smooth. 2. That it is chiefly to be used in April, May, June, July, or August in a clear shining days; or if in cold Weather, in a close warm Room with an Iron Stove in it, or before a good Fire; otherwise it will be apt to chill, and your Work will be cloudy and opacous, not clear and bright: after which it is to be dryed in a gentle heat for 6 or 7 days. 3. That it may be laid o- ver any Color, by which means the Color will look much more beautiful and glorious; or otherwise it may be mixt with the Color, being in fine pouder and moistned with rectified Spirit; or if the Color will yeild a Tin- cture, it may be mixt with a Tincture of the same color. 4. That being put upon Leaves of Metal, as of Gold, Silver, Tin, Brass, it makes them look much more glo- rious, and preserves them also. That the Varnished things may be made smooth and even by rubbing them with Pumice-Stone and Oil Olive: and lastly, the may be farther polisht by rubbing them with Chalk or Putty, by which means they will shine, and look as clear as Glass. XXIII. A Varnish to preserve Timber or Wooden Works from Rotting. Rx The best and hardest Rosin, purify it well: add to it a sufficient quantity of Linseed Oil, so much as may conveniently serve to toughen it; melt and incorporate them well together: then take Umber ground very fine, and mix therewith; which being well mixed together, 876 and whilst hot, you may lay on and varnish Timber or other Wooden Work therewith at pleasure. XXIV. Here it is also to be observers; That it is an excellent Varnish to preserve Timber or Wooden Work, the Border-boards of Gardens, or any other thing, which you would have last long in Wet or Moisture, as the Pillars of Horizontal Dials, Wooden Pails, Rails, Gutters, Arbors, &c. for it lies like China Varnish, and will endure 10 times as long as any Paint- ing. 2. That it is an excellent thing to prime Hogsheads or Barrels with which you use to keep Water in, Wooden Cisterns, &c. which may be done both within and on the outside; and being spread on Cloth with a Trowel, it will make a most excellent Covering for Tents, Huts, Pent-houses, Houses of Pleasure, &c. 3. That the burnt Umber is the best Color to mix with it, yet you may mix other Colors therewith, as Minium, Masticot, Li- tharge, Verdigrise &c. but this last some object against, because of its corroding Quality. 4. That the best way of laying it on, is first to heat it hot, for so it will stick the closer and faster to the Wood. XXV. To Prepare Linseed Oil for the Amber Varnish at Sect. 16 above. Rx Linseed Oil q. v. put into it a piece of Bread; so will an Effervescence be made by the Aqueous Particles: then put in some Alcali, as Lime, Chalk, Whiting, and several Calces of Lead, that the Acid may be absorbed: let it settle, decant the clear, and clarify it; so it is pre- pared. Rx of this prepared Oil, and put in per vices, Pouder of Amber, Sandarack, &c. CHAP. VI. Of making Japan Varnishes. I. White Japan Varnish. Rx Thick Seed-lac Varnish or the best white Varnish OZvj. white Lead or flake Lead in subtil pouder, enough to color it white; mix them. 2. Rx of the thick- est, or rather best white Varnish OZvj. Venice Turpen- 877 tine OZj. mix them well: add white or flake Lead enough to color it. 3. Rx of the finest white Varnish OZvj. pure flake Lead in fine pouder, enough to color it white: mix them to be used as shall hereafter be directed. II. Black Japan Varnish. 1. Rx Of the thickest Seed-lac Varnish OZvj. Lamp-black enough to color it: mix them in a Gally-pot. 2. Rx of the thickest Seed-lac Varnish OZvj. Venice Turpentine OZj. 3. Rx of the finest Seed-lac Varnish OZvj. Lamp-black q. s. mix them, to be used as hereafter directed. III. Another Black Japan Varnish. Make the two first degrees as before: then take of the finest Seed-lac Varnish, of the best white Varnish (in cap. 4. sect. 1.) ana OZiij. mix them well; and then Tin- cture it with Lamp-black as before-directed. IV. Red Japan Varnish. 1. Rx The thickest Seed-lac Varnish OZvj. Vermilion q. s. viz. as much as your Judgment and Experience shall direct you, to give it a good Tincture: mix and keep it for Use. V. A deep or dark Red Japan. 1. Make the Red in the former Section. 2. Rx thick Seed-lac Varnish OZvj. fine Sanguis Draconis in subtil pou- der q. s. mix them. 3. Rx fine Seed-lac Varnish OZvj. San- guis Draconis fine pouder q. s. mix them for Use. VI. A pale Red Japan Varnish. Rx Vermilion q. v. mix it with so much white Lead as to make it become of the Paleness you desire, or re- ther paler, because the Varnish will heighten it: mix this with Seed-lac Varnish, according to the afore-going Methods. VII. Olive-colored Japan. Rx Thick Seed-lac Varnish OZvj. English Pink in subtil pouder, mixed with Lamp-black and white Lead in due proportion q. s. mix them for Use. If it is too light, help it with Lamp-black: if too dark, with white Lead: if too green, with Umber ground fine, for this will take away the Greenness. VIII. Chestnut-colored Japan. 1. Rx Indian Red or Red-brown Oker, grind with or- dinary Size or Water till it is as fine and as soft as But- ter; then mix a little white Lead, which grind strongly as before: and lastly Lamp-black in a fit proportion, 878 stirring and mixing them well together. 2. If the Mix- ture is too bright, darken it with Lamp-black: if too dark, lighten it with white Lead, varying the Proporti- ons till you have perfected the Color you aim at; for what Color exactly you have when thus mixt and wet, the same also will arise when varnished, tho' drying without Varnish, it will look otherwise. 3. Rx thick Seed-lac Varnish OZvj. of the former prepared Color q. s. mix them in a Gally-pot over a very gentle Fire, for Use. IX. Blew Japan. 1. Rx White Lead, grind it upon a Porphyry with Gum-water till it is impalpable. 2. Rx the finest and best Smalt, which mix with Ising-glass Size: to this put of your white Lead such a proportional quantity as you would have it in strength of Body: mix these together to the Consistence of common Paint. 3. If the Blue is too pale and weak, add more Smalt, and no white Lead; but if it is too deep, then add more of the white Lead. CHAP. VII. Of making Lackering Varnishes 1. The common Lacker Varnish. Rx Rectified Spirits LBiv. Shel-lac in pouder LBj. put them into a Gallon Glass Bottle, and let them stand till quite dissolved: strain, and then add a little com- mon Sanguis Draconis in subtil pouder, and a little Tur- merick in fine pouder, both tyed up in a Rag: digest a day or two, often shaking it, and it is done. Where not, That you may heighten or diminish the Color, by en- creasing or diminishing the quantity of the coloring Ingre- dients. II. Another Lacker. Rx Rectified Spirit LBiv. Shel-lac LBj. dissolveand strain: then instead of common Sanguis Draconis, take a very little of Drop or fine Sanguis Draconis in fine pouder, and English Saffron dryden; which tye up in a fine Linnen Rag, and put into the Varnish as before. If you would have the Color deeper, or more like Copper, add more Sanguis 879 Draconis; but if lighter and more pleasant, then the more Saffron. III. A Lacker Varnish to be used without Fire or Sun. Rx Of the following Varnish in sect.4. LBiv. Venice Tur- pentine OZij iij. or iv. mix and dissolve it well with the Varnish. With this you may Lacker or Varnish any thing in the open Air, which, altho' it may look dull and cloudy just after Varnishing, yet will that quickly vanish, and it will obtain in a short time a pleasing and goodly Lustre. IV. To make the bestsort of Lacker Varnish now used by the Gilders. 1. Rx Fine Seed-lack Varnish (in cap.4. sect.3.) OZxij. with which mix Ornatto in fine pouder s. q. dissolve it in a Gally-pot over a gentle Fire, which reserve in a Bottle close stopt. 2. Rx fine Seed-lac Varnish OZxij. Cambogia in pouder as much as it will dissolve in a gen- tle Sand heat: reserve this also in a Glass close stopt for Use. 3. Rx Seed-lac Varnish LBij. and add to it 5 or 6 Spoonfuls of the first reserved Tincture, and 10 or 12 Spoonfuls of the second reserved varnish Tincture; to which add dryed Saffron DRss. tyed up in a Rag: digest 24 hours, being first well shaked together. 4. Then make a Tryal of this Varnish upon a bit of Silver; if it is too yellow, put in more of the Ornatto or first reserved varn- nish Tincture; but if too red, then put it more of the Cambogia or second reserved varnish Tincture: thus en- creasing or diminishing the Proportions till you have brought it to the exact Golden color, which is the Ulti- mate or only thing aimed at. V. To Lacker Oil Painting, Sized Works, or Burnisht Silver. Warm your Frame or piece of Work before the Fire, then putting out some of your Lacker into a large Gally- pot, with a fine large and fast Brush of Hogs-hair or Camels-hair, nimbly pass over your piece, and be sure to miss no part of it, not yet to twice wash any of the same; but be sure to lay it on thin and even, and presently warm it by the Fire whilst it looks bright; for by these means you may Lacker it again in a quarter of an hour, warming it before and after the Operation. Repeat the Work twice or thrice, and if the Color is not deep enough, do it a fourth time; but beware of doing it too deep, for that is a Fault not to be mended. 880 VI. To make Lackering look like Burnisht Gold. If your Silver is before-hand well burnished, and your Lacker of a true Gold color, and it be carefully laid on with an even hand, not thicker in one place than in a- nother, matting it as you do burnisht Gold; it will be so exactly like Gold Foil or Gilding, that it will be able to deceive the most subtil and curious Eye, not before- hand acquainted with the Fallacy. VII. Now, here is to be noted; That in Lackering Carved Works, you must be quick, and strike or jobb your Brush against the hollow parts of it, to cover them also, matting or varnishing them deeper and more dull than other parts of your Frame or Piece: and this deepning is done with the Lacker Varnish made deeper with the Ornatto Varnish, (or with Ornatto it self, worth about 4d. per ounce;) which being well mixt, with the same, all the hollow and deep Places and Veins of your Work, are therewith to be touched and deepened, whereby you accomplish its Color, and bring the Refle- ction of a perfect Glory. CHAP. VIII. Of the Way and Manner of Varnishing. I. THE Intent of Varnishing, is, either to preserve the Gloss of Paintings or Pictures, or else to re- present and imitate the Forms of shining and perlucid Bodies. II/ To Varnish Paintings and Pictures, 'tis no more but with a Pencil dipt in the Varnish, to go over the same, then letting it dry; and so going over it so often as to Reason you shall see convenient. III. If you are to imitate any thing, as Amber, Lapis Lazuli, Marble, Tortoise-shell, &c. you must first make the Imitation of them upon that which you would Var- nish, with their proper Colors, as in Limning or Paint- ing with Oil, which must be thoroughly dry: then by the former Section go over all with the Varnish so often, till you see it thick enough, letting it dry every time leisurely. 881 IV. How to use the Securing Varnish and the white Polishing Varnish, we have at large taught you in cap. 4. sect.9, 11, 12, 13. so that no more need be said of it in this place. V. Having Varnished your piece sufficiently over, and being perfectly dry, according to the Nature and Curi- osity of it, it is to go either unpolished, or to be polish- ed. If it is to be polished, 1. You are to rub it with a fine Rag, and fine Pouder of Tripoli and fair Water till the greatest of its Roughness is taken away. 3. Then washing it clean from the Tripoli, if it is black Varnish, you must perfect the Polishing of it with another fine Rag, Lamp-black, and a little Oil Olive, rubbing it so long with them till it shines and looks like a perfect Mir- ror or Looking-glass; but if it is a white or light-colored Varnish, you must take (instead of the Lamp-black) very fine Putty or Chalk, rubbing with that in like man- ner till the Polishing is perfect. VI. This being done, to clear the Varnishing of the Lamp-black, or Putty, Chalk and Oil, you must rub it with a fine, soft, dry Rag till the Lamp-black, Putty, Chalk and Oil are lickt up with it, and totally vanish: after which taking one clear, fine, soft, dry Rag more, rub it gently and evenly till it acquires the Cleanness, Gloss and Lustre you desire. CHAP. IX. Some general Observations in Varnishing. I. LET the Wood you would Varnish be close grain'd, free from a manner of Knots, Flaws, Holes or Greasiness, and very smooth and clean; which, if so, then Rush it well all over with your Dutch Rushes. II. Lay with your Varnishing-pencils your Blacks or other Colors very even and smooth, without any Knobs, Asperities or Roughness: if any such thing appears, with your Rush take them away: and this must conti- nually do so long as those Impediments shall follow your Work. 882 III. Work always in a Stoved Room (if in Winter) and near a Fire, keeping your Work always warm, but by no means hot, for then it will certainly blister, or crack and flaw, which is irreparable, and can never be rectified or amended but by scraping off all the Varnish. IV. After every distinct wash you ought to let the Work be thoroughly dry; if not, it will always be full of Knobs Asperities or Roughnesses, which will enforce you to the continual Use of your Rushes. V. Let your Work lye and rest after it is Varnished as long as may be, or as your Convenience will admit; so will it prove the better, and receive the more exquisite Polishing. VI. In Varnishing, begin always your Stroak in the middle of the Table, Box or Plain (and not from one end to reach to another) and so strike it to one of the ends; then taking it off, put it to the place you began at, and draw it to the other end; and thus continue it till the whole Plain is Varnisht over. VII. For if you should at one stroak draw your Pen- cil from one end to another, it would hang upon the Edges and Mouldings of your Box or Piece, the Varnish lying in Drops and Splashes, caused by the Brushes be- ing at beginning of the Stroak over charged and too full of Varnish; for which Reason you ought to stroak your Pencil once or twice against the sides of the Gally-pot, to hinder this Abundance or Superfluity. VIII. When you come to Polishing, let your Tripoli be scraped with Glass or a Knife, that it may be as fine and soft as Pouder or Hair; let your Rags also be very soft, fine and clean, tho' for the more ordinary or com- mon Work, courser Tripoli and Rags may serve: rub indifferently hard, but smooth and even, Polishing one place as much as you intend for that time, before you leave it and pass to another. IX. Never Polish your Work to the ultimate smooth- ness at one time, but let it rest 2, 3 or more days after your first Endeavours, and then give it the finishing and concluding Stroaks. X. Be careful also that yo come not too near the Wood, lest your Work looks thin and hungry, and as it were Thread-bare: if you wear the Varnishing thus 883 too much away, there is no Remedy for it but by ano- ther Varnishing. XI. Use a large Quantity of Tripoli at first Polishing, till it begins to be smooth; afterwards a small matter will be sufficient; and be sure there be no Gravel, Grit, Sand, or grating matter in it, lest it rase or scratch your Work: if so, you must rub (with the Rag about your Finger) till you have polisht them out. XII. When you come to clearing up your Work, wash off your Tripoli with a Spunge and Water, and after- wards wipe it dry with old, soft, dry Linnen. XIII. Then (your piece being black Varnish) mix Lamp-black with Oil, and with another soft, dry Rag rub your Work all over with it, letting no corner or Moulding escape; for this will absolutly free your piece from the remaining Tripoli. XIV. This done, with another fine, clean, soft Rag or Cloth, rub it well all over, not sparing any pains, with a nimble and quick Stroak, and as hard as you well can; so will its Gloss and Lustre be incomparable. XV. But if it is white Work, when you are come to clearing it up, you must no sully it with Lamp-black; but give the finishing polish to it by Oil mixt with Putty, or White Chalk, or Grounds of Hair Powder, concluding with a fine, soft, dry Rag or Cloth, as in the former. CHAP. X. Of Varnishing Wood without Colors. I. TO Varnish Olive Wood, Tables, Stands, Cabinets, Looking Glasses, Dressing Boxes, &c. Rush over the piece you intend to Varnish, which being well done, set it by a soft and gentle Fire, that it may be well warm- ed, and so made fit to receive the Varnish. II. Then wash it 10 or 12 times over with thick Seed lac Varnish (which remained after the top or fine was poured off) with a Pencil fitted to the bigness of your Table, Cabinet, Frame, &c. letting it throughly dry between every washing. 882 III. Work always in a Stoved Room (if in Winter) and near a Fire, keeping your Work always warm, but by no means hot, for then it will certainly blister, or crack and flaw, which is irreparable, and can never be rectified or amended but by scraping off all the Varnish. IV. After every distinct wash you ought to let the Work be thoroughly dry; if not, it will always be full of Knobs, Asperities or Roughnesses, which will enforce you to the continual Use of your Rushes. V. Let your Work lye and rest after it is Varnished as long as may be, or as your Convenience will admit; so will it prove the better, and receive the more exquisite Polishing. VI. In Varnishing, begin always your Stroak in the midde of the Table, Box or Plain, (and not from one end to reach to another) and so strike it to one of the ends; then taking it off, put it to the place you began at, and draw it to the other end; and thus continue it till the whole Plain is Varnisht over. VII. For if you should at one stroak draw your Pen- cil from one end to another, it would hang upon the Edges and Mouldings of your Box or Piece, the Varnish lying in Drops and Splashes, caused by the Brushes be- ing at beginning of the Stroak over charged and too full of Varnish; for which Reason you ought to stroak your Pencil once or twice against the sides of the Gally-pot, to hinder this Abundance or Superfluity. VIII. When you come to Polishing, let your Tripoli be scraped with Glass or a Knife, that it may be as fine and soft as Pouder for Hair; let your Rags also be very soft, fine and clean, tho' for the more ordinary or com- mon Work, courser Tripoli and Rags may serve: rub indifferently hard, but smooth and even, Polishing one place as much as you intend for that time, before you leave it and pass to another. IX. Never Polish your Work to the ultimate smooth- ness at one time, but let it rest 2, 3 or more days after your first Endeavours, and then give it the finishing and concluding Stroaks. X. Be careful also that you come not too near the Wood, lest your Work looks thin and hungry, and as it were Thread-bare: if you wear the Varnishing thus 883 too much away, there is no Remedy for it but by ano- ther Varnishing. XI. Use a large Quantity of Tripoli at first Polishing, till it begins to be smooth; afterwards a small matter will be sufficient; and be sure there be no Gravel, Grit, Sand, or grating matter in it, lest it rase or scratch your Work: if so, you must rub (with the Rag about your Finger) till you have polisht them out. XII. When you come to clearing up your Work, wash off your Tripoli with a Spunge and Water, and after- wards wipe it dry with old, soft, dry Linnen. XIII. Then (your piece being black Varnish) mix Lamp-black with Oil, and with another soft, dry Rag rub your Work all over with it, letting no corner or Moulding escape; for this will absolutely free your piece from the remaining Tripoli. XIV. This done, with another fine, clean, soft Rag or Cloth, rub it well all over, not sparing any pains, with a nimble and quick Stroak, and as hard as you well can; so will its Gloss and Lustre be incomparable. XV. But if it is white Work, when you are come to clearing it up, you must not sully it with Lamp-black; but give the finishing polish to it by Oil mixt with Putty, or White Chalk, or Ground of Hair Pouder; concluding with a fine, soft, dry Rag or Cloth, as in the former. CHAP. X. Of Varnishing Wood without Colors. I. TO Varnish Olive Wood, Tables, Stands, Cabinets, Looking Glasses, Dressing Boxes, &c. Rush over the piece you intend to Varnish, which being well done, set it by a soft and gentle Fire, that it may be well warm- ed, and so made fit to receive the Varnish. II. Then wash it 10 or 12 times over with thick Seed lac Varnish (which remained after the top or fine was poured off) with Pencil fitted to the bigness of your Table, Cabinet, Frame, &c. letting it thoroughly dry between every washing. 884 III. If any Hillocks, Knobs or roughness does appear, when dry, then rush them off, at every turn as you meet with them; and continue Rushing it, till it is very smooth. IV. After all this, wash it over again, fix several times with the finest of the Seed lac Varnish; and so let it stand three days, to dry thoroughly. V. Then take Tripoli scraped with a Knife: and take a fine soft Rag, dip it in fair water, and then in the Tripoli, with which rub and polish it, till it acquires an admirable smoothness and gloss. VI. But you must be very careful, that you rub it not, nor wear away the Varnish too much, for that is no ways to be repaired, but by fresh Varnishing it again. VII. After you have rubbed some considerable time with the Rag and Tripoli, you will do well to use the Rag often wetted without Tripoli, whereby you will ob- tain the better Gloss. VIII. Then wipe off your Tripoli with a Spunge full of fair water; and afterwards wipe off the water with a dry Rag: Rub it with Lamp-black and Oil all over, and wipe off that with a dry Cloth: and clear it with another. IX. If after all this pains, your Work looks dull and heavy, and the Varnishing misty, (which is caused by polishing it before it was thoroughly dry, in moist, damp Weather) you must gie it another slight Polish, and clear it up, as before, and that will give it its due Lustre. X. If you have been too sparing of your Varnish, so that it is not thick enough to endure a thorough Polish, you must use again your finest Seed lac Varnish, giving it 5 or 6 Washes more. XI. And then, after 4 or 5 days time, in which it will be thoroughly dryed, you must Polish it, and clear it up, as before. XII. If you desire to keep the absolute, true, natural and genuine color of the Wood, you must then only use the White Varnish (in Cap. 4. Sect 1.) for that is the only thing which compleatly answers this end, for that being often washed with it, it necessarily heightens and increa- ses the true natural Olive Color. XIII. To Varnish Wallnut Wood. The same Method is to be observed in this as in that of Olive, and the same 885 Rules will hold exactly in all other sorts of Wood which are close and hard, and of a smooth Grain, as Box, Lime Tree, Pear Tree, Yew, &c. CHAP. XI. Of Drying or Staining Wood, Bones, Ivory and Horns. I. SOmetimes Tables, Stands, Cabinets, Dressing-Box- es, Looking Glasses, Frames, &c. being made of differing Woods, and of Colors which are disliked, you may by the following Rules, Dye or Stain such sorts of Woods, Bones, Horns, &c. of what Colors you please, and then by the former Rules Varnish upon them; so will they look very pleasing to the Eye, and as if truly Natural. II. To Dye Wood of a Beautiful Red. Make a strong Alum water, put your Wood into it, and let it boil a little: then take it out, and put into the said Water a sufficient Quantity of Ground Brasil Wood: put your Wood in again, and boil a Quarter of an Hour, and it is done. When dry, Rush and Polish it, and you will find it a Rich and Beautiful Color. Note, Woods which are white, take this Dye best. III. To Dye or Stain a fine Yellow. Take Knotty Ash, or any other Wood which is white, curled, and knotty; smooth and Rush it well; then warm it at the Fire, and with a Brush dipt in A.F. wash over the Wood, and hold it to the Fire (as you do Japan work) till it leaves smoaking. When it is dry, Rush it again, for the A.F. will make it very rough; Polish it, and if you please Varnish it with fine Seed-lac Varnish; and being dry, then Polish the Varnish, and you will find (because the knotty and curled parts will admit of great Variety) that no Out-landish Wood will surpass it, and that a pleasing Variety will be interwoven, much beyond whatever you could imagine or expect. Note, If also you put Filings of Metals, as of Silver, Copper, Brass or Iron into the A.F. or Gold into it with Salt or Sal 886 Ammoniack, each Metal will produce a different Tincture, which will Dye the Wood accordingly. They oftentimes Stock Pistols with such kind of Wood as this. IV. To Dye or Stain Woods for Inlaid or Flowred Works for Cabinet-makers. Rx Juice of the moistest or new-made Horse-dung LBviij. put it into 6, 7, or 8 several Vessels, and put into each Vessel Roch Alum and Gum Arabick, ana about the quantity of a large Nutmeg, dissolving them: then put into each Vessel a different Color, as Red, Green, Blew, Yellow, Orange Tawny, Purple, &c. suffering them to stand 2 or 3 days, often stirring them: then take your Wood, (cut thinner than an Half Crown, and of what breadth you please) viz. Pear-tree or other white Wood, put it into the said several Liquors boiling hot, in which let it lye as long a time as is needful, to color it, but some pieces longer than others, for the longer they lye in the Liquor, the deeper and higher the Color; so will you take them out thoroughly dyed, and of as many differing Colors as there were Pots of Liquor. V. To Dye or Stain Wood Black. Rx Logwood and boil it in Water or Vinegar, and whilst very hot brush over or dip your Wood in it 2 or 3 times: then take Galls p. iv. broken into bits, Copperas p.j. boil them well in the Water, with which wash the Wood so often, or steep it in the Liquor till it is perfectly black. VI. To Dye Bone, Horn, Ivory, &c. Black. Rx A.F. q.v. put bits of Brass into it, letting it stand till it is turned greed, with which was your Bone, Horn, Ivory (being first Polished) 2 or 3 times: then put them into a strong Decoction of Logwood in fair Water whilst hot, letting them lye a while: which done, Rush and Polish them, and they will be as black, and have as good a Gloss as any Japan or Ebony. VII. If you would have any Figure or set of Flowers, &c. remain white upon the Ivory, draw them neatly on the Ivory with Turpentine Varnish before you strain it; for those places which are covered with the Varnish, are so secured, that the Dye or staining Matter cannot touch or discolor them. After the Matter is dyed, you may hatch, engrave or cut them with a Graver according as you de- 887 sign, and then fill those Lines with Lamp-black mixt with Oil, to make them appear in their Perfection. VIII. To Dye or Stain Bones, Horn, Ivory, Wood of a Green Color. First boil them in Alum-water, then take Wine Vi- negar q.v. Spanish Green or common Verdigrise well ground, q.s. Sal Ammoniack half as much as of the Ver- digrise, mix them, and put the Wood, Ivory, Horns or Bones into the same, keeping them in a gentle boiling heat till they are sufficiently stained. If the Wooden Work is too large to go into the Vessel, wash it over se- veral times boiling hot till the Color is good. IX. To Dye Bones, Horn, Ivory or Wood Red. Rx Rain Water q.v. Quick-lime q.s. mix and let it dissolve, and stand for a night: then decant the clear Water, straining it thro' a Cloth. Rx of this Water LBviij. Brazil-wood scraped or ground OZiv. mix and boil gently: then your Wood, Ivory, Horn or Bones (being first boiled in Alum-water) put into and boil in the former Tin- cture of Brazil till it is sufficiently Red. CHAP. XII. Of Varnishing Prints. I. GET a smooth Board of a size fitting your Print or Picture, and with strong common Size made of Parchment or Leather, Size it over thus; Melt the Size at the Fire, and scrape Whiting into it to make it of a moderate thickness; and with a soft Hogs-hair Brush or Pencil fit for your Work, wash it once over, letting it dry: then white it again, and so repeat it till it lies with a fair substantial Body, perfectly covering the Grain of the Wood, whether it be Deal, Oak, Walnut-tree, or any other. II. Then with your Rushes Rush off some part of your Whiting pretty close, and make it very smooth; but do it not so much as to discover the Grain of the Wood. III. With Flower or white Starch and Water make a Paste, which with a large Brush-pencil besmear over the back- 888 side of the Print or Picture, and carefully with an even and steady hand lay it upon the Board, pressing it down and smoothing it on, that it may stick as close as may be, without wrinkles, cockling, blistering or any rising up; which if you find, lay another dry Paper upon it, and by pressing and stroking the Paper every ways, free it from the same. IV. Be cautious in this Pasting, that it be so well done, that not the least swelling or bubble be found up- on your Work; for if it be, the whole Beauty of the Picture will be lost and destroyed when you come to Varnishing. V. Being thus fixed to the Board, let it thoroughly dry: then take the clearest of your Ising-glass Size (in cap.3. sect.1.) being just warm, with a soft Pencil wash over your Print or Picture: let it be perfectly dry, and repeat this Washing again; which reiterate also the third time, letting it be thoroughly dry. VI. After 3 or 4 days time wash it over with your finest white Varnish (in cap.4. sect.1.) in a gentle heat, not too nigh the Fire to avoid blistering, letting it dry; and then repeat it 5 or 6 times more. VII. This done, let it rest 2 or 3 days, and give it 8 washes more of the same Varnish in like manner: let it rest for 2 or 3 days more, and then give it 6 or 7 other washes of the same Varnish. VIII. Being at length throughly dry, Polish it with fine Tripoli, a Rag and Water; and lastly clear it up with Oil and Putty, or white Starch, or Wheat Flower, as is before taught. IX. To Varnish Pictures or Prints without Polishing. Rx Of the best white Varnish, of Varnish made with Mastich and Oil of Turpentine (in cap.4. sect. 15) ana OZij. mix them. Into this Mixture dip a Camels-hair Brush, and therewith Varnish over your Print 4 or 5 times by the Fire as you do other Varnish; and when it is dry, it will have a very rich Gloss. X. To Varnish Prints or Pictures, and Polish them like Japan. This is done with Japan Varnish, washing it 5, 6 or 7 times over in all respects as the former: then being dry, Polish with Tripoli, and clear it up with Oil and Put- ty, &c. 889 XI. To Finish, Polish and Varnish Pictures not laid up- on Glass. Touch the foreside of your Picture with shell Gold in Gum-water; or else after you have Varnisht it 2 or 3 times with the best white Varnish, take Japan Gold Size, with which hatch and lay it over with Gold Dust: and as your Judgment and Experience shall advise, touch and heighten all the strongest Lights, and deepend your Shadows also, by which you will give so much Life and Spirit to it, as that a Limner himself may mistake it for a piece of real Painting. CHAP. XIII. Of Preparing Woods for Japanning. I. Take Plaisters Size, dissolve it over the Fire, ma- king it pretty warm; and mix Whiting with it in fine pouder till it is of a good Body, but not too thick. II. Take a Brush of Hogs-hair fit for the purpose, with which and the former Mixture lay your Work once over, letting it dry very well: and so often repeat this till you have hid all the Hollownesses, Crevices, Pores and Grain of your Wood, letting it throughly dry between every Laying. III. Afterwards take a fine wet Rag and rub it over all your Work, till you have made it as smooth as possi- ble, and this is called Water-Plaining. IV. When it is dry, Rush it even and smooth, and as close to the Grain as possibly may be. V. This done, wash over your Work twice with the thickest of your Seed-lac Varnish, letting it dry each time; and if it is not smooth, Rush it again to make it so. VI. A day or two after Varnish it over with Black, or what other Color you design, according as has been directed; and when sufficiently dry, you may finish it by Polishing it. 890 VII. By the Method you must Prime Carved Frames for Cabinets, Stands or Chairs, if you would have them to look well, save that these are not to be Polished, and therefore require not so great a body of Varnish, but on- ly to make them to look shining and glossy. VIII. But for the tops of Tables, Boxes, sides of Ca- binets, &c. where the Wood is ordinary and rough Grain'd, as Deal, Oak, &c. you may take common or Joyners Glew, dissolve it in Water till it is fine and thin, into which put the finest Saw-dust, till it is indif- ferently thick. IX. Then with a Brush fit for that purpose lay it all over your Work; and being dry, repeat it so often till all the Roughness and Grain of the Wood is sufficiently hidden. X. After 2 or 3 days let a Cabinet-maker scrape it with his Scraper as Pear-tree and Olive-wood are done, to make it as smooth and even as may be; then Varnish it as formerly directed. This, if well done, will not come behind any other Work for Beauty and Durabi- lity. XI. But after all, if every thing be weighed, your close, firm and smooth Grain'd Woods are chiefly and only to be chosen; of all which Pear-tree is the first in Estima- tion. CHAP. XIV. Of Japanning Wood with Colors. I. Black Japan. I. YOur Wood being close Grain'd, well wrought and smooth, Rush it smooth, and keep it warm by the Fire or in some warm place; but be always careful, that whilst you Varnish you suffer it not to come so near the Fire as to burn, scorch or blister it, for which Fault there is no other Remedy, but scraping it off and new Var- nishing the piece again: in this case, to work in a Stove, is doubtless the best way, because it gives an even and moderate heat to all parts of the Room. 891 II. Then take of the Japan Varnish (in cap.6 sect.2. No.1.) put it into a Gally-pot, and with it first wash over or Varnish your piece 3 times, letting it dry thorough- ly between each time: again with more of the same Varnish wash it over 3 other several times, letting it throughly dry between each time, and Rush it smooth between each of them. III. Take of the Japan Varnish (in cap.6. sect.2.n.2) and wash your Work over with it 6 times, letting it stand 12 hours between the 3 first and the 3 last Var- nishings. IV. Your Work being thus far done, take the Japan Varnish (in cap.6. sect.2. n.3) and with that let it be Varnished 12 times, standing 12 hours between the first 6 and the last 6 Washings; then let it lye 6 or 7 days; after which Polish it with Tripoli and a Rag as before- directed. V. But in Polishing, you must work at it till it is al- most smooth, and so let it lye for 2 days; then Polish it again almost enough, and again let it lye 6 days: and lastly Polish it fully, and so clear it up with Oil and Lamp-black as formerly directed; so will you have a good black Japan, scarcely at all inferior to the true Indian. II. Another Black Japan. VI. Lay your Black as before (in sect.2, 3.) then take of the Japan Varnish (in cap.6. sect.3.) with which Varnish your Work 7 or 8 times, letting it stand 24 hours between each time to dry; and then repeat it 4 or 5 times more, keeping it but just warm. VII. Then let it stand 2 days, and wash it 6 or 7 times with fine Seed-lac Varnish only; and after 6 or 7 days Polish it as before-directed in sect.4, 5. above. VIII. If your Work should after a little time grow dull, cloudy, and misty, it is to be remedied with a slight Polish, and clearing it up afterwards; for that this Dulness might be caused by reason that either your Varnish was not yet throughly dry, or that it was not laid thick e- nough on. IX. If it is from the first Cause, a new Polishing mends it: if it is from the latter Cause, you must mend it by 5 or 6 Washes more of your fine Seed-lack Varnish; and then Polishing again as before. 892 X. It is also to be noted, That in this and all other Ja- pan Works you must never strike your Pencil twice over the same place, for it will make your Colors or Varnish lye rough and ugly; but let every stroak wash a new place, carrying a steady, quick and even hand, begin- ning at the middle of the Table, and so drawing your Brush to either end, till the whole piece has been passed over. III. White Japan. XI. In doing this, you must let nothing come near it which with foul or soil it: your first work must be to lay the Ground, which is made with Ising-glass Size (in cap. 3 sect.1.) mixt with as much Whiting, scrapt into it, as will make it of a reasonable thickness, or so long till by a stroak of your Pencil dipt into it, it will whiten the plain of your Work; but let it be neither too thick nor too thin: this Whiting with your Hogs-hair Brush mix very well with your Size. XII. Whiten your Work once over with it, and when it is throughly dry, do it again; and when dry, reiterate it the third time: after which let it dry 12 or 24 hours, covering it from Dust. XIII. Then with some Dutch Rushes, let it be Rusht as near to the Grain of the Wood as you see fitting. XIV. Take fresh Ising-glass Size q.v. white Flake q.s. so much as make the Size lye with a fair body; mix them well together, and with this go over your Work 3 several times, letting it throughly dry between each time; then Rush it very smooth. XV. Then take white Starch boil'd in fair Water till it is somewhat thick; and with it, almost Blood warm, wash over the whole Work twice, letting it dry between each time; and so let it stand 1 or 2 days. XVI. With a pure clean Pencil (washt in rectified Spirit, to free it from Dust) dipt into the finest white Varnish (in cap.4. sect.1.) wash over your Work 6 or 7 times; and after 2 days, repeat the like number of Var- nishings again: this, if well done, will give a finer Gloss than if it was Polisht: but if it is slovenly done, Polish- ing will then be absolutely necessary, for which reason you must give it 5 or 6 Varnishings more. XVII. If this last is well done, it will need no Polish- ing; and then two washes more will do: but if it requires 893 Polishing, you must then give it 3, and a weeks time of drying before you begin to Polish. XVIII. In Polishing, you must use the finest Tripoli and Rags, not too wet nor too dry, with a light and gentle hand: and in clearing, instead of Lamp-black and Oil) you must use Putty and Oil, and conclude with white Starch mixt with Oil, to give it the finishing Stroak. XIX. But there are some who wholly reject this work with Size, liking that only which is performed with Varnish: and therefore such may, if they please, use the white Japan Varnishes (in cap.6. sect.1 n.1,2,3.) ex- actly, according to the method laid down for the black Japan, in sect. 2, 3, 4, 16. above, which will give a more than ordinary Satisfaction: and besides it will not be so ready to Crack or Peel off. IV. Blew Japan. XX. Rx Gum-Water, q.v. white Lead, q.s. grind them well upon a Porphyry. Rx Ising-glass Size, q.v. of the finest and best Smalt, q.s. mix them well, to which add of your white Lead before ground, so much as may give it a sufficient Body; these mix together to the consist- ence of Paint. XXI. With this mixture, go over your Work, and do it 3 or 4 times, till you see your Blew lies with a good and fair Body, letting it dry throughly between each time: if your Blew is too pale, put in more Smalt into your Size, without any white Lead. XXII. The Rush it very smooth, and go over it again with a stronger Blew: and when it is through dry, wash it twice over with the clearest Ising-glass Size alone; and covering it, let it dry 2 days. XXIII. Then gently warming your Piece at the Fire, with a clean Pencil wash your Work over with the fi- nest white Varnish, (in cap.4. sect.1.) repeating it 7 or 8 times, and let it dry again 2 days as before. After which repeat again the third time, your washes 7 or 8 times in like manner. XXIV. Let it now dry for a Week, and then Polish it as before directed; and with Lamp-black and Oil clear it up, to give it a Polite, and Glossy appearance. XXV. As to the Color you must be guided by your Reason and Fancy, whether you will have it light or deep, for a 894 small proportion of the Lead makes it deep, a greater proportion light. Also the Site for laying Whites, Blews, or any other Color, ought not to be too strong, rather weaker, and just sufficient to bind the Colors, to make them stick on the Work, for if it is too stiff, it will be apt to Crack and fly off. And the Reason of washing twice with clear Size, is to keep the Varnish from sinking into, or tarnishing the Colors; and in this case it ought to be of a strong and full Body. VI. A deep or dark Red Japan. XXX. First lay on your common Red, as before di- rected: then take thick Seed-lac Varnish q.v. fine Sanguis Draconis in subtil Pouder q.s mix it by little and little with the Varnish: a very small matter of it will extreamly heighten your Color, and every wash will render it deeper. XXXI. When the Color is almost as deep as you design, forbear the Sanguis Draconis, because the after lay- ings of the Seed-lac Varnish, will add to the Color what is wanting. XXXII. Then consider how many Varnishings are still to be laid on, and accordingly use your Sanguis Draconis, perfecting the Work, as is directed in the for- mer Common Red Japan. 895 VII. A pale Red Japan. XXXIII. Take the pale Red Japan Varnish (in cap. 6. sect.6) and wash your Work over with it four times, letting it dry between every time; and follow the Me- thod exactly laid down in Sect. 27, 28, 29. aforego- ing. XXXIV. Where Note, that in making this mixture, you must think with your self, how many time you are to Varnish after your Red is laid on, for if many, then know, that they will increase and heighten the Color, for which reason you must make your mixture the Paler. In these things you must be guided both by Reason and Experience. VIII. Olive Colored Japan. XXXV. Take Isinglass or Parchment Size (in cap.3. sect.1, 8.) q.v. English Pink in fine Pouder, q.s. grind them together till they are as thick as Butter: then mix with Lamp-black, and white Lead in due pro- portion, which by some Tryals you will easily find; add- Lamp-black, if too light; white Lead, if too dark. XXXVI. If it is too Green, help it with Raw Umber, ground very fine with Size, for this will take away the Greenness. XXXVII. Or, take the Olive colored Japan Varnish described in cap.6. sect.7. which is very much the bet- ter, and with either of these, Varnish over your piece according to the aforegoing Rules, Polishing, and clean- ing of it, as before directed. XXXVIII. Where Note, 1. That no Colors laid in Size, will endure so strong a Polish, as those in Var- nish, but are much more subject to be rubbed off. 2. That the finishing Varnish, must be the best white Varnish, that the Colors may not Tarnish. IX. Chestnut colored Japan. XXXIX. It is made of Indian Red, or brown Red Oker, either of them being ground with Ising-glass or Parchment Size, upon a Porphiry, till they are as soft and fine as Butter, &c. (In cap.6. sect.3. N.1 2. XL. Or, take thick Seed-lac-Varnish, and mix it with the same Colors as you did the Size; lightning it with the white Lead, if too dark; and darkning it with Lamp-black, if too bright or light, till the Color 896 results which you desire: this mixture with the Seed- lac Varnish you will find to be much the better. XLI. The Colors being thus mixt, if you use the Size mixture, put some of it into a Gally-pot, over a gentle Fire, to melt it, or give it a fit Temper, not too thick, nor too thin; then with a Hogs-hair-brush, wash there- with your piece smoothly over, and let it dry, which repeat so often till your Color lies full and fair. XLII. Being thro' dry, Rush it smooth, but not close to the Wood, and so let it rest a day or two: and then wash it with thick Seed-lac Varnish, (in sect.40. above) going over your Work as with the Size mixture: and then being dry and rushing of it; you may go over with it 3 or 4 times again, with simple thick Seed-lac Varnish, letting it dry as before. X. Lapis Lazuli Japan. XLV. Take Ising-glass Size, or thick Seed-lac Varnish, and make a mixture with Spodium or white Lead, with which Varnish your Piece 3 or 4 times over, laying it for a ground Work; letting it dry between each time. XLVI. For XLVI. Let it lie 2 or 3 days, that it may be through- ly dry, and then Rush it, till it is very smooth, letting it lie after the Rushing 2 or 3 days more. XLVII. Then take thick Seed-lac Varnish q.v. and mix with it pure fine Blew Smalt, with which go over your Work 4, 5, or 6 times, letting it dry between each time: then let it lie 2 days, and Rush it again. XLVIII. After it is smoothly Rusht, Varnish it twice over with the best white Varnish and let it dry again for two days more. Then mix pure Ultramarine, or fine Blew Smalt, with the best white Varnish, and therewith Varnish it 5, 6 or 7 times, till it comes to a full Bo- 897 dy, and a perfect likeness, letting it dry between each time. XLIX. In the last time of Varnishing with your blew Varnish, run straglingly over all your piece, in wild ir- regular Streaks (as a resemblance of Nature) with Li- quid or Shell-Gold, filling the Blew as you see occasion, and adding very small Specks up and down, and such other various Colors, as are usual to be seen upon the Stone. L. This done, and the Work thoroughly dry, Varnish it 3 or 4 times over again, with the best white Varnish, letting it dry between each time: let it lie 2 or 3 days, then Polish it with Tripoli, and clear it with Lamp-black, or Putty and Oil, as formerly directed. LI. Lastly, this is to be noted, that by these Methods, you may make and use any Color you can Fancy, or which Reason and Experience may direct you to: but withal, that all Colors which are Light, and apt to Tarnish, and loose their Beauty or Gloss with Seed-lac Varnish, must be covered and finished with the best white Varnish, that of Seed-lac, being prejudicial. CHAP. XV. Of Marble and Tortoise Shell Japan. I. To make marble Japan. I. PRepare your Wood in all respects as for white Ja- pan; do it over with Flake white, or white Lead: if you design a White, with some Veins, use some Vine Black, (made of the cuttings of Vines, Burnt and Ground) mix with a very weak Ising-glass Size, being warmed, the said Vine black, and white Lead, making 2 or 3 degrees of it, till you have produced the intended Colors for the Clouds, and Veins of the Marble. II. Then with a large clean Brush, wet your Piece o- ver with Water; and before it is dry, with a Camels Hair Pencil dip in the palest thin mixture, and lay the faintest large Clouds and Veins; which being laid on while the Word is wet, will be soft and sweet, like that which is Natural. 898 III. And before it is too dry, with a smaller Pencil, and one degree darker, gently touch all the lesser Veins, and variety of the Marble, endeavoring as much as may be, to imitate, the exact foot-steeps of Nature. IV. After this, with a small pointed feather, and the deepest Color, touch and break all your smaller Veins, making them irregular, wild, and confused, as they ap- pear in the real Stone: then let it dry for a day or two, and wash it over with Ising-glaß Size, or Parchment Size. V. Let it dry for 2 or 3 days, and then Varnish it over with the best white Varnish (in cap.4. sect.1.) 5 or 6 times, letting it dry well between every time: Let it rest seven days, and then Polish and clear it up, exactly in all things, according to the directions for Varnish- ing, in cap.8. sect.5,6. VI. If you would have it white or grey Marble, you must use the best white Varnish; but if yellowish, or of a Parchment Color, you must use the best Seed-lac Varnish, either alone, or mixt with the white Varnish at plea- sure. II. Another Marble Japan. VII. Rx Of the best white Varnish (in cap.4. sect. 1.) or of the Varnish universal, (in cap.5. sect 15.) with which mix white Lead in subtil Pouder and Lamp- black, or Ivory-black in such proportings as you see fit; making three several degrees of the same. VIII. With the first and lightest Degree, go over your whole Piece with a Brush Pencil, clouding and marble- ing the thing as Nature requires; and go over it 4 times, letting it dry between every time. IX. With the second darker Degree, and a fresh clean Pencil, go over your Work again, viz. Some of the Clouds, and edges of the Clouds, as also some of the greater and lesser Veins, something shadowing and ma- rking them deeper; and this work repeat in differing Pla- ces, in some twice, in some thrice, and in some four times. X. With the third and darkest Degree, go over the edges of some of the greater Veins, and over all the lesser Veins, repeating the work in Spots and particular Pla- ces 4 times, as you did before. 899 XI. All this being done, let it lie 2 or 3 days, and strike it over 4 or 5 times or more, either with the best white Varnish, or with the best Seed-lac Varnish, letting it dry between every time; then let it dry seven days, and so Polish it, and clear it, as we have before taught. III. To make Tortoise Shell Japan. XII. That which we endeavor to imitate is Tortoise Shell laid upon Silver Foil, which gives it life and beau- ty: now to imitate this well, let your Wood be close grain'd, smooth, and well wrought, as Box, Pear-tree, Wallnut-tree, &c. XIII. But if it is course grain'd, as Deal, Oak, &c. you must prime it with Size and Whiting, as we have taught in cap.13 sect. 1, 2, 3. letting it dry between each time, and at last Rushing it smooth. XIV. Then take a fit Varnishing Pencil, and with your thickest Seed-lac Varnish, strike over the breadth of a Silver Leaf, which taking up with Cotton, lay on upon your Work whilst it is moist, dabbing it close to the Work, as you are taught in Gilding. XV. This done, Varnish another Place, and in like manner lay on another Leaf of Silver as before, and so continue, till the whole Work is covered over with Leaf Silver: and then let it dry throughly, and with a fine Hair Brush sweep off all the loose Silver. XVI. Take Lamp-black, or rather Cologne Earth, (which comes nearest to the Color of the Shell) q.v. and grind it with Parchment Size, or Gum-water, will it becomes very fine and impalpable: and being finely ground, mix it with more Parchment Size or Gum-water, agree- ing with that your first ground it withal. XVII. With this mixture spot the darkest part of your Shell, after a careless cloudy manner, imitating Nature as much as may be, letting a piece of the true Shell lie by you to look upon, thereby to acuate your Fancy and Genius. XVIII. Take Gum-water q.v. and therewith grind fine Sanguis Draconis very soft; but some grind the San- guis Draconis dry, till it is very fine, and then mix it with fine Seed-lac Varnish, which is most proper and a- greeable for this work, and not so apt to Polish off as Size or Gum-water. 900 XIX. Now whereas, there are several Reds lighter and darker to be found on the edges of the blacker Part, and sometimes lie in Streaks, and Clouds, on the trans- parent part of the Shell, we are now to imitate that with on the two former mixtures of Dragons Blood. XX. Dip a small Pencil into one of those mixutres, and dash the said Reds, flushing them in and about the dark Places, both thicker and thinner, fainter and ligh- ter, and with less Color towards the lighter part of the Shell: then sweeten it so, that by degrees, it may so loose its strength of Redness, as to be quite lost in the Silver, or more transparent parts of the Work. XXI. This done, give it 6 or 7 washes of fine Seed-lac Varnish (in cap.4. sect.3.) and letting it dry 1 or 2 days, rush it gently and very smooth, to make it fit for the next Operation. XXII. Rx Fine Sanguis Draconic, Cambogia, ana q.s. grind them dry to a subtil Pouder: mix it with as much fine Seed-lac Varnish, as may Varnish the piece 6 or 7 times more: and let it dry 12 hours or more. XXIII. Then give it another or third Varnishing with the last mixture, doing it so often over, till the Silver seems to be changed into a Gold-like Color. XXIV. Lastly, take heed that your Varnish be not too think and high colored with the Sanguis and Cambi- gia, but rather heighten it by degrees, lest your Silver be too high colors, before it has received a sufficient Bo- dy of Varnish. Let it dry 6 or 7 days, then Polish and clear it up, as before directed. IV. Another Tortoise Shell Japan. XXV. First prime your piece very well, as you are taught in cap.13. sect.1,2,3,4. The Lacker and Size it in Oil, as you are taught in the Art of Gilding. XXVI. Then lay on your Leaf Silver, and let it dry very well: and have ready finely ground in Oil, these Colors, vix. Red Lake, Cinnabar, brown Pink, Cologne's Earth, and burnt Umber, placing them distinctly on your Pallet. XXVII. Strike over your work with Turpentine Var- nish (in cap.4. sect.14.) and whilst it is wet; mix lake and brown Pink, thin with Varnish, and with it lay all your faintest Clouds or Spots, which soften sweetly whilst the Varnish is moist. 901 XXVIII. Let it stand four hours or more, and if the Colors are dry, with a large soft Pencil, pass it lightly over again: and again moistning it, put in more Clouds, which more and more darken with Umber, and Cologne Earth, before it is dry; always observing the Life, and sweetning your Work, which is by blending, and insensibly mixing the Colors after they are laid, so as you cannot perceive where each of them begin or end. XXIX. If the Clouds are not dark enough, reiterate the Clouding and Varnishing once more, as you see need requires: when well dryed, Glaze it 2 or 3 times with brown Pink, with a little Tincture of Verdigrise in it: or you may Varnish it with fine Seed-Lac Varnish, and then finish it as the former. V. Another Tortoise Shell Japan. XXX. First lay a white Ground as before taught: then with proper Colors, as Vermillion, Auripigment, &c. duly mixt with common or Turpentine Varnish streak and cloud, or shaddow the white Ground with any irregular fancy you please, as nearly imitating Tortoise Shell as you can. XXXI. Let it thoroughly dry, and then strike it here and thre with the reddish yellow Varnish, mixed with a little Cinnaber, or Indian Lae, clouding it up and down the Work as nature requires; and touching it al- so with Varnish, mixt with Lamp or Ivory-black. XXXII. This done, Varnish it 5 or 6 times over with the finest white Varnish, in cap.4. sect.1. or the universal Varnish, in cap.5. sect.15; or with fine Seed-lac Varnish, letting dry between every time. XXXIII. Let it now dry a Week, and with Pumice- stone in fine Pouder, but rather fine Tripoli, and a wet Cloth, Polish it by gentle rubbing. XXXIV. Lastly, go over with it again 4 or 5 times with the fine White, or fine Seed-lac Varnish; and when throughly dry, Polish it with Tripoli, and clear it with Putty and Oil, as before declared. VI. Another Tortoise Shell Japan. XXXV. First lay a white Ground as before, and smear it over with Vermilion or some such like, over which lay leaves of Gold or Silver, as before taught, with 902 Gum Ammoniacum, lacca Varnish, common Varnish, Size or Glair. XXXVI. This done, and being thoroughly dry, sha- dow, cloud, and stain it, by some of the former Directi- ons, according as the Reason and Nature of the thing requires; striking it over here and there with yellow Varnish, or redish yellow Varnish, and red Varnish mixed, with yellow Varnish in perfect imitation of the Shell. XXXVIII. Lastly, strike it 6 or 7 times over either with the best white Varnish (in cap.4. sect.1.) or with the fine Seed-Lac Varnish (in cap.4. sect.3.) letting it dry between every time: then after 7 days drying, Polish and clear it as before. CHAP. XVI. Of laying Speckles or Strewings on Japan Work. I. TO lay Specles or Strewings on the out or insides of Boxes, Drawers, Mouldings, &c. Mix your Speckles (enough to answer the present Occasion) with your ordinary lac Varnish, so much as may make it fit to Work, but not so thick as for Colors, and mix them well with a proper Brush. II. Warm your Piece gently before a Fire, and with a fit Pencil wash it over with the former mixture, and being dry, repeat it again and so often, till your Speckles lie as thick, and as even as your desire. III. The being throughly dry, go over and beautify your Work 3, 4, or 5 times with Seed-lac Varnish, mixt with Turpentine, and so let it dry; the work being now done, unless you intend to Polish it. IV. But if you design a Polishing, then you must wash it 8 or 10 times over with the best Seed-lac Varnish, let- ting it dry every time, after which Polish it as former- ly directed. 903 V. All sorts of colored Speckles may be thus used, except those of Silver, the laying on of which requires the best and finest of your Seed-lac Varnish, or the best white Varnish, which must make it fit for Polishing: but if you intend not to Polish it, fewer washes of your Var- nish will suffice. VI. To lay Speckles on the drawing part of Japan Work, as on Flowers, Herbs, Trees, Fowls, Beasts, Rocks, Gar- ments, &c. Make a Tiffany Sieve of a Wooden Pill- Box, by striking out Bottom and Top, &c. Then with your Varnish and Pencil strike over the Plates you would Speckle. VII. Which done, before it is dry, put some of your Speckles into your Sieve, and gently shake the Sieve, over the Places you design, till they are all speckled ac- cording to your Intention. VIII. But for Rocks, with a dry new Pencil, sweep all the stragling Speckles, which lie beyond the wet Parts, into, and upon the sides and top of the Rock, which will render the work not only thicker of Speckles, but also more Beautiful, and give it a kind of Shadow and Reflexion. IX. As soon as one Part is compleated, you must go on with another, but not before the other is perfectly dry; your Rock Works also, ought to be of different Colors, and as many Shapes, till your whole design is Compleated. X. Your Work being cold, it will certainly for the present look dull and cloudy, and as if very ill done, or with ill Materials without either Life or Beauty; but let not this discourage you, for it will in a little time obtain its Lustre and Glory, and by the help of your Securing Varnish be firm and durable. 904 CHAP. XVII. Of Japanning Metals with Gum-Water. I. TO work Metals or Colors with Gum-water. When you design to work Japan in Gum-water, it is only to be done with those Colors which have a bo- dy, not with transparent Colors. II. Take Gum-water (in cap.3 sect.11.) put it into a Muscle Shell, with which mix so much of your Metal or Color, as may make it neither too thick, nor too thin, but that it may run fine and smooth from your Pencil. III. And before you mix no more for your Metals, but so much as is requisite for your present Business; for by keeping mixt they will spoil, and become useless; besides their gathering of Dust which renders them un- fit for use, and so unserviceable. IV. And for your Colors, your Shells must be often shifted and changed, for otherwise the Colors and Gums will become knobby, thick, and out of Order. V. Your Metals or Colors thus prepared, and well mixed; with a Hogs Brush Pencil, lay on your design, with a smooth and even Hand, drawing the Pencil on the side of the Shell, that it may not be over loaded with the Metal or Color, when you design to draw small Lines or Stroaks, that they may be clear and fair. VI. But when you draw broad things, as Leaves, or other large Works, then charge your Pencil full, yet so that it may not drop. VII. Now here is to be Noted, 1. That the practice of Gum-water is useless and unn- cessary, in the use of Gold Size. 2. That your Gum Work being throughly dryed, you are to run it over 8 or 10 times with your fine Seed-lac Varnish, or best white Varnish: and then Polish it, and clear it. VIII. Your Black or Ground, you intend to make your draught on, when cleared up, will be so Glossy, as if it were Greasy, so that your Metal or Color will not easily stick on: and therefore you ought to rub it with a Tripoli Cloth, and suffer it to dry: so will the 905 draught of your Pencil be smooth and neat, and stick on according as you desire. IX. If your work with the Gum-water should not succeed to your Satisfaction, as not being even, or regular, or lines at a due distance (as it may sometimes happen to young Beginners) you may with the Tripoli Cloth wipe out all, or any part, of that which you think unhand- som, of unfit to stand, and then immediately make a new draught. X. And so by these means, you may mend, alter, add, detract, blot out, change, and variously contri- bute to your Design, till the whole Piece is of one in- tire perfection, and good, and answerable to each part of the undertaking. CHAP. XVIII. Of Japanning in Gold Size. I. THE make and preparing this Size for working, we have taught in cap.3. sect.2,3. when there- fore, you have wrought your Work, and that you pur- pose to decipher on it, you must draw this Size all over that Part, and that Part only, which you resolve to Gild, or adorn with Gold, passing over those places where you intend to lay you other Metal or Colors, as Silver, Copper, Brass, &c. II. Your Size being thus wrought for the Gold, let it re- main till it is so dry, that when you put your Finger upon it, it must be glutinous and clammy, and stick a little; but not so moist, that the least particle of it should come off with your Fingers, but that it may be much like to thick Glew, when it is half dry. III. When it is in this condition, it is the very jun- cture of Time wherein you must apply your Gold; then take a piece of soft, washt Leather, or the like, wrap it about your Fore-finger, dip it into your Gold Dust, and rub it, where the Gold Size is laid, for it will stick on the Size, and no where else. 906 IV. If any Gold Dust lies scattered about your Work, brush it all away into your Gold Paper, with a fine Varnishing Brush which has not been used. V. Then take your Pencil again, and draw that part which you design for the Copper, with Gold Size also: and when it is dry as the former, cover it with Copper Dust, just in like manner as you did it with the Gold Dust. VI. This done, take your Pencil again, and lay Sil- ver Size (in cap.3. sect.5,6.) and when it is dry e- nough, lay on your Silver Dust, in like manner, as you did the two former. VII. But this you must always observe, that you lay these Metaline Colors successively one after another, let- ting each to be covered and thoroughly dry, before you begin a distinct Color. VIII. After all these, lay your other Colors (not Me- taline) if your design requires any, with Gum-water; reserving the Rocks, &c. for the last part of your work. IX. If you have mixed more Gold Size, than you can conveniently use at one time, or that you are called off from your business, that you cannot finish till the next Day, you will observice that your Size, even after 5 or 6 hours, will have a Skin upon it: to prevent this, put the Size with the Pencils also into fair Water, so as to be covered, till the next time you use them: and if your Size should grow too thick, thin it with Venice Turpen- tine: But know, that oftner doing these things than once, will quite spoil your Size, and make it fit only to be cast away. X. Let your Size be so ordred, that being of a mean Consistency, neither too thick nor too thin, it may run smooth and clear, and your stroaks be fine and even, so that you may be able to draw with it the most subtil and hairy Lines. XI. If you would exactly imitate Japan Work, avoid filling and thronging your Black with Draughts and Fi- gures: in true Indian Work the Ground is never crouded up with many Figures, Houses or Trees, but a great space is allowed to a little Work, for the Black adds Lustre to the Gold; and the Gold gives an Excellency to the Black. 907 XII. In these Works some Variety of Metals may be indulged, but in a very slender proportion to that of Gold, which is the general Ornament and Characteri- stick of the genuine or true Japan-work. XIII. Be always careful and exact in tracing or draw- ing out your Design in Vermilion or Gold, that it may be done with an even hand: then your Gold Size being ready prepared, with a small Pencil make with your Size the outward Lines, the Boundaries of Rocks, and those things which seem to lye beyond the Buildings. XIV. Begin also with those parts which are farthest distant from you, for then you will not be liable to the Inconvenience of rubbing or defacing any thing while it is wet. XV. The farthest parts being done, work just accordin- ing to your Pattern, (if you have any) and draw your Gold Size on the places answering to the black Lines of your Print or Pattern, and no where else, leaving the white for the black Japan or Ground of your Work. XVI. And in all respects use your Size, as if you were to Coppy the Print or Patty on white Paper with Ink or black Lead; only take care, that whilst you are working in one part, you suffer not that already done with Size, to dry so much, that it will not hold fast your Metals; for which cause you must often try what Condition your already sized Work is in. XVII. For this Cause sake, you must sometimes be Drawing; sometimes Gilding: and then be Drawing a- gain, and then Gilding; continuing thus alternately till your whole piece is compleated. XVIII. If you find it troublesome to draw the White, and over-pass the Black; or on the contrary to draw the Black and omit the White, on the tops of Houses, Fol- dage of Figures, Faces, or the like; then for your Ease, over-lay all those parts of Buildings, Foldages, Faces, &c. with Gold Size, lay your Metals thereon; and when well dryed, wash over those places only which you de- sign to set off with Black, with your Securing Varnish. XIX. Tho' in some Japan-work Silver is sometimes made use of; yet it is but very seldem, except in some raised Works, because the best and brightest Silver is too splending a Metal for black Japan; and therefore we 908 chuse to use in place thereof a kind of dull or dirty Sil- ver, which is Ponder Tin. XX. Lastly, You may set off your plain Metals when rubbed on Gold Size, either with Metals mixed with Gum-water or Gold-size, viz. when the plain Metals are laid and thoroughly dry, hatch or work in the Size for setting off, as you would do with Metals mixed with Gum-water; and without doubt you will find the Gold- size to be best. CHAP. XIX. Of Japanning with Gold and Colors. I. DRaw or trace out your Design, and fill most part of your small Works with Gold, passing by, not- withstanding, some few of them to be reserved for bright Copper, green Gold, &x. to be so added to the pieces, that they may grace and enliven the Work. It is usual with the Japan Artists to fill frequently with dead Me- tails, and bind them in with Gold. II. Suppose you have great Flowers; one of these Flowers you may fill the seeded part thereof with Silver, the Leaves with Vermilion, and in setting off, work it in Black Diamond-wise; andthe little spots of Black which lye in the White, work with bright red Copper: then the part which is filled with Red, bind in with Sil- ver, and vein it with the same. III. Another great Flower; you may fill the Seed thereof with bright Copper; the Leaves with Silver: and in setting off, border the Seed with Black, the inside with Silver, and compass in the Leaves with Gold, hatch- ing them with Black. IV. If any great Flower is partly hide with a large Leaf or Leaves of the Plant, let the Seed of this be green Gold: some parts bright Gold; and if any Spots are in those parts, let them be done with pure Cinnabar; the Leaves of the Flower with Orange Tawney, and set off with Silver: and the Leaves of the Plant with yellow Green. 909 V. If there is another Flower, do it with green Gold, its Seed with bright Gold, squared with Black: other Flowers may be laid with Silver, seeded with bright Cop- per, and hatched and quared with Black: other Flow- ers witih Cinnabar, the Seeds with transparent Green: enclose them with Vermilion, and hatch in the Leaves with Silver. VI. If another large Flower, let its Seed be red, bind it in, and chequer it with Silver; cover the Leaves with Blew, hatch and surround with Gold: other Flowers which are less, make them with Red; their Seed with Blew, and set off with Silver. VII. Another great Flower may be laid with trans- parent Blew, bounded and wrought with Gold; the Leaves covered with Silver, and hatcht with pure fine Cinnabar. If there be another Flower like to the for- mer, let it be laid in like manner with Blew, its Seed with dirty Copper, set off and enclosed with Silver, its Leaves with deep bright red Copper, and hatch with Black. VIII. Other Flowers, lay their Seed in transparent Red, set them off with Silver, border with Black, make the Leaves Silver, and hatch with Black: or, make the Seed bright Copper, compassed and set off with Black; the Leaves red Copper, which you may hatch and en- close with White. IX. These things we have given you for Example sake, and thought good to make the Exemplar in that of Flowers, as being that in which the greatest Nicety and Difficulty lyes, it not being so easily performed as other things; and yet in this very thing the Licentia Picturalis is very large, the Artist being left chiefly to his Fancy, on- ly with this Caution, that every where he uses Va- riety. X. And tho' in what has been said, filling and set- ting off has been mentioned together, for the more easy apprehending of the Matter; yet you must be sure al- ways to lay your plain Colors before you think of setting them off, because you are more ready to set off with one Color before you undertake another, and your Fancy is more ready to adorn and furnish or fill every single Flower and Leaf. 910 XI. But the Flowers being filled, you are next to consider what is to be the Covering of the great Leaves: adorn them with Metaline Colors, generally such as are green, sullied Gold, pale, dull Copper; but intermix- ing here and there transparent Blew and Green: bound and vein them with such Colors as give the greatest Life, such as may be chearful, pleasant and delightful. XII. Sometimes double the Borders in the Leaves with the Ground Black of your piece left between, as your Patterns will instruct you; and make all your Veins, finishing Lines, and the Stroaks you set off with, fine, clean, even and smooth. CHAP. XX. Of Raised and Embossed Works. I. THO' they who live in great Cities, where there are variety of Artificers, have no need of some part of the following Discourse; because they can buy Embossed and Carved Frames, Boards, Tables, Pieces, &c. ready made to their hands: yet for those who live in the Country, and have not the opportunity or conve- niency of procuring such, we thought good to add in this place a few Rules and Directions how they may do the same things, and supply those wants themselves. I. The first Way. II. You must first make the Model of your Design; and that must be done with Clay. Take good tough, well tempred Clay, and with pro- per Tools model it, and work out any sort of Carving or Embossments which you fancy; then lay it aside to dry in the Shade, for either Sun or Fire will crack it. III. When it is perfectly dry and hard, and you pur- pose to cast the Moulds on the Models, Oul your Models very well with Linseed Oil; and having wrought the Paste extreamly well between your Hands, clap it on and press it down close every where, that it may be a perfect Mould in all parts; which, which it is dry, it is finished. 911 IV. To make the Paste for making your Moulds of. Make a Glew-water stronger than any Size, yet some- thing weaker than Joyners melted Glew: mix Whiting in fine pouder therewith, till it is as thick as Paste or Dough; knead it very well, wrapping it up in a dou- ble Cloth; in which it may lye and get heat from the Fire; for you are not to let it grow cold, for then it will harden, and so be made unfit for Use. V. To make the Mould of any Carved Frame, thereby to imitate it in Paste. Take some of the former Paste, according to the length and magnitude of the Leaves and Flowers you would take off; you need not take off a whole length, for pos- sibly you may find one and the same thing many times over in one side, so that one Mould may serve all of that sort, they being well united or joined together. Work the Paste between your Hands, and clap it in that part of the Frame which you intend to take a Mould of. Let there be so much Paste as to make the back of the Mould flat and even: and whilst the Mould is warm, take it from the Frame, and at the same instant fix it to a Board which is larger than it self. After this manner you may take off any sort of Embost-work or Carving from any part of your Frame; all which Moulds you may glew on little Boards, and so leave them to dry and har- den. VI. To place your Paste on Frames. The Joyner is to make your Frames according to your Design, which being ready, as also the Paste and Moulds, you are to Oil the Moulds very well with Linseed Oil, striking the Brush into every little Crevice and Corner, to prevent the Moulds sticking to the Paste: then take as much warm Paste as will fill up the Moulds; work it again between your Hands, and whilst thus warm and in good temper, put it into the Mould, pressing all parts of it with your Thumbs and Fingers; and then with a Knife cut off the superfluous Paste even with the top of the Mould. Turn out this new-fashioned Embost or Carved work on your Hand, and before it cools brush it over with thin Glew, as also the place it is design for, and immediately put it upon your Frame in the samo place, where it must always abide, pressing it down or close gently. 912 VII. Now Oil your Mould again, and with fresh Paste prepare more Embosments or Carved-works in like manner, which cast off, and place it upon your Frame as the former: and this Work so often repeat till your whole Frame is filled with your Embosments according as you desire. VIII. Let it alone to dry for 5 or 6 days; after which you may safely lay your white Ground, which you may Paint, Varnish, Japan, Gild in Oil, or Burnish, as the Nature of your Work requires. II. Another way to make Raised or Embost Works. IX. Make a strong Gum-Arabick Water, twice as strong as that in cap. 3. sect. 11. take Whiting, fine Bole, and OZj. grind these with the Gum-water q.s. till they are as fine and soft as Butter, and so thin, that if a Stick pointed be dipt into it, the Mixture will just drop from it: if it is too thick, make it thinner with Gum-water; if too thin, add more of the Whiting and Bole. X. Dip such a pointed or taper Stick into this Mixture, and drop on the Rock, House, Tree, Flower or Fruit which you design to Raise or Emboss, repeating this dropping of the Mixture so often till you have raised your Work as bold and as high as you think fit. XI. Sometimes you will find your Paste to bladder or swell, but this is caused from an insufficient grinding of the Whiting and Bole with the Gum-water. These Bladders, if not pre- vented or cured, will make your piece, when dried, to be full of holes, and so spoil its Beauty. The preventive part we have taught you: but to cure it, (if it is past prevention) you must when dry, wet a fine Rag, and with your Finger rub it over and over again, till the holes and cracks are choakt and stopt up; and then being per- fectly dry, Rush it well till it is very smooth. XII. In the Japan, which is raised for Garments, Rocks, &c. some parts are elevated and higher than o- thers, as in Pleats and Foldings of Garments, those which seem to lye underneath, are always at the greater di- stance. In Flowers, those which are first and nearest the Eye, are highest; and those Leave which lye first, are higher than those which lye behind them. So in Rocks, the first and nearest you must always rise higher, and swell beyond that which is almost hidden, or seems to lye behind. 913 XIII. This Rule holds firm in all things of like Quality, and therefore you must raise your Design according to Nature, to its due height, whether Figure, Tree, House, Flower, Fruit or Landskip; and being well dryed, with a little Gum-water, Vermilion and a Pencil, you must trace out the Lines for the Face, Hands, Foldings of Gar- ments, Leaves of Plants, Seeds of Flowers, Fruits, Houses, Trees, Rocks, &c. in their proper Shape, according to those Lines which were drawn as Boundaries, for laying the Paste in its proper Figures. XIV. Then you must have several Instruments; as, 1. A bending Graver, such as Engravers use. 2. Several smal Chizels, the broadest not exceeding a quarter of an Inch; all the other proportionably less. XV. With these your Raised or Embost Works must be cut, carved, cleared and scraped, in height, shape and proportion to your Pattern, or what is agreeable with Nature and the Design; in this case, your Instruments must be exquisit- ly sharp, and the Hand of the Artist very easy and gen- tle, lest the Work breaks off in any place, to the spoiling of the Piece: lastly, smooth it with a brush, which has been often used before, to make it fit for Painting, Var- nishing, Japanning or Gilding. III. Another way to perform these Raised or Embost Works. XVI. 1. Strike or trace out your Design, as well the inside as the outside of Faces, Necks, Hands, Legs, the chief Stroaks of the Foldings of Garments, Leaves of Plants, Flowers, Seeds, Fruits, Houses, Trees, Rocks, Birds, Beasts, &c. XVII. 2. Take your Paste before made in sect. 9. yet somewhat thinner, and with it raise the lower parts of all or any of the Particulars afore-named, which require the least height or raising; and let it dry throughly. XVIII. 3. Then take the thickest Seed-Varnish, and with a very small or fine Pencil dipt therein, var- nish just the edges of your Raised-work, for this Reason, that as you raise the other parts of the Work higher, it may hider the fresh wet Paste from incorporating with the dry, which would mkae the Work look ill. X. 4. This Work of Varnishing the Edges, you must do as often as you raise one part above another: and still as your Work grows higher, your Paste must be made thicker, 914 and each part raised in order, beginning with the low- est and ending with the highest. XX. 5. When all is dry, smooth it (if need require) with a Rush, to make it in a posture to receive your Co- lors and Metals, or what else you are pleased to put up- on it. XXI. 6. Your Metaline Colors being ready, mix them with Gum-water, and lay them on the Embosments and places where they ought to lye; which being through dry, burnish with a Burnisher (in cap. 1. sect. 18.) till it is bright, and shines with a good Lustre. XXII. 7. This done, with your fine Seed-lac Varnish and a proper Pencil, go over all your Embosments twice or thrice; and then set it off or shadow it, as the Rea- son of the Design requires. XXIII. 8. Grind up no more Paste than you can use at once, lest it be dry before you use it a second time: but if it be dry, you must grind it again, and it will be as fit as before: it ought not to be made too weak; if it be, it must be strengthened with more Gum-water, which by many Tryals and Experiences you will at length fully find out; and also see, that it is possible to make a Paste so hard or stiff and tough, that a violent blow with a Hammer shall hardly break or bruise it. IV. To set off Raised or Embos'd Works with Black. XXIV. Your Work being Varnished and Burnished, with Lamp-black mixt with a little Gum-water, (hardly enough to wet it, and incorporated with a Brush-pencil, with so much fair Water added to it as with a small well pointed Pencil will make it to run in fine black Stroaks) draw the Lineaments and Features of the Faces, Foldage of Garmets, Veins of Leaves, Flowers and Seeds, with the black Hatchments of your Flowers, Bodies of Trees, &c. XXV. And if you would have any Rocks speckled, first pass them over with the said Balck; and when dry, give them two washes with the Securing Varnish;; and lastly lay on the Speckles: but if the places you would speckle should be too slippery, so as that there should be a hazard of their sliding off; in this case, you must re- move this greasy kind of Slipperyness by a soft and gen- tle rubbing with a Tripoli Cloth. 915 XXVI. This way of setting off is more used that that of a Tracing-pencil or breathing on it; not only for Raised or Embost Work, but for Flat-work too: for your piece being dry, stroak it once over with the Secu- ring Varnish (in cap.4. sect.8.) then with a black-Lead- Pencil hatch and vein at pleasure, and the same do with other Metals and Colors besides Gold. XXVII. For instance: If a red Flower is to be set off with Silver; first secure your Red with Varnish; which being dry, hatch and vein it with Silver: this Rule you must observe in all cases, where you intend to work one thing upon another, whether Color upon Meal, or Metal up- on Color; or Metal sometimes upon Metal. XXVIII. Your Work being thus adorned and set off, if it is flat or plain Word, make use of white Polishing Varnish (in cap.4. sect.10.) to secure it both as to Draught and Ground-work, which will endure a Polishing. XXIX. But if it is for Embost or Raised Work, then you must use the Securing Varnish (in cap.4. sect.8.) be- cause Embost-work will not bear a Polishing as the other will; but must only be secured and cleared up: but withal you may note, that this last named Varnish may be used either for Plain or Embost-work, whereas the former is only fit for flat Work. XXX. In working with Gum-water, be careful that it be not too stiff of the Gum, for then it will quite spoil the beau- ty and lustre of the Metaline Colors: but when you have sufficiently mixed them in the beginnig, if yo find the mixture too strong of the Gum, you may afterward weaken it, only with fair Water: and therefore streng- then them only so much with Gum, as may cause them to stick close to the Work, and endure Varnishing with- out coming off. V. To manage Rock-Work. XXXI. These we formerly told you were to be done last of all, because they could not be well finished, till all the rest were compleated, except only some few scattered Plants, suppos'd to grow upon them, that they might not appear naked: yet not too many of them neither, lest their number should interrupt the Shadow, and confound the Sight. 916 XXXII. If these Rocks are to be covered with Metaline Colors, then lay Gold, Silver or Copper with your Pencil, in a full body, round the outward Streaks (which were traced with your Pencil) in breadth about a quarter of an Inch: but take care it be not too wet. XXXIII. Then take a large Goose Quil Pencil, cut off its Point, making it flat, and blunt at the End; and with this touch or dab your Metal: after which do the like to the black or brown part of the Rock, that so it may be strewed with some of the Metal too, and by little and little continue it, till the whole is strewed over: but these Speckles should be thicker towards the Sides and Top, than in or near the Middle. XXXIV. Lastly, other Metals, Artificial and Adul- terate, may be laid on, according to these Directions, which you may dispose on and Work, both with your Finger, and the blunt Goose Quil Pencil aforementioned, ac- cording as your Reason shall inform you. CHAP. XXI. Of Bantam Work. I. AS the Japan Work, is both Plain and Embossed, and is wrought most in Gold and other Metals: so the Bantam Work is also Plain and Carved, and is wrought most of it in Colors, with a very small scatter- ing of Gold here and there. II. The Wood is prepared for this, as it is for the Japan Work, and the Priming with Whiting is the same: and for the flat Work, it is done in Colors mixt with Gum-water, as the nature of the design requires, the or- dering of which Colors with the Gum-water we have for- merly taught you. III. The Carved Work is performed thus. Your Cabinet, Table, Boxes, &c. let be made of Deal, or some other course Wood: this Prime with Size and Whiting, letting it dry; this must be so often repeat- ed till your Priming is almost a quarter of an Inch thick, letting it dry between every time. 917 IV. But this you must note, that your Whiting and Size must be made thinner than for Japan Work, but for that reason it must be done much the oftner: for if it is too thick, it will not only lie rougher, and be apt to Crack, and fly off; but it will not so easily penetrate to the bottom of any Crack, nor go into every little Cre- vice, Notch and Hole, as it will certainly do, if it is pretty thin. V. Your Piece now Primed to its due thickness, and through dry, is then to be Water plained, viz. to be rubb'd with a fine Rag, and a little fair Water; after which, being dry, Rush it as smooth as you can. VI. Then lay on your Black, and Varnish it up with a good Body; and after 6 or 7 days time of drying, Polish it with Tripoli, Water and a fine Rag, rubbing it with an even, easie and gentle Hand. VII. This done, trace and draw out your design with Cinnabar and Gum-water, in the very same manner in which you intend to Cut and Carve it, with all the cir- cumstances and exactness Possible. VIII. Mass your humane Figures, Birds, Beasts, In- sects, Houses, Trees, Flowers, Rocks, &c. in their due Mea- sures and Proportions: The foldings of Garmnets, leaves of Trees and Plants, withal other things, draw them so, as if they were so to remain without the least Alteration. IX. Then having a sharp Graver, and other cutting In- struments, of differing Forms, cut out your Work deep or shallow, as you think best, but never Carving deeper than the Whiting lies, for the Wood it self, ought not to be touched with the Graver. X. Leave also black Stroaks for the Drapery, and fold- ings of Garments, and for the distinguishing of one thing from another, Carving where the white is, and leaving the black untouched, according as your Exemplar or Pattern may be, taking instructions also from a variety of Bantam Pieces, which differ vastly from those of ja- pan, in the very manner of the Daughts, as well as in their other performances and finishing. XI. Your Carved Work being cut out clean and smooth, and finished, and your Colors well mixed, with fine and clean Pencils lay them into your Carved Work, as 918 your Reason, and the Nature of the thing shall direct you. XII. The Colors being laid on and finished, then lay the Gold on those places you design it for, which may be Pouder Gold, or Brass Dust, mixt with Gum-water; but rather Leaf Gold, because it not only looks Richest, but isthat which the Bantam Artists always use. XIII. But it must be laid with something a stronger Gum- water, and to be laid on with a Pencil, and whilst it is moist, your Gold is to be laid on, being first cut with a very sharp, smooth, edged Knife into little Pieces, either on your Leather Cushion, or on a piece of Leather straight- ly nailed to a Board. XIV. Take up the Gold with a little Cotton, and with the same Dab it close upon your Work, so (if your Gum- water is strong) it will look Rich and Beautiful: other- wise (if weak) it will appear as it were Hungry and Starved when dry. XV. All this done, see you carefully clear up your black with Oil, but without touching your Colors, lest you should rub them off, or sully them; for this is not secured as the flat Bantam Work is; if any wet should come to them, the Colors will be spoiled and come off. In this case, it is best to leave out the Tarnishing Colors, and only use such, as you may apply the Securing Varnish to, without loss of their Splendor and Beauty. CHAP. XXII. Of taking off Japan Patterns. I. YOUR black or other Colors being Varnished, then Polish, and make it fit for drawing: but you must have your draught or design before you, in Paper, either drawn or printed. II. The Draught or Print, let be rubbed all over the back side with Whiting or fine Chalk, wiping off all that Whiting or Chalk, which lies rough and dusty up- on the Paper. 919 III. Then lay this Paper, Draught or Print, upon your varnisht Table or Box, with the whited side next to it, and up the very same place where you design the Draught should be made, and with a piece of small Wire, or a Needle fixed in a small Wooden Handle, round (not sharp Pointed) which is called a Tracing Pencil, go over, and Trace as much of the Print as you see convenient. IV. Take the most material and outward Stroaks with all the rest, which you think will be hard and difficult to draw without the Pattern or Draught. V. Thus by the help of the Whiting or Chalk, you will have the gross Fashion of your Print or Draught, and such other lines, which will be a direction to you, how to perform that which you would have done on your Table or Box. VI. Having thus finisht your Draught with Whiting, if you draw in Gold Size, use fine Cinnabar mixt with Gum- water, and with a small Pencil dipt in it, go over all the lines made by the Whiting; for this will cause it, that it shall not easily come off, but you may work upon it with your Gold Size at pleasure. VII. If you work Metals or Colors in Gum-water, then trace or draw over your design with Gum-water, mixt with Gold or Brass Dust: by either of these ways when it is dry and finished, viz. either in Gum-water or Gold Size, you may compleat and finish your Work. CHAP. XXIII. Of Gilding and Lackering in Oil. I. TO mix and lay on the Gold Size. First Prime the Piece with due priming in cap. 2. sect.23. Rx Then the best Gold Size, fat Oil, ana so much of each as you think the piece may require: Grind them well upon a Porphyry, and put all into a Gally-pot. Dip a clean Brush into the Size, and pass over all the Piece very thinly, jobbing and striking the 920 point of the Pencil into the hollow places of the Carved Work, so that no part may escape. II. If any place be untoucht with the Gold Size, the Gold will not stick upon it, but it will be full of faults, and look very ill. III. Let it rest 24 hours or more, so as it may be but clammy enough to hold the Metals: breath upon it, if your breath stays upon it like a mist, you may then lay on your Gold: or if it is so dry, that it does not discolor nor stick to your Finger, but is clammy, and not very willing to part with your Finger; it is then in a good Condition. IV. Should you Gild before the Size is dry enough, it would as it were drown, and deprive your Gold of its Gloss and Lustre, and if you stay till the Size is too dry, you have then lost your opportunity, for the Gold will not stick. V. To lay on the Leaf Gold. Upon your Cushion (in cap.1. sect.13.) you are to cut the Gold and Silver, with a thin, broad, sharp, smooth edged Knife. Then take your Pencil, Cotton, or Pallet, (made of a Squirrels Tail) breath upon it, and therewith touch, and take up the Gold; lay it upon the place you intend, pressing it close with the said Pen- cil or Cotton. VI. Then cut some Leaves into small Pieces, to cover several other parts of your Work, which may have escaped Gilding: and thus must you proceed till the whole is over-laid and finished: after 24 hours, with a fine large Hogs-hair Brush, jobb down, and press over the Work gently, that the Gold may be made to stick upon all the uneven and hollow parts of the Carving: then with fine soft shammy Leather, as it were, Polish and rub it over smoothly. VII. This being well done, your Gold will appear of an admirable Lustre, and its beauty will be so durable, that tho' explosed to the Wind and Weather, it will not re- ceive any damage for many Years. VIII. To Lacker in Oil, such things as are to be expo- sed to the Weather. You must observe the same method here, as in the former, excepting in this, that your Priming ought to be 921 whiter than the last, which is done by mixing a little white Lead, which has been Ground a long time with the former Gold Size. IX. Also your Silver Size ought not to be so dry as that of Gold, when the Leaves are laid on: If these things be rightly observed, you cannot possibly Err in performing your Work. X. To Gild Carved Worked in Oil which is not to be exposed to the open Air. Take Size, melt it, and put in so much Whiting as will only make it of a white Color: with this Size - ver your Frame once. XI. The add more Whiting, till it is of a convenient Thickneß: and with this lay it over 3 or 4 times or more, as you find the Work requires it, letting it dry through- ly between every time. XII. Being now dry, with a piece of Fish skin, or Dutch Rushes, rub and smooth your Work: after which, with a fine Rag, dipt in Water, Water plain it, rubbing it gently till it is very smooth, and so let it dry; and then Size it with the strong Size. XIII. When the Size is dryed, Lacker over your Piece twice, by a gentle heat; and laying on your Gold size, perform every thing, as is before directed. CHAP. XXIV. Of Gilding Wood with Burnisht Gold and Silver. I. Rx PArchment Size (in cap.3. sect.8,9.) and ma- nage it as there directed, for the Priming or Whiting of your Piece, which repeat 7 or 8 times over, letting it dry between ever time. II. But if it is a Carved Frame, and you intend Gilding of i, then take yellow Oker, and grind it finely with Water, adding a little Weak Size to bind it: with this when warmed color over your Frame, and let it dry lei- surely. 922 III. To Gold Size your Piece. Rx. Either of the Gold Sizes (in cap.3. sect.3,7.) yet rather the First of them, melt it, making it Blood warm, but so as it may be somewhat thin; stir it well with a fine Brush, and therewith Size over your Piece twice, without touching the hollows, or deepest part of the Carving; because the yellow Color first laid on, is near in color to the Gold, and a fault in that kind will not so easily be discovered, because of the shadows. IV. After 5 or 6 hours dring, try if your Gold will Burnish upon it, if not, alter your Gold Size, and do it over again. V. To lay on your Gold for Burnishing. Having fixt your Work almost upright in a little re- clining Posture, that the Water may run off, and not settle in any of the Cavities; lay some Leaves of Gold on your Cushion, which hold in your left Hand with your Pallet and Pencil: have also a Bason of Water by you, and dry Whiting, to run your Knife sometimes with, that the Gold may not stick to it. VI. Then with a Swans Quil Pencil, or a large one of Camels-hair, being dipt into the Bason of Water, wet so much of your Work, as will take up 3 or 4 Leaves, be- gining at the lower end, ascending and Gilding up- wards, laying on whole Leaves, or half Leaves, or lesser pieces as your Work requires; and your interest also, which is to lay them on without waste. VII. This done, wet such another part of your Work, lay- ing on your Gold Leaves, with your Pencil, Cotton, or Pallet, and gently pressing it close: and this method pursue till the whole Piece is finished. VIII. Now view over your Work, and see what parts have escaped your Pencil or Gilding: In this case cut some Leaves of Gold into small Pieces, and with a small Pen- cil, wet the ungilded Parts, and apply the bits of Leaves as before directed: all this being done, let it stand 24 hours and no longer, and then come to bur- nishing of it. IX. To Burnish your Work. This is to be done with the Burnisher, (in cap.1. sect. 18.) by rubbing it smoothly thereon, till it attains a Gloss: now having burnished so much of your Work as you design, leave the Ground of your Carving un- 923 toucht, and some other parts which you shall think fit, which being rough in respect of the other, will set off and beautifie that which is Burnished. X. That which is not Burnished must be clothed or se- cured with Size, Seed-lac Varnish, or Lacker, if you would have it to be deep colored: but you ought to touch these parts only, and not that which is Bur- nished. XI. Then the Work must be set off with Lacker Varnish, mixt with Sanguis Draconis and Saffron, or with Ornat- to: with which and a fine Pencil touch the hollowness of the Carving, hollow veins of Leaves, and foldings: if you do not think it deep enough, go over it again, with the aforesaid Lacker. XII. To lay on your Silver Size. Take Silver Size new ground, and mixed with weak Size: warm it, and with a clear Pencil fit for the Work, Size it over once or twice: let it dry to a just Temper: and if your Silver will Burnish, it is well: if not, you must Size it again, with some Alteration in the Size. XIII. Then wet your Work, and lay on your Leaf Silver, in the same manner as you laid on the Leaf Gold without in the least Alteration, and to Burnish it all over; if it be not frosty Weather, these things may be done, but if it is in time of hard Frost, your Priming will be apt to Peel off, and the Gold and Silver Size will Freeze in laying on. XIV. Let your Parchment Size be something strong and new; for if stale it looses its force: nor grind any more Gold or Silver Size, than will serve the present Occasion: Lastly, keep your Work clean and free from Dust, both before and after it is Gold Sized, and Gilded, otherwise in Burnishing it will be full of scratches and look ill. 924 CHAP. XXV. Of Gilding of Metals. I. TO prepare the Gold for this Work. Rx Leaf Gold, or Ducket Gold beaten very thin, and cut into little bits q. v. put it into a Gally- pot, and put so much Quick-silver to it, as will just co- ver it: stir them with a Stick, and make an Amalgama: which done, strain them thro' a piece of Shammy Lea- ther, squeezing the Leather hard with your Hand: that which remains behind in the Leather (and looks like Silver) is the Gold Amalgamated, and that which we must use in our design. II. To Gild Silver, Brass, Copper, or Princes Metal. First scrub the thing you would Gild with a Wire Brush and a little fair Water, and continue scrubbing and wetting it, till it is perfectly clean. III. Take Quick-silver OZj. put it into a little Viol, and drop into it 3, 4 or 5 drops of Aqua-fortis: with this mixture and a Rag, rub over your Metal, till it is every where as white as Silver. IV. Now take your prepared or Amalgamated Gold, and with a little Knife, spread it over the whole Piece, not missing any part of it; and give it a heat over a Fire, to force the Quick-silver to evaporate or fly away, so will the Gold be left sticking close to the Piece. V. But before you give it a through Heat, let it have 2 or 3 little Heats, that you may with a small Hair Bursh almost like that of a Comb, dab and spread your Gold, which you may the easier do, because the warmth you give it, makes the Quick-silver the more ready to spread: after which give it the through Heat as afore- said. VI. Take it from the Fire, and with a Hair scrub Brush, which has never touched Quick-silver, rub and cleanse it, as you did in the beginning. Where Note, if there be any spot left ungilded, you must after it has been cleansed with the Wire Brush, proceed again as aforesaid. VII. If you would have the Work more rich and lasting, besmear it again with Quick-silver and A:F. and lay on the Gold again after the former Method: and this you may repeat so often, till your Gold lies as thick as your Nail upon the Metal to be Gilded. VIII. To heighen the Color, if you see convenient. Rx Argal, Salt, Sulphur, and q. v. mix them; and put to them as much fair Water, as will cover the thing when put into it: boil them over the Fire, and having tyed your gilded piece to a String, put it into the boil- ing Liquor for a little space, viewing it every minute; and when it has obtained the Color which pleases you, put it immediately into cold Water and it is done. IX. Another way to heighten the color of your Gold. Rx Nitre, Sal-Ammoniack, Sandiver, Verdigrise, white and green Vitriol, ana, grind them with white Wine Vinegar, when lay over all your Work, then lay it on a Fire, and give it a small Heat, that it may Smoak: and so take it off, and quench it in Urine. X. Another way to Gild Silver, Brass, &c. First cleanse your Metal with A. F. then quicken your work with Mercury, then take of the afore prepared Gold at Sect.1. and lay it on with a little Knife, spreading it every where, and do in all things, as in the other method. XI. To Silver over Brass or Copper, as Clock-makers do their Dial plates. Having Leaf or burnt Silver in a readi- ness; put to it as much A. F. as will cover it: having stood an hour or two, decant off the A. F. as clean as may be: wash the Siler 3 or 4 times with fair Water, and then let it dry; and then mix it with j. part of fine Argal to iij. parts of the Silver, with a little fair Wa- ter. XII. Then when you make use of it, rub it on the work with a Cork, till it is silvered all over; and lies very fair: after which dry it well with a Linnen Cloth, and ha- ving made it warm, wash it over 3 or 4 times with the best white Varnish (in cap.4. sect.1.) which will pre- serve it from Tarnishing, and other injuries of the Wea- ther. XIII. To Gild Brass, Copper, Iron or Steel with Leaf Gold or Silver. 926 If it is Brass or old Iron cleanse it very well with a Wire Brush; but if it is new Iron or Steel, having first made it very smooth, hatch your work all over very neatly with a hatching Knife, (which is a Knife with a short Blade, and a long Handle.) XIV. Then given it an heat so as to make it look Blew on a Charcole Fire; from whence take it, and lay on your Gold or Silver; and with a Blood-stone, or Burnisher, Burnish it down a little: then give it the same heat a- gain, and Burnish it all over. XV. This work of Gilding, you may repeat 6, 8 or 10 times; still observing to give it the same heat, before you lay on your Gold or Silver, and then Burnish it as afore-said. XVI. To refine Silver. If you have some Silver which is course, and you are loth to loose it, and are willing to make it serve for this Occasion; first melt it in a Crucible, then cast it into Water: when cold take it out and dry it; then take Nitre LBss. Antimony OZss. mix and make a Pouder. Lay some of this Pouder and your Silver in a Crucible, S. S. S. cover it with another Crucible, luting them very close to- gether: being dry, put them into the Fire, which at first let be gentle, and encrease the heat Gradatim, to a melting Heat: after a while remove them to a cooler Place; and when cold, break the Crucible, and you will have the fine Silver at bottom; but the Scoria or Dross in the upper part, which cast away. After the same manner Gold may be separated from Copper. 927 CHAP. XXVI. Of Gilding and Painting Mezzotinto Prints. I. THese kinds of Prints, are to be preferred for this pur- pose, before those of Graving; because that the former, if don't with a neat and careful Hand, and on a good and fine grounded Print can scarcely be di- stinguisht from Limning: whereas, in all those that are Engraved, all the stroaks of the Graver are plainly Visible. II. Of Mezzotinto Prints, some have a course Ground; others have a fine and soft: the first are Rough, and look as if they were the pricks of a Pen: whereas the other has soft and fine Shadows, like a piece neatly drawn with Indian Ink, or a black Lead Pencil. III. Before you chuse your Prints to work upon, see to the Paper they are Printed on: if it is too thick, you may easily see it, by wetting a Corner of it with Water, or your Tongue; where, if it passes not thro' the Pa- per presently, 'tis not for your turn; but Paper which is thin and spungy, is that which you must chuse. IV. The Glass you make use of, ough to be true ground Looking-Glaß, white, well Polisht, and not thick: all other sorts of Glass whatever, will spoil your Work: if you Paint on Window Glass, your Colors will never appear Fair and Beautiful. V. The Frames for Glaß Painting are commonly made of stained Pear-tree, either Square or Oval, with narrow mould- ings for little Pieces, which increase in breadth, accord- ing to the largeness of your Picture, and are made with Rabbets. VI. But the Frames for those Prints which you Paint without Glass, are called straining Frames; you may have them Plain or Carved, Gilded, or Black, Flat, or with a half round; and flat without a Rabbet on the back side, half an Inch less than the Edge of the Cut, every way: and the reason of this is, because the Edge of the Cut 928 almost breaks the Paper in pieces round about; so that should not the Frame come in upon the Cut, every way beyond its Edge, it would hazard Tearing. VII. The next thing we come to is the painting of the Print, and this is done with Colors either Transparent or Opake. The transparent Colors are chiefly Carmine, fine Lake, brown Pink, fine Smalt, distilled Verdigrise and Ul- tramarine. The chief Opake Colors are Flake white, yel- low or Dutch Pink, light and brown Red, Terra-vert, Umber, Cologne Earth, Ivory-black, Blew-black, Vermillion, blew Bice, Masticot yellow and pale, red Orpiment. VIII. Carmine is the finest and most excellent Red, and is sometimes sold for 3l. an ounce or more. Fine Lake is also an admirable Red, and is worth about 2s. or 2s. 6d. an ounce. Brown or Glazing Pink, is a Co- lor much about the price of fine Lake. Fine Smalt is a good Blew, and worth 4 or 5s. a pound. Distilled Ver- digrise Ground may be has at the same rate with fine Lake, or brown Pink. Ultramarine is the richest Blew in the World, but of several Prices: the deepest and best is worth 6 or 7l. an ouch; a mean sort is sold for 3 or 4l. and ouch, and this is very good and fit for this Use: another sort is worth 20s. an ounce, which may serve for Painting, but is too course for Gla- zing. IX. The Opake Colors. Flake White, finely Ground with Nut Oil, is worth about 2s. the pound. White Lead Ground in the same Oil, 12d. a pound. Yellow or Dutch Pink when Ground, 3s. 6d. a pound. Light and brown Red, which are yel- low and brown Oker, Burnt and Ground, 4s. the pound. The same finely Ground in Linseed Oil, 3d. an ounce. Terra-vert is but now and then used in this Painting, but much in all others. Umber, Cologne Earth, Ivory- black, and Blew-black when Ground, 3d. an ounce. Vermillion finely Ground is now worth 10s. a pound. Blew Bice only useful for making green Colors, 4d. or 6d. an ounce. Masticot, the finest and free from Grit, which is of the brightest Color is best, and is worth 2s. an ounce. Red Orpiment, which must be mixed with drying Oil, 2d. an ounce. 929 X. All the transparent Colors must be Ground with Nut Oil: see cap.2. sect.36. Opake Colors are ground mostly with Gum-water, some with Gold Size, and some with Linseed Oil and drying Oil. XI. To prepare your prints without Glaß or straining Frames. First steep your Print in warm water flat ways, for 4 or 5 hours or more, if the Paper be thick, when it is sufficiently steeped, lay it smooth on a wet Table, with the Print side downwards, and rub it carefully and lightly with a bit of Spunge, rubbing it off, and peeling it so long, till the Print appears transparent on the back-side: this done, with common Paste do the back of your Frame, and Paste your Print upon t whilst it is wet. XII. Let it now dry, and then Varnish it on both sides, 4 or 5 times with Mastich or Turpentine Varnish, till it is so transparent, that you may see the Picture as plain on the back-side, as on the fore-side. XIII. To Varnish, Polish, and finish Pictures not laid upon Glass. They are done as those on Glass, but if you have a mind to adorn, Embroider, Fringe, or the like, with Gold or Silver, touch then the fore-side of your Picture with Shell Gold in Gum-water, or else after you have Varnisht it 2 or 3 times with the best white Varnish, or some other; take the best Gold Size, with which hatch, and lay it over with Gold Dust: and with Judgment touch and heighten all the strongest lights, and deepen your shadows too, on the fore-side. XIV. This gives so much life to your Work, that Artists themselves have sometimes been deceived, and took it for a piece of real Painting. If now you would Varnish and Polish, any of these kinds of Prints, lay on the Colors fine and soft, and ve- ry even on the back-side, and after a Weeks time Var- nish them. XV. As to the disposing and laying on of Colors, it is the part of a Limners work to do that, and therefore is not our work to teach here: but if you would be fully instru- cted in the method of doing it, have recourse to Lib.2. Cap. 25, 26, 27, 28. where you cannot miss of all the di- 930 rections which are necessary for this purpose: see also, Cap. 27. Sect.8, ad 31 following. XVI. To Varnish these Prints. Take the best white Varnish (in cap.4 sect.1.) Mastich Varnish (in cap.4. sect.15.) ana: mix them together, and with a fine Camels-hair Brush, Varnish over your piece 4 or 5 times carefully by the Fire, as is formerly taught, and you will find it to have a very good and firm Gloss. XVII. But if you would Polish them after Varnishing, you must use only the best white Varnish, without any Mastich Varnish mixt with it, and therewith was over your Picture or Print, 5 or 6 times, directly observing all the methods for Japanning: after 4 or 5 days, lay the Picture on the Cushion, on which you cut your Leaf Gold, and with Tripoli and Water Polish it, and then clear it up as you do white Japan. CHAP. XXVII. Of laying Prints upon Glass. I. TO prepare the Prints, whether Mezzotinto or En- graved. Steep your Prints flat-ways in warm Water 4 or 5 hours, or more if the Paper is thick; then with a thin pliable Knife spread Venice Turpentine thin and even o- ver the Glass; and with your Fingers dab it all over, that it may appear rough. II. Afterwards take the Print out of the Water, lay it on a clean Napkin very smooth, and with another Napkin press every part of it lightly to suck and drink up the Water. III. This done, lay the Print on the Glass by degrees, be- ginning at one end, stroaking outwards that part which is just fastning to the Glass, that no Wind or Water may lye between it and the Print, and which you must be always careful to stroak out. IV. Then wet the back side of the Print, and with a bit of 931 Spunge or your Finger rub it lightly over, to rowl off the Paper by degrees; but carefully avoid rubbing it into holes, especially in the Lights which are most tender. V. When you have peeled it so long, till the Print appears transparent on the backside, let it dry for 2 hours; after which Varnish it over with Mastich Varnish (in cap.4. sect.15.) or Turpentine Varnish (in cap.4. sect.14.) 4 or 5 times, or so often till you may see clearly thro' it, ad after 24 hours you may work or paint on it. VI. Another way to do the same. Soak the print in Water, and dry it with Cloths as a- foresaid; and spread the Glass with Oil of Mastich and some Turpentine, or with Mastich Varnish (in cap.4. sect.15.) VII. Then lay on the Print upon the Glaß exactly as be- fore; and when it is almost dry, roul or rub off all the Pa- per, leaving only a Shadow or Figure behind: you may brush it off with a Brush till you see none but the inky and shadowed part remains, then Varnish it over with Mastich Varnish; which keep to dry, and from Dust, till you begin to paint it. I. To Paint Mezzotinto or Engraved Landskip. VIII. When in Landskip or other Prints, the first thing to be done in this Work, is to Glaze all those places which require it: but do your Work sitting, not stand- ing, because you will the more steadily move the Hand and Pencil: besides, you ought then to have a Table Easel, almost like a Reading Desk, saving that where- as there is a Pannel or back Board for the Book, here the Painting Desk is all open, with only 3 or 4 Wyes to keep the Picture from falling through, and a narrow Ledge at bottom to support it, and little holes made e- qually distant on both sides thereof, as in Painters Ea- sels, that by Pegs or Pins, and a Ledge laid up them, you may raise your Picture higher or lower as best agrees with your Conveniency: lay also a Sheet of pure white Paper behind the Picture on the Table, and you'll find it better for your Purpose; than placed against the Window. IX. If you would have your Glazing to lye thin and dry quickly, mix Varnish when you lay it on the Pictures, and in 4 or 5 hours time they will be fit for to receive other Colors: 932 and in Landskips you should first Glaze the nearest and great Trees, grounding them well with brown Pink; but if you would have them greener, add distilled Verdi- grise. X. Trees which you would have of a lively and beautiful Green, as also Leaves and Weeds, must be Glazed with Dutch Pink and distilled Verdigrise: but the Trees far- ther off with Verdigrise alone. XI. Hills, Mountains and Trees at the greatest distance of all, are to be Glazed with fine Smalt, a little Lake and Verdigrise, all thinly mixt with Varnish. XII. For the Sky, take Ultra-marine, or for want of it, fine Smalt: mix it thin with Varnish, and Glaze it o- ver 2 or 3 times with a clean large Pencil, and a very swift Stroak, for it you are tedious, 'twill dry so fast, that you cannot possibly lay it even. XIII. If your Landskip is furnished with Figures, Build- ings, Rocks, Ruins, &c. they require finishing first of all, be- fore anything else is done: the Mixture of Colors for these things consists chiefly of Blacks, Whites and Yellow, with sometimes a little Red: but the Mixture, Composition and Proportions of them must always be left to the Ex- perience and Practice of the Artist, with this Considera- tion, that all the Colors for this kind of Painting, ought to be very light. XIV. Now, to finish the Trees, Ground and Sky, with the rest of the Picture, begin as before with the nearest or greatest Trees: and with yellow Pink and white, Paint over the lightest Leaves: but with a darker color of Pink, and a little Smalt, go cleverly over the darkest and out- ward Leaves with a small Pencil dipt in Varnish. XV. These Trees you would have beautiful, Paint with a Mixture of yellow Masticot, White and Verdigrise: the darker parts with Pink, Verdigrise and White; as also those Trees which you Glazed with Verdigrise only, they being mixed very light with White. XVI. But to finish the Sky and Foreskip, if any Clouds appear, touch them with Vernish and light Color, made of White, yellow Oker and Lake: and with these likewise touch the lightest parts of Hills and Towns, at remotest distances: mix also Smalt and White as light as you can to Paint over the Sky: and to these add a Tincture of 933 Lake, to shadow over the darkest Clouds, letting all your Colors lye thin and even. XVII. If you would have the Picture look more lively, set it against the Lighht or on the Easel, and tho' it is Paint- ed all over, yet you will perceive the Lights and Shadows through it; if not, what was before Painted will direct you; your Skie and Foresight then are to be Limned with the same, but lighter Colors than the former, and every part besides respectively. II. To Paint a Humane Body; and first the Face. XVIII. Glaze and touch the deep Shadows thinly with Lake, brown Pink and Varnish; and the white Speck and black Ball of the Eye, as the Print shall di- rect you: also the round white Ball of a convenient co- lor. Make the Lips of a fine Red with Carmine or red Lake: the dark side of the Face shadow with Vermilion, yellow Pink and white. Give some touches on the strongest Lights of the Face, as top of the Nose, Fore- head, by the Eyes, Mouth and Chin, with a Color made of white, pale Masticot, or yellow Oker, and a little Vermillion, mixt as you shall see fit. Then mix it a a little darker, and lay it all over the Face not painted before; but the Mouth and Cheeks make somewhat red- der. Then with a fine clean Pencil, a little worm Hatch, and sweeten all your Colors and Shadows, cleaning the Pencil as oft as it requires. If any part is too pale, you may help it whilst your work is moist. XIX. Now here is to be noted, that you must use no Var- nish in painting of flesh Colors, except what is used in Gla- zing the Ssaddows; for should you mix Varnish with them, you will meet with this inconvenience, that the Colors will dry so fast, that you cannot be able to sweeten the Shadows with the Flesh. XX. A swarthy Complexion. Mix the Flesh color with white, yellow or brown Oker, and light Red, with Shadows fitting. The like observe in Painting Necks, Shoulders, Breasts, and naked Bodies, as in the Face. When any of them are dry, you may go over them again, by which second Operation, you absolutely mix your Colors to your de- sire. Let your Hand be steady, and let not your Pencil traverse or go over upon Lines of a differing Color. 934 XXI. For the Hair. Use not Varnish nor Colors near so dark as the Life, for the Print will darken it; for black Hair, mix white, black, red Oker, with a touch of Lake or light Red, all which produce an Ash-color, and the Hair being colored with it, will represent a natural Black. To make the Curles shew stronger, touch the lightest parts with a lighter Color, and the darkest witih the con- trary, all which may be seen through, if not laid too thick. III. For Drapery. (MISSING XXII.) If the Color is broken, take care of its mixture, so as to make 3 degrees of the said Color; one the very Co- lor, another more Light, and the third Darker, which is for the darkest Folds, as the lightest is for the light- est parts; and the Color between both, for the other parts of the Garment. Embroidery or Fringes are done with Shell, or poudred Gold or Silver. Mix your Metals with Gum-water, and with a fine Pencil Hatch, or Embroider your Flowers, and touch the Fringes or what else you desire, before you either Glaze or Paint the Drapery designed. XXIII. Changeable Drapery. If you would have the ground Purple, and the lights yellow; take a fine Pencil dipt in Varnish, and with yellow Masticot, touch thinly all the lightest part of the Folds, and if need be repeat it, for your Color must be very thin with Varnish: when dry, glaze it over with Lake and Ultramarine, or Smalt, with Varnish, once or twice, letting it dry. The mix 3 degrees of a pur- ple Color, of Lake, Smalt, and White, and lay them on, as directed in the last Section. XXIV. Yellow Drapery. For the lightest Folds, mix yellow Oker, and White: and brown Oker for the Shadow; or Umber, if you would have it darker: but do the other Folds with yel- low Oker; or with white mixt with yellow and brown Pink. XXV. The most beautiful Yellow. Glaze your Drapery, or what you would have look pleasant with brown Pink, once or twice, and the darkest parts oftner: being dryed, touch the lightest 935 Folds with Pale Masticot, then with yellow Masticot; and if any part requires a darker Color, with yellow or brown Pink, and a little Umber: when dry, Paint all with white except the Shadows. XXVI. The best Blew. Mix with thick Nut Oil Ultramarine: or, if you cannot wait the drying, instead of Nut Oil, use Var- nish, and glaze the Garment 3 or 4 times over, letting it dry between every time: when dry, mix three de- grees of Smalt and White, very light, and with the clearest white, do the lightest Folds, and the rest as the reason requires. If Ultramarine be too dear, you may by the same method Glaze with fine Smalt, and Var- nish it as often as the former, and Paint it with White and Smalt. An ordinary Blew, is made with White and Smalt, mixt in several degrees, but without Gla- zing. XXVII. Purple without Glazing. Make a mixture of Lake, Smalt, and White, with which perform your Drapery: heightning and dark- ning the Folds, as before directed. XXXVIII. Purple Drapery, Painted and Glazed. Let it be thin Glazed once, with Carmine or Lake; and when dry, Paint it every where with Smalt and White, lighter or darker as you desire; letting still the lightest Folds, have still a Color more light than the other Parts. On the contrary you may have a Purple by Glazing your Figure over with Ultramarine or Smalt, and Painting it with Lake and White. XXIX. Ordinary Red without Glazing. Paint the strongest Lights with White mixt with Vermillion; but the dark Shadows, with a dark or light Red, and the rest with Vermillion: for the lightest Folds mix light Red and White: for dark Folds, brown Red: for the other Parts light Red Only. XXX. Another Red, almost as good as the finest. Grind red Lake finely in Oil, temper it well with drying Oil and Varnish, and wiht this Glaze over your Garments 2 or 3 times; and when dry, Pain the lightest with White; the darkest with light or brown Red; and the rest of the Drapery with light Red only. 936 XXXI. The finest of all Reds. Take Carmine and mix it with Varnish alone, with which once Glaze over your Garment, and if you would have it very beautiful, two hours after do the same a- gain: when dry, Paint all (except the dark Shadows which should have Red) with Vermillion and White, or with Vermillion only. If you can (when dry) see thro' the Colors, touch the lightest Folds over with clear Whites, and they will appear yet more Beautiful. APPENDIX. CHAP. XXVIII. Of making Sealing Wax and Glews. I. TO make an ordinary Red soft Sealing Wax. Rx Common Bees Wax, LBj. Turpentine, OZiij. Oil Olive, OZj. melt all these together, then add there to red Lead, OZiij. boil a little, and stir till almost Cold: cast it into fair Water, and make it up into Rouls or Cakes. II. The best Red soft Wax. Rx White Bees Wax, LBj. Chio Turpentine, OZiij. Oil Olive, OZj. mix and melt: then add pure Vermillion in fine Pouder, well Ground. q. s. or OZj. mix and boil a little, stir till almost Cold, cast it into cold Water, and then make it up into Rouls or Cakes. III. To make Green soft Wax. Rx Bees Wax. LBj. Turpentine, OZiij. Oil Olive, OZj. mix and melt: then add fine Verdigrise, OZj. mix and make the Wax up as the former. IV. To make Yellow soft Wax. Rx Yellow Bees Wax, LBj. Turpentine, OZiij. Oil O- live, OZj. mix and melt: then add Cambogia in fine 937 Pouder, OZij. Auripigment finely ground, OZj. mix and make the Wax as before. V. To make Black soft Wax. Rx Bees Wax, LBj. Turpentine, OZiij. Oil Olive, OZj. mix and melt them together, to which add black Earth, or Lamp-black, or Ivory-black finely ground, OZj. mix, &c. VI. To make Perfumed soft Wax. This is done by mixing with OZxx. of any of the for- mer Compositions, Oil of Rhodium, DRj. Musk in fine Pouder, SCj. Civet, SCss.mix them well. VII. After the same manner you may make soft Wax of all Colors, having what Scent you please, by mixing the perfume intended either with the Oil Olive before Hand; or else by working it into the Composition of the Wax, after it is made. VIII. To make fine Red hard Sealing Wax. Rx Pure fine Shell-Lac, melt it in an Earthen Vessel; and put into it a sufficient quantity of the Color you design your Wax to be of; to every LBj. of Gum-Lac, put of purely fine ground Vermillion OZiij. to OZiiij. melt, stir, and mix them well over the Fire: then take it off, and when it is of a fit heat, make it up into Rolls or Sticks: upon which you may set a Gloss by gently heating them over a naked Char-cole Fire, and rubbing them with a cloth till they are cold. IX. To make fine hard Sealing Wax of other Colors. Blew Sealing Wax, is made after the same manner, and in the same proportions, with Ultramarine, or fine blew Smalt. Green Sealing Wax, with fine Verdigrise. Yellow Sealing Wax, with finely ground Auripigmentum, or yellow Masticot. Purple Sealing Wax, with Vermilli- on mixt with Ivory-black, or Lamp-black. Black Seal- ing Wax, with Ivory-black. X. To make course hard Sealing Wax. Rx Shell-Lac OZxij. Rosin OZvj. fine Vermillion, OZvijss. melt and mix them together, and when in a due heat make it up into Sticks or Rouls. Upon which you may set a Gloss as directed in sect.8. aforegoing. XI. To make mouth Glew. Dissolve Ising-glass in fair Water, in a gentle B. M. then strain it thro a wide Hair Sieve while it is hot, 938 upon another course, and close Hair Sieve; when it is cold it will be thick like Gelly. Cut it into long hand- some Pieces, which put on a Sring, so they touch not one another, and hang them in the Sun, till they are dry. You may give it a fine taste and smell by mixing sweet and odoriferous things therewith. XII. A strong Glew for Pipes and Aqueducts. Take Tobacco Pipe Clay, dry and make it into Pou- der: mix with it good store of short Flocks, and beat it up with Linseed Oil to a stiff Paste, like kneaded Dough. This makes a long and lasting Cement for Pipes and Aquaeducts: and being put upon Pipes (though long a drying) is very stanch and lasting. XIII. To make a very strong Glew. Soak the finest Ichthocolla or Ising-glaß 24 hours in Brandy, then boil all very gently togeher, continually stirring of it, that it burns not, so long till it becomes one liquor or body (save some Strings not dissolvable) which strain whilst hot, thro' a course Linnen Cloth, into a Vessel where it may be kept close stopt. A gen- tle heat will melt this Glew into a transparent Li- quor, with which you may Glew things so strongly together, that they will break rather in any other Part, than in the place glewed. This muh exceeds com- mon Glew. XIV. To make the best and strongest Glew, for Glew- ing the Joints of Boards. Rx Scummed Milk which has stood so long, that no more Cream will arise from it: Scum it very clean, and set it over the Fire in a Leaden Pot, letting it boil a little; and if any Cream arise take it off. Then put into it a sufficient quantity of Joyners Glew cut into small bits, which will soon melt: boil it to a good body, that it may be neither too thick, nor too thin, (for in this boiling lies much of the Art;) take it from the Fire, and keep it for use, as other Glew. XV. This Glew binds beyond belief, and will not be subject to resolve with any ordinary moisture of the Wea- ther: and the reason is because the Curdy Part of the Milk, freed from its Oil, is joined with the Glew. Now you must take care, that it burns not to the sides of 938 the Pot, for then it will be deprived of its strength: To prevent which, (both in its first making, and in your after melting of it) you had best both to make and melt it in B. M. or a boiling Vessel of Water, so will you prevent burning, and by those means boil it more safely to what body you please, without danger of hurting the Glew. Libri Undecimi & Ultimi. FINIS ADVERTISEMENT A Compleat Dictionary of the Greek and Roman An- tiquities, explaining all the obscure Places in all the Classic Authors, and Ancient Historians. Compi- led Originally in French for the Use of the Dauphin, &c. Now made English, with the addition of very useful Mapps. Printed for J. Nicholson, T. Newborough, and J. Bullord.