A Treatise of Japaning and Varnishing, Stalker and Parker, 1688.

Typed in by Simon St.Laurent, simonstl@simonstl.com, 2017. No copyright claimed. Part of a set at http://toolbytool.org/resources/Japanning.html .

You can find the original at https://archive.org/stream/treatisejapanin00Stal.

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 . (Those articles are GLORIOUS.)

This is not yet proofread, but is still generally a major improvement over OCR versions.

(Title)

A
TREATISE
OF
JAPANING
AND
VARNISHING
Being a compleat Discovery of those Arts
WITH
The best way of making all sorts of VARNISH for
JAPAN, WOOD, PRINTS, or PICTURES

The Method of
GUILDING, BURNISHING, and LACKERING,
with the Art of Guilding, Separating, and Refining METALS,
and of Painting MEZZO-TINTO - PRINTS.

Also Rules for
Counterfeiting TORTOISE-SHELL, and MARBLE, and for
Staining or Dying WOOD, IVORY, and HORN.

Together with
Above an Hundred distinct Patterns for JAPAN-work, in
Imitation of the INDIANS, for Tables, Stands, Frames, Cabinets,
Boxes, &c.

Curiously Engraven on 24 large Copper-Plates.

By JOHN STALKER, AND GEORGE PARKER.

OXFORD,
Printed for, and sold by the Authors, John Stalker, at the Golden Ball in St.James's
Market, London; or by George Parker, at Mr. Richard Woods House over against
the Theater in Oxford. In the Year MDCLXXXVIII.

(overleaf)

(i)

THE PREFACE

To the Admirers of the Noble Arts of PAINTING,
JAPANNING, GUILDING, &c.

IF the Antiquity of an Art can advance its credit and reputation,
this of the Pencil may justly claim it; for although we cannot
trace it from its Original, yet we find many valuable Pieces extant
in time of Alexander the Great. The Grecians (who always encou-
raged Learning and Ingenuity ) had so great an honour for this
Art, that they ordained, That Gentlemens Sons and Freeborn
should be first sent to a Painting-School, to learn the way to Paint
and Draw Pitcutres, before they were instructed in any other thing;
Slaves and vulgar hands, by a perpetual Edict, were excluded from
the benefit and practice of it: And lastly, it was enacted, That the
Art it self should be ranged in the first degree of Liberal Sciences.
After them the Romans entertain'd it with great respect and ve-
neration; and the Jews, though denied this Profession by their Law,
were not wholly destitute of Artists; for St. Luke (if Tradition
may be credited) was a Painter, as well as Evangelist and Physi-
tian, and for that reason we honour and respect him as our Patron
and Protector.

The Civilized of all Ages have given it a kind and most obliging
reception: Candaules King of Lydia purchased a Table, whereon
the Battel of Magnetes was painted with excellent skill, for its
weight in Gold; and King Demetrius, forbore taking the City of
Rhodes, lest in the fire and plunder of his souldiers he should have
lost a Picture, which he prized beyond the Conquest of the Tovvn.
Indeed, they are so highly valued by us, that vve think them fit or-
naments for our Churches and Altars. The Hollanders reckon
their Estates and Worth by their pieces of Painting, and Pictures
vvith them are ready current money: in these too, they disco-
ver their ingenuity, for you shall rarely meet vvith a better joke,
than in a Picture. Some femals have also been well pleased with this
Art, which they imagin can heighten and preserve their beauties;
Jezebels, who prefer Art to Nature, and a sordid Fucus to a native
complexion; and tis so familiar to meet with these walking Pi-
ctures, that unless we are very circumspect, we may be imposed
upon with Ixion's fallacy, who embraced a Painted vapour for a
Goddess. Painting will certainly make us survive our selves, and
render the shadow more lasting than the substance, when the co-
lours are laid in the right place, and by the Painters hand.

Begging the Muses pardon, I should prefer a Picture to a Poem;
for the latter is narrow and short-liv'd, calculated to the Meridian
of two or three Countries, and perhaps as many Ages; but Paint-
ing is drawn in a character intelligible to all Mankind, and stands
not in need of a Gloss, or Commentator, tis an unchangeable and

(ii)

universal language. Painting can decipher those mystical chara-
cters of our Faces, which carry in them, the Motto's of our Souls,
whereby our very Natures are made legible. This comely part is
the Limners more peculiar Province; and if the beauty and propor-
tion of it can excite our love and admiration, what regard and e-
steem must we reserve for him, who can so excellently describe both.
The Rarities of this Art were never yet so common, as to make
them despicable; for the world very seldom produced above one
famous Artisan at a time; this Age brought forth a Zeuxis, that
an Apelles, and the third an Angelo, as if a particular sprightly Ge-
nius was required, and they were to rise from the Phaenix-ashes of
each other, or that Men were to be born Painters as well as Poets.

If we duly weigh the merits of the Pencil, we shall find the defe-
rence and respect which our Predecessors paid to the Master of it,
was most just and reasonable; and that we our selves ought not to
be wanting in gratitude and address. By the Painters assistance, we
enjoy our absent friends, and behold our deceased Ancestors face to
face: He it is, that stretches out our Eighty to eight Hundred
years, and equals our Age to that of our Forefathers. The Egyptian
Pyramids and embalming Spices of Arabia, were not sufficient to
rescue the Carcass from corruption or decay; and 'twas a grand
mistake, to suppose the Ashes of one body could be preserved by
the dust of another: Painting only is able to keep us in our Youth
and perfection; That Magick Art, more powerful than Medaea's
charms, not only renews old age, but happily prevents grey hairs
and wrinkles; and sometimes too, like Orpheus for Euridice, forces
the shades to a surrender, and pleads exemption from the Grave.
Mahomet's is truly the Painter's Paradise, for he alone can oblige
with a Mistress for ever young and blooming, and a perpetual
Spring is no where to be found but in his Landskip.  In fine, what
were the Heathen Gods but fancies of the Painter, all their Dei-
ties were his handywork, and Jove himself stole his boasted Immor-
tality from him.

Well then, as Painting has made an honourable provision for our
Bodies, so Japanning has taught us a method, no way inferior to
it, for the splendor and preservaation of our Furniture and Houses.
These Buildings, like our Bodies, continually tending to ruin and
dissolution, are still in want of fresh supplies and reparations: On
the one hand they are assaulted with unexpected mischances, on the
other with the injuries of time and weather; but the Art of Japan-
ning has made them almost impregnable against both: no damp
air, no mouldring worm, or corroding time, can possibly deface it;
and, which is much more wonderful, although its ingredients, the
Gums, are in their own nature inflammable, yet this most vigo-
rously resists the fire, and is it self found to be incombustible. True,
genuine Japan, like the Salamander, lives in the flames, and stands
unalterable, when the wood which was imprisoned in it, is utterly
consumed.  Just so the Asbeston of the Ancients, the cloath in

(iii)

which they wrapped the dead bodies, lay unchanged and entire on
the Funeral Pile, and preserved the body, when reduced to ashes,
from being mixt and common, and undistinguisht dust. Not
that tis only strong and durable, but delightful and ornamental
beyond expression: What can be more surprizing, than to have our
Chambers overlaid with Varnish more glossy and reflecting than
polisht Marble? No amorous Nymph need entertain a Dialogue
with her Glass, or Narcissus retire to a Fountain, to survey his
charming countenance, when the whole house is one entire Specu-
lum.  To this we can subjoin the Golden Draught, with which Japan
is so exquisitely adorned, than which nothing can be more beauti-
ful, more rich, or Majestick: Let not the Europeans any longer
flatter themselves with the empty notions of having surpassed all
the world beside in stately Palaces, costly Temples, and sumptuous
Fabricks; Ancient and modern Rome must now give place: The
glory of one Country, Japan alone, has exceeded in beauty and
magnificence all the pride of the Vatican at this time, and the
Pantheon heretofore; this last, as History informs us, was overlaid
with pure Gold, and 'twas but proper and uniform to cloath the
Gods and their Temples with the same metal. Is this so strange
and remarkable? Japan can please you with a more noble prospect,
not only whole Towns, but Cities too are there adorned with as
rich a Covering; so bright and radiant are the Buildings, that
when the Sun darts forth his lustre upon their Golden roofs, they
enjoy a double day by the reflection of his beams. These delights
would make us call to mind the fictions of the Poets, and perswade
us that the Golden Age was still in being, or that Midas his Wish
had at length succeeded.  Surely this Province was Nature's Dar-
ling, and the Favourite of the Gods, for Jupiter has vouchsaf't it a
Visit, as formerly to Danae, in a Golden shower.

(iv)

The EPISTLE to the
READER and PRACTITIONER

VVE have laid before you an Art very much admired by us, and all those who hold any
commerce with the Inhabitants of JAPAN; but that Island not being able to
furnish these parts with work of this kind, the English and Frenchmen have endeavoured to
imitate them; that by these means the Nobility and Gentry might be completely furnisht with
whole Setts of Japan-work, whereas otherwise they were forc't to content themselves with per-
haps a Screen, a Dressing-box, or Drinking-bowl, or some odd thing that had not a fellow to an-
swer it: but now you may be stockt with entire Furniture, Tables, Stands, Boxes, and
Looking-glaß-frames, of one make and design, or what fashion you please; and if done by able
Hands, it may come so near the true Japan, in fineness of Black, and neatness of Draught, that
no one but an Artist should be able to distinguish 'em. Tis certain, that not only here, but in
JAPAN too, there is a vast difference in work: we our selves have seen some that has been
brought from thence, as mean and ordinary in Draught, (though the ground-work may be pretty
good,) as you can possibly imagine. As for our Undertakers in this kind they are very numerous,
and their works are different; some of them have more confidence than skill and ingenuity, and
without modesty or a blush impose upon the Gentry such Stuff and Trash, for Japan-work, that
whether tis a greater scandal to the Name, or Artificer, I cannot determin. Might we advise
such foolish pretenders, their time would be better imployed in dawbing Whistles and Puppets
for the Toy-Shops to please Children, than contriving Ornaments for a Room of State.
'Twill certainly please us to hear such Ignorants blame this our Publication of an Art, that was
not understood by the world: tis unknown, we confess, even to them, and they themselves will find
upon examination, that we have discovered more than they ever knew of dreamt of, and in spite
of all their Bravado's will be beholding to our Rules and Patterns: These Pages are so far
from exposing our Art, that on the contrary it enhances and raises its esteem and value. These
will assist 'em to distinguish between good Work and Rubbish, between an ignorant Knave and
an Artist, and put a stop to all the cheats and cousenage of those whiffling, impotent fellows,
who pretend to teach young Ladies that Art, in which they themselves have need to be instructed,
and to the disgrace of the Title lurk and shelter themselves under the notion of Japanners,
Painters, Guilders, &c.
  What we have delivered in this Treatise, we took not upon Trust or Hearsay, but by our own per-
sonal knowledge and experience do promise and aver, that if you punctually observe them, to
must of necessity succeed well; and if any Gentlemen or Ladies, having met with disappoint-
ments in some of the Receipts, do question the truth and reality of them, they may for their sa-
tisfaction (if it stands with their convenience) see them tried by the Author, according to the
very Rules, set down; who is in this, and all other Commands, their most ready and most
humble Servant.
  In the Cutts or Patterns at the end of the Book, we have exactly imitated their Buildings,
Towers and Steeples, Figures, Rocks, and the like, according to the Patterns which the best work-
men amonst them have afforded us on their Cabinets, Screens, Boxes, &c. Perhaps we have
helpt them a little in their proportions, where they were lame or defective, and made them more
pleasant, yet altogether as Antick. Had we industriously contriv'd prospective, or shadow'd them
otherwise than they are; we should have wandred from our Design, which is only to imitate the
true genuine Indian work, and perhaps in a great measure might puzzle and confound the un-
experienced Practitioner.
  We know nothing farther that wants an Apology or Explanation; but to these our En-
deavours do subjoin our hearty Wishes for your happy Progress and Success, and Subscribe,

  YOURS.

(v)

ERRATA.

In the Preface, page 1. line 4. for in time, read in the time. l. 20. for Magnetes, read, the Magnetes
  l. 28. for, better joke, read, better Dutch joke. l. ult. tis unchangeable, read, for tis unchangea-
  ble.
In the Book, Page 5. line 26. for, silver, read, silver-dust. p. 7. l. 25. for Smalt, read Lake. l. 45
  for Sea-green, read fine Smalt, and for, Greens, read, Blews. p. 24 l. 32. for, Muller or,
  read Muller and  p. 29. l. 47. for, Venice Turpentine, read, oyl of Turpentine. l. ult. for Tur-
  pentine, read, Turpentine-oyl. p. 36 after line the 27. read CHAP. XIII. p. 60 l. 9. for, nar-
  row, read, many  p 77. l. 16, for red, r. brown-red. l. 16 after vermillion, read, or.

(vi)

CONTENTS
Of Japaning.

Things necessary to have by you.  Page 1
A character of the best Spirits, Gums, Me-
  tals, &c. 2
To make Seed-lacc-varnish. 8
To make Shell-lacc varnish. 9
To make the best White Varnish. 10
To make White Varnish inferiour to the other. 11
To make Varnish that shall secure your draught, whe-
  ther Goldwork, or Colours, from the injuries of
  Tarnishing, and will give it a gloss. 12
To secure your whole piece, both draught and ground-
  work, whereby it may endure polishing, and obtain
  a gloss all over like the Indian performances. 13
General rules to be diligently observed in all manner
  of varnishing. 14
To varnish Olive-wood. 18
To varnish Walnut, and all plain woods. 18
How to varnish black Japan. 19
How to make Isinglass-size. 22
How to make Blew Japan. 23
How to make Gum-water. 24
How to make Red Japan. 24
How to make Chesnut-colour Japan. 25
How to make Olive-colour Japan. 26
How to work Metals or Colours with gum-water. 26
How to make Gold-size for Japan. 28
How to varnish Prints with white Varnish. 30
How to lay Speckles, or strowings, on the out or in-
  side of Boxes, Drawers, Mouldings, &c. 31
To lay Speckles on the Drawing part of Japan-work
  as Rocks, Garments, Flowers, &c. 32
How to make Raised work in imitateon of Japan,
  and of the Paste. 33
To prepare ordinary, rough-grained woods, as Deal,
Oak, &c. whereby they may be Japaned, and look
  well. 35
How to imitate Bantam work. 36
How to take off any Japan-patterns, in this Book,
  upon any piece of work whatsoever. 39
The manner of working and setting off some
  Draughts in this Book. 39
How to work the first Draught. 41
To set off Raised work with Black. 42
To work the second Pattern. 43
To work the third Draught. 44
How to work in Colours and Gold the great Sprig in
  the 13th Print. 45
To work in gold-size the 20th Print of this Book. 47
To work in gold-size the 23d Draught of this Book
  with perfect and corrupt metals. 49

Of Guilding.
To guild any thing in Oyl, whereby it may safely be
  exposed to the weather. 53
How to make Primer. 54
Of Fat oyl. 54
Of Gold-size in oyl. 54
How to mix and lay and Gold-size. 55
Of the laying on the Gold, and the Tools required in,
  and for the business. 55
To lacker in oyl, such things as are to be exposed to
  the weather. 56
To prepare and guild Carved Frames in oyl, that
  are not to be exposed abroad. 56

Of Burnishing.

To overlay wood with Burnisht gold, or silver. 57
Of Gold and Silver-size for burnishing. 57
The best way to make Silver-size 58
The best Gold-size now in use. 58
Another Size for Silver. 58
How to gold-size your Frame. 59
How to lay on Gold for Burnishing. 59
How to burnish your work. 60
How to lay on Silver-size. 60
How to make Paste, fit to mould or raise Carved
work on Frames for Guilding, 61
How to make Paste. 61

How to make a Mould of any Carved frame, thereby
  to imitate it in Paste.  61
Of placing Paste or Carved work on Frames 62
Of Lackering. 62
How to make common Lacker. 63
Another sort of Lacker. 63
How to make the best of Lacker now used by the
  Guilders. 63
To make a Lacker that may be used wothout fire or
  Sun. 63
To lacker on Oyl, or Burnished Silver. 64
To make Lackering shew like Burnished gold. 64
Of Guilding Metals. 64
How to prepare Gold. 65
To guild Silver, Copper, Brass, or Princes metal. 65
Another way to guild Silver, Brass, &c. 66
How to heal or heighten the colour of the Gold. 66
To take off Gold from any Guilt Plate, without da-
  mage to the one, loss to the other. 66
To silver over Brass or Copper, as the Clock-makers
  do their Dial-plates. 66
To guild Iron, Brass, or Steel with leaf-gold or sil-
  ver. 67
How to refine Silver. 67
To separate Gold and Silver when incorporated. 67
Directions to paint Mezzotinto Prints on Glass, or
  without Glass, and the colours therein used. 69
To wash any of the powdered colours fine. 71
Of Oyls, and their price. 72
How to make the best Drying oyl. 72
A Drying oyl more ordinary. 72
To make Varnishes for these prints or pictures in
  oyl. 72
Another more excellent Varnish either for pictures
  in oyl, or making Prints transparent. 72
How to lay Prints on Glass. 73
To lay prints either Graved, or Mezzotinto's on glaß,
  in such manner, that you may role off all the Pa-
  per, and leave only the shadow behind. 73
To prepare prints, without glaß or straining frames 73
Of the posture and position of the Prints, and those
  that paint them. 74
How to paint a Mezzotinto Landskip on a Glass, or
  otherwise. 74
To paint a piece of figures, as Men, Women, &c 75
How to paint Hair. 76
How to paint Drapery, or Garments. 76
How to paint changeable Drapery. 77
To paint several sorts of Red Drapery, and first of
  the finest. 77
Another Red near the same. 77
Other Reds more ordinary without glazing. 77
To paint the best Blew, and glaze with Ultrama-
  rine. 77
To glaze and paint the best purple Drapery. 78
Purple without glazing. 78
Yellow Drapery. 78
How to paint the most beautiful Yellow. 78
To finish, varnish, and polish pictures that are not laid
  on glass. 78
To varnish these prints, or other pictures, without po-
  lishing. 79.
To varnish pictures and polish them like Japan. 79
To imitate or counterfeit Tortoise-shell. 79
Another way to counterfeit Tortoise-shell. 81
How to Dye Wood a beautiful Red. 82
How to stain a fine Yellow. 82
To stain or dye woods of any colour for inlaied or flow-
  red work done by the Cabinet-makers. 83
How to dye or stain wood Black. 83
The best Black Dye for Ivory, Horn, Bone, &c. 83
To stain a green colour on Wood, Ivory, Horn, or
  Bones 84
How to dye Ivory &c red. 84

(1)
-----------------------------
THE ART OF
JAPANNING VARNISHING &c.

Every Artist, who undertakes to treat of his Profession, before
he enters on the work, must describe the Instruments and Ma-
terials with which it must be performed: and by observing
this method, those persons who either for diversion or advantage
design to be Masters of this Art, furnish themselves with all things
necessary after the best manner, shall lay a good foundation, and
may proceed to practice with chearfulness and success. And that
no one may impose upon you in the Price, or Goodness of your
Drugs; that your Spirits be very strong, your Gums and Metals of
the best; take this following account, as your only security against
all cousenage and imposture. But before I speak of these things
which the Shops supply us with, I presume tis convenient to ac-
quaint you with others, that conduce to the composition, mixture,
and preservation of the Varnish, Colours, &c.

And 1. two Strainers are required, made of pretty fine Flannel
or ordinary course Linnen, in shape like a Tunnel, or Sugar-loaf, or
a Jelly-bag that women strain Jellies through: one is useful for
straining your white Varnish, and the other for your Lacc-varnish,
and Lackers, when you make any.

  2. You must have two Tin-tunnels; one to use with your Lacc-
varnish, and Lacker, and the other for your white varnish for the
same use.

  3. You must be furnished with several Glass bottles, and Vials
small and great, according to the quantities of varnish you make or
use; and also with Gally-pots of several sizes, to put your varnish
in when you intend to varnish: and for your Blacks, with which
other things must sometimes be mixed, Gally-pots are better than
any other vessels to mix your blacks and hold your varnish, because
they are deeper than Pottingers, and not so wide, so that the varnish
doth not so soon thicken, for the Spirits in a deep Gally-pot do not
so suddenly evaporate.

  4. You should provide several sorts of varnishing-tools, or Pen-
cils, according to the greatness or smalness of the thing you design
to work. Your varnishing Pencils are soft, and made of Camels
hair, and are of several prices, according to the bigness of them:
the best that I know are sold in Blackamoor-street by Clare-market,
but you may have them also at sevenal Colour-sellers in and about
London, from six-pence to half a Crown or three shillings the Pen-
cil.

  5. You must procure Pencils to draw with, small and greater,
Goose, little Goose, Duck, and Swallow-quills, according to your

(2)
work. The longest haired Pencils I esteem the best for this use; you
may have them all at the places aforesaid.

  6. You should get 200 of Musle-shells, that you may have them
always in readiness to mix your Metals or Colours in, as occasion
shall serve: not that you need use the tenth part of them at once,
but that you may not be to seek when you want; and for change,
when your metals or colours, by frequent mixuture, shall grow dir-
ty, which will be, if you work in Gum-water, as I shall hereafter
observe.

  7. You should furnish your self with Rushes, which are called
Dutch-Rushes, with which you must smooth your work before you
varnish it; and as you lay your ground of Colour or Black, if any
knob or roughness appear on your work, you must take a Rush and
rush it off; so much you do as oft as you find any roughness or grit-
tiness upon your work, either in laying your Grounds, or varnish-
ing it up. You may but them at the Iron-mongers.

  8. You must have Tripoly to polish your work after it is var-
nished, which must be scraped, or finely pounded and sifted. But
of this I shall have occasion to speak more largely, when I come to
give rules for varnishing. You may have it at the Iron-mongers.

  9. You cant be without store of Linnen-rags as well coarse as
fine, which which you must polish and clear up your work, as shall
be shewed hereafter.

  10. You must have Sallet-oyl for clearing up your work, as shall
be notified in its proper place. All these things every Practitioner
ought to provide, as being necessary to his future performances.

-----------------------------------------

CHAP. I.

A true Character of the best SPIRITS, GUMS,
METALS, &c.

To know a Strong Spirit

To make Varnish you must have Spirit of Wine, which must
be strong, or it will spoyl the Varnish, and not dissolve your
Gums, and consequently hinder your design; for the stronger your
Spirits are, the better will the Varnish be; the Spirits only being
to dissolve the Gums, in order to make them spread, or lie even up-
on the work.  After it hath performed that work, the sooner they
evaporate the better, and the higher the Spirits are drawn, the less
flegm or watery parts are in them; and the less of watery parts are
in the Varnish, the sooner it dries, and is fit for polishing, is more
permanent, and will come to the greater and better gloss. But this
is of little use now Varnish is so much used; for the Distillers have
learned by practice and custom to make Spirits that just dissolve the
gums, only it requires the longer drying: Yet these Spirits that

(3)

are commonly used will sometimes be too weak, either by neglect
or dishonesty of the Distiller, who hath not sufficiently deflegm'd
or drawn away all the watery from the spiritous parts. Therefore the
best way to prove your Spirits, is to take some in a spoon, and put
a little Gun-powder in it, and then set the Spirit on fire with a little
paper or candle, as you do Brandy, and if it burn so long till it fire
the Gunpowder before it go out, it is fit for use, and will dissolve
your Gums. all pretenders to this Art know this way of trying
Spirits, and the damage weak Spirits do the Varnish: but since my
design is to inform the ignorant and learning, it is reasonable and ne-
cessary in this place to insert it.

To choose Gum Lac, called Seed-Lac.

The best Seed-Lacc is that which is large-grained, bright, and
clearer, freest from dust, sticks, and dross. The Drugsters afford it at
several rates, proportionable to it goodness, generally for 14. 16.
18d. the pound.

To choose Gum Sandrick.

The best Gum-Sandrick is the largest and whitest, or that which
casts the least yellow. Let it be as free from dust or dross as you
can. The value of it is commonly 12 or 14d. the pound.

To choose Gum Animae.

The whitest, clearest, and most transparent is the best, and the
price is sometimes 3, 4, or 5s. the pound, according to the goodness.

Venice-Turpentine.

The only directions that can be given for the choice of it are, that
the clearest, finest, and whitest is the best; and is sold at 18 or 20d.
the pound.

White Rosine.

The best white Rosine is white and clear, and purchased at 4d. or
6d. the pound.

Shell-Lacc.

The best Shell-Lacc is the most transparent, and thinnest, and that
which (if melted with a candle) will draw out in the longest and finest
hair (like melted wax) because the toughest. There are counter-
feits, which you must endeavour to discover by the aforementioned
rule. The true may be procured at 18d. or 2s. the pound.

Bole Armoniak.

The best Bole Armoniak is as fine as red Oker, and of a deep dark,
blackish-red colour, free from grittiness or gravel, and is commonly
called French-Bole.

Gum Arabick.

The best is clear, transparent, and white: you may pick it your
self from the Drugsters, but then you must pay for something more;
the common rate is 12d. the pound.

(4)

Gum Capall.

The best Capall is the whitest, freest from dross, and thick dark
stuff that is incorporated with the Gum. It is of it self a thick
whitish heavy Gum, and rarely without that dark and drossy mix-
ture; but that which is clearest and freest from the said stuff is the
best. The price is 12, 16, or 18d. the pound, according to the
goodness.

To choose Gum Elemni.

The best Gum Elemni is the hardest, whitest, and clearest, freest
from dross or dirt. It is brought over commonly in the bark or
husk of a Tree; which you may take off as well as you can before
you use it. The Shops can afford it at 4 or 5d. the ounce.

Rosine.

The best is the clear, and transparent, and clarified. It may be
had at 3d. the pound.

Isinglass.

The best Isinglass is that which is clearest, and whitest, freest
from yellowness. It is, if good, worth 3 or 4d. the ounce; you may
have it cheaper by the pound. The same may be observed by other
things; for the greater quantity you buy at a time, the cheaper
will your purchase be.

Gambogium.

The best is that of the brightest yellow, and freest from dross.
Some of it is dirty, thick, and full of dross: there is difference in
the price according to the goodness; the best is worth 6d. the
ounce.

To choose Benjamin, or Benzoine.

The best is that of a bright reddish colour, very like to clarified
Rosine, but never so fine, freest from dross or filth. Tis as in good-
ness 4d, 6d, or 8d, the ounce.

Dragons Blood

The best is the brightest red, and freest from dross. You may
buy it in drops (as the Drugsters call it) which is the best. They
are made up in a kind of leaf or husk: it is commonly 8d. some-
times 12d. the ounce, according to the goodness.

I have here given you an account of those things and Gums you
will have occasion for in Japanning and Varnishing, and are all to
be bought at the Drugsters at or neer the prizes I have specified;
and may serve to inform you in some measure of the Gums, their
excellencies and value, but time and practice will make greater dis-
coveries. Indeed grains of Allowance must be made for their dif-
ferent prizes; for their rise and fall depends upon the plenty or
scarcity of them, and varies according to the goodness of the com-
modity. It is not necessary to furnish your self with all, or any
part of these, but as you have occasion to make use of them: for of

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some an ounce will serve you a great while, of others a pound will
be used at one time; of which you will know more, as I shall have
occasion to treat of them in their order. I shall now proceed to
Metals, which I will also give you some account of; and first,

Of Brass-dust, which is commonly amongst the Artists called Gold-dust.

This cannot be made in England fit for use, though it hath often
been attempted, but comes from beyond Sea, as the rest of the
Metals do that are good. Germany is the place where the best of
all sorts is made.  The best Brass-dust is that which is finest, and
of the brightest and most gold-like colour; which you may best
discern, by taking a little on your finger, and squeezing it along
your finger with your thumb; and if it be good, it will look with a
bright and rich lustre, if bad, it will appear of a dull clayish colour,
and will never work lively and bright. Several sorts of this Me-
tal are imported here from foreign parts; which differ vastly as to
the coarsness and fineness, and the different ways of working them.
As for instance, the coarser sort will work well with Gold-size,
which will not with Gum-water; other differences will arise also,
which are subject to the discoveries of practice and experience.
From this difference of Metals proceeds that of the prizes; for
some are worth 12 or 14s. the ounce, whilst that others amount to
not above 4 or 5s. for the same quantity. But these are two ex-
tremes; the first very good, and the other altogether as vile and
bad; for there is a middle sort between both, which is generally
afforded, by those that buy of the Merchant, for 8 or 9s. the ounce,
which will work well.

To choose Silver-dust

Some have attempted to make Silver here in England, but none
I ever saw comparable to that beyond Sea; for that enjoys a lively
bright lustre like polished or new-coined silver (which you may
find by squeezing it between your finger and thumb) whereas that
which we make here is dull, dead, and heavy, and indeed is a fitter
representation of a Colour than a Metal; and by comparison you
may find, how the dimness of the counterfeit is obscured by the
dazzling lustre of the true. Its price is answerable to its goodness
and excellency, for its lowest rate is no less than 16s. the ounce.
But I would not have the price fright any one so far, as to prefer
cheaper before it, for tis neither so useful nor pleasant in the work,
and the best will go farther than this proportionable to its price.
Tis customary in Japan to use several sorts of Metals that are cor-
rupted and adulterate, and they are layed too in garments, flowers,
houses, and the like, which makes the work look more beautiful and
surprizing: these likewise are vended and sold for the aforesaid use,
and are commonly called,

First, Green-gold,

Is a certain corrupted mettle, casting a kind of a dead greenish
colour, and is commonly sold at 6s. the ounce.

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Dirty-Gold

Is another kind of corrupted metal, which bears some resem-
blance to drossy dirty Gold: it may be purchased at 6s. the ounce.

Powder-Tinn

Is Tinn grinded to dust, of a dull, dark, though silverish colour;
made use of in Rocks, &c. Its price the same with the former.

Of Coppers

There are three sorts, Natural, Artificial, and Adulterate.

The Natural is ground without mixture, well cleansed, and is of
the true genuine color of Copper, and is sold at 6 or 7s. the ounce.

The Artificial accordingly exceeds the Natural; it is more deep
and red, but very clear, and its bright glittering colour shews how
far it is possible for Art to exceed Nature. Tis very rarely pro-
cured, or sold under 10s. the ounce.

The Adulterate Copper is of a thick, heavy, metallick colour,
and is commonly used to work other metals on, as if that be layed
for a Ground, you hatch or highten with bright gold, or other light
metal; and sold at 6s. the ounce.


There is also used in Japan-work metals, commonly called Spec-
kles, of divers sorts, as Gold, Silver, Copper, and many other co-
lours, some finer than other, and worked according to the fancy of
the Artist, either on Mouldings, the out or in-side of Boxes, Draw-
ers, &c.

Of these, those that are used in the Indian work, are the Gold,
Silver, and Copper, though, as aforesaid, every one may take their
own fancy or humor in the use of them.  They are made here in
England very well, and are sold each of them much at a price, 5 or
6 shillings the ounce, according as they are in fineness. So that
what I said concerning the rates of Gums, will hold here also,
That a glut or scarcity of these enhances or abates the price; but
generally these are exposed to sale at the rates I have affixed to each
of them. These are sold by great quantities by several Merchants
in London; and in lesser, by as many. I shall only mention two,
viz. a Gold-beater, at the hand and hammer in Long-acre; and an-
other of the same trade, over against Mercers-Chappel in Cheap-
side.

Having given you an account of Gums, and Metals, I shall brief-
ly run over the Colours, which formerly our ignorant English and
French Practitioners used to mix with their Japan-work, but im-
properly; for the true natural Japan-work, so called from the Island
of that name, did so far surpass all the painting of Bantam, and the
neighbouring places, in goodness of black and stateliness of draught,
that no fidling pretender could match or imitate it; and the igno-
rant undertaker not being able to make his work look well and

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lively, inserts several colours as a file to set it off, when (unfortu-
nate man) insteasd of art, fancy, and skill, he exposes a piece gay,
queint, gawdy, finical, and mean, the genuine product of ignorance
and presumption; and an ornament of Bartholomew, or Alehouse,
rather than a Palace or Exchange. The mistake of Bantam-work
for Japan, arose from hence: all work of this kind was by a general
name called Indian; by use they so far confounded all together,
that none but the skilful could rightly distinguish. This must be
alledged for the Bantam-work, that tis very pretty, and some are
more fond of it, and prefer it to the other, nay the work is equally
difficult with Japan: But if I must give you my opinion, my skill
and fancy induce me to believe, that Japan is more rich, grave,
and Majestick, and for that reason ought to be more highly esteem-
ed. But fancy, like Proteus, putting on a thousand shapes, can-
not, ought not, be confined; and those who are inclined to admire
colours, may find safe and exact rules set down by way of informa-
tion.

And first, some colours we call transparent; such as are those
we lay upon Silver, Gold, or some light colour, and then they ap-
ppear in their proper colours very beautiful and lively. Of these for
your use is first, Distilled Verdigreece, for a green; fine Lake for
a red, fine Smalt, for a blew. To render these useful, you must
observe the following method: having provided a Porphyr, or Mar-
ble stone, with a Muller, take what quantity of Verdigreece or
Smalt you please, and with Nut-oyl, so much as will just moisten
it fit to work, grind it up your stone till it be as fine or finer
than butter; then put them in shells, mixing them with Turpentine-
oyl till they be thin enough for your use; lay these upon silver,
gold, or any other light colour, and they will be transparent, and
alter their lightness or darkness according to the lightness or dark-
ness of the metals or colours you lay under them. The same may
you do with Lake for a red, only instead of Nut-oyl, use Drying
oyl to grind it in.

Other colours are used which have a body, and are layed on the
black of your table or box, where you have designed any thing, as
Flowers, Birds, &c. These are Vermillion for a red, White-lead for
a white; some use Flake-white for a white, which is a purer white,
and much better, but for ordinary work the other will do: if you
make a blew to lay upon your work, you must take Smalt, and
mixing it with Gum-Arabic-water put in what quantity of white-
lead you please, to make it deeper or lighter, as your fancy shall
direct; but you must put in white-lead, because your blew will
not otherwise have a body; so must you do with all colours that
have not a body of themselves. Some use Rozett, fine Lake, and
Sea-green, for a Purple, and other sorts of Reds and Greens: and in-
deed ways of working are very numerous, which being now out
of fashion, I should to no purpose both trouble you, and tire my
self, by increasing the number; those which I have mentioned are

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abundantly sufficient, for any that design to have something beside
gawdy colours in their work. Twill be convenient here to insert a
caution concerning these Colours; that they are all to be layed
with Gum-water, except the transparent ones above-mentioned:
and whosoever hath a mind to work, either in Gum-water, or Gold-
size, shall hereafter receive sufficient Instructions for both.

According to my promise I have in full treated of Gums, Me-
tals, and Colours; I shall now in full proceed to discover the me-
thods that are used to make Varnishes.

------------------------------------------------

CHAP. II.

How to make Varnishes

To make Seed-Lacc-Varnish.

TAke one gallon of good Spirit, and put it in as wide-mouthed a
bottle as you can procure; for when you shall afterwards
strain your varnish, the Gums in a narrow-mouthed bottle
may stick together and clog the mouth, so that it will be no easie
task to separate or get them out. To your spirits add one pound
and a half of the best Seed-lacc; let it stand the space of 24 hours,
or longer, for the Gum will be the better dissolved: observe to
shake it very well, and often, to keep the Gums from clogging or
caking together. When it hath stood its time, take another bot-
tle of the same bigness, or as many quart ones as will contain your
varnish; and your strainer of flannel made as aforesaid in this book,
fasten it to a tenter-hook against a wall, or some other place con-
venient for straining it, in such a posture, that the end of your
strainer may almost touch the bottom of your Tin-tunnel, which
is supposed to be fixed in the mouth of your empty bottle, on pur-
pose to receive your strained varnish. Then shake your varnish
well together, and pour or decant into your strainer as much as
conveniently it will hold, only be sure to leave room for your
hand, with which you must squeez out the varnish; and when the
bag by so doing is almost drawn dry, repeat it, till your strainer be-
ing almost full of the dregs of the Gums, shall (the moisture being
all pressed out) require it to be discharged of them: which faeces or
dregs are of no use, unless it be to burn, or fire your chimny. This
operation must be continued, till all your varnish is after this man-
ner strained; which done, commit it to your bottles close stopt,
and let it remain undisturbed for two or three days: then into an-
other clean empty bottle pour off very gently the top of your var-
nish, so long as you perceive it to run very clear, and no longer;
for as soon as you observe it to come thick, and muddy, you must
by all means desist: and again, give it time to rest and settle, which
'twill do in a day or two; after which time you may attempt to
draw off more of your fine varnish, and having so done you may

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lay it up, till your art and work shall call for its assistance. Tis
certain, that upon any emergency or urgent occasion yon may
make varnish in less time than 24 hours, and use it immediately,
but the other I recommend as the best and more commendable
way: besides, the varnish which you have from the top of the
bottles first pour'd off, is of extraordinary use to adorn your work,
and render it glossy and beautiful.

To make Shell-Lacc-varnish.

Whosoever designs a neat, glossy piece of work, must banish this
as unserviceable for and inconsistent with, the rarities of our Art.
But because tis commonly used by those that imploy themselves in
varnishing ordinary woods, as Olive, Walnut, and the like; tis re-
quisite that we give you directions for the composition of it, that
if your conveniency or fancy lead that way, you may be supplied
with materials for the performance.  Having therefore in readiness
one gallon of the the best Spirit, add to it one pound and a half of the
best Shell-Lacc. This mixture being well stirred and shaked toge-
ther, should stand about twenty four hours before tis strained: You
might have observed, that the former varnish had much sediment
and dregs; this on the contrary has none, for it wolly dissolves,
and is by consequence free from all dross or faeces; tis requite how-
ever to straing it, that the sticks and straws, which often are in the
Gum, may by this percolation be separated from the varnish. But
although this admits of no sediment, and in this case differs from
the aforementioned varnish, yet tis much inferior also to it in an-

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other respect; That this will never be fine, clear, and transparent,
and therefore 'twill be lost labour to endeavour, either by art or
industry, to make it so. This finall advantage however doth arise,
that you need not expect or tarry for the time of its perfection, for
the same minute that made it, made it fit for use. This, as I hin-
ted before, is a fit varnish for ordinary work that requires not a
polish; for though it may be polished, and look well for the pre-
sent, yet like a handsom Ladies beautiful face, it hath no security
against the injuries of time; for but a few days will reduce it to
its native mist and dulness.  Your common Varnish-dawbers fre-
quently use it, for tis doubly advantageous to them: having a
greater body than the Seed-Lacc, less labour and varnish goes to
the perfecting their work; which they carelessly slubber over, and
if it looks tolerably bright till tis sold, they matter not how dull
it looks afterward; and lucre only being designed, if they can com-
pass that, farewel credit and admiration. Poor insufficient Pre-
tenders, not able to make their work more apparent, or more last-
ing than their knavery!  And tis pretty to think, that that same
misty cloak will not cover the fraud and the impostor! that the first
should be a foil to the second and the dull foggy work serve
only to set off the knavish Artist in his most lively colours! But
to conclude, if which a pint of this varnish you mix two ounces or
more of Venice-turpentine, it will harden well, and be a varnish
good enough for the inside of Drawers, frames of Tables, Stan-pil-
lars, frames of Chairs, Stools, or the like. Painters, Lacker made
also with this varnish, and something a larger quantity of Tur-
pentine put to it, serves very well for lackering of Coaches, Houses,
Signs, or the like, and will gloss with very little heat, and, if occa-
sion be, without.

To make the best White-varnish.

I would desire the Reader to observe, that when any Drugs,
Gums, or Spirits are set down for the use and making of Varnish,
Lacker, or the like, though we do not to every particular write
the best of such a sort, yet that you should understand our meaning
to be such, when we do not particularly forbid the getting of buy-
ing of the Best; for tis irksom and tedious to every single drug to
affix the word Best: wherefore to avoid so needless a repetition,
I shall forbear mentioning it above once, either at the beginning or
end, as it shall seem most necessary. Besides, tis a very reasonable
supposition; for you must not expect to raise a Noble piece from
dross or rubbish; to erect a Louvre or Escurial with dirt or clay,
nor from a common Log to frame a Mercury. But to return to
our design of White-varnish: Being furnished with one pound of
the whitest Gum Sandrick, one ounce of the whitest Gum Mastic,
of the clearest Venice-Turpentine three ounces, one ounce and a
of Gum-Capal, of Gum-Elemni half an ounce, of Gum-Ben-
zoin or Benjamin the clearest half an ounce, one ounce and half of
the clearest Gum Animae, and of white Rosine half an ounce. The

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Gums thus separately and in their due quantities provided, each be-
ing the best and most excellent in its kind; I must desire you to ob-
serve carefully the following order in their mixture and dissolution.
Put the Capal and Rosine in a glass-vial, with half a pint of Spirits to
dissolve them: for the same end to another glass, containing three
quarters of a pint of Spirits, confine the Gum Animae, Benjamin,
and Venice-Turpentine. The Gum Sandrick and Mastick should
likewise enjoy the priviledg of a distinct bottle, and in it a pint and
half of Spirits, for their more effectual dissolution; and lastly, the
Gum Elemni by it self, content with one quarter of a pint of Spirits
to dissolve it. Tis not highly necessary to observe the quantities of
Spirits so exactly: but this in general I advise, that all your Spi-
rits exceed not three quarts. They must in this distinct manner be
dissolved, the better to extract the whole virtue of each Gum, and
prevent their clogging and caking together, which would much
hinder their being quickly or thoroughly dissolved. I must not for-
get further to acquaint you, that the Gum Animae and Benjamin
be very finely pounded and reduced to power, before they are
mixed with the Spirits; you may also bruise the Capal and Rosine,
as for the rest they may be used or put into the Spirit as you buy
them, without any alteration. Having thus carefully mixt 'em,
let them caress one another for two or three days, and make them
dance or change places, by shaking very briskly each bottle or vial
once in two hours for the first day; the remaining time shake them
at your own conveniency. Then take a bottle large and capacious
enough to hold all the varnish you have made, and through the fine
linnen Strainer (of which in the beginning) strain all your gums,
mixt as aforesaid; but squeez gently, and not with so close an hand
as was required for your Seed-Lacc: for by this easie percolation
you prevent the sandy, hard, gritty stuff passing through it into your
varnish. Some never strain it, but with great diligence pour it off
as long as twill run clear from each bottle. But if I may be a com-
petent Judg, this is not so good a way or so convenient, for these
reasons: You have not, first, so much varnish, neither can you
pour it off so clear and fine as you may be straining. Again, your
dregs being left in, by frequent use, will fill up your vessel, and the
fresh Gums will mix with the old, and slacken the melting of them,
all which our method disallows of, and keeps the bottles empty,
and fit for the same repeated use, without these inconveniences.
The varnish thus strained having stood three or four days, (the
longer the better,) pour of gently as much as will come very clear,
reserving the thick and muddy part at the bottom, for ordinary
uses; as mixing with other varnish for black work, or to gloss
the in-side of boxes, as we shall hereafter more full discover.

To make a White-varnish much inferior to the former.

This is made out of two distinct Varnishes, the one Sandrick,
the other of Mastick; of both which take the following account.

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Having provided three quarters of a pound of gum Sandrick, mix
it with two quarts of Spirits, and having been well shaken, and
stood for about two days, decant or strain it into another bottle, and
reserve it for use. Take also of clean pickt Mastick the same pro-
portion, to an equal quantity of Spirit with the former, and in eve-
ry particular observe the rules for making the Sandrick, as to fet-
ling, shaking, decanting, and straining it.

Now when you design to varnish a print or any thing else with
this varnish, your usual proportion for mixing them, is to add a
double part of gum Mastick to a single part of gum Sandrick. As
for instance: suppose the work would take up or consume three
quarters of a pint of varnish; then by the foregoing rule you must
put half a pint of Mastick to a quarter of a pint of Sandrick-var-
nish, and so accordingly in a lesser or greater quanity. And we
think fit to make these varnishes severally, and so mix them, that
we may have our varnish answer to our desires in softness or hard-
ness. Now when you have set by your work for two days, you
may try its qualities, if, by pressing your warm finger on it, you
leave your print behind you, tis a sign that it too soft, and a wash
or two of the Sandrick will harden it: if it not only resist your
touch, but hath some streaks, flaws, or cracks, like scratches, some-
times more or less, you may be sure tis too hard, and it must be re-
medied by a wash or two or your Mastick-varnish. Some usually
dissolve these gums together, and others mix them before hand, and
by so doing are not certain how their varnish will succeed; for it
often happens, that some parts of [such] gum are softer than others,
and so the contrary. Should therefore a varnished prove too
soft, or hard, this way cannot remedy it; for to wash it again with
the same, is only a repetition of the former miscarriage. These
things being premised, I need not infer which way will prove the
most rational, certain, and satisfactory.

To make Varnish, that shall secure your Draught, whether Gold-work, or Colour, from
the injuries of Tarnishing, and will give it a gloss.

Before we come to the Varnish, tis requisite to acquaint you
with the manner of preparing Turpentine, which is the chiefest in-
gredient. Take then of a good Venice-turpentine as much as you
please, inclose it in a Pipkin that will hold double the quantity that
you put in. Having prepared a fire that will never flame out, but
burn gently and clearly, set your pot over it, but be cautious
it boil not over, thereby to prevent the firing your Turpentine and
your Chimny. To this gentle boiling motion caused by the fire
you must join another, and with a stick very often stir it, until you
find tis rendred fit for use; which you may discover, by dopping
a little of it on the ground; for when tis cold, it will crumble to
powder between your fingers, if it be sufficiently boiled; and when
tis brought to this pass, nothing remains but that you let it cool,
and preserve it for the the following composition.

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Your Securing-varnish requires a quarter of a pint of the finest
Seed-Lacc-varnish, (which is always the top of it,) and one ounce
of this boiled Turpentine finely powdered; they must both shut
up close prisoners in a double glass-vial or bottle, capacious enough
to contain a double quantity; which being stopt close, may be
plac'd over a very gentle fire, that it may leisurely hear, thereby
to forestall the danger of breaking, the glass, which it is certainly
past when tis exceeding hot; and in this condition keep it for some
time, simpering and smiling: then take it off, and give it vent by
unstopping; so done, return the stopple shaking it well, and place
it on the fire again, never discontinuing the operation; but repeat
the foresaid method, till such time as your Turpentine shall be so
far dissolved, that the bigness of a large Pea shall only remain visi-
ble; for that being the dross and indissoluble part, will not endure
to be incorporated. Being arrived to this degree, remove your
Varnish, afford it two day to cool and settle; and vouchsafe the
clearer part fresh lodgings in a clean bottle, that may entertain and
keep it for your future designs.

Now whatsoever you propose to be by this varnish secured, if
convenience will allow, should be destined to a warm place, that it
may dry the sooner; if you cannot admit of it, then give it the
space of half an hour to dry between every wash; however it will
gloss either way. Then take a Pencil, for great work large, and so
the contrary, proportionable to your draught: with this Pencil
dipt in the varnish, secure it, that is, pass it over, leaf by leaf, and
sprig by sprig, not omitting to give your Rocks, Figures, &c, the
like entertainment; but be sure above all, that your steddy hand
never trespass upon the least part of your black or ground-work.
Having run over all you draught thus, three or four times, for oft-
ner may spoil the colour of your metal, you may rest satisfied that
your undertaking (whether of Gum-water, or Gold-size) is armed
against all injuries and Tarnish; and, if performed Artist-like, adds
to the native lustre of the metals, with an artificial gloss more
bright, durable, and surprizing.

To secure your whole piece, both Draught and Ground-work, whereby it may endure polish-
ing, and obtain a Gloss all over, like some of the Indian performances

Here also, as in the last, your patience must be desir'd, and before
we open our Scenes, think it reasonable to give you a survey of
those passages which must be transacted in the Tiring-room or
Shop, before the Actors and Operators appear on the Stage. That
necessary and serviceable friend, Venice-Turpentine, here also gives
his attendance: who in the quantity of one pound, to three pints
of water, takes up his lodging in a clean, earthen, Pipkin, almost as
large again as the Inhabitants. These Guests so disposed of, with
their house of clay the Pipkin, place over a gentle fire, and by de-
grees warm them, till they being pleased with their habitation be-
gin to simper, and dance a little; then do you promote their pa-

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time by stirring with a stick, (as in the last Chapter you were di-
rected.) But if they finding the place too hot for them, should
endeavour to escape by boiling over, which you'l soon discouver by
the rout and bustle, and rising of the water; release them, not
from the Vessels but fix the Pipkin in a cooler place; yet so, that
they may always dance, and boil leisurely. If you find that a lit-
tle of this Liquor being pour'd on the ground, if cold, is willing
by your fingers to be reduced to powder, you may conclude that
the operation has succeeded well, and ought now to be concluded.
Having stood long enough to loose it acquired heat, and will suf-
fer you to handle it; part these fellow-sufferers, by taking the
Venice-Turpentine into your wet hands, and therewith squeez
from it its friend the water, as clean as possibly; roll it into fine
powder, and in a fit place set it to dry, but not too near the fire,
which will melt it; and lastly imprison it in a Gallipot.

This Operation is just like the former; but the two Turpentines
are at variance, and differ in their colours; for this is as white
as Paper, the other, in the last Chapter, as yellow as Amber: You
must, therefore of necessity judge this most excellent for the present
use; although tis more often to be washt with it, before it will
endure and acquire a glittering Polish.

Having advanced thus far, let us now proceed to compose the
Varnish, by joining one ounce of this powder'd Turpentine to half
a pint of Seed-Lacc-varnish, in a bottle twice as large as the things
you put in, close stopt. When it has stood some small time on an
easie fire, take it off, unstop, and shake it: be sure to do so, until
the Turpentine be dissolved to the bigness of a large Pea; and after
two days have both cool'd and settled it, decant and separate the
clearest, which is now in readiness for your work. Your piece
therefore lying before you drawn and finished, waiting for security
against all damages, fortifie after this manner. Take a neat, clean,
varnish-Pencil, large or small, as your work is in its Area, surface
and breadth; for a large Table or Box requires a great Pencil, and
so the contrary. this pencil being dipt into a Gallipot, wherein
you have poured some of the said varnish, which will incur this incon-
venience, That 'twill lie thick and rough in some places, whereas
a smooth and even superficies is its greatest beauty. This, with-
out any distinction, must wash over your whole work, both draught
and ground: And you must do it five or six times, as you see the
gold and metals keepp their colour, gently warming and thoroughly
drying it between every wash; and indeed it must be but just
warm, for if more, 'twill ruine all your labour. Having observed
these rules, as also that it must by all means be evenly and smooth-
ly done; let it have rest for three or four days before you attempt

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any thing further upon it. After this time is past, provide some
Tripole, scraped with a piece of glass, and a fine rag, which dipt
in a bason of water, and some powder of the same Tripole being
lickt up by the said cloth, therewith in a moderate way, neither
too hard or too soft, rub and stroke, until it becomes smooth and
glossy; but if it should come so near your gold or draught as to
molest and displace it, utterly desist, and rub no more there, but
let your chief aim be to render your ground or black, bright and
smooth, for there your wavings and uneveness will be most dis-
cernable. Now to fetch of the Tripolee, take the softest Spunge
soak'd in water, and with it wash it off, and a clean cloth or rag
to dry and free it from all the Tripolee that remains. But because
this will not free the crevices and fine lines from it, mingle a little
oyl with a like quantity of Lamblack and grease your Table all
over with the same: now to fetch off this too, labour and rub
with a fine cloath, until your Lamblack and Oyl vanish and dis-
appear. To conclude this tedious business; Take one fine clean
rag more, and therewith rub and stroak until a gloss is acquired,
and that it glissen and reflect your face like a Mirror or Looking-
glass.

I suppose by this time it is apparent, what trouble, pains, care,
and accuracy; accompany our Undertakings; and if to these you
prefix the Skill, Fancy, and fine Hand of the Artist; I say all these
must enhance, and set an high price upon good Japan-work.

These instructions for composings Varnishes, the must needful
aud best for all works of this kind, being thus fully laid down; it
will be no ways prejudicial to give some Rules, which must be most
strictly observed in all sorts of Varnishing, and to inform you how
you may employ these Varnishes about other Woods; or to lay
Blacks, and other colours, which are much in vogue with us and
the Indians. We grant, it is not a part of Japan-work properly,
but rather foreign to that design, but its universal benefit will a-
bundantly compensate for that pretence, and the knowledge of it
cannot certainly prove burthensome to any: But to those especially
it is advantageous, who living in the Country remote from Artists,
cannot without great trouble move or alter any thing they have
by them, unless assisted by this our information.

---------------------------------------

CHAP. III.

General Rules to be diligently observed in all manner of
Varnishing.

I am very sollicitous that your Work should succeed, and there-
fore take all imaginable care to guide you, so that you cannot
possibly miscarry; and in order thereunto shall propose Rules and

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general cautions, which I desire you would have always in mind,
and call them to your assistance in all your undertakings.

1. Therefore let your wood which you intend to varnish be
close-grained, exempt and free from all knots and greasiness, very
smooth, clean, and well rush't.

2. Lay all your Colours and Blacks exquisitely even and smooth;
and where ever mole-hills and knobs, asperities and roughness in
colours or varnish offer to appear, with your Rush sweep them off,
and tell them their room is more acceptable to you than their com-
pany. If this ill usage will not terrifie them, or make them
avoid your work, given them no better entertainment than you
did before, but maintain your former severity, and with your
Rush whip them off, as often as they molest you.

3. Keep your work always warm, by no means hot, which will
certainly blister or crack it; and if that mischance through inad-
vertency should happen, tis next to irreparable, and nothing less
than scraping off all the varnish can rectifie the miscarriage.

4. Let your work be thoroughly dry, after every distinct wash;
for neglect in this point introduces the fault again, of which we
warned you in the second rule, That your varnish should not be
rough and knobby.

5. Let your work lie by and rest, as long your convenience
will admit, after tis varnished; for the better will your endeavours
prove, the longer it stands after this operation.

6. Be mindful to begin your varnishing stroak in the middle of
the table or box that you have provided for that work, and not in
full length from one end to the other; so that your brush being
planted in the middle of your board, strike it to one end; then tak-
ing it off, fix it to the place you began at, and draw or extend it
to the other end; so must you do till the whole plane or content
be varnished over. We have reasons too for this caution, which
if neglected, has several faults and prejudices attending it; for if
you should undertake at one stroak to move your Pencil from end
to end, it would so happen that you would overlap the edges and
mouldings of your box; this overlapping is, when you see the var-
nish lie in drops and splashes, not laid by your brush, but caused by
your brushes being at the beginning of the stroal overcharg'd and
too full of varnish, and therefore we advise you to stroke your pen-
cil once or twice againsts the sides of the Gallipot, to obstruct and
hinder this superfluity; small experience will discover these mi-
stakes.

7. When you come to polish, let your Tripolee be scraped with
glass or a knife: for fine work your rags must be fine, and your
Tripolee too delicately small, and powder-like; and so for common
work, coarse linnen, and coarser Tripolee with be very serviceable:
let your hand be moderately hard, but very even, in all your po-
lishing stroaks; and remember to polish and brighten one place, as
much as for that time you intend to do, before you forsake it, and
pass over to another.  For

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8. Remember never to polish your work as smooth as you in-
tend at one time, but let it rest two or three days if you can after
the first polishing, and then give it the finishing and concluding
stroak. Be circumspect likewise that you come not near the
wood, to make your piece look thin, hungry, and threadbare:
should you therefore injure your workmanship after this manner,
it will demand another varnishing for satisfaction and reparation.

9. Take a large quantity of Tripolee at the first polishing, till it
begins to become smooth; afterwards, a very small parcel will suf-
fice.  Circumspectly examin your Tripolee and clout, least some
mischievous, unwelcom gravel, grittiness, or grating part, una-
wares steal in, and rase or scratch your work; it will prove no ea-
sie matter to hide the flaw and damage: and if ever it should so
happen, you must retrieve your negligence by your labour, and
with your cloath wrapt about your forefinger polish the faulty
place until you have brought it to a good understanding and even-
ness with the rest of the piece, and the wounded part to be no more
visible.

10. When you resolve to clear up your work, and put it in its
best apparel, remove and wash off your Tripolee with a Spunge and
water: drink up that water with dry linnen, and with oyl mixt
with Lamblack anoint the whole face of your work; let no corner
or moulding escape, for this will totally free your piece from the
lurking Tripolee. Now tis time that these should withdraw, and
as they turned out the Tripolee, so must a clean linnen rag dis-
place them, and put them to shift for new quarters; and then
with anothor clean, very fine, soft, dry cloath, rub it all over;
spare no place, or pains, but salute it all with a nimble, quick stroak,
and as hard an hand, and the fruits of your industry will be a daz-
ling lustre, and an incomparable gloss.

Lastly, for white-work, be kind and gentle to it, let your hand
be light and even, and your skill in polishing it neat and curious;
and observe, that when tis to be cleared up, you must not pollute
and dawb it with Lamblack, but oblige it with oyl and fine flower
instead thereof.

To conclude, let this Chapter be well studied, and remember,
that without it you cannot regularly or safely perform the task:
This is the Common-place-book, to which I shall continually re-
fer you; and if you will prove negligent and remiss in this this parti-
cular, I shall prophesie, that nothing can so infallibly attend you
as Error and Disappointment.

-------------------------------------------------

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CHAP. IV.

Of varnishing WOODS without Colour.

To varnish Olive-wood.

What remains then, but that from Precept we proceed to
Practice, that from mean and ordinary endeavours we
successively rise to the excellence and perfection of this Art. To
begin with Olive-wood, which for Tables, Stands, Cabinets, &c,
has been highly in request amongst us; that which is cleanly
workt off, void of flaws, cracks, and asperities, is a fit subject for
our skill to be exercised in. Having rushed it all over diligently,
set it by a weak fire, or some place where it may receive heat;
and in this warm condition, wash it over ten or twelve times
with Seed-Lacc-varnish, that remained after you had poured off
the top for a better use, with a pencil proportioned to the bigness
of your Table or Stand, or the like; let it thoroughly dry between
every wash; and if any roughness come in fight, rush 'em off as
fast as you meet with them. After all this, welcome it with your
Rush until tis smooth, and when very dry, anoint it six several
times with the top or finest part of the aforesaid Seed-Lacc-varnish.
After three days standing call for Tripolee scraped with a knife;
and with a cloth, dipt first in water, then in powdered Tripolee,
polish and rub it till it acquire a smoothness and gloss: but be cir-
cumspect and shie of rubbing too much, which will fret and wear
off the varnish, that cannot easily be repair'd: If when you have
labour'd for some time, you use the rag often wetted, without Tri-
polee, you will obtain the better gloss. Then wipe of your Tripo-
lee with a spunge full of water, the water with a dry rag; grease
it with Lamblack and Oyl all over; wipe off that with a cloth, and
clear it up with another, as I have most fully shewed in the last
Chapter, to which I refer you. If after all this pains your work
look dull, and your varnish misty, which polishing before tis dry,
and damp weather will effect; give it a light polish, clear it up,
and that will restore its pristine beauty: If you have been too nig-
gardly of your varnish, and there is not enough to bear and endure
a polish, use again your finest Seed-Lacc, and afford it four or five
washes more; after two days quietness polish and clear it up.
Should anyone desire to keep the true natural, and genuine colour
of the wood, I council him to employ the white-varnish formerly
mentioned, as every where answerable to his purpose; for this be-
ing of a reddish tawny colour, and so often washed with it, must
necessarily heighten and increase the natural one of the Olive.

To varnish Walnut-wood.

To avoid a tedious and troublesom repetition or tautology, I
shall refer you to the last Chapter, and desire you to observe the

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same method exactly for varnishing Walnut, that I gave you for
Olive. And farther take notice, that those Rules will hold good
also for all sorts of wood, that are of a close, smooth grain, such are
Yew, Box, the Lime-tree, and Pear-tree, &c. Thus much may
suffice for varnishing woods without colour; we pass over from
hence to treat of the adorning woods with colour, and of each in
its order.

----------------------------------------------------

CHAP. V.

Of varnishing WOODS with Colour.

Of Black Varnishing or Japan.

BLack varnishing is done in imitation of Japan-work; and be-
cause the making this very good is a great ornament to the
whole undertaking, I shall give you the best account I can possi-
bly for the making it. Having provided wood, close-grained, and
well wrought off, rush it smooth, and keep it warm by a fire, or in
some hot place; but be always cautious, that whilst you varnish,
you suffer not the piece to take the eye of the fire, that is, come
so near it as to burn, scorch, or blister your work, which is an un-
pardonable fault, and remedied no other way when committed but
by scraping off the varnish, as I hinted in the Chapter of Rules
and Directions. Those that make it their trade, generally work in
a Stove, which is beyond all dispute the best and safest way; and I
would advise those, who intend to make it their imployment, to
use no other; because it gives an even and moderate heat to all
parts of the room: but those who for pleasure, fancy, and diver-
sion only, practice; for them I say, a great fire in a close, warm
chamber, may perform it as well.  In the next place, pour some of
the thickest Seed-Lacc-varnish into a Gallipot, adding to it as much
Lamblack as will at the first wash blacken and discolor the work;
the Colour-shops furnish you with it for 2d, 4d, or 6d the barrel,
whose price is equal to its bigness: With this varnish and black
mixt togeter varnish over your thing three times, permitting it
to dry thoroughly between every turn. After this, take more of
the Lac-varnish, and mix with it Lampblack to the same degree of
thickness with the former. This is the only black for this business,
I prefer it before Ivory, (tho some differ with me on this point;)
this is a fine, soft, and a very deep black, and agrees best with the
varnish; how you shall make it, I will in the next Section direct
you.  With this black composition wash it over three times, be-
tween each of them rushing it smooth, and suffering it cleaverly to
dry. Then with a quarter of a pint of the thickest Seed-Lacc, mix
of Venice Turpentine the bigness of a walnut, and shake them to-
gether until it is dissolved, and observe this proportion in less or
greater quantities. Now put in Lamp-black enough to colour it,

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and no more, and with this wash it six times, letting it stand 12
hours between the three first and the three last washings. Having
thus cloathed the piece with ordinary varnish as with a common
under-garment, we now intend to put on its gayest apparrel, and
cover it all over with the top and finest of the Seed-Lac-varnish,
which must also be just coloured and tinged with the Lamp-black:
twelve times must it be varnished with this, standing as many
hours between the six first and the six last washings, with this ne-
ver to be forgotten caution, That they stand till they are dried be-
tween every distinct varnishing. After all this give it rest for five
or six days before you attempt to polish it; that time being ex-
pired, take water and Tripolee, and polish it according to the dire-
ctions I have assigned and taught you in the Chapter for Olive-
wood: but however take along with you this further remark,
That you allow three times distinct from each other for polishing;
for the first, labour at it till tis almost smooth, and let it stand still
two days; the next time, polish till it is very near enough and suffi-
cient: lay it aside them for five or six days; after which, lastly,
polish off, and clear it up as you were before instructed. Follow-
ing this course, I have, I will assure you, made as good, as glossy,
and beautiful a Black, as ever was wrought by an English hand,
and to all appearance it was no way inferior to the Indian.

I promised to detect and lay open the whole Art, and do resolve
by no means to fall short of my engagement. I intend therefore
to pleasure you with another way to make good Black, and having
variety you may take your choice, and try either, as your fancy
or Genius is inclined. I must confess, I have made excellent good
black this way too, and such as in all respects would match and
parallel the foregoing. Lay your blacks as before, and take of the
best Seed-Lac-varnish, and the White-varnish, (I mean the first
White that I taught you to make in this Book) an equal quantity,
and vouchsafe to give it a tincture only of your Lamp or Ivory-
black; wash your work with it six or eight times, let it stand the
space of a day or two, and dry between every turn; then repeat it
four or five times more, keeping it but just warm, and having rest-
ed a day or so, annoint it as often with the fine Seed-Lac-varnish on-
ly. To conclude, in a weeks time, after all this has been done, it
will be dry enough to polish, and not before, which you may then
do, and clear it up. You will observe, that your glossy perfor-
mances after some little time may happen to wax dull, misty, and
heavy; which a slight polish will remedy, with clearing it up af-
terward. Now the causes of this disappointment are two; either
first, your varnish is not reasonably well dried, or it has not a suffi-
cient body of varnish; both these occasion it to mist, and, as it
were, to purl. Tis no hard task to distinguish them: if the for-
mer is in fault, it will appear dull, but of a full body, and smooth;
if the latter, the work will look hungry, and so bare, that you may
almost, if not quite, see the very grain of the wood through your

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varnish. This last fault is mended by five or six washes more of
your fine Seed-Lacc; the other is assisted by frequent polishings,
with discretion. One Memorandum I had almost passed over in
silence, which I presume I have not any where mentioned; You
must look upon it as a necessary remark, and by no means to be
omitted, and this it is; To be industriously careful, in laying on
your colours and varnish, never to strike your pencil twice over
the same place, for it will make your varnish or colours lie rough
and ugly: but let every stroke anoint a place not washt before, car-
rying a steady, quick, and even hand; beginning at the middle of
the table, and so conveying your brush to either end, until the
whole surface has been passed over. Perhaps I have here spoken
the same thing over and over again; in justification whereof, I al-
ledge what Seneca did to those, who objected that he was guilty of
tautologie, and repetition; "I only (says he) inculcate often the
" same precepts to those who commit and react the same vices:
This is my cafe; if you charge me with that fault, my plea is his;
I often admonish you, and insert many cautions which refer to the
same error, and apply 'em to those who are subject to frequent mis-
carriages.

To make Lamp-black.

Being furnished with a Lamp that has three or four Spouts, for
as many lights and cotton-week, which you may have at the Tal-
low-chandlers, twisted up so big that it will but just go into the
nose of your Spouts; for the greater light they make, the larger
quantity of black is afforded.  Procure a quart of Oyl, by the Oyl-
shops rated at 6d. and so much will make black enough to use about
a large Cabinet. Get a thing to receive your black in, such in
shape and substance as you may often see is planted over a candle
to keep the flame and smoak from the roof or ceiling of a room.
Having placed your weecks in their proper apartment, and put in
the oyl, fire or light 'em, and fix your receiver over them so close,
that the flame may almost touch them.  After it has continued so
the space of half an hour, take off your receiver, and with a feature
strike and sweep off all the black on it. Snuff your weecks, and put
it on again, but forget not to supply your Lamp with oyl, as often
as occasion shall require; and when you imagine more black is
stuck to the receiver, do as before directed: and thus continue and
persevere, until you have obtained black enough, or that all your
oyl is burnt up and exhausted. This is that which is properly
called Lamp-black, and is of excellent use for black varnish.

White Varnishing or Japan.

You cannot be over-nice and curious in making white Japan; no-
thing must be used that will either soil or pollute it, in laying on
the colour, or in varnishing. Your first necessary therefore is Isin-
glass-size, (to make which the next Section shall instruct you;)

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scrape into it as much whiting, as will make it of a reasonable
thickness and consistence; or so long, till by a stroak with your
pencil dipt into it, it will whiten the body which your brush has
passed over; your own discretion is the best guide. Suffer it not
to be in extreams, either too think or too thin; but with your
brush, made of the softest Hogs-hair, mix and incorporate very
well the whiting with your size. This being prepared, whiten
your work once over with it, and having stood till tis thoroughly
dry, do it all over again; and when dry, repeat it a third time:
after which let it stand twelve hours, but be sure to cover and de-
fend it from dust before tis varnish't. Take then some rushs;
rush it as smooth and as close to the wood as you can conveniently.
This done, procure some white flake, with which the Colour-shops
can furnish you; mix it too with your size only, that it may lie
with a full, fair body on your piece. With this, three several
times whiten your work, giving it sufficient time to dry between
each of them; then rush is extraordinarily smooth, but be not
now so bold as you were before; adventure not to come near the
wood, but by all means keep your distance.  These two sorts of
white being used, we charge you with a third, and that is, white
Starch, boiled in fair water, until it come to be somewhat thick,
and with it almost blood-warm wash over the whole, twice; never
forgetting that it should dry between every turn. After 24 hours
rest, take the finest of your white-varnish, and with a pencil (first
washed in spirit to clean it from dust) anoint or varnish your work
six or seven times, and after a day or two do the like again. These
two fits of varnishing, if done with a fine careful hand, will give it
a better gloss than if it were polish't; if not so accurately perform-
ed, tis requisite to polish it; and in order thereunto, you must be-
stow five or six washes of varnishing more than to the former: so
that if tis done so well, that it stands not in need of a polish, two
turns of varnishing will suffice; but if it must be polish't, three are
absolutely required, besides a weeks rest before you begin polish-
ing. Care and neatness should attend this operation from one end
to the other; for in polishing, your Linnen and Tripolee must be
both of the finest; your hand light and gentle, your cloth neither
too wet, or too dry; and when you clear it up, and give it the fi-
nishing, concluding stroak, fine flower and oyl must be admitted to
the performance, but Lamp-back utterly laid aside and excluded.

To make Isinglass-Size.

Take an ounce of Isinglass, divided or broke into small pieces;
let it stand in a clean Pipkin, accompanied with a pint and a half of
fair water, for twelve hours together. Place the vessel in a gen-
tle fire, suffer it to boil mighty leisurely, and continue smiling and
simpering, till it is wholly consumed and dissolved in the water.
After the water it self is wasted and boiled away to a pint or less,
remove it, and let it stand in a convenient place to cool. This when

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cold will turn to a Jelly, which we call Isinglass-size. You are
advised to make no more than what will serve your present occa-
sions, for two or three days will totally deprive it of its strength
and virtue. Tis of great use, not only in the foregoing white-var-
nish, but several other things, hereafter to be mentioned.

To make Blew-Japan.

This task calls for several ingredients, and those too diversly
prepared, before they can be admitted to the composition. In the
front white-lead appears, which must be ground with Gum-water
very finely on a Marble-stone. The next in rank is some of the
best and finest Smalt, (to be met with in the Colour-shops,) which
you must mix with Isinglass-size; adding, of your white-lead so
grinded, a quantity proportionable to the Blew you intermix
with 'em, or as you would have it be in strength of body. All these
well stirred and temper'd together, being arrived to the consistence
and thickness of common Paint, wash over your work with it,
and, when perfectly dry, do the like three or four times, until you
observe your Blew lies with a good fair body; if it should so fall
out, that the Blew should be too pale and weak, put more Smalt,
and no white-lead into your size. Having rush't it very
smooth, strike it over again with this stronger Blew: soon after,
yet not till it is very dry, with a clean pencil give it, at two seve-
ral times, as many washing with the clearest Isinglass-size alone;
and lay it aside for two days carefully covered, to preserve it from
dust: The same diligence forget not in making White-Japan,
which does as absolutely require a covering, until either of them
is secured by a proper mantle of their own, varnish, which is suf-
ficient to guard 'em against all injuries of dust or dirt.  But to pro-
ceed: When you have warmed it by the fire, imploy again your
cleanest pencil, dipt in a small portion of white-varnish, anointing
your work seven or eight times: desist them for one day or two,
after which wash it again as often as before. Lay it aside for the
same space of time, which being expired, repeat your washes the
third and last time, as often as formerly. So many operations
certainly deserve some leisure minuts, and a week at least must be
pass'd over, before you dare presume to polish it. When that is
done, with Lamblack and oyl clear it up, and lend it a glissening,
smooth, and pleasant countenance. Observe, that your Blews be-
ing more deep and dark, thin or pale, depends wholly upon the
different quantities of white-lead, that are mixt with the Smalt af-
the first washes: for as a small proportion of Lead introduces
the first, so a greater plenty occasions the latter.

Let this serve for a general caution in laying either Blews,
White, or any other colours with Isinglass-size; Let it not be
too strong, but rather on the contrary very weak, but just suffici-
ent to bind your colours, or make them stick on your work: for if
it be otherwise, it will be apt to crack and flie off. But last of all,

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when you lay or wash with clear Isinglass, to keep you var-
nish from soaking into, or tarnishing your colours, then let it
be of a strong and full body.

To make Gum-water.

Hardly any can be ignorant of the making of this; tis very
common, and easie, and the composition consists of two bodies on-
ly. In three quarters of a pint of fair water dissolve one ounce of
the whitest Gum-Arabick, carefully and cleanly picked: If you
keep stirring and shaking it, the sooner 'twill be dissolved; which
done, strain it through a fine Holland-rag into a bottle, and if you
want it, use it.

To make Red-Japan.

This beautiful colour is made several ways, and we want not
drugs and mixtures to vary the different Reds, and humour all fanc-
cies whatsoever. I shall confine their variety to three heads:
1. The common usual Red; 2. the deep, dark; and lastly, the light,
pale Red. Of these in their order.

In contriving the first, Vermilion deservedly claims the chief
place: Tis mixt with common size by some, by others, with the
thickest of Seed-Lacc. The last I judge most fit and useful, for this
reason; because it will not then break off in polishing, as that mixt
with size frequently does: neither is it more chargeable, seeing it
helps better to bear the body of varnish that shall be spread over it;
Your mixture should keep a medium between thick and thin; tis
difficult, and almost impossible to align exact Rules for mingling
your Colours, in general we tell you between both extremes; small
practice and experience will master this seeming difficulty. Your
work being ready and warm, produce your Vermilion well mixt
with the varnish, and salute it four times with it; then allow it
time to dry, and if your Reds be full, and in a good body to your
liking, rush it very smooth: so done, wash it eight times with the
ordinary Seed-Lac-varnish, and grant it a repose for twelve hours;
then rush it again, though slightly, to make it look smooth. And
lastly, for a fine outward covering bestow eight or ten washes of
your best Seed-Lacc-varnish upon it: and having laid it by for five
or six days bring it forth to polish, and clear it up with Oyl and
Lamblack.

The next in succession to be discours'd on is the dark, deep Red.
When you have laid on your common Red as before directed, take
Dragons-blood, reduce it to a very small dust or powder, and as
your judgment and fancy are inclined, mix it, a little at a time,
with your varnish; and indeed you will find, that a very small
portion will extreamly heighten your colour, as also that every
wash will render it deeper; but when you find it has acquired a
colour almost as deep as you design, forbear, for you must remem-
ber you have more varnish of Seed-Lacc to lay on, which will add
and supply what is wanting. Consider therefore how many washes

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are still to be laid, and according to that use your Sanguis Draconis,
or Dragons-blood. This performance differs no way from the for-
mer, but must be managed by those rules given for polishing and
clearing the other Red, the Sanguis only excepted.

But in the third place, to oblige any person that is an admirer
of a pale Red, we assign these instructions. Take white-lead fine-
ly ground with your Muller on the Marble-stone, you must grind
it dry; mix it with your vermilion till it becomes paler than you
would have it, for the varnish will heighten it: stir therefore ver-
milion, white-lead, and varnish together very briskly; which done,
give your work four washes, and then follow closely the prescrip-
tions laid down for the first Red varnish. You must in the forego-
ing mixture consult with your self, how many times you are to
varnish after the Red is laid; for if many, consider how they will
increase and heighten the colour, which for that reason must be
paler, and have a more large portion of white-lead allotted it. By
these means we have opened a spatious field, we have discovered
the very nature of the thing; our Art has been freely displayed, and
we have been neither penurious or niggardly in our communicati-
ons: What admirable Products may we expect, when a lively and
unlimited fancie is exercised in an Art that is equally boundless and
unconfined.

To lay or make Chesnut-colour-Japan.

This colour is now very much used, and of great esteem, especi-
ally for Coaches; I have also made other things, as Tables, Stands,
and Looking-glass-frames. I must of necessity declare, that it sets
off Gold and Metals well: and because variety in every thing that
is new is acceptable, but chiefly to the ingenious Gentry, for whom
these pages are intended, I could not in silence pass this colour
over.

The things that make up this colour are Indian Red, or else
Brown red Oaker, which will serve as well: of either, what quan-
tity you imagine will serve your turn, and with a Muller or Mar-
ble-stone grind it, mixed with ordinary size, as fine as butter. From
thence traslate it to a pottinger; then take a little white-lead,
and labouriously grind it after the former manner, and with the same
size: In the third place, have Lamblack ready by you; mix this
and the white-lead with the Indian Read or Oaker in the pottinger;
stirring and incorporating them together.  If the colour produced
by these three be too bright, darken it with Lamblack; if too dark
and sad, assist it with white-lead; this do, until you have master-
ed the colour you wish for. One  thing here commands your me-
mory and observation; The same colour exactly which you make
when tis thus mixt and wet, will also arise when tis varnished, al-
though when tis laid and dry, twill look otherwise. Now when
the colours are thus managed in the pottinger, set it over a gentle
fire, put to it so much common size as will give it a fit temper to
work, (neither too thick, or too thin.)  Being thus qualified for

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business, call for a fine proportionable Hogs-hair brush, with it
was over smoothly your piece; let it dry, and repeat until your
colour lie full and fair.  Again, give it a drying time, and rush it
smooth, but by no means close to the wood, unless you intend to
begin your work anew, and varnish it a second time. After a days
rest, adorn it with three or four washes of the fine Seed-Lacc-var-
nish; when that is also dried on, varnish it up to a body, fit to re-
ceive a polish, with your white varnish. To conclude, its due and
necessary time being spent, polish and clear it up with Lamblack
and Oyl.

To make an Olive-colour.

This performance is every way answerable to the former; only
instead of those put English Pinck: grind it with common size, and
when it has attained the consistence of butter, convey it to a pot-
tinger, and there Lamblack and White-lead mixt with it produce
the Oliver-colour; if too light, Lamblack will prevent it, if too
dark the other. But farther if you think it looks too green, take
raw Umber, grinded very fine with size; add of that enough to take
away that greeness: And nothing then remains but a due heed and
observance of the foregoing rules for Chesnut. But before we leave
this Section, remember, That all colours laid in size will not en-
dure so violent a polish as those in varnish, but are more subject to
be rubb'd off.

By these methods you may make any colour you can fancie;
with this admonition, That all colours, which are light and apt
to tarnish and loose their glossy beauty with Seed-Lacc, must be
humour'd and varnished with White-varnish, the Seed-Lacc being
prejudicial.

------------------------------------------------

CHAP. VI.

To work Metals or Colours with Gum-water.

Whensoever you design to work Japan in Gum-water, you
are advised to mix all your Metals and Colours, and
every thing you make use of, with this Gum-water. But because
there is no general Rule without exceptions, therefore we under-
stand all colours, except those which before we called Transparent
ones, for they require a different and distinct way of operation, as
the beginning of this Treatise has directed.

When you design a mixture, forget not to stir the ingredients
very well, together with the water, in a Muscle-shell, which I con-
ceive is more proper for this undertaking, and for that reason de-
sired you to furnish your self with a great number of them. Be
cautious, I beseech you, that you make not the mixture of your
metals or colours with the gum-water either too thick or thin,
but endeavour to keep the golden mean between both, that it may run

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fine and smoothly from your pencil.  Beside, be not prodigal, la-
vish, and profuse of your metals, but make a quantity requisite for
your present business only, and provide not for time to come; for
from a mixture of this nature, made in too large a proportion, se-
veral inconveniences arise. As first, in some short time, the metals
standing useless, wax dry, so that they must be wetted for a second
emploiment with the said gum-water, which by repetition corrupts
both the metal and the colour, by receiving too much of gum in
them: and although this might likwise prevented, by adding
fair water instead of that mixt with gum; yet in spite of all care
and diligence, and beyond expectation too, another trouble and
fault accompanies it, and that is, the dust will gather to them and
render 'em unfit and unserviceable.  Again, for your colours espe-
cially, your Shells must be often shifted and changed, otherwise the
gum and colours will be both knobby and drie, in that unseemly
posture sticking to your shells.  I believe it will be your own ne-
gligence, and the fault will lie at your door, if after every minute
caution and remark, whereby you may not faill of success if they are
observed, you should through inadvertency miscarry.  But to pro-
ceed: Your metals or colours thus prepared, well mixes, and rea-
dy for the business, stir them with the pencil about the shell, and
draw it often on the side of the shell, that it may not be overloaded
with the metal, when you design to draw small stroaks; on the o-
ther side, not too drie, because you must be careful in making all
your stroaks full and fair, by no means thin and craggy; carry your
hand even and steddy, and finish your line before you draw off your
hand, otherwise you may incur making the stroak uneven, and
bigger in one place than another.  But when you attempt great
broad things, as Leaves, or large work, then charge your pencil
very full, with this proviso only that it does not drop. Here is
one observation to be made for Gum-water, which in Gold-size is
useless and unnecessary, and indeed very advantagious for learners,
and the unskilful especially, and by them in a particular manner
to be remarkt and observed.  But first, tis useful for all; for that
place you intend to make your draught in must be rubbed with a
Tripolee-cloth: the reason is this; you black, when cleared up,
will be so glossy, and as it were greasie, that your metal or colour
will not lie on it, unless it be primed with the Tripolee in that
manner.  So when you find any such greasiness on your work, rub
it with your Tripolee-cloth, and permit it to dry; after which you
will perceivethe draught of your pencil to be smooth and neat,
and to your liking and satisfaction.

Now that which I before spake of in behalf of beginners is this;
It may very reasonably be supposed, that a practitioner in his first
attempts may not frame his piece even and regular, or his lines at a
due distance: now upon these or any other accounts, if he is dis-
pleased at his own handy-work, he may with this useful Tripolee-
cloth wipe out all, or any part which he thinks unworthy to stand,

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and on the same spot erect a new draught; by these means he may
mend, add, blot out, and alter, until the whole fabrick be of one
entire make, good and answerable to each part of the undertaking.
I cannot better in words express my self, or with my Pen deliver
more full or plain rules for mixing your colours and metals; nei-
ther can I with my tongue more steadily guide your hand and pen-
cil. I am apt to flatter myself so far, as to believe what I have
communicated may abundantly suffice, and shall therefore add no-
thing more with relation to laying metals or colours, and the man-
ner or method of working them in Gum-water. That part of our
Profession which we call Setting off, or, which is the same thing
in other words, Seeding of Flowers, Veining of Leaves, Draw-
ing of Faces, and making Garments, desires not our present con-
sideration, but shall be handled in the following pages.

-------------------------------------------

CHAP. VII.

To make Gold-size. 

THis is the other famous composition, which is in great esteem
and use for laying metals and colours, and ought in due man-
ner to be made known; but we shall first give you the method of 
mixing those things which are concerned in its production. Their
names and quantities are, of Gum animae one ounce, Gum Espal-
tum one ounce, Lethergi of Gold half an ounce; Red-lead, brown
Umber, of each the like portion.  To these, shut altogether in a
new earthen pipkin, large enough to hold one third more than you
put in, pour of Linseed oyl a quarter of a pint, of drying oyl half
a pint, with which you may be furnished at the colour-shops.
Place this earthen vessel thus loaded over a gentle fire, that does
not flame in the least, keeping it continually so warm, that it may
but just bubble up, or almost boil; should it rise over, your chim-
ny and materials would be in danger: if you perceive it swelling
and endeavouring to pass its bounds, remove it from that hot place
to a more cool and gentle. When first it begins to simpler and boil
a little, with a stick keep moving and stirring it, untill the whole
mass of Gums be incorporated and melted; not that you must de-
sist or forbear stirring until it become as thick and ropy as Treacle,
for then it is sufficiently boiled. This done, convey the pipkin to
a cool place, and there let it rest, till the extremity of heat is over.
After which time, strain it through a coarse linnen cloth into ano-
ther earthen pot, there to cool, and lie ready for use.

This is the manner of its composition.  I shall now insert the
ways of working it.  When your business shall call for this Size,
bring forth what quantity you require for the present, and put it
into a muscle-shell with as much oyl of Turpentine as will dissolve
the size, and make it as thin as the bottom of your Seed-Lacc.

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Hold it over a candle, and, when melted, strain it through a Lin-
nen rag into another shell.  To both these add vermilion enough
to make it of a darkish red; but if this make it too thick for
drawing, afford it as much oyl of Turpentine as will make it thin
enough for that purpose.  The main, and indeed only design of
this Size, is for laying on of Metals, which after this manner must
be performed.

When you have wrought your work, and that which you intend
to decipher on it; draw this Size all over that part, and that part
only, which you resolve shall be guilded or adorned with gold, pas-
sing over those places where you think to lay your other metal or
colours, as Copper, Silver, or the like.  Your size being thus
wrought for the Gold, let it stand till tis so dry, that when you
put your finger upon any of it, it may be glutinous and clammy,
and stick a little, but not so moist that the least spot or speck should
come off with your fingers, not unlike to thick glue when tis half
dry.  When you find it agrees with the characters we have given
you, conclude that to be the critical minute, the very nick of
time, wherein you must apply your Gold; then take a piece of soft,
washt leather, or the like: this being wrapt about your forefinger,
dip it into your gold-dust, and rub where the gold-size is laid, for it
will stick on the size, and no where else.  If any dust of Gold lies
scattered about your work, with a fine varnishing-brush, that hath
not been used, brush or wipe it all into your gold-paper. This be-
ing thus finished, take your pencil in hand again; draw that part
which you design for Copper with Gold-size also; and when dry,
cover it with Copper after the same method that you received for
Gold.  A third time weild your instrument, the pencial, and lay
Size for Silver, and operate as aforesaid; so likewise for all dead me-
tails, wheresoever you design them: Only take this remark along
with you, That you lay your metals successively one after another,
suffering each to dry and be covered, before you begin a distinct
one; as for instance, Your Gold-size must be dry, and guilded be-
fore you proceed farther, and so of the rest.  After all these, lay
your colours with gum-water if you are pleased to insert any, re-
serving the Rocks for the last labour; which how to perform, in the
succeeding discourse, shall be demonstrated. 

It may often so fall out, that you'l mix more Gold-size than at
one time may be consumed, or you may be called off from your bu-
siness for a day or more.  Now to preserve it entire and moist e-
nough, and in condition fit to work against next time, observe that
after it has stood five or six hours, a film or skin will arise and over-
spread the surface of it: then put it in water, and let it remain there
with the pencils covered too, until your next operation shall desire
their assistance; before which, you must stir it well together, and
employ it as you think fit.  If it should chance to grow thick, the
old remedy, Venice Turpentine, will relieve it.  But farther, if by
frequent mixture with Turpentine, often putting into wather, or

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long standing, it becomes skinny, thick, and knobby, and by con-
sequence unserviceable; the best use you can possibly put it to, is to
cast it away.

I shall conclude this Chapter with my requests to you, so to or-
der and compose your Size, that, being of a good mediocrity, nei-
ther too thick or thin, it may run smooth and clear, and your
stroaks be fine and even; in some time you will be so skillful, and so
delighted with your draught, that the most subtle, neat, and hairy
lines will adorn your piece, and your work in all good qualities may,
though not exceed, yet vie with, and parallel the Indian.

------------------------------------------------------

CHAP. VIII.

To varnish Prints with White Varnish. 

PRocure a Board very fit and exact to the Print you resolve to
varnish, and thus manage it. Get common Size, which you
may have at the Colour-grocers; warming it by the fire, scraping
whiting into it; make it of an indifferent thickness, and with the
softest hogs-hair-brush, proportionable to your board, wash it once
over, permitting it to dry: then white it again, and so repeat, till
it lies with a fair body, and quite covers the grain of the wood,
which may be of Deal, Oak, or any other. This done, take off
your whiting with rushes very close and smooth, but not so far as
to discover the grain: then with flower and water make a paste
thick as starch, and with your hand or brush work or dawb over
the backside of your Print, with an even steddy hand lay your
Print on the board, and stick it on as close as you can with all ima-
ginable diligence. Suffer it not to cockle, wrinkle, or rise up in lit-
tle bladders; if it should, press it down with your hand, but be
sure your hands be extraordinarily clean and free from all dust,
filth, and pollution when you come to past on the Print, that it
may not in the least be soiled, before tis varnished. Smooth down
the whole paper with your hand, pass it over and over, that every
part thereof may stick close and adhere to the whiting.  I cannot
here burden you with too many cautions and caveatsl for if any
the least part of your Print rise of bubble, the whole beauty and
pride of the Picture is destroyed when you come to varnish. Be-
ing thuse closely and carefully fixt to the board, set it by 24
hours, or longer; then take cleanest of your Isinglass-size, and
with a soft pencil wash over your Print; but be certain it be dry
before you pass it over again, which you must do with a quick
hand, and not twice in a place; give it leisure to dry, and afford it
one wash more, with two days rest: Afterwards with the finest
and clearest of your white-varnish grant is six washes by a gentle
heat, not too nigh the fire, to avoid blistering.  When 24 hours

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are past, give it eight washes with the said clear varnish: lay it a-
side for two days, and then vouchsafe to annoint it six or seven
times more, giving it leave to rest two or three days.  Having ad-
vanced thus far, with linnen and Tripolee, both very fine, polish it,
but with gentle and easie stroaks.  Lastly, clear it up with oyl and
flower.

This I must needs commend for a pleasing and ingenious contri-
vance; a new sort of Speculum or Lookinglass, which without de-
ceit gives a double representation.  Here the Prince and Subject
may (and not irreverently) meet face to face; here I may approach
my King without the introduction of a Courtier; nay, tis so sur-
prizing, that though I expect no shadow but that of my friend
graven on the paper, it will in spite of me, in an instant too, draw
my own Picture, so to the life, that you might without perjury
swear tis the Original.  Amorous piece!  That (without the assi-
stance of a Cunning man) obliges me with a survey of my Self and
Mistress together; and by this close conjunction, by these seeming
caresses of her in Effigie, I counterfeit, nay almost antedate our
more substantial enjoyments!  Kind Picture too! which will per-
mit me to gaze and admire without intermission, and can sur-
vey me as I do her, without anger or a blush!  I know very well
no Apelles dare pretend to delineate or make an artificial beauty,
that shall equal her natural: Know, that the perfections of her Bo-
dy as far surpass the skill of the Pencil, as those of her Mind tran-
scend the expressions and abilities of the Pen.  But yet, in one cir-
cumstance, and one only, the Picture does excel my Mistress; the
shadow is more lasting than the substance; she will frown, wrin-
kles and old Age must overtake her; but here she lives always
Young, for ever blooming; Clouds and Tempests are banish't from
this Hemisphere, and she blesses me with a gracious and perpetual
Smile.

----------------------------------------------------

CHAP. IX.

How to lay Speckles or Strewings on the out, or inside of
Boxes, Drawers, Mouldings, &c.

HAving in readiness a quantity of Speckles, which you think
may answer your present occasion, mix them with so much of
your ordinary Lac-varnish, as will, being put both in a Gallipot,
render them fit to work with a suitable Pencil, but by no means
so thick as you would Colours. For this use only you must re-
serve a Brush, with which you must stir 'em very well, and your
work being gently warmed by the fire, wash it over with it, and
when dry, again. This repeat, until your Speckles lie as thick and
even, as you could wish or desire them; afterwards beautifie them

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with three or four washes of your Varnish mixt with Turpentine,
and you have concluded all, unless you intend to polish; for then,
having done every thing as above directed, tis required that you
give it eight or ten washings of your best Lac-varnish, which be-
ing all successively dried on, you are at liberty to polish it. All
sorts and variety of coloured Speckles may be thus ordered, except
Silver, the laying on of which choice metal deserves the best and
finest of your Seed-Lacc, instead of the ordinary; and the best
white-varnish too, must be emploied to bring it to a polish; but if
you conclude upon not polishing it, be more sparing of your var-
nish, for fewer washes will suffice.

------------------------------------------------

CHAP. X.

To lay Speckles on the drawing part of Japan-work, as Rocks,
Garments, Flowers, &c.

BEfore you can proceed to try this experiment, a little Sieve must
be framed after this manner.  Take a small box, such as Apo-
thecaries employ for Pills, something larger in compass than a
Crown-piece, about half an inch deep: strike out the bottom, and
in its place bind very strait about it fine Tiffanie, and to prevent
coming off fasten it on the outside of your box with thread, and re-
serve it for your necessities.

Now when your work expects to be adorned with Rocks, Flow-
ers, or the like, use first your Pencil to varnish those places with,
and whilst it is wet put some of your strewings into the Sieve, and
gently shake it over the place designed for your Rock, until it ap-
pears answerable in Speckles to what you intended; but especially
when for Rocks, call for a pencil about the bigness of your finger,
one that is drie and new, and with it sweep all those stragling Spec-
kles, that lie beyond the wet or varnished part, into the sides and
top of the Rock that is thus moistened; for there it will not only
stick, but render your work, thicker of Speckles in those places,
more beautiful, and oblight it with a kind of shadow and refle-
ction.

This work admits of no idle hours, no interludes and vacations,
for as soon as one part is compleated, the other desires to undergo
the skill and contrivance of the Artist.  When this Rock is drie,
the next must succeed in operation; and by this way of working
the one, when, and not before, the other is perfectly drie, you may,
like the Giants of old fighting against Jupiter, cast mountain upon
mountain, lay one rock upon or beside another, of different colours,
and as many shapes, until the whole enterprise of Rock-work is
completed.  But observe, that in sweeping your Speckles into the
edges of each Rock, you intermix not one portion of scattered

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parts into a Rock of a different colour; let them therefore enjoy
their proper strewings.  When you thus lay your Rocks on your
work being cold, it will certainly for the present look dull and hea-
vy, nay to that degree, that you might very well suggest to your
self nothing less than the damage and ruine of the whole undertak-
ing.  But though no signs of life, beauty, or shadow do appear, let
not this startle or discourage you; for when you have secured it,
as we directed before, this fright vanishes, the dangerous Mormo
or Bugbear disappears, its expected qualities suddenly arise, and by
the assistance of your Securing-varnish, it is decked with gay and
beautiful apparrel.

---------------------------------------------

CHAP. XI.

To make raised work in imitation of Japan, and of the
Paste.

TO attempt the composition of this Paste, you must provide a
strong Gum-Arabick-water, charged with a double quantity of
Gum to that we before taught you.  Have in readiness an ounce
of Whiting, and a quarter of an ounce of the finest and best Bole-
Aromniack; break them on your Grinding-stone with the Gum-
water, until they are made as fine as butter, but so thin, that when
moved into a Gallipot, it may but just drop from the stick with
which you work and stir it.  If its condition be too thick, gum-
water will relieve it; if too thin, you must give it an addition
of Whiting and Bole-Armoniack, as much as will make it capable
of working well, and regularly.  The stick that I spake of before
should resemble that of a Pencil-stick, but it must have a more
sharp and taper end.  This dipt into your paste, drop on the Rock,
Tree, Flower, or House which you propose to raise, and by repe-
tition proceeding until tis raised as high and even as you think con-
venient.  Prevent all bladdering in the paste, which scurvie fault
proceeds from a careless and insufficient grinding and stirring of the
Whiting and Bole: should you with these blemishes endeavour to
raise, your work when dried will be full of holes, and thereby de-
stroy the beautie of it.  The only way to prevent it in some mea-
sure, when so dried, is, with a wet fine cloth wrapt about the fin-
ger, to rub it over and over again, until the holes and cracks are
quite choak't and stopt up, and after its time of drying is expired,
with a rush and all imaginable industry and care smooth it.

These assistances I have laid down only in case of necessity, by
way of corrections for accidental miscarriages; for your work will
look abundantly neater, if these Errata are prevented by a Paste in
the beginning, well grinded and tempered before tis dropped on
your work.  You are desired farther to observe, that in the Japan

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raised-work for Garments, Rocks, &c. one part is elevated and
higher than the other; as in flowers, those that are first and near-
est to the eye are highest, some leaves too that lie first are higher
than those that lie behind 'em: So in the pleats and foldings of
garments, those which seem to lie underneath, are always at the
greater distance.  I will instance in but one more, and that is of
Rocks, where in position the first must always surmount and swell
beyond that which skulks behind, and is more remote: The rule
holds good in all things of a like nature, and if you endeavour to
counterfeit the Indians who take these measures, tis reasonable and
necessary to follow their prescriptions.  I shall assign two ways for
its accomplishment, which, if truly and carefully copied out, will
come very near the Japan original.

First, after your design is rais'd to a due height, whether Figure
or Flower, and well dried, with a little Gum-water, Vermilion, and
a Pencil, trace out the lines for the face, hands, or flodage of the
garments, for the leaves of your plants and seeds of flowers, or any
thing intended, in its proper shape made at first before the raised
work was laid, and according to which your Paste was in such man-
ner directed, and confined by those lines that were drawn as its
boundaries; for unless such stroaks were made, tis impossible to
laye the paste in its proper figure.  This done, three or four small
instruments must be procured; one of them a bended Graver, which
the Engravers make use of; the rest, small pieces of Steel, in shape
like a Chissel of the Carpenters, fastened in a wooden handle, the
breadth of the largest, not exceeding a quarter of an inch, of the
others sizable less: With these your raised work must be cut,
scraped, and carved, leaving one part higher than the other, keep-
ing due regard to the proportion of the thing you design. But
here I must forewarn you of the difficulty of the enterprise; no heavy,
rustick hand must be emploied in this tender, diligent work; for if
in haste or unadvisedly you attempt it, believe me your raised
work will break off in several places, to the disgrace of the Artist,
and deformity of the piece.  Let therefore your tools have an ex-
quisitely sharp and smooth edge, whereby they may cut clean and
fine without roughness: And now tis time to smooth and sleek
it with a brush that has been often used before, in order, in the last
place, to cloath it with any metal you shall judge most proper, as
shall hereafter be shewed at large.

The other way which we promised for raised work, is this: Strike
or trace out your design, as well the inside as the outward; that is
the shape of your face, neck, hands, legs, the chief stroaks of the
foldings of the under and upper garments, so of flowers, or the like:
Then take your Paste, somewhat thinner than you commonly use
it, and with it raise the lower garments or parts, which require the
least raising.  Grant it time to drie thoroughly, and then with a
very small pencil dipt into the thickest of your Seed-Lacc, varnish
just the edges of your raised work; for this intent, that when you

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advance the higher part, it may hinder the wet incorporating with
the drie, which must be avoided; for should it do so, the work
will never shew well.  This must be performed as often as you e-
levate one part about another; and still as your work is exalted,
your paste must be thicken'd; and raising each part successively,
beginning with the lowest, you are to conclude with the upper-
most; and when all is drie, if need require, smooth it with a rush,
and then it is in a condition fit to receive your metal.  Make rea-
dy then what sort of metal you please to cover it with, mixed in
gum-water, and with a pencil destined for the use lay it on the
raised work full and fair: give it leave to drie, and with a dogs
tooth, which you may have at the Guilders, or a Stone or Agat, by
then emploied in their Frames and Guilding, burnish your work
until it is bright, and shines as much as you desire it should. And
farther, dip the pencil into your finest Lace-varnish, and laie it
over twice; then set it off, or shadow it with what your fancie di-
rects, but of this I shal discourse hereafter.  Take notice, that if
you grind more paste than you can consume at once, and it be drie
before you shall have occasion for it the second time, grind it again
and tis fit for your business.  You my judge of the strength of
your paste, by the easie admittance of your nail press'd hard up
it, for then tis too weak, and must be hardened and strengthened
by a more strong gum-water: Trials and Experience will give you
more accurate, more satisfactorie directions.  With these ingredi-
ents, joined to Art and Skill, it is possible to make a paste so hard,
so stubborn, that a violent stroak with an hammer can neither
break nor discompose it.

----------------------------------------------------------

CHAP. XII.

To prepare ordinary, rough-grain'd woods, as Deal, Oak, &c.
whereby they may be Japanned, and look well.

PRovide ordinary Size, used by the Plasterers, and vended by
Colour-shops, dissolve it over the fire, making it pretty warm;
mix Whiting with it until tis of a reasonable body and consistence,
yet not too thick; then take a Brush, fit for the purpose, made of
hogs-hair.  Lay your work once over with this mixture of Whit-
ing and Size, and so often repeat it, until you have his all the
pores, crevices, and grain of your wood, suffering it to drie
thoroughly between every turn.  You may afterwards take a fine
wet rag, and rub over your work, making it as smooth as your
industry is able; this furbishing it with a cloath dipt in water, we
call Water-plaining; when drie, rush it even and smooth, and as
close to the grain as possibly you can.  this done, wash over your
work twice with the thickest of your Seed-Lac-varnish; after

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which, if it not be smooth, again rush it, and in a day or so varnish
it over with black, or any other colour, as you have been directed
in those places where we have treated of it; when it has stood suf-
ficiently, you may apply your self to finish it by polishing.

According to these methods you are to prime-carved Frames for
Cabinets or Chairs, when you desire they should look well; with
this difference, that these must not be polisht, and by consequence
require not so great a body of varnish, no more than will contri-
bute to a rich and splendid gloss.  There is also another way, whicih
I recommend for the most valuable, because the most durable and
lasting, but not indeed of so large an extent as the former, being
proper only for the tops of Tables, Boxes, or the like; and thus
you must proceed.  Boil common Glew in water, let it be fine and
thin; into which cast the finest Saw-dust, until tis indifferently
thick, and fit to lay with a brus, which you must provide for that
purpose.  Run it over once with the glue so mixt; if the grain of
the wood be not effectually obscured, wash it again, and two days
being given to harden, send it to a good workman or Cabinet-maker,
who must scrape it with his Scraper, as Pear-tree or Olive-wood are
served, and make it as fine and even as possibly he can; then var-
nish it as you have been learn't to do by Pear-tree, or any other
smooth wood.  This, if well done, will not come behind any for
beauty or durability.  Tis confes'd, these labours are to be per-
formed only upon cases of necessity, for they are very troublesom;
and if ever circumstance were truly weighed, not so cheap or va-
luable as your smooth, close-grained woods, of all which Pear-tree
is in the first place to be esteemed.

-------------------------------------------------------------

Of BANTAM-work.

I Think it most proper in this place to speak of the manner of
working at Bantam, because the way of preparing the wood is
much the same with that of priming with Whiting.  There are two
sorts of Bantam, as well as Japan-work: far as the Japan hath flat ly-
ing even with the black, and other lying high, like embossed work;
so the Bantam hath flat also, and incut or carved into the wood, as
a survey of some large Screens, and other things that come from
those parts, will beyond all scruple convince and satisfie you: with
this difference however, that the Japan-Artist works most of all in
gold, and other metals, the Bantam for the generality in Colours,
with a very small sprinkling of Gold here and there, like the
patches in a Ladies countenance.  As for the flat work, it is done
in colours mixt with gum-water, appropriated to the nature of the
thing designed for imitation: for the ordering these colours
with gum-water, you have already received instructions.  The carved or
in-cut work, is done after this manner: Your Cabinet or Table,

(37)

be it whatsoever you please to work on, should be made of Deal, or
some other coarse wood; then take Whiting and Size, as before
taught, lay it over your work, permitting it to drie between every
wash; this must be so often done, till your primer or whiting lie
almost a quarter of an inch thick; but always remember to mix
your whiting and size thinner than formerly, and lay it therefore
over the oftner; for if tis too thick, it will not only lie rough and
unseemly, but twill be apt to flie off and crackle.  Having primed
it to its due thickness, being drie, water-plain it, that is, as we
hinted before, rub it with a fine, wet cloth; in some time after
rush it very smooth; lay on your blacks, and varnish it up with a
good body, and next of all in some space polish it sufficiently, though
with a gentle and easie hand.  Being thus far advanced, trace and
strike out your design with vermilion and gum-water, in that very
manner which you intend to cut and carve it, and very exactly;
your figres, Trees, Houses, and Rocks, in their due proportions,
with foldage of Garments, leafing f Trees, and in a word, draw it
as if it were to stand so without any alteration.  This finished, ex-
ercise your Graver, and other instruments, which are made of
shapes, differing according to each workman's fancie: with these
cut your work deep or shallow, as you think best, but never carv-
ing deeper than the whiting lies, for tis a great error to pass
through that and carve your wood, which by no means ought to
feel the edg of your instrument.  Be mindful likewise to leave
black stroaks for the draperie of garments, and the distinction of
one thing from another: as for exampe, if you were to work in
this manner the great Bird, which is in the 11th Print at the end
of this Book; You ought, I say, to carve where the white is, and
leave the black untouch't, which shews not only the feathering
of the wings, but the form and fashion of the Bird itself; the same
means are to be used in all other things which you undertake. But
I should counsel that person, who designs to imitate Bantam work,
to endeavour to procure a sight of some Skreen, or other piece;
for one single survey of that will better inform him, than ten
page can instruct or demonstrate.  Had it been a thing of little
trouble, or which might have been useful to the young and wil-
ling practitioner, we had inserted a Plate or two of it, for it differs
vastly from the Japan in manner of draught; but since tis now al-
most obsolete, and out of fashion, out of use and neglected, we
thought it a thankless trouble and chanrge to affix a Pattern, which
could neither advantage Us, or oblige You: I think no person is
fond of it, or gives it house-room, except some who have made
new Cabinets out of old Skreens.  And from that large old piece,
by the help of a Joyner, make little ones, such as Stands or Tables,
but never conside the situation of their figures; so that in these
things torn and hacked to joint a new fancie, you may observe
the finest hodgpodg and medly of Men and Trees turned topsie tur-
vie, and instead of marching by Land you shall see them taking

(38)

journeys through the Air, as if they had found out Doctor Wilkin-
son's way of travelling to the Moon; others they have placed in
such order by their ignorance, as if they were angling for Dolphins
in a Wood, or pursuing the Stag, and chasing the Boar in the mid-
dle of the Ocean: in a word, they have so mixed and blended the
Elements together, have made a league between fire and water, and
have forc't the clouds and mountains to shake hands, nay deprived
every thing of its due site and position, that if it were like any
thing, beside ruin and deformity, it must represent to you the
Earth, when Noah's Flood was overwhelming it.  Such irregular
pieces as these can never certainly be acceptable, unless persons
have an equal esteem for uglie, ill-contrived works, because rarities
in their kind, as for the greatest performances of beautie and pro-
portion.

But to return to our business. When you have finished your
carved work, and cut it out clean and smooth, with your pencils
lay the colours, well and purely mixt, into your carved work, in
the manner which your ingenuity shall suggest, or the nature of it
absolutely require.  When the colours are finished, the gold may
be laid in those places where you have designed it, with powder-
gold, or brass-dust mixt with gum-water, but that looks not so
bright and rich as Leaf-gold, which the Bantam Artists always em-
ploy; and so may you also, if you make a very strong and thick
Gum-Arabick water, which you must laie with a pencil on your
work, and whilst it is wet take leaf-fold, cut it with a very sharp
smooth-edged knife (on a piece of leather straitly nail'd to a board)
in little pieces, shaped to the bigness and figure of the place where
you dispose of it.  Take it up with a little Cotton, and with the
same dab it close to the gum-water, and it will afford a rich lustre,
if your water be very strong; otherwise 'twill  look starv'd and hun-
grie, when tis drie.  Having thus finished you work, you must
very carefully clear up your black with oyl, but touch not your
colours, lest you should quite rub them off, or foil them; for this
is not secured, as the other Bantam flat-work is; if wet come at
this, the colours will be ruined, and peel off.  I confess I have
seen some even of the raised-work, whose colours would not stir,
but none so secured and firm as flat, in which you'll seldom or ne-
ver find some Colours that will not endure a security with var-
nish, but with the loss of their native splendor: but those who
please may leave out the Tarnishing colours, and secure their
carved work with a pencil, as formerly directed.

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CHAP. XIV.

To take off any Japan-patterns in this Book, upon any piece of
work whatsoever.

WHen your Black, or any other colour is varnished and po-
lish't fit for draught, take a particular design out of this
Book, or any thing else that is drawn upon paper, with whiting
rub all over the back-side of your Print or Draught, and use a lin-
nen cloth to wipe off all the whiting that lies rough and dusty on
the back-side of your paper so whited. Then lay the Print on the
Table or Box, with the whited side next to it, in the very place
where you design the Draught should be made, and with a needle
or piece of iron-wyer round and smooth at the point, fixed in a
wooden handle for the purpose, not sharp to cut or scratch your
Paper and Print, which we call a Tracing-pencil; with this, I say,
draw over and trace the Print as much as you think necessary, tak-
ing the most material and outward stroaks, or all others which you
imagin are hard and difficult to draw without a pattern.  This, by
the assistance of the whiting with which your paper was rubb'd,
will give the fashion and lines of what you have done, upon the
Box or Table.  After this, if you draw in Gold-size, use Vermilion
mixt with Gum-water, and with a small pencil dipt in it, go over
those lines made by the whiting; for by this operation it will not
easily come off, so that you may work at leisure with the Gold-size.
But if you will work your metals or colours in gum-water, the
trace or draw over your Design with Gum-water mixed with Brass
or Gold-dust.  Now either of these ways here mentioned, when
drie and finished, will work either in Gum-water or Gold-size, as I
have formerly discovered.

---------------------------------------------------

CHAP. XV.

The manner of working and setting off some Draughts in this
Book.

I Think by this time I may truly say, That I have in a familiar
and easie method proposed Rules for purchasing materials of all
sorts, the manner of their composition, with the way of using
Varnishes, laying of Metals, Colours, and whatsoever else is neces-
sary, or may claim affinity and relation to the Varnishing and Ja-
panning Art.  But because these lines have a double design, to in-
struct and inform the ignorant, as well as assist those that have a 

(40)

small knowledge and smattering in this Science: though I am per-
swaded I have sufficiently obliged the latter, yet because I may
not be so clear and satisfactory in my Rules to those who before
never attempted any thing of this nature, to whom tis a perfect
Terra incognita, an undiscover'd Province; for their sakes I shall
willingly make an addition of a few pages, to shew in a plain and
more particular manner the way of working some Patterns in this
Book either in Metals or Colours, but the knowledge whereof they
may be enabled with ease and inclination to perform any enter-
prize that shall oppose them.  To these I shall affix the different
ways of setting off and adorning your work, which I have before ra-
ther mentioned and touch't upon, than treated of.

The first eight Copper-prints, at the end of this Book, are seve-
ral designs for small work, of whose differences their Titles will in-
form you: Two others for Drawers of Cabinets; one, of all sorts of
Birds flying in Antick figures; two, of Birds great and less, stand-
ing in various postures; another of Beasts, &c.  Two figures of
Chinese men and women, in untoward gestures, and habits: Others,
of Flower-pots, Sprigs, Trees, and the like: Lastly, their Tem-
ples, Structures, and Palaces; their manner of worship, and recep-
tion of foreign Ministers and Embassadors; with as much pleasing
variety as can reasonably be expected.  Any part of these may be
placed on the work, as the fancy and ingenuity of the undertaker
shall direct: yet I shall give a little light after what manner they
may be transposed.

Suppose then you have a large piece of work, as Table, or Ca-
binet; take one of the Prints which chiefly complies with your
humour, insert others also which may be most agreeable, yet give
variety too: borrow a part from one, a figure from another, birds
flying or standing from a third; this you may practice until your
Cabinet be sufficiently charged: if after al this any thing be want-
ing, your judgment must order, beautifie, and correct.  But ob-
serve this always, that if you would exactly imitate and copie out
the Japan, avoid filling and thronging your black with draught and
figure, for they, as you may remark, if ever you happen to view
any of the true Indian work, never croud up their ground with
many Figures, Houses, or Trees, but allow a great space to little
work: And indeed tis much better, and more delightful; for then
the Black adds lustre to the Gold, and That by way of recompence
gives beautie to the Black.

But here an Objection may be started; That if a little work is
most natural, and according to the Pattern which the Indians have
set us, why have not I followed that Rule in my Draughts an-
nexed to this Books?  To this I answer; That if I had so done, I
must have provided thrice the number of Plates, to shew the va-
riety that these have sufficiently done; not to mention a triple
charge that would have attended.  Again, should these have been

(41)

beautified with little work, I had then been liable to censure for
being niggardly of my Patterns, and depriving the practitioner of
choice and variety: But by what I have presented, I have securely
sailed between this Scylla and Charybdis; have passed the Rock on
one hand, and the Gulph on the other; and, if I am not flattered,
have not only obtained te good liking of the Curious; but suffici-
ently supplied the wants of those who are great undertakers.  Here
you may alter and correct, take out a piece from one, add a frag-
ment to the next, and make an entire garment compleat in all its
parts, though tis wrought out of never so many disagreeing Pat-
terns.  Besides, I have not by this variety fixt a Ne plus ultra
to your fancie, but have left it free, and unconfined: I do advise,
that no one would oblige himself to keep close to the Copy, for
even the small Cutts will supply the place of a much larger Box
than is there express'd, and not injure or disgrace it.  I do with
modesty and submissions pretend not to confine, but lead and assist
your fancie.  Thus much in general terms; I'le detain you no lon-
ger on this large and pregnant Topick, but regularly now descend
to particulars, and instruct you how to work off some of the fore-
mentioned Draughts.

To work the First Draught.

This affords you ornaments for the tops and sides of little Boxes,
which, when traced out according to the directions already given,
must be done with gold, if you work in gum-water.  Take your
gold-shell, and with your pencil fill some of the tops of your houses;
and those parts which you observe in your Print to be mark't with
black lines, as the Doors, Windows, &c., afterwards the Sprigs,
Flowers, and Birds, all of them in a fair, finall, but full stroak:
now if you paint these latter things with colours, they may be va-
riously managed, with red, some others with blew, a third with
silver, until the whole be entirely compleated.  If you think to
raise any of these, be sure to practice on those that lie first and
foremost, for which I do refer you to the Chapter of Raised work.

When you have thus far advanced, tis required that you should
proceed to Setting off, which I desire now to make my business to
inform you, as having never yet mentioned it; yet I shall at pre-
sent confine it only to that of Gum-water, for this is not the way
with Gold-size, of which more properly hereafter.  When the
leaves and tops of your Houses are fairly laid in Flat-work; to
make the black and shining veins of your leaves, the tiling of your
buildings, and foldage of garments, appear through your gold and
metals, as some of the Indian work does, exercise your Tracing
pencil, breathing on your work with your mouth close to it; and
when moistened with your breath, streak or draw out the veins
and foldage of the figures, their hands, face, and parts so made in
their proper order.  When your metal begins to drie, and will not
separate, force it to part again by breathing on it, for that moist-

(42)

ness will reduce it to obedience, which must be observed too in a
moderate degree; for if you make it over-wet and damp, the trac-
ing-iron tis true will disjoin it, yet no sooner can it pass the place
but it closes up, and reduces it self to its former amicable con-
junction; as a Ship that ploughs and divides the Sea, makes a chan-
nel in an instant, but as that sails off the waters return, the breach
is healed, and the place of its passage is no more to be found.  Too
much moisture is therefore as great an inconvenience as none at
all.  Perhaps your work may be rough and unhandsom before ts
thoroughly drie, yet after that, a soft, new pencil by brushing will
cast off that disguise, will command the loose rough particles to
withdraw, and represent the Veinings and Hatchments in a smooth
and pleasant dress.

To set off Raised work with Black.

When your Raised work has been varnished and burnished, put
Lamp-black into a Muscle-shell, and with gum-water hardly wet
it, for if you allow it too large a portion, you'l find it a difficult
task to make it comply and incorporate: but when it is mixt,
which you must perform with your brush, then add as much wa-
ter as will prepare and enable it, by the assistance of a small well-
pointed pencil, to draw fine black stroaks.  These must frame the
lineaments and features of the Faces, the foldage of your raised
Figures, the veins of Leaves, Seeds, the bodies of Trees, together
with the black hatchments of your Flowers.  If you would have
any Rocks speckled, first pass them over with the laid black, or
whatsoever you Set off with, will not be received; pass over the
Raised work with a Tripolee-cloth in a soft and gentle manner, lest
the Metals should be seduced and forsake their apartment.

This manner of Setting off is more practiced than that with a
Tracing-pencil, or breathing on it, not only for Raised but Flat-
work too; for when your piece is drie, salute it once with the Se-
curing-varnish, after which take your black pencil, and employ it
in hatching and veining at your own pleasure; other metals and
colours desire the same management: I will give you an instance:
if a red flower were to be Set off with Silver, then must your Red
be secured with varnish: and being first supposed to drie, hatch and
vein it with your Silver.  These directions must be of force and
consequence in all cades where you design to work one thing on an-
other, whether colour upon metal, metal upon colour, or metal
upon metal, without being guilty of false Heraldrie. Having ad-
orned and Set off your piece, if it be Flat-work, you may make use
of the varnish spoken of in the 13th page of this Book, to secure
your whole piece both draught and ground-work, which will en-
dure polishing: but if for Raised-work, you must make use of

(43)

the other Securing-varnish, which is set down in the 12th page, and
the reason is, because your Rais'd-work will not bear a polish as
the other, but must only be secured, and cleared up.  But here is
to be noted, that this last varnish may be used either for Flat, or
Raised-work, but the former is only proper for Flat.  In working
with Gum-water be ever vigilant and careful that your metals or
colours be not to strong of gum, for it will utterly spoil their
beautie and complexion; but when you have sufficiently mixed
them in the beginning, fair water afterward may quench their
drought.  Look up this as a general, unerring guide; let them
be just so far encouraged with gum, as may oblige them to stick
close to your work, and enable them to endure varnishing without
coming off: If this should at last prove a repetition, you must par-
don me; tis a business that I am very zealous for, and should be
highly concerned to think of a miscarriage in the last, ornamental
part of the undertaking; and if you strictly examin it, you'l find,
if this is not new altogether, yet it may bear a second reading, as
being a paraphrase and explanation of the former.

I intimated before, that the Rocks should be last of all treated
of, because not to be finished till the rest were compleated; only
those few scattered sprigs, supposed to grow out of them, that they
may not appear bald and naked, nor too full of 'em, lest they might
confound the eye and interrupt the shadow.  Now if these Rocks
are to be covered with metals, with your pencil lay Gold, Silver,
or Copper, in a full body round the outward stroaks, which were
traced with your pencil, in breadth a quarter of an inch; prevent
its being too wet; call for a large Goose-quill-pencil, cut off the
point, making it flat and blunt at the end: With this touch or
dab your Metal, then do the like to the black part of the Rock,
whereby that may be sprinkled with some of the metal too, by lit-
tle and little continue it until the whole be scattered over; yet
these Specs should be thicker towards the sides and top, than in
the middle.  Other metals, artificial and adulterate, may be laid
according to these directions, and may be dabb'd or workt with your
middle finger as well as the Goose-pencil.  Thus much may suffice
for the first Print, workt in Gum-water: I shall give some brief di-
rections how to proceed in some few more; for by understanding
those, you may safely adventure on any that remain.

The Second Pattern.

This is a representation of Birds, which if you work with gold
and colours, I advise that the body of the first Bird, that stands be-
fore the other, be done in gold, the wings with bright copper, and,
when secured, let its brest be redded a little with vermilion, in that
part of it which in the Print is darker than the rest.  Then take
your black shell, and beautifie the eye, and the touches about it
with black; as also the feathering of the body and the back. Let

(44)

the wing be set off or feathered with silver, the long black stroaks
in the feathers of it with black; the tail, legs, and bill with gold,
but change the white lines in the tail for black.  The bodies of the
other Birds may be laied with adulterate, dirtie, dark copper, but
the wings gold, set off the body with the same; the brest with
touches of silver, the wing with black: Lastly, let the tail be
bright copper, and feathered with white, the bill and feet gold.
Next, cover the Flies body with gold, his wings with bright cop-
per, hatcht or set off with silver, the body with black.  Make your
Bird on the second Box-lid with gold, feather and shadow it with
bright gold; let the wing be with vermilion and Lamblack mixt,
till tis become a dirtie red; feather it with gold, the quills with
silver, the beak gold, and the legs vermilion.  Let the other Bird
be gold in the body, feathered about the wing (as you may see in
the Pattern) with black; the wing natural copper, feathered with
white or silver; let the Flies be gold, and set them off with black.
Beautifie the first Bird, on the lid of the Patch-box, with bright or
red copper; hatch it with silver, touch it about the eye and head
with black; make the wing of gold, feathered with black; the
feet and bill of the same metal.  The other Bird behind it must
have green gold in the body, feathered with silver; the wing gold
as the other, hatcht with black.  On the other lid make the Bird
gold, the wings bright red copper, feathered with white and toucht
with black.  The sides of each box may be contrived after the same
manner: the sprigs deserve all to be laid in gold, as the rocks with
different metals, and shadowed, but allow the outward stroaks to
be gold, not only as they confine, but as they adorn your work.

The Third Draught.

Before this piece can be adventured on, you are desired thus to
make a paint or colour for the face and hands of the Figures.  Grind
white-lead finely on your Marble-stone; add as much Auripigment
or Orpiment, as will give it a tawny colour; if you think it too
lively and bright, allay it with Lamblack, which may contribute
to a swarthy complexion, and nearest the Indian: but if you are
inclined rather to a pleasant, flesh-like colour, a little vermilion
or dragons-blood mixed with it, can to any degree oblige you. Now
if you love variety of figures, you may use as many mixtures for
their countenances; and distinguish the Master from the man, the
Abigail from the Mistress by her tawnie skin.  Lay then the gar-
ment of your Figure in the first powder-box-lid in bright red cop-
per; on that part which covers the brest, and encircles the neck,
paint vermilion; let the cap and stick be of gold: set off the fol-
dage of his vesture with silver, and close to each silver-thread join
other black; set off the black with the same.  Lastly, strike out
the lineaments of the face, and shapes of the hands, with black also:
Let his Lacquey, the boy that attends him, have a golden livery,

(45)

the bundle under his arm red, with a cap of silver.  Set off the gar-
ment and cap with black, his parcel with lines of silver.  Order the
Bird and Flie to be overlaid with gold, and set off with black.  As
for your Sprig, the great leaves must be green gold and pale copper,
border'd with bright gold; your flowers vermilion, encompassed
with silver, and seeded with the same; garnish the small leaves and
stroaks with gold.  The cover to the second Box should have its
first figure attired in gold, where the black surrounds his neck, ver-
milion, the forepart of the cap the same, the hinder gold; his vest
buttoned, looped, and drapered with black; the red of the cap and
neck edged with silver, the gold of the cap hatcht with black; the
feet bright copper, set off with silver.  The other gentleman his
companion, that he may have as good apparrel as his friend, let his
cap before be gold, behind green gold; set of the first part with
black, the latter with silver, the covering for his neck with the
same metal; his long robe will require green gold, set off with
bright golad; his feet of the same, set off with black.  The Flie and
Bird just as the former, the Sprig in like manner, except the seed,
gold, set off with black.  The Figure in the first Patch-box may be
arrayed in bright copper, hatched or set off with silver; the cap
and staff gold, the tree also.  The figure on the other little box
should have his upper coat vermilion, hatcht with silver; the un-
der gold, set off with black; the stick, bird, and flie, gold; his feet,
the colour of his face: The sprig, all gold, except the flowers, which
may be red and silver, set off with black and silver.  Let the sides
be all gold, saving the rocks, which may be silver and copper.

Thus have I directed you in these methods of working colours,
and how sparingly I have made use of them, for the least part of
them is sufficient: and unless even these are workt clean, and
with good judgment, it were more credit to omit, than insert 'em.
But because some have a particular genius and inclination that
way, I shall not make this Tract so incompleat as to forsake the
treatise of them, and therefore to oblige universally the next Se-
ction is subjoined.

How to work in Colours and Gold the great Sprig in the XIIIth Print.

This has infinite variety, and by consequence will require the aid
and assistance of very many colours, so that the Transparent ones
may be here emploied as well as the others.

First therefore trace out your design, and fill most part of the
finall work belonging to it, as the stems and little leaves, with gold,
passing by however a few of them, to be reserved for bright copper,
green gold, or the like; added too in such sort, that they may
grace and enliven the piece: for tis the custom and fashion of the
Japan-artificers, to fill frequently with dead metals yet bind 'em
in with gold.  From these set upon the great leaves and flowers
in the posture that they lie, and fill 'em by these directions, or any

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others of the like kind.  But by way of example; The first great
flower next the rock, half covered by great Leaves lying before it,
I would fill the seeded part with silver, the leaves with vermilion,
and in setting off, work it in black Diamond-wise, and those little
spots of black which lie lurking the white, with bright red cop-
per; then the part that is fill'd with red, I should bind in with
silver, and vein it with the same.  From this I come to the other
on the right hand, and when I come to set off, border the
seed with black, the inside with silver, compass in the leaves with
gold, hatching them with black.  From hence I march to that on
the left, partly hid by a great leaf: the seed of this shall be green
gold, its squares bright gold, the spots in the squares vermilion,
its leaves with dark heavy copper, set off with silver.  Next for the
three flowers that lie somewhat above this: that in the middle I
would do with green gold, the seed bright gold, squared with black:
the other may be laid with silver, seeded with bright copper, hatcht
and squared with black.  The last with vermilion, the seeds with
transparent green, and enclose them with vermilion, and hatch
in the leaves with silver.  From there I would proceed to the o-
there flower, opposite to them on the right hand, somewhat larger;
whose seed must be red, bound in and chequer'd with silver, cover-
ing the leaves with blew, hatcht and surrounded with gold: the
little one above that with red, the seed with blew, set off with sil-
ver.  From these we make our progress to the two great flowers
above them: the first may be laid with transparent blew, bounded
and worked with gold, the leaves covered with silver, and hatcht
with vermilion: the seed of the second with dirty copper, set off
and encircled with silver; the leaf of the said flower cloathed with
deep bright red copper, hatcht with black.  Next busie your self
in filling the single great flower above that, whose seed may be dir-
ty gold, environed and squared with silver; the spots in the squares
done with bright gold, that part of the leaves that is white
changed for black, and with gold hide the black that lies in the
white: the remaining part of the leaf may be laid with bright red
copper, bounded with silver, and hatcht with the same.  As fr
the flower next above that, I would lay the seed in transparent red,
set it off with silver, border it vvith black; then make the leaves
silver, and hatch it vvith black.  Aftervvard, the three above this,
I vvould work in all the same manner vvith the the lovvermost three;
but that above all, may have his feed bright copper, compassed
and set off vvith black; the leaves dirty copper, vvich might be
hatcht and enclosed vvith vvhite.  Novv remember, I beseech you,
that although I have mentioned filling and setting off together, for
the more easie apprehension of it, yet be constantly mindful to lay
all your plain colours, before you think of setting them off; and
the reason of it is this, because you are more ready to set off vvith
one colour, before you undertake another, and your fancie is more

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quick and ready to adorn and garnish every single flower and leaf.
Now supposing the flowers filled, let us contrive what shall be the
covering of the great leaves.  But to be brief: Deck them with
metals, generally such as green, dirtie gold; pale, muddy copper,
yet intermix here and there blew and green transparent: bound
and vein 'em with such as give the greatest life; not wild, gawdy
colours, so much as grave, modest, and delightful.  I advise you
sometimes to double your borders in the leaves, with the ground-
black of the Box or Table left between, as the Print will inform
you: And again, make all your veins, finishing lines, and the
stroaks you set off with, fine, clean, even, and smooth.  By this
time I suppose, whosoever shall survey these last pages, may ima-
gine we have pleased our selves with fancies and Chimaera's; that
we have discours'd like men in a dream; nothing but God, Silver,
and the richest colours can satisfie our luxuriant fancies; nay we
pretend to have it in such plenty too, that Solomon himself, com-
pared to us, was a beggar: By our talk we are Masters of both
Indies, Pactolus Sands, and the Mountains of Potosi should be our
proper inheritance; for, like Midas and the Philosophers stone, we
turn everything to Gold.  Our birds are so splendidly arrayed that
all common ornaments are excluded; the best Dyes so universally
overspread their wings, that you'd imagin they would outshine the
Bird of Paradise.  The clothing and livery of the Fields are mean
and heavy, when compared to the Flowers our Art has produced,
whose lustre is more radiant, more durable, and surprizing.

-----------------------------------------------------

CHAP. XVI.

To work in Gold-size the Twentieth Print of this
Book.

SInce our Gentry have of late attained to the knowledge and di-
stinction of true Japan, they are not so fond of colours, but
covet what is rightly imitated, rather than any work beside, tho
never so finical and gawdy.  The most excellent therefore in this
Art copy out the Indian as exactly as may be in respect of Draught,
Nature, and Likeness; in this performance then colours must be
laid aside.  Some variety of metals indeed may be admitted, but
in a very slender proportion to that of gold, which is the Fac to-
tum, the general ornament of right genuine Japan-work.  This
undertaking now in hand may be done with gold only; But I shall
in the next Chapter choose a Print, whereon perfect and corrupt
metals may be laid.  To begin therefore with that of Gold: Be
ever cautious and exact when you trace or draw out your design in
vermilion or gold; which being performed with an even hand, call
for your gold-size, ready prepared for the draught; use a small

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convenient pencil, to mark in your size the outward lines, the
boundaries of that rock, which in the twentieth Print you may
perceive lies beyond the Buildings; and although you do begin
here, you are not to fill it (either with metals or speckles,) until
the other work is concluded; for, if you remember, we charged
you before, to finish the Rocks in the last place.  Again, if I may
counsel you, begin with the remotest part, that which is farthest
distant from you; for then you will not be liable to the inconveni-
ence of rubbing, or defacing any thing whilst it is wet, with an un-
welcom hand, or intruding elbow.  Having therefore in short un-
dertaken the farthest part first, work it just as the Print is; I mean,
draw your gold-size on the black lines of the Print, and no where
else; reserving the white for the black Japan or ground of your
Table.  But to explain it a little more: In all respect operate with
your Size, as if you were to copy the Print on white paper with
ink, or black Lead; only take care, that whilst you are busied in
working one part, you suffer not that already done with size to drie
to that degree, that it will not receive and embrace your metal,
but very often try the draught so lately made: if it is clammy,
and sticks somewhat to your finger so fast, as to come off with it, then
know it is not sufficiently drie; if tis no way clammy, you may
conclude tis too stubborn for the reception of the metal.  The ca-
veat, being right managed, set upon your drawing part again, and
so continue, now making lines, then guilding them, until the
whole be compleated.  If you find it a tedious, troublesome under-
taking to draw the white, and pass over the black; or, on the con-
trary, to draw the black and omit the vvhite on the tops of your
houses, or foldage of figures, faces, or the like; then for your ease
overlay all those parts of your building or foldage &c with gold-
size, and when your metal is laid on that, and is well dried, wash
over with Securing-varnish those places only which you design to
set off with black: which done, exercise your pencil in making
those lines and divisions that are required to distinguish the parts
of your house, as the Tiling, Draperie of garmets, or any thiug
of the linke nature.  The reason why we enjoin you to wash with
varnish, is not out of any suspition or jealousie that the size or
metal will forsake its alloted seat, but because its surface is gene-
rally too smooth and greasie to admit of and unite with the black,
unless reconciled by the mediation of the aforesaid varnish.  What
I have propounded is an example for any other Print, that you
could wish or desire to accomplish in Gold-size: and indeed I had
been very negligent, should I have permitted this noble subject to
rest in silence and oblivion; this, which above all others presents
us with the grandeur and majesty of Japan work; our under-per-
formances vanish and shrink away, when the Master-piece is ex-
posed to view.  Let the narrow-soul'd Miser hug and adore his

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bags, and pray to the golden Calf that he has erected, I shall nei-
ther envy or comply with his idolatry; for I had rather line my
House with that precious metal, than my Coffers.

-------------------------------------------------------

CHAP. XVII.

To work in Gold-size the twentythird Print of this Books,
with perfect or corrupt Metals.

THis draught requires a greater variety of colours than any of
the precedent, with which it were no mean or ordinary
performance to dress every figure in its proper habit, and equippe
the attendance according to their respective qualities; but to shew
what Art and Contrivance can effect, we have on purpose selected
this Patter, which was chiefly designed for colours, and intend
to alter the property, converting it to perfect and mixt metals: so
that if we overcome the most difficult, all meaner undertakings
must by consequence yeild obedience and submission.  Were I there-
fore allowed to prescribe in this affair, I would in the first place
overlay the canopy and curtains belonging to it with pure gold,
then flower, and set them off with black: the two streamers or
flags may be done in bright copper, faintly shadowed with powder-
Tin, or dirtie silver; for the best and brightest silver is to glaring
a metal for black Japan, and very seldom made use of, (yet I 
must acknowledge I have seen several Cabinets of Raised-work
come from the Indies wrought all together in Silver, but that is not
authority sufficient for us to practice it in Gold-work.)  As for the
King, his face and hands should not be of the ordinary hue with
inferior mortals; Gold best becomes his Majesties countenance, his
eyes and beard black, his cap green gold set off with bright gold;
his body may be cloathed in bright red copper, shadowed or set
off with bright.  The figure kneeling by him, should have his up-
per garment done in dirtie gold, shadowed faintly with dirtie sil-
ver, but his under in Powder-tin, hatcht with black; his feet
with dirty copper.  The bottom of the Throne, with the Ascent,
you are to lay with gold, and set it off with black: The Ambassa-
dor first in rank approaching the throne, may be allowed the same
metal for his face with his Majesty, and set off as his too with
black; that on his shoulders and sleeves with bright red copper,
shadowed with black; his present in his hand, gold, his cap green-
gold, set off with bright; his feather behind it bright copper, set
off with black; his body dirtie copper, shadowed faintly with dir-
ty silver, or tin, yet flowered with bright gold; his feet bright
copper, set off with black.  The figure immediately following him I
should clad in gold; the cap may be bright copper, all shadowed or

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set off with black; his present in his hand, his shoos and girdle,
bright copper set off with black.  The third Gentleman's face, hands,
and feed, I would work in natural copper set off with black, that
on his head powder-tin shadowed with black; the covering on his
shoulders green-gold, spotted and hatched with bright gold. His
outward apparrel should be a lay of bright copper, set off with
black; that in his hand, gold; his under-vestment the same, and
hatch it with black.  The last figure may have his hands, face, and
feet, covered with gold, set off with black; the upper-garment
with green-gold, flowered and set off with bright gold; the under,
natural copper set off with black; that on his shoulder with bright,
red copper, shadowed also with black.  The body of the tree can
be done with dirty gold, shadowed and set off as you see with bright
gold; the leaves of the same.  Lastly, the fruit, bright copper,
and hatcht with black.

Thus may you work with Metals only, and vary it according to
your fancie.  And you may set off your plain metals, when rubbed
on Gold-size, either with Metals mixed with Gum-water, or
Gold-size; that is, when your plain Metals are layed, and thorough-
ly drie, hatch or work in the Size for setting off, as you would do
with Metals mixed with Gum-water.  You may use which you 
please, but tis my opinion that Gold-size is best.

I had rather see an Embassy thus in Miniature, than take a voy-
age into China that I might really behold one: not that we have
too richly attired his Majesty, and the Ambassadors, or given them
more magnificent habiliments than ever they bestowed upon them-
selves.  Whether the King is desired to join in the league against
the Tartar, or to stand Neuter, I cannot truly determine; but by
those weighty reasons, the Golden Presents, we conjecture that he
may be bribed, and brought over to the party.  The Agent seems
very zealous in the business; what will be the issue nad event, lies
not in my power to foretel at present; nay, if you should have pa-
tience to tarry till the revolution of the Platonick year, when
every thing shall be in the same posture it is now, even then by
consequence we should be ignorant of it. This indeed I can assure
you, I have know these Politicians nigh ten years, and never saw
them yet in any other manner than what the Picture represents;
and do therefore imagin, that there are no hopes of an amicable
and sudden conclusion.

We however shall novv fix a period to this Treatise of Japan,
as you may perceive by our giddy discourse, vvhich seems to im-
ply, that vve have nothing more to say to the purpose.  Yet give
me leave, kind Reader, to offer something before vve take our for-
mal leaves of this subject.  Many excellent Arts are buried in
oblivion, vvhich must certainly be ascribed to the neglect of the
skilful, vvho never committed them to posterity by the useful con-

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veyance of Manuscript of the Press; Painting of Glass, and mak-
ing it malleable, may serve for instances of Arts that have miscar-
ried, either through the laziness or ill nature of the Artists, who
would not communicate their ingenuity to after-ages, or else
through envy denied it a longer date than themselves, and foolish-
ly resolved it should not survive them. Short-sighted ignorants!
as if their fame and memory could die whilst their Arts thrived, or
that their great Grand-sons should admire the invention, without
entertaining a just esteem and deference for its Author.  Yet I
would not have you mistake me, and surmise, that I have made a
circular Preamble, to hook my self into the circumference; for I
proposed this Tract as a means to perpetuate my Art only. I must
confess, I have too great an Esteem for this Pallas of mine, then in
the least to slight or neglect it; and I think my self obliged to
make as good a provision for the issue of my Brain, as that of my
Body; for the first is entirely my own, but I am forc't to admit of
a Partner in the generation of the latter.  I shall never be sollici-
tous for my self, and look upon Applause to be as empty and in-
significant after death as before it; and am not in the least ambi-
tious to live by another's breath, when I am deprived of my own.
If I may be allowed to bestow a hearty Wish, it must be for its Suc-
cess, that it may flourish and be admired; that from these lines,
as from the Serpents teeth which Cadmus sowed, may spring ex-
perienced artists, that will invest it with splendor and reputation;
yet with this difference from the parallel, that they may mutually
conspire to establish and eternize it.

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THE ART OF
GUILDING, LACKERING, &c,
display'd. 

CHAP. XVIII.

To guild any thing in Oyl, whereby it may safely be exposed to
the weather.

WE have hitherto uttered big and glorious words, hardly a
Page that has not ecchoed Gold and Silver; but if you'l
pardon us, we will frankly and ingeniously confess, that the expres-
sions are as valuable as the things: for Brass-dust, and viler me-
tals have been thus dignified to counterfeit the more noble and ex-
cellent: yet it cannot be denied, but that they are such cunning
cheats as may almost impose upon the skilful and ingenious.  And
this may be said on their behalf, That although they deceive the
eye, they neither pick nor endanger the purse, which true gold
would do after a most profuse and unnecessary manner. Well then
by way of requital we shall cast away the vizor, and lay aside the
mimick dress; for the Art now in hand will not admit of the for-
mer couzenage.  Guilding accepts not of base materials, is wholly
unacquainted with dross or allay, and the finest unadulterate gold
is the only welcome and acceptable guest.  I am sensible that the
Guilders on metals will quarrel at the name, who pretend, that
Guilding is a term appropriated to the working on Metals only;
but the dispute is equally trivial, and unreasonable: for if I over-
lay Wood or any other body with Gold, I cannot conceive how I
transgress the rules of common sense or English, if I say, I have
guilded such a wood; and I shall therefore acquiesce in this title,
until the frivolous Enquirers furnish me with a more natural and
proper appellation.  However, since some of that profession have
upon this occasion disputed the title with me, though to no pur-
pose, to shew that I can and will be as good as my word, I'le give
you their way of Guilding of Metals in full to end the dispute. But
to the business in hand: I shall here instruct you in all things ne-
cessary for this way of Guilding, as Primer, Fat Oyl, and Gold-size,
all which are to be gotten at the Colour-shops.  Priming may be

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afforded for 6d. the pound, the other two will cost each of them 3d
the ounce: but because they are scarce commodities, and seldom to
be met with very good, tis requisite for those who guild much,
to make it themselves, after this manner.

To make Priming.

Priming you may make of any colour that hath a body: as white-
lead, brown or red Oker, and Umber, ground in oyl pretty light:
but the Painters have the best conveniency for this composition;
for tis made of the scraping of their pots, the oldest skinny colours,
and the cleaning or filth of their Pencils.  All these being mixed
grind very well, put them into a canvas-bag that will hold a pint,
sowed very strongly for this purpose.  If the colour be too dark, it
may be alter'd by adding a little white-lead.  Being securely in-
closed and tied up, press it between a pair of Screws, such as Apo-
caries employ, now and then turning the bag, until all the fine
primer be squeezed out, which should be received into a Gallipot,
the skins and filth that remain are useless, and may therefore be
thrown away.  With this your piece must be very thinly primed
over, and permitted to drie.

Fat Oyl

Is nothing else but Linseed oyl, managed thus.  Put it into leaden
vessels, shaped like dripping-pans, but so, that the oyl may not be
above an inch deep.  Set them out exposed to the Sun for five or
six months, until it become as thick as Turpentine, the longer it
stands the more fat it will be, and by consequence the Gold will re-
quire a better gloss; if it arrive to the consistence of butter, that it
may be almost cut with a knife, reserve it carefully, and as the best
for use that can possibly be made.

Gold-Size in Oyl.

Provide the best yellow Oaker, see it very finely grinded and thick
with Linseed-oyl, which is something fat.  This done confine them
to a pipkin, and put on it some fat oyl, to keep it from skinning
over: cover it with paper, or a bladder to guard it from dust and
injury; lay it aside for your occasions.  You may use it presently,
and if you keep it seven years twill come to no damage, but on the
contrary be much better for your purpose.  Should it happen that
you might have old gold-size that is skinny, and yellow and brown
Oaker in the same condition, grind them, shut them up in a clean
Canvas-bag; press it between your Screw as your Primer was, un-
til you have made a separation, and parted the good and serviceable
from the bad and insignificant; a Gallipot is a fit receptacle for the
first, and the dunghil for the latter.  This sort of Gold-size is ready
to serve your present and more urgent necessities; if you desire to
have a piece extraordinary, I advise you to prime it thinly over
once more, allowing it four or five days to drie, if your business
will permit, if not, instead thereof Lacker over your work in the

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Sun, or some such moderate heat, and then tis rightly prepared for
the reception of the Gold-size.

How to mix, and lay on Gold-size.

Take of the best Gold-size, and of fat Oyl, and equal quantity;
yet no more than your piece requires.  Mix and incorporate them
well together by the means of your Stone and Muller, and put
them into a pot; procure a clean Brush that has been formerly
used, and with it dipt in the Size pass over all the piece very thin-
ly, jobbing and striking the point of the pencil into the hollow
places of the carved work, that no place, creek, or corner of your
work may escape the salutation; for every part of your Frame or
thing that hath not been partaker of the Gold-size, or touched with
it, is not in a condition to embrace or receive your Leaf-gold; so
that if care in this be wanting, you work, when it comes to be
guilt, will be full of faults, and look scurvily.  Having thus done,
remove it to a convenient place for twenty four hours, free and se-
cure from dust; the longer it stands, the better gloss your Gold or
Silver will be adorned with, provided that it be tacky and clammy
enough to hold your metals.  Now to distinguish the true exact
time when the Gold-size is fit to be guilded, breath on it; if your
breath covers it over like a mist, tis evident that you may lay on
your Gold; or otherwise, press your finger upon it somewhat hard-
ly; and if you perceive tis so drie, that it will neither discolour or
stick to your finger, but is in some measure clammy, tacky, and
unwilling to part with it, conclude tis in a good condition: should
you attempt to guild before the Size is drie enough, that moisture
will drown and deprive your Gold of that gloss and lustre which it
would acquire if skilfully performed; on the contrary, if the Size
is over-drie, you are come too late, you have lost the opportunity,
for it will not accept of the Gold.  The first miscarriage of being
too moist, is rectified by suffering it to stand one day longer to drie;
the latter, which is so drie and stout, that it will not receive it,
must be confined to a damp cellar for a night, and then without
question twill willingly accept of the golden Bribe.

Of laying on the Gold, and the Tools required for the business.

You are desired in the first place to furnish your self with a
Cushion made of Leather stufft very even with Tow, and strained
on a board 10 inches one way, and 14 the other.  On this you are
to cut the gold and silver with a thin, broad, sharp, and smooth-
edged knife: To these, three or four Pencils of finer hair than ordi-
nary; some are of Swans-quills, and sold singly for 6d. the Artists
use also the end of a Squirrels tail spread abroad, and fastened to a
flat pencil-stick, which is broad at one end, and split, just like an
house-painter's Graining tool, but less; it serves for taking up and
laying on whole Leaves at a time, and is by them called a Pallet:
Cotton is also requisite, and some use nothing else. The Guilders

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commonly border their Cushion at one end, and four or five inches
down each side, with a strip of parchment two inches high, intend-
ing by this fence and bulwark to preserve their Gold from the as-
saults of Wind, and Air, which if moved never so gently, carries
away this light body, which willingly complies with its uncertain
motions.  Experienced Artists frequently shake a whole book of
Gold into this end of their Cushion at one time, and with their
knife single out the Leaves carefully, and either spread them whole
on their work, or divide and cut 'em, as the bigness of the place
requires: but I would not advise young beginners to presume so
far, as to operate this way, but venture upon a leaf or two at once,
cutting it as above directed.  Next, handle your Pencil or Cotton,
breathing on it, with which touch and take up the gold; lay it on
the place you designed it for, pressing it close with the said Pencil
or Cotton.  Thus proceed, until the whole be finished and over-
laid; then cut some leaves into small pieces, which may cover se-
veral parts of the Frame that have escaped guilding.  Having laid
it aside for a day, call for a large fine hog-hair-brush; with this
jobb and beat over the work gently, that the gold may be pressed
close, and compelled to retire into all the uneven, hollow parts of
the Carving: Afterwards brush all the Leaf-gold into a sheet of
paper for sale.  Lastly, with fine soft, Shammy leather, as it were
polish, and pass it over.  These Rules being strictly observed, your
undertaking will be artificially concluded; 'twill appear with a
dazling and unusual lustre, and its beauty will be so durable, so well
fortified against the injuries of wind and weather, that the at-
tempts of many Ages will not be able to deface it.

To Lacker in Oyl, such things as are to be exposed to the Weather.

In this I request you to observe the very method prescribed be-
fore for guilding, with this difference, That your Primer be more
white than the last, which is effected by mixing a little White-lead,
that has been grinded a long time, amongst the former Gold-size;
farther considering, that your Silver-size ought not to be so drie as
that of Gold, when the leaves are to be laid on.  These two re-
marks being rightly observed, go on with your design in every par-
ticular as aforesaid, and you cannot possibly miscarry.

To prepare and guild Carved Frames in Oyl, that are not to be exposed
abroad.

Provide a pipkin, in it warm some Size pretty hot; bruise with
your hand, and put in as much Whiting as will only make it of the
same white colour.  Size over your Frame once with it, then add
more Whiting, until tis of a reasonable consistence and thickness:
With this lay it over three or four times, as you find it deserves,
granting it time to drie sufficiently between every turn. Now take
a fine Fish-skin or Dutch-rushes, and smooth your Frame with

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'em; when so done, you may with a rag, or finger, dipt in water,
smooth, or, which is the same thing in other words, water-plain it
to your mind; let it drie.  After this, with a small quantity of
strong Size, Cold-clear it; which is a term and name Artists make
use of in this case to express themselves by, but is no more then if
I had said in short, Size it over: when this is dried, Lacker over
your piece by a gentle heat two several times.  To conclude, lay
on your Gold-size, and perform every thing required in the forego-
ing instructions.

----------------------------------------------------

CHAP. XIX.

To overlay Wood with burnisht Gold and Silver.

IN order to this work Parchment-size must be provided, which is
made thus.  Take two pounds of the cuttings or shavings of
clean Parchment; the Scriveners vend it for 3d. the pound: wash
and put it into a gallon of fair water, boil it to a Jelly, then strain,
and suffer it cool, and you will find it a strong Size. This may
be used in white Japan also, instead of Ising-glass-size.  When you
intend to imploy any part of it about the business in hand, put a
proportionable quantity into an earth pipkin, make it very hot,
remove it from the fire, and scrape into it as much Whiting
as may only colour it; mingle, and incorporate them well toge-
ther with a clean Brush.  With this whiten your Frame, jobbing
and striking your Brush against it, that the Whiting may enter in-
to every private corner and hollowness of its carved work; give it
rest and leisure to dry.  Melt Size again, and put in as much Whi-
ting now as will render it in some degree thick; with it whiten
over your Frame seven or eight times, or as you think best, strik-
ing your pencial as aforesaid; never forgetting this caution, to
grant a thorough-drying time between ever turn by the fire or Sun:
but after the last, before tis quite dry, dip a clean brush in water,
wet and smooth it over gently, and rush it smooth when dry if you
find it necessary.  In the next place, with an instrument called a
Gouge, no broader than a straw, open the veins of the Carved
work, which your Whiting has choakt and stopt up.  Lastly, pro-
cure a fine rag wetted, with which and your finger gently with care
smooth and water-plain it all over; and when tis dry, tis in a ca-
pacity to receive your gold-size; of which in the following Para-
graph. 

Of Gold and Silver-size for Burnishing.

Gold-size is the chief ingredient, that is concerned in this sort of
guilding, and tis a difficult task to find the true quantity of each
distinct thing that is required to make up the composition; and the

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reason of it is this, because you are compelled to vary and alter the
proportions, as each season changes its qualities of moisture and
dryth; for the Summer demands a stronger Size than the Winter.
The most experienced are uncertain, when they make the Size,
whether 'twill answer their intentions, and suffer them to burnish
on it; therefore to know infallibly how 'twill endure, they lay
some of it on the corner of a Frame, and cover it with Gold or Sil-
ver; now if it does not burnish well, but is rough, and inclined to
scratch; add more grease or oyl, yet avoid too large a quantity.
And seeing tis no easie matter to hit right, and nick the due re-
quired mixture, I shall lay down several ways to make it, which I
have not only experienced my self, but are now practiced by some
of the chief Professors of it in London.

The best way to make Silver-size.

Get in readiness fine Tobacco-pipe-clay, grind it very small; if
you please, mix as much Lamblack as will turn it of a light ash-
colour; add to these a small bit of candle-grease, grind 'em toge-
ther extraordinarily fine, granting a mixture of size and water;
then try it as before directed.

The best Gold-size now in use.

Take of the best English and French Armoniack an equal quan-
tity, grind them very finely on a Marble with water, then scrape
into it a little candle-grease, incorporate and grind all well toge-
ther.  Again, mix a small quantity of parchment-size with a dou-
ble proportion of water, and tis all concluded.

Another Size for Silver.

Provide fine Tobacco-pipe-clay, grind a little black lead with it,
cast in some Castile-soap, grind all of them together, mixing them
with a weak Size, as we taught you in the last account of making
Silver-size.

A size for Gold or Silver.

Take two drams of Sallet-oyl, one dram of white wax, put 'em
into a clean gallipot, only dissolve them on the fire; to these, two
drams of black Lead, and near a pound of Bole Armoniack, grind
all very finely together, mixing with them also size and water. Re-
member that I desire you never to grind more gold or silver-size,
than will serve your present necessities; if you transgress, and ima-
gin 'twill be useful another time, believe me you'l be deceived
when you come to make tryal: more ample and full directions ex-
perience will dictate to you; what follows, may be advantageous
and instructive in the preparation of your work.  In order to gold-
size it, If the subject you are to work on be a carved Frame, and
you propose guilding it, take yellow Oaker, grind it finely with
water, add a little weak Size to bind it; when warm'd, colour over
your Frame, pass by no part of it, permit it to dry leisurely.

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To Gold-size your Frame.

Employ either of the former Gold-sizes, yet I am rather inclined
to the first; melt it, so that it be only blood-warm, stir it well
with a fine brush; as for its condition, let it be somewhat thin.
With this, size over the Frame twice, but touch not the hollow
places or deepest parts of the Carving, where you cannot conve-
niently lay your Gold, for the yellow colour first laid on is nearer
in colour to the gold, so that if in guilding you miss any, the fault
will not so soon be discovered.  Alow it a drying space of four or
five hours, and try if the gold will burning on it: if not, alter
your gold-size, and do it over again, and dry, thus cover it with

To lay on Gold for Burnishing.

Having set your Frame on a Hasel, or fixt it in some other
place, in an upright posture that the water may run off, and not
settle in any of the hollownesses, lay some leaves of Gold on your
Cushion, which you are to hold in your left hand, with the Pallet
and Pencil: also tis convenient to have a bason of water at your
feet; as likewise dry Whiting, to rub your knife with some times,
that the gold may not cling to it.  All these being advantageously
placed, and in readiness, advance forward, and after this manner
set up the work.  Produce then a Swans-quill-pencil, or a larger
tool of Camels-hair if the work require it: this being dipy in wa-
ter, wet so much of your Frame as will take up three or four
leaves, beginning at the lower end, ascending and guilding up-
wards, laying on whole leaves, or half, as your work calls for
them, for your own interest contriving how you may bestow 'em
without waste, which is the principal concernment a Guilder
ought to be vigilant and circumspect in; and that darling-metal,
which we foolish Mortals covet, nay almost adore, is certainly too
pretious to be lavishly consumed and unprofitably puff'd away.
Then wet such another part of your work, and lay on your gold,
with your Pencil or Cotton pressing it gently and close.  By these
regular steps and motions having guilded the two upright sides of
your Frame, turn it, and proceed to operate after the same man-
ner by the remaining upper and under part.  If your work be suffi-
ciently moist, you'l perceive how lovingly the gold will embrace it,
hugging and clinging to it, like those inseparable friends, Iron and
the Loadstone.  I enjoyn you, after the guilding of one side with
whole, or half leaves, or large pieces, as your work requires, to
make a strict enquiry, and review those many little spots and pla-
ces, which, like so many Errata, have escaped the Pencil, and
may thus be regulated: Cut some leaves of goldinto small pieces,
and with a smaller pencil than before wet the unguilded parts, and
take up bits of gold proportion'd to the places that stand in need of
it; this last performance we call Faulting.  All these things be-
ing done, let it stand till to morrow that time, and no longer, for

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if you transgress, especially in the Summer, you'l find it will not
burnish kindly, or recompense your trouble by giving you ample
satisfaction.

To Burnish your Work.

A dog's tooth was formerly lookt upon as the fittest instrument
for this business; but of late Aggats and Pebbles are more highly
esteemed, being formed into the same shapes, for they not only
have a fine grain and greet, which conduced to, and heightens the
lustre of the gold, but besides it makes a quicker dispatch, for by
these means those narrow tedious stroaks are prevented in this bur-
nishing, and is performed with greater expedition.  These Pebbles
are each valued at 5s.  I do therefore prefer and recommend 'em
before dogs-teeth.  Having burnisht so much of your work as you
design, leave the ground of your Carving untoucht, and some o-
ther parts as you think best, whic being rough in respect of the
other, sets off and beautifies the burnishing: that which is not
burnisht, must be matted or secured with Size, Seed-Lac-varnish,
or Lacker, if you desire it deep-colour'd; and pray confine it to
this part only, let not your unsteddy hand wander or transgress it
bounds, and upon no account approach the burnishing.  The the
work must be set sett of repossed with Lacker, mixt in a gallipot
with Dragons-blood and Saffron, or a colour called, Ornator; into
which a fine pencil being dipt, with it touch the hollownesses of
your Carving, the hollow veins of the leaves and foldage, if you
imagin tis not deep enough, make it so by a repetition; some I
know use Vermilion in Size, but I declare I am not reconciled to
it, for tis not so pleasant and agreeable to the eye.

To lay on Silver-size.

Take Silver-size that's newly ground and mixt with weak Size;
warm it as your Gold-size was, and with a clean pencil, of a big-
ness suitable to the work, size over the same once or twice.  Let it
drie, and if your Silver will burning on it, tis sufficient; but on
the contrary, if it will not, we advise you to an alteration.  Next,
wet your work, lay on your Leaf-silver after the method for Gold
directly, without any alteration, and burnish it all over.

Now before we part with this subject, I shall in brief lay down
a few Rules to be observed by all Practitioners.  And

1. Let your Parchment-size be somewhat strong, and keep it no
considerable time by you; for 'twill not then be servceable.

2. Grind no more Gold or Silver-size, than what may supply
your present necessities.

3. Preserve your work clean and free from dust, before and af-
ter tis gold-sized and guilded, otherwise twill be full of scratches
in burnishing.

Lastly, never attempt to whiten, gold-size, or burnish it, in the
time of a hard frost; for your Whiting will be apt to peel off, the

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Gold and Silver-size will freez in laying on, not to say any thing
of other misfortunes that attend the unseasonable operation.

-------------------------------------------------------

CHAP. XX.

To make good Paste, fit to mould or raise Carved work on
Frames for Guilding.

I Acknowledge this to be utterly useless, on supposition those
persons who want Frames lived at London, or had any conve-
nient commerce with, and conveyance from, that City; because
Carved work is there done very cheap and well: but I consult the
wants of those who cannot be supplied from thence, or any other
place where Artists reside, who may afford 'em at reasonable rates.
In this strait and exigency, therefore carve your Frames your
self, after this method.  If you understand Modelllng, or desire to
make Models on which your Moulds shall be cast; take good,
tough, well tempered Clay, and with your tools model and work
out any sort of Carving which you fancie: lay it aside to drie in
the shade, for either fire or Sun will crack it.  When tis firmly dry
and hard, and you intend to cast the Moulds on the Models, oy
your models over with Linseed oyl; work the paste briskly be-
tween your hands, clap it on, and press it down close every where,
that it may be a perfect mould in every part; and tis no sooner
dried, than finished.

To make Pastes.

Steep as much glew in water as will serve you at present, then
boil it in the said liquor; make it stronger than any size, yet some-
thing weaker than common melted glew: bruise and mix whiting
very well with it, until tis as thick and consistent as paste or dough;
knead it very stifly, wrapping it up in a double cloath, in which
it may lie and receive some heat from the fire; if you permit it to
lie in the cold and harden, twill render it unserviceable.

To make a Mould of any Carved Frame, thereby to imitate it in Pastes.

Take a piece of paste more or less according to the length or
largeness of the leaves and flowers you take off; 'twould be idle
and fruitless to take off the whole length, for you'll find one bunch
of flowers, perhaps six or eight times in one side of a frame; so that
one mould may serve all of that sort, provided they are artificially
united and joined together.  Work then the paste between your 
hands, clap it on that part of the frame which you design to take
a mould off; let there be paste enough, that the back of the mould
may be flat and even.  While the mould is warm take it from the
frame, and at the same instant with a weak glew fix it to a board
that is larger than it self.  Thus may you take off and other small

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sort of Carving, not only from the inside and edge, but any part of
your frame, glewing all your moulds on little boards, and giving
them leisure to drie and harden.

Of placing Paste or Carved work on Frames.

Every Joyner can make frames for this purpose, which some-
times are very plain mouldings, either half round, ojee or flat; for
there may be some little hollowness and ojee, or what else you
please, allowed of, on the sides of the paste-work.  When your
frames, paste, and moulds are ready, oyl the moulds very well with
Linseed-oyl, striking the brush into every little corner, for this
prevents the moulds sticking to the paste.  Then use as much warm
paste as will fill up the mould, work it again between your hands,
and whilst it is thus warm, and in good temper, put it into the
mould, pressing all parts with your thumbs; next, with a knife
cut off the superfluous paste even with the top of the mould: turn
out your newly fashion'd carved work on your hand, and before it
cools glew it, and the place tis design'd for, with thin glew; clap
it on your work in the very place you intend it shall always abide,
pressing it gently. Then oyl your mould again, work your paste,
cast and place it as before: this must be repeated, until the whole
be accomplished, and the frame is to your content filled with
carving.  Grant it four or five days to dry in, after which time
you may safely whiten it.  On these sorts of frames you may guild
in oyl, or burnish, but to the latter it is chiefly accomodated.

------------------------------------------------

CHAP. XXI.

Of LACKERING.

LAckers are composed several ways, and differ as variously in
their value and goodness, which admits of degrees, according
to the method and materials out of which they are produced; yet
they have common to them all in which they universally agree, the
famous ingredients, Spirit of Wine, and Seed or Lac-shell-varnish;
but their Colour and Tincture for all this differ extreamly.  Some
boil their Lacker, whilst others (who are more in the right) are
not beholding either to Fire or Sun.  They who through igno-
rance dissolve it by fire, are in the first place to be excused, as also
when they cannot rise to the price of good Spirits, strong enough
to dissolve the Seed or Shell-lacc without fire; but because some
may be willing to save charges, and others desire indifferent Lacker
only, take along with you direction for them both.

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To make common Lacker.

Take one quart of Spirit, put it into a Pottle-bottle; of Shell-
Lacc eight ounces, beaten small enough to enter the bottle; shake
'em well together; having stood till quite dissolved, strain it, and
reduce to powder a small quantity of Sanguis Draconis, which with
a little Turmerick tied up in a rag put into it, grant it a days con-
tinuance in that posture, at your leisure hours shaking it.  You may
alter the colour, heighten or abate it, by adding or diminishing the
quantity of the two latter ingredients.

Another sort of Lacker.  

Use the same quantity of Spirit of Wine and Shell-Lacc, as be-
fore; when dissolved, strain it; but, to give it a tincture, instead
of common Dragons-blood and Turmerick, employ a very little
Sanguis Draconis in drops, and Saffron dried; which bruise, and
cloath with a piece of linnen, and manage it as the other, by put-
ting it into the vessel.  If you desire the Lacker of a deeper or
more copperish colour, add more Sanguis; if the contrary, Saffron.
These being shakt well, keep close stopt for your designs.

To make the best sort of Lacker now used by the Guilders.

Some use Shell-lacc-varnish only or this Lacker, but Seed-lacc is
much better, the composition of which you are taught in the 8th
page.  Take therefore of this seed-lacc-varnish, a quantity answ-
rable to the Lacker, which give a tincture to after this manner.
Take the color called Ornator, ground and reduced to a very fine
dry powder; mix it and some of the varnish in a gallipot, stir and
dissolve it over a gentle fire; after this confine 'em to a viol close-
ly stopt.  Take likewise three or four ounces of Gambogium, which
I would have bruised, dissolved on the fire, and kept in a vial as the
other.  To a quart of this varnish, if you please, two penniworth of
Saffron dried and bruised may be added; to these, five or six spoon-
fuls of the Ornator, and a double portion of Gambogium-varnish:
being shaked well together, try it on a little bit of silver, or a small
frame; if it appears too tellow, afford more from your Ornator,
but if too red, from your Gambogium vial: by these contrivances
you may continue the mixture until you arrive at the the true golden
color, which is the only excellence we design and aim at.

To make a Lacker, that may be used without Fire or Sun.

To a quart of the aforesaid Lacker allow 2 penniworth of Ve-
nice Turpentine; mix and incorporate them very well.  With this
you may lacker anything in the open Air, and although it may

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dull and misty immediately after every lackering, that fright,
that seeming discouragement, will quickly vanish; that thin clou-
dy vapour, will be dissipated by its sudden, and piercing lustre.

To lacker Oyl, Size, or Burnisht Silver.

Let your Frame or work be warmed before you lacker it, and
when some of your Lacker is poured into a large Gallipot, with a
fine large Brush, that does not drop any of its hairs, made of Hogs
or Camels-hair, be quick and pass over the piece, carefully contriv-
ing to miss no part, or to repass another than has been already lac-
kered; but in a manner observe the same rules here, that are given
for Japan, yet with these exceptions in lackering Carved work;
for then you must be quick, and strike or jobb your brush, thereby
to cover the deep parts also: Be sure to lay it 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.  If two or three varnishings will
not produce a colour deep enough, oblige it with a fourth; but re-
member, if you should carelessly do it too deep, all assistance will be
insignificant, and no remedy whatsoever will avail you.

To make Lackering shew like Burnisht Gold.

If you are careful and neat in burnishing your silver, and have
graced your Lacker with a true gold-colour, have with an even
hand laid it no thicker in one place than another; then Matt and
Reposse it, as you do burnisht gold; and unless narrowly surveyed,
twill put a fallacy upon and deceive curious, discerning eyes.  Mat-
ting is only the ground-work of your Carving altered, or varnish-
ing it deeper and more dull than the other part of the Frame: Re-
possing is done with Lack and Ornator, (which latter the Drug-
sters sell at 4d the ounce,) with these mixt, touch and deepen all
the hollow deep places and veins of your work; for it adorns and
sets it off admirably well, by ite colour and reflection.

---------------------------------------------------------

CHAP. XXII.

Of Guilding Metals.

I Acquainted you before with a controversy between the Guil-
ders, concerning the Terms of Art, who denied the name of
Guilding to that of Wood, and confined it to Metals only: upon
which account we promised you to treat of the latter too, and there-
by comprehend both; although tis no question but on laies as just
a claim to that title as the other.  They are certainly fine inven-
tions, that serve to please us with the shadow, when the substance

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can't be purchased.  We are all of us great admirers of Gold, and
by consequence must be enamoured with Guilding, which is so
nearly related to it.  For Guilding is Gold in Miniature, with which
as with a golden Ray, we beautify and adorn our viler Metals.  Its
preparation therefore must first be discovered, before we can pro-
ceed to the use and performance.

To prepare Gold.

Take Leaf, or fine Ducket-gold, which is more excellent for this
use, or either what quantity you please; but be sure that the
Ducket be beaten very thin: put the gold, and as much quick-sil-
ver as will just cover it, into a gallipot.  Let them stand half an
hour, presently after the mixture stirring them with a stick.  This
time being expired, strain 'em through a piece of leather, squeez-
ing with your hand, till you have brought out as much quick-silver
as will be forc't through by all your industry.  Now that which
remains in the leather looks more like silver than gold, yet tis
that, and that alone which must be employed in the succeeding
operation.

To guild Silver, Copper, Brass, or Princes-metal.

Whatsoever you design for guilding, should be first well scrubbed
with a Wier-brush, sold by the Iron-mongers.  Wet the piece with
water or beer, and continue scrubbing and wetting it, until all filth
and dirtiness be fetcht off, that the two metals may more closely
hug and embrace each other.  This being cleans'd, make ready
quick-silver, by mixing it with a very small quantity of Aqua for-
tis in a vial, which should always stand by you; three or four
drops only of Aqua fortis, is sufficient I assure you for an ounce of
quick-silver.  With this quicken your work, that is, with your
finger or a fine rag rub this mixture on your metal, till tis all over-
silvered or toucht with the said quick-silver.  This done, call for
your gold formerly prepared, and with an iron-tool or little knife
fit for the purpose, spread or overlay the whole work, being care-
ful to miss no part, under the penalty of doing that place over
again, after you have given it heat over a fire, which you
must do when the gold is laid, to compel the Mercury or quick-
silver to evaporate and flie away, leaving the gold fixed and adher-
ing close to the piece.  But before you give it a thorough heat, let
it have two or three little heats, that you may with a hair-brush,
like that of a comb, dab and spread your gold, which by the little
warmth you gave it, makes the quicksilver also more ready to
spread.  After these two or three visits made to the fire, give it the
thorough-heat at first mentioned: then take it from the fire, and
with a scrub-brush, that has never been toucht with quicksilver,
clean it, as you did in the beginning.  Now, if you perceive any
spot of quicksilver untoucht, you must lay your gold upon it again:
when tis cleaned with the scratch-brush, you may after this man-
ner heighten its colour, if you think convenient.

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Take of Salt, Argal, and Brimstone, an equal quantity; mix
them with as much fair water as will cover the thing when put in-
to it; boil them over the fire, and having tied your guilded work
to a string, put it into the boiling liquor for a little space, looking
on it every minute, and when it has acquired a colour that pleases
you, dip it in cold water, and the whole is finished.  But still if
you would have the work more rich and lasting, you may again
quicken it with quicksilver and aqua fortis, and guild it over again
after the former method, and repeat it so often, if you please, till
your gold lies as thick as your nail upon the metal.

Another way to guild Silver, Brass, or Princes-metal.

First, brush over your silver with Aqua fortis, then quicken your
work with Mercury as before taught.  Let your gold be beaten
thin, and put into a Crucible with just so much quicksilver as will
cover it, and let it stand till it begin to blubber: then strain it
through a piece of leather as before, and the quicksilver will go
through and leave your gold, but discoloured, as hath been said;
then lay it on with an iron-tool, and in every thing do as you were
taught in the other guilding.

Another way to heal, or heighten, the Colour of your Gold.

Take Sal Armoniack, Salt-petre, Sandiver, Verdigreece, white
and green Vitriol, grind them with white-wine-vinegar, which lay
all over your work; then lay it on a fire, and give it a small heat
that may make it smoak, and then take it off and quench it in urine.

To take off Gold from any guilt Plate, without the damage of one, or loss of
the other.

Put as much Sal Armoniack, finely beaten, into Aqua fortis, as
will make it thick like a Paste; spread your Plate all over with it,
put it into the fire, give it a thorough heat, neal it, or make it red
hot; then quench it in fair water, and with a scrub-brush scratch
and scrub the Plate very well, which will fetch off all the gold into
the water.  After a little time standing quietly, pour off your wa-
ter, and the gold will be to your satisfaction found at the bottom;
if all the gold be not come off, do the same again.  As for cleansing
this plate, or any other, which we call, Boiling of silver, first, make
your plate red hot, let it stand till tis cold; then mix Argal and
Salt with water, when it boils, put in your plate, keeping it there
for a quarter of an hour: take it out, and when washed and rinsed
in fair water, you'l perceive by its beauty that tis sufficiently
changed.

To Silver-over Brass or Copper, as the Clockmakers do their Dial-plates.

Having Leaf or burnt-silver in readiness, put it into as much
Aqua fortis as will cover it; after an hours standing pour off the
Aqua fortis as clean as may be from the silver; wash the silver

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three or four times with water, let it dry, and then mix it with
one part of fine Argal to three of silver, with a little fair water.
When you make use of it, rub it on the work with a cork, until tis
all silvered, and lie as fair as you could wish.  Next, dry it well
with a linnen cloth, and having made it warm, wash it over three
or four times with the best white varnish, spoken of in this book,
and it will not fail to secure it from Tarnishing, and other injuries.

To guild Iron, Brass, or Steel, with Leaf-gold or Silver.

If you are to guild Brass or old Iron, you must cleanse it very
well with a Scratch-brush, before you hatch or guild on it; but
for new Iron or Steel, after you have filed it vary smooth, take
a hatching knife, (which is only a knife with a short blade and
long handle,) and hatch your work all over neatly; then give it an
heat, whilst it looks blew, on a charcoal fire, from whence take it
and lay on your gold or silver, and with a sanguine stone burnish it
down a little; then give it the same heat and burnish it all over.
Thus may you repeat three or four, or half a dozen, or a dozen
times if you please, still observing to give it the same heat before
and after you lay on your gold or silver, and burnish it.  This leaf-
gold and silver is much thicker than the other, and four times as
dear.

To refine Silver.

Take Silver, be it never so coarse, and melt it in a melting pot,
then cast it into water, to make it hollow; after tis cold take it
out and dry it, mixing one ounce of Salt-petre to a penni-weight of
Antimony, (so proportionably greater quantities, if you have occa-
sion.)  These with your Silver confine again to a melting-pot, co-
vering that with another, very closely luting them together with
loam, made of clay and horse-dung.  The two pots being thus ce-
mented, put 'em into the fire, and give them a very strong heat,
after which remove them to a cooling place.  Break the pot when
cold, and you'll perceive the silver fine at the bottom, but the
scorio and dross on the upper part like a cinder.  Copper may be
separated from Gold after the same manner.

To separate Gold and Silver, when incorporated, with Aqua fortis.

Take as much Aqua fortis duplex, as will something more than
cover your metal, in a strong vial or parting-glass.  Put it on
sand over a gentle fire at first, with the glass open and unstopt;
for if tis closed twill break in pieces, as may also a fierce fire at the
beginning: by degrees therefore increase its heat, till you make
the Aqua fortis simper and boil; continue so doing, till your me-
tal be dissolved.  This done, pour the Aqua fortis gently into wa-
ter; the silver will invisibly go along with it, but the gold remain
at the bottom of the glass; which gold, when well washed with

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water, you may melt down, or preserve for guilding metals, by
mixing it with quicksilver, and straining the latter through lea-
ther, as you were instructed by Leaf and Ducket-gold.

Now to reduce the silver into its former body which appears
to be a water, and so would remain many years, unless you take
this method for its alteration; pour the said water (wherein your
silver is floating like undiscernable Atoms) into a copper vessel, if
in any other, put in copper-plates; and immediately all the sil-
ver will repair to the copper, like and army to their posts at beat
of drum, so that in two or three hours time (that small parcel of
silver, which hath been separated into parts more innumerable
than the Turks army will be this Campagne) you'll find all hanging
and clinging so lovingly to the copper, and as loth to part as we
from our Mistresses, though they're sometimes more unconstant to us
than the silver is to the copper, for no other metal can tempt it
to the same compliance.  The same silver so gathered you may
use for silvering any metal, doing with it as is here taught of
the gold, or instead of leaf or burnt silver dissolved in Aqua for-
tis, as was before said in Clockmakers silvering.

-------------------------------------------------

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Directions in Painting MEZZOTINTO-PRINTS,
on Glaß, or without it.
-------------------------------------------------

CHAP. XXIII.

The most ingenious way of Painting justly claims applause and
admiration, if skill and dexterity are called to the perfor-
mance: Where these two combine, beauty and perfections must
dance attendance.  Tis a pleasant, insinuating Art; which, under
a pretty disguise betrays us into a mistake: We think a piece of
Limning lies before us, bur more strict enquiries will evince, that
tis Mezzo-tinto at the bottom; Who can be displeased to be so
innocently deluded, and enamoured at the same time?  Tis female
policy at once to ravish and deceive the eyes, and we not only ca-
ress the cheat, but are in love with the impostor too.  This man-
ner of Painting is lookt upon to be the Womens more peculiar
province, and the Ladies are almost the only pretenders; yet with
modesty and submissions I may adventure to affirm, that I have not
had the good fortune to meet with one of a hundred, that had an
excellent command of the Pencil, or could deservedly be stiled a
Mistress of this Art; yet tis certainly no uneasie task to arrive to
a great height in it: but we are overstockt with no less conceited
than ignorant Teachers, well qualified to deface a Print, and spoil
the colours, who abuse those young Ladies that desire instructions,
perswading 'em to the damage of their purses, and lots of their time,
to attempt that which they are not able so much as to assist 'em in.
This is a sufficient inducement to perswade my self, that these
Rules will be acceptable; tho I know very well that I have raised
a discourse on a subject with which the world is very well acquain-
ted, yet by way of requital I shall make greater discoveries than
the famous Mistress of it ever pretended to communicate; in a
word, I promise to display it in its perfection.

I conceive tis requisite to advise you, first, in the election of
Prints, Frames, and Glass; of each in their order.  Mezzo-tinto
Prints are to be preferred before all others, being more fit and sui-
table for Painting than those that are engraved, for in these all the
stroaks of the Graver are plainly visible; but the other, if done
with a neat and careful hand, on a good, fine-grounded print, can
hardly be distinguished from Limning.  Consider, that some of these
Prints are of a coarse ground, others of a fine: the first are discer-
nible, for they seem to be rough, and workt as it were with the
pricks of a Pen; but the latter hath soft and fine shadows, like a
piece neatly wrought in Indian ink, or a picture in black and white.

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Observe farther what paper they are drawn upon; for if it be too
thick, which you may foresee by wetting a corner of it with wa-
ter or your tongue, and it pass not through the paper presently,
then conclude tis not for your purpose; but on the contrary, the
thin and spungy paper must be elected: Their value is enhanced
by the different size and goodness of each Print; some may be af-
forded for six pence or a shilling, others for 18d. or more.

Your Glass ought to be thin, white, and well polisht, such as is
made for Looking-glasses.  All blewish, red, green, and window-
glass, cannot be allowwed of here, you must especially despise and
cashier it; for if you paint on either of these, especially window-
glass, your colours can never appear fair and beautiful.

Your Frames for glass-painting are usually made of stained Pear-
tree, with narrow mouldings for little pieces, which increase in
bredth, as the size of your picture does in largeness; they are
made with Rabets, and are afforded for 6, 8, and 12 pence, or more,
according to their several dimensions.

Another sort of Frames I recommend to you, most proper for
those Prints which you paint without glass, called Straining-
frames: If you desire to have them Carved, Guilded, or black, or-
them to be made flat, and even, without a Rabet on the back-
side, half an inch less than the edge of the Cutt, every way; which
is apt to rend when it undergoes the trial of straining.  This mis-
chance is occasioned by the sharp edge of the Plate, which almost
cuts the paper when tis printed: If you approve of black Frames,
command the Frame-maker to work them half round with Pear-
tree; would you stain, or Japan them, guild or raise their carved
work; this Book will sufficiently inform and direct you.  Thus
much of these things in particular; I shall now proceed to give a
catalogus of such Colours as may be assistant to you in this busi-
ness, together with the Oyls, and their several prices; as also dire-
ctions to make drying Oyl, and various sorts of Varnish for Paint-
ing.  And first, the names of your colours, and their value, as they
are commonly sold ready prepared, take in the very very order that
they are placed on your Pallet.

Flake White, finely ground in Nut-oyl, is sold at 2s. the pound.
White-lead, ground in the same oyl, 1s. per pound.

Yellow and brown Oaker, finely ground in Linseed oyl, is vended
for 3d. the ounce.

Yellow or Dutch Pink may be afforded, when ground, at the
same rate.

Brown or glasing-Pink is indeed very dear, the bigness of a Nut-
meg grinded will stand you in 6d.

Fine Lake will cost as much.

Light and brown Red, are only yellow and brown Oaker burnt;
tis 3d. the ounce ready ground.

Italian Terravert, is not much used in this Painting, though very
much in all others; tis dearer sometimes than at others.

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Umber, Collins-Earth, Ivory, blew black, are afforded at the or-
dinary price when ground, which is 3d. the ounce.

Distilled Verdegreas ground, you may have it at the same rate
with Brown Pink and Lake; but these three colours I would ad-
vise you to purchase by the Ounce, and grind 'em your self, if it
will stand with your conveniency; for the Colour-Grocers will af-
ford these cheaper by the Ounce than Dram.  Its price is 1s. the
Ounce; indifferent brown Pink, and Lake, for the same value;
but that which is more pure and fine is 1s. 6d. 2s. and 2s. 6.d or
more, as they excell in goodness.

Some colours are in powder, which you must of necessity have
by you, and should mix and temper on your Pallet, as you shall
have occasion to use them.

The first is Vermilion, usually sold at 4d. the Ounce.

Carramine, being the finest and most excellent Red, is sometimes
vended for 3l. the Ounce.

For Blews, the best fine Smalt is to be bought for 4 or 5s. the
pound.

Blew Bise, useful only only in making green colours, may be gotten
for 4d. or 6d. an Ounce.

Ultramarine, the richest blew in the world, bears several prices:
the deepest and best will cost 6 or 7 Guinea's, but then it must be
extraordinary fine; other sorts are exposed for 3 or 4l. the Ounce,
which is very good too, and fit for this use; some again for 20s.
the same quantity, and may serve for Painting, but tis too coarse
for glazing.

Yellow and pale Masticott, which is finest, free from greet, with
the brightest colour, is the best.  If it prove coarse, grind or wash
it a little on a clean stone; tis sold for 2d. the Ounce.

Red Orpiment you must mix with drying Oyl; this too is af-
forded for 2d. the Ounce.

These are the Colours useful in Painting, with which you may
exactly imitate and hit any colour whatsoever, by different ways,
and methods of mixture.  Their price also I have given you, if
you buy them in small parcels; but if you furnish your self with
greater quantities at one time, you'l find the purchase more cheap,
and easie.  Observe, that six of these are transparent or glazing
colours, vis. Brown Pink, fine Lake, Carramine, fine Smalt, Ul-
tramarine, and Distilled Verdegreas.

To wash, or make any of the Powder-colours very fine.

You must have four or five large Wine-glasses by you, and two
or three quarts of clear water.  Fill one of your glasses with it;
put in half an Ounce, or as much of your colour as you intend to
wash; stir it well about with your knife, permit it to stand no
longer than while you could count or tell forty; for in this short
space of time all the coarse will sink and settle to the bottom, the

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finer remains floating in the water, which convey and pour off in-
to another glass, leaving the coarse part behind.  Let the vessel,
with the fine colour and water, stand till next day, by which time
that also will settle to the bottom of the water.  This being pour-
ed off, take out the colour; place it on a clean smooth Chalk-
stone, to soak and drink up the water; and when tis dry, paper it
up for your business.

Of OYLs.

It remains, that to this account of Colours, we subjoyn that of
Oyls, which must be serviceable to us in the Art of Painting.

The first of these is Linseed Oyl, sold at 8d. the quart.

Nut-Oyl, to be purchased at 16 or 18d. the like quantity.

Oyl of Turpentine is afforded for less than 8d. the pound.

Drying-Oyl, will stand you in 2d. and Ounce at the Colour-shops,
and Fine-varnish 3d. which in my opinion is too dear; and there-
fore, if you'l give your self the trouble, I'le be at the pains to in-
struct you, how to make either sort.

To make the best Drying-Oyl.

Mix a little Letharge of Gold with Linseed-Oyl, for a quarter
of an hour boil it; if you'd have it stronger, continue boiling it,
but not too much neither, lest it prove over-thick and unservicea-
ble.

Another more ordinary.

Bruise Umber and Red-lead to powder, mix 'em with Linseed-
oyl, and for boiling follow the directions foregoing.  When this
Oyl has stood a day or two, and you find a skin over it, know then
for certain tis at your service.

To make Varnishes for the Prints, or Pictures in oyl.

Put an Ounce of Venice-Turpentine into an earthen pot, place it
over a fire, and when dissolved and melted thin, add to it two oun-
ces of oyl of Turpentine; as soon as they boil take off the pot, and
when the varnish is cool, keep it in a glass-bottle.  This and all
other varnishes ought to be stopt close, and secured from the ap-
proaches and damage of the Air.  With this you may varnish your
Prints on glass or others, to render them transparent; this is what
the Shops sell for fine varnish: should your varnish be too thick,
relieve it by an addition of Oyl of Turpentine.

Another more excellent Varnish either for Pictures in oyl, or making Prints
transparent.

Inclose six ounces of the clearest, white, well-pickt Mastick fine-
ly powdered, in a bottle with sixteen ounces of oyl of Turpentine;
stop and shake them well together, till they are incorporated.  Then
hang the bottle in a vessel of water, but not so deep as to touch the
bottom; boil the water for half an hour, in which space you must

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take it out three or four times to shake it; if you'd have it stron-
ger, boil it a quarter of an hour more.  I could give you a greater-
number of Recipe's, but 'twill be irksome, tedious, and unne-
cessary, seeing these will preserve your pictures, and are as good in
their kind as any Varnishes whatsoever.

----------------------------------------------------

CHAPT. XXIV.

To lay Prints on Glaß.

HAving at large treated of the Colours, Oyls, and other materi-
als required in this work; I proceed to instruct you how the
Prints themselves must be laid on Glass.  First therefore let your
Prints be steeped in warm water flat-ways, for four or five hours,
or more, if the paper be thick: provide then a thin pliable knife;
with it spread Venice-Turpentine thin and even over the glass, and
with your finger dab and touch it all over, that the Turpentine
may appear rough.  Next, take the Print out of the water, lay it
on a clean Napkin very evenly, and with another press every part
of it lightly, to suck and drink up the water of it; afterwards
lay the print on the glass by degrees, beginning at one end, stroak-
ing outwards that part which is fastneing to the glass, thant between
it and the Print no wind or water may lurk and hide it self, which
you must be careful of, and never fail to stroak out.  Then wet the
backside of the print, and which a bit of spunge or your finger rub it
over lightly, and the paper will role off by degrees; but be careful,
and avoid rubbing holes, especially in the lights, which are most
tender: and when you have peeled it so long, that the Print ap-
pears transparent on the backside, let it dry for two hours; next,
varnish it over with Mastick or Turpentine-varnish four or five
times, or so often, till you may clearly see through it.  After a
nights time for drying, you may work on it.

To lay Prints, either graved, or Mezzo-tinto's, in such manner, that you may
role off all the paper, and leave the shadown behind.

Soak the Print in water, dry it with a cloath, spread on the
glass oyl of Mastick: and some Turpentine, and lay on the print
upon it, exactly as before.  When tis almost dry, brush off the pa-
per with a brush, and you'l find none but the inky, shadowed part
remain: then do this as the former with Mastick-varnish, which
preserve dry and free from dust, until you are at leisure to paint
upon it.

To prepare Prints without glass or straining-frames.

When your prints are steeped sufficiently in water, lay them on
a smooth, wet Table, with the print-side downwards, and rub 'em
thin as before for glass.  Next, with common paste, do the back-
side of your frame, and paste on your print while wet: give it lei-

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sure to dry, and then varnish it on both sides four or five times
with Mastick or Turpentine-varnish, until tis so transparent, that
you may see the Picture as plain on the back as foreside.  Lastly,
allow it a day or two for drying.

Of the posture and position of the Print, and those that paint them.

I may now reasonably suppose, that all things are in readi-
ness, and that nothing may hinder us from setting about the work
in earnest.  Most Ladies that have practiced this Art have
made use of an uneasie posture for themselves, and a disadvantagi-
ous situation for their piece: for they generally stand to it when
the windows are high, against which they place the Print; but 
whoever stands, cannot so steddily move the hand and pencil as
the person that sits down.  I advise you therefore to Table Ha-
sel, very like to, and not improperly called, a Reading-desk; only
with this difference, That where the Panel or back-board for the
book is, there our Painting-desk may be all open, with three or
four wiers pendant-wise, to keep the picture from falling through,
and a narrow ledge at the bottom to support it.  Beside these, I
would have little holes made equally distant on both side of the
Desk, as tis remarkable in Painters Hasels, that by pegs or pins,
and a narrow ledge laid upon them, I may raise my Picture higher
or lower, as it best suits with my conveniency.  Being thus fixt,
lay a sheet of very white paper behind the picture on the table, and
you'll find it much better, and more conveniently placed than a-
gainst the window.

How to paint a Mezzo-tinto Landskip on Glass, or otherwise.

The first thing to be attempted in this work, whether Landskip
or others, is Glazing all those places that require it; and if you
desire they should lie thin, and drie quickly, (as they ought to do,)
mix varnish when you lay them on, and in four hours time they'l
be ready for the reception of other colours.  In Landskip, you
should first glaze the nearest and great tress, and ground 'em with
brown Pink, or, if you fancie them greener, add distilled Verde-
greas.  The trees, that are to appear with a lively beautiful green,
as also the leaves and weeds, that are in some pictures, must be gla-
zed with Dutch-Pink, and distill'd Verdegreas; the trees farther
off, with Verdegreas alone; the hills, mountains, and trees, at the
greatest distance of all, remember to glaze with fine Smalt, a little
Lake, and Verdegreas, all thinly mixt with varnish.  As for the
Skie, although several Mistresses practices and teach the cutting of
it out from the picture, and painting it on the glass, I do by no
means allow of it, for it agrees not with the eye, but makes that
part which should seem more distant, appear too night and before
the rest; in a word, it spoils and disparages the whole piece.  I can-
not suggest to my self any reason for this foolish contrivance, unless

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a sense of their inabilities to paint 'em beautifully, obliges them to
commit so great an absurdity.  Take then Ultramarine, or, for
want of that, fine Smalt; mix it thin with varnish, and glaze it
over two or three times with a clean large Pencil, and a very swift
stroak; for if you're tedious, it will dry so fast, that you cannot
possibly lay it even.  If the Landskip be adorned with Figures,
Buildings, Rocks, Ruins, or the like, they require finishing first of
all.  The mixture of colours for these things consists chiefly of
white, black, and yellow, sometimes a tincture of red; but the
management and composition of them I leave to your inclination,
fancy, and experience: yet I would have you consider, that all your
Colours for tihs sort of Painting ought to be extraordinary light.
Now to finish the Trees, Ground, and Sky, and the rest of the pi-
cture, begin as before with the greatest or nearest trees, and with
yellow Pinke and white, paint over the lightest leaves; but with a
darker colour of Pink, and a little Smalt, do neatly over the dark-
est and outward leaves with a small pencil dipt in varnish.  Those
trees you would have beautiful, paint with a mixture of yellow
Masticott, Verdegreas, and white; the darker parts with Pink,
Verdegreas, and white; as those trees also which you glazed with
Verdegreas only, they being mixt very light with white.  But to
finish the skie and foreskip; if any clouds appear, touch them
with varnish and light colour, made of white, yellow Oaker, and
Lake: With these likewise touch the lightest parts of hills, and
towns, at the remotest distance; then mix Smalt and White as
light as you can conveniently, and paint over the skie; add to these
a tincture of Lake, and do over the darker clouds: Let your co-
lours lie thin, and even; if the whole be finished, grant it time to
drie in.  If you would have your picture look more strong, brisk,
and lively, set it against the light, or on the Hasel as before; and
although tis painted all over, you may perceive the shadows and
lights through it; if not, what you painted before will guide you.
Paint then your skie and foresight with the same but lighter co-
lours than before and so everything else respectively.

------------------------------------------------------

CHAP. XXV.

To Paint a piece of figures, as Men, Women, &c.

IN painting a Face, the first thing required is, if there are any
deep shadows, to glaze and touch them thinly with Lake, brown
Pink, and Varnish; also the white speck and black ball, or sight of
the eye, as the Print will direct you; the round white ball of a
convenient colour too.  If you make the lips of a delicate red,
glaze them with Carramine, or Lake: For the rest of the face, be-
gin with the dark side, and paint the shadows with a colour more

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red than ordinary, for which Vermilion, yellow Pink, and white,
are most proper; where not, that all varnish is forbid in painting
flesh-colours, except what is used in glazing the shadows: if you
should mix varnish, the inconvenience will be, that the colours
will drie so fast, that you cannot sweeten the shadows with the
flesh.  Then give some touches on the strongest lights of the face,
as the top of the nose, forehead, and by the eyes, mouth, and chin,
with a colour made of white, pale Masticott, or yellow Oaker,
and a little vermilion, and mixed according to the complexion in-
tended; then mix that colour a thought darker, and lay it on all
the face, that was not painted before, very carefully; yet for the
mouth, and cheeks, somewhat redder.  Next, with a fine clean
pencil, that has been used and worn a little, hatch and sweeten all
your flesh-colours and shadows sweetly together, cleaning the pen-
cil as often as tis requisite.  Cheeks too pale, or any other part,
may be regulated with suitable colours, whilst the piece is moist
and wet.  For swarthy complexions, mix the flesh-colour with
white, yellow, or brown Oaker, and light red, with shadows agree-
able.  I request you to observe the same method in painting breasts,
hands, or naked bodies, as for the face: When any of these are drie,
you may go over them again, by which second painting you may
effectually mix your colours to your humor.  Lastly, be ever care-
ful, that your pencil be steddily guided, without the least slip or
trespass upon lines and features of a disagreeing colour.

To Paint Hair.

Tis not convenient in this Painting to use Varnish or Colours
neer so dark as the life, for the Print will darken it: as for example;
Suppose I were to paint an head of hair that is black, I would mix
white, black, red Oaker, with a touch of Lake or light red, all which
may produce an ash-colour; and the hair or Peruke being coloured
with it, will represent a natural black.  Now to make the curles
shew stronger, touch the lightest parts with a lighter colour, and
the darkest with the contrary; all which you may see through, if
they are not laid too thick.

To paint Drapery or Garments.

To paint a piece of Drapery or Cloath, of a broken colour, you
must take care of its mixture; yet you are to make three degrees
of the said colour, that is one, the very colour, another more light,
the third darker: this last is for the darkest folds, the lightest for
the lightest pleats, and the colour between both for the other part
of the garment; sweeten the colour with a worn pencil, that the
folds may not lie hard.  If you have a mind to embroider a gar-
ment, make fringe, or any other parts with shell or powdered
Gold or Siver, mix then your metals with gum-water, and with a

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pencil hatch or embroider your flowers, and touch the fringes,
or what else best pleases you, before you either glaze or paint the
garment you design to adorn, after this manner.

How to paint changeable Drapery.

Imagine that your garment to be painted had its ground purple,
and the lights yellow; take then a fine pencil dipt in varnish, and
with yellow Masticott touch thinly all the lightest parts of your
folds; if there be occasion repeat it, for your colour must be very
thin with varnish: when drie, glaze it all over with Lake and Ul-
tramarine, or Smalt with varnish, once or twice, and let it drie;
then mix three degrees of a purple colour, one of Lake, Smalt, and
White, and lay them on, as the last Paragraph directs you.

To paint several sorts of Red Drapery; and first, of the Finest.

Take Carramine, and mix it thin with varnish alone; glaze
over your garment once, if you'd have it very beautiful, two hours
after do the same again; and when that is drie, with vermilion and
white, or vermilion only, you may paint all except the dark
shadows, which should have red.  If you can see through the co-
lour when drie, the lightest folds, touch them over with clear
white, and they will appear more rich and ornamental.

Another Red near the same:

Grind Lake very finely in oyl, temper it well with drying oyl
and varnish; with this glaze over your Drapery two or three
times, and when tis dry, paint the lightest with white, the darkest
with light or brown red, the remainder witih vermilion.

Other Reds more ordinary, without Glazing.

Mix vermilion and white, and paint the strongest lights with it,
the dark shadows with a light or dark red, and the rest with ver-
milion.  For the lightest folds, mix light red and white; for the
dark pleats, brown red; for the rest, light red only.

To paint the best Blew, and glaze with Ultramarine.

Mix Ultramarine with thick Nut-oyl; but if you cannot wait
and attend its drying two or three days, then instead of oyl use
varnish, and glaze your garment three or four times over, letting it
dry between every turn; when tis dried, make three degrees of
Smalt and White very light, and with the clearest white do the
lightest folds, and the rest as directed in the other colours. If you
are unwilling to bestow Ultramarine upon it, you may after the
same method glaze with fine Smalt, and varnish it as often as with
the former, and paint it with White and Smalt: An indifferent
Blew is made with White and Smalt, mixt in several degrees with-
out glazing.

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To glaze and paint the best Purple-Drapery.

Glaze the garments thin, once over with Carramine, or Lake;
when tis dry, paint it every where with Smalt and White, lighter
or darker as you think best, but let the lightest folds have still a
colour more light than the rest.  Contrary to this you may pro-
duce a purple, by glazing your work over once or twice with Ul-
tramarine, or Smalt, and paint it with Lake and White.

Purple without glazing.

Make a mixture of Lake, Smalt, and White, with which paint
the Drapery, heightning and darkening the folks as in the other
Receipts.

Yellow Drapery.

For your lightest folds, mingle yellow Oaker, and White; and
brown Oaker for the shades, if that is not dark enough, Umber
will make it so; but do over the other pleats with yellow Oaker.
Such another colour may be made with White, yellow and brown
Pink.

To paint the most beautiful Yellow.

Glaze your Drapery, or any thing you would have lovely, with
brown Pink once or more, and the darkest parts oftner; after tis
dried, touch the lightest folds with a pale Masticott, the next with
yellow Masticott: if some require a colour darker than that, mix
yellow or brown Pink; but for the saddest of all, use yellow Pink
and a little Umber.  When tis drie, you may paint all with white,
except the shades

To finish, varnish, and polish Pictures, that are not laid upon Glass.

These desire the same proceedings with those on Glass, unless you
have a mind to adorn Embroidery, Fringe, or the like, with Gold
or Silver.  Touch then the forside of your picture with shell-gold
in gum-water; or elese, after you have varnisht it two or three
times with varnish made of Spirit, take Japan gold-size, with which
hatch and lay it over with gold-dust; and if your judgment and
experience will allow of it, you may touch and heighten all the
strongest lights, and deepen your shadows too on the foresidw, which
gives so much life to it, that Limners themselves have been de-
ceived, and mistook it for a piece of real painting.  I desire young
beginners to forbear, and not attempt this way of finishing, till
experience and practice shall give them incouragement.  If you de-
sign to varnish and polish any of these Prints, lay on the colours
without skins, and very even on the backside, and permit them to
drie at least a week (for the longer the better) before you offer to
varnish them after this following manner.

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To varnish these Prints, or other Pictures, without polishing.

Take of the best white Japan-varnish, and an equal quantity of
Varnish made of Mastick and oyl of Turpentine; into these ming-
led together, dip a fine Camels-hair-brush, and with it varnish o-
ver your piece, four or five times carefully by the fire,as you
are taught to do Japan; and you'l find that it gives a very rich
gloss.

To varnish pictures, and polish them, like Japan.

With white-Japan-varnish only wash over your work fix or six
times, observing all the method for Japan directly.  When it has
rested three or four days, lay the Picture on the Cushion,
whereon you cut the Leaf-gold: then with Tripole and water
polish it; and lastly, clear it up as you do White-Japan.

These are the Rules in short, I thought fit to lay down in
the treatise of this pretty Art; and I question not but they are
full, most exact, and satisfactory, and will be found so, when the
Ingenious Ladies shall put them into practice.

-----------------------------------------------------

To Imitate and counterfeit
TORTOISE-SHELL and MARBLE.

-----------------------------------------------------

CHAP. XXVI.

BEfore Japan was made in England, the imitation of Tortoise-
shell was much in request, for Cabinets, Tables, and the like;
but we being greedy of Novelty, made these give wway to modern
Inventions: not, but that tis still in vogue, and fancied by many,
for Glass-frames, and small Boxes; nay, House-Painters have of
late frequently endeavoured it, for Battens, and Mouldings of
Rooms; but I must of necessity say, with such ill success, that I
have not to the best of my remembrance met with any that have
humour'd the Shell so far, as to make it look either natural, or
delightful.  But, to avoid all reflections, I must attribute this to
that mistaken piece of frugality in them, who think, if they can
agree with a Painter by the greatt, their business is done; for by

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these means, they not allowing the Artist a living price, he cannot
spend both his oyl and labour, nor stretch his performances to the
utmost extent of his skill.  On the other hand, some there bewho
are indeed willing, but not being Masters of what they profess, sink
and come short through their inabilities.  I believe the complaint
is universal; the ingenious and most excellent in each profession,
being destitute of a reward that is answerable and proportioned to
the worthiness of his undertaking.

But tis high time that we close with the business in hand. And
first, the Tortoise-shell, I propose for your imitation, is that which is
laid upon Silver-Foil, and is always made use of for Cabinets and
Boxes, for it gives life and beauty to the Shell, which else would
appear dull and heavy.  Now to counterfeit this very well; your
wood ought to be close-grain'd, smooth, and cleanly wrought off,
as Pear-tree; but if it be a coarse-grained wood, as Deal, Oak, or
the like, you must prime it with Whiting, as you have been taught
in the chapter of black Japan for coarse-grained woods.  When
either of these are rushed smooth, as is required; take a fit varnish-
ing tool dipt into a gallipot of the thickest of your Seed-lac-var-
nish, and wet with this varnish the breadth of a Silver-leaf, which
you must take up with cotton, and clap on it whilst tis moist, dab-
bing it close to the work, as you have been taught in Guilding.
This done, wash again, and lay on another leaf of Silver, ordering
it as before, and so continue, till the whole is so overspread with
Silver.  When tis through drie, with a fine hair-brush sweep off
all the loose Silver.  Next, grind Collins-earth very finely on a
grinding-stone, mixed either with common size, or gum-water;
this I esteem better than Lamblack, because Collins-earth comes
much nearer to the colour of the Shell: Being finely ground,
mix it with more common size, or gum-water, as you have made
use of either in the grinding.  With this spot the darkest of your
Shell, striving to the utmost to imitate it as nearly as tis possible;
and in order hereunto, I counsel you to procure a piece or more of
the true, right Shell, that hath much variety in it; this lying by
you, will quicken and assist your fancie, and enable you to perform
it with much more ease and cunning.  You may observe, (when
this is done, that several reds, lighter and darker, offer themselves
to view on the edges of the black, and sometimes lie in streaks on
the transparent part of the shell: To imitate this, you must grind
Sanguis Draconis very fine with gum-water; and with a small pen-
cil draw those warm reds, flushing it in and about the dark places
more thick, but fainter, thinning, and with less colour towards the
lighter parts of the shells; sweetning it so, that by degrees it may
loose its strength of red, being intermixt with, and quite lost in
the silver, or more transparent part.  Tis worthy your observa-
tion, that those who are expert and ready at spotting or working
this imitation, do usually grind the forementioned colours drie and

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very finely upon a stone, and mix 'em with fine Lacc-varnish as
they work them, which is most agreeable and proper, as I have no-
ted before, being not so apt to polish off as Size or gum-water;
notwithstanding, I advise young beginners to use size or gum-
water, for snppose they are not able to do it so well, that it should
not require a review and correction; for then they may with ease
and a little care rub out any faulty place, and go over it again, un-
til tis done artificially, (but this convenience is not to be had, if you
imploy Lacc-varnish at the first.)  When this is done, and dried,
give it six washes of your Seed-lacc-varnish; let it rest one day;
after which time rush it gently, till tis smooth and fit for the se-
cond operation: in order to which, grind Dragons-blood and Gam-
bogium, in an equal, but small quantity, very finely; put them in-
to as much Seed-lacc-varnish as will wash it six times more: per-
mit it to stand twelve hours, and then allow it the third varnishing,
and with the last mixture wash it so often, till your silver is chan-
ged int gold, or a colour like it.  Note, that your first washings
may be with the coase, the two last with the fine and clearest of
your Seed-lacc-varnish; avoid making your varnish too thick and
high coloured with Gambogium, and Sanguis Draconis, but heigh-
ten it by degrees, otherwise your silver will be too high-coloured,
before you have given it a sufficient body of varnish.  When it has
stood two days, polish and clear it up, as you have been instructed
in the treatise of black varuishing.

Another way to counterfeit Tortoise-shell.

First, prime, lacker, and size your work in oyl very thin, as you
are taught before in the Art of Guilding, and when your silver is
laid on and dried, let these colours be ground fine and thick in dry-
ing-oyl, placing them on your Pallet; they are, burnt Umber, Col-
lins-earth, brown Pink, and Lake.  Do over your work with Tur-
pentine-varnish, and whilst it is wet, mix brown Pink and Lake
thin with varnish; and lay all your faintest clouds or spots, which
you may soften very sweetly, seeing your varnish is moist.  After
three hours standing, or longer, if the colours are drie, with a
large, soft Tool, pass it lightly over; and again wetting it, lay in
your clouds more warm and dark with Umber and Collins-earth,
before tis drie; always observing the life, and sweetning your
work, which is blending and mixing two colours after they are
laid, so that you cannot perceive where either of them begin or end,
but insensibly join with each other.  If the clouds are not dark e-
nough, repeat the varnishing and clouding once more, where tis re-
quired.  When tis well dried, glaze it two or three times with
brown Pink, yet a little tincture of Verdegreas in it will not be
amis; if you had rather, you may varnish it with Lacc-varnish,
and finish it as you did the former.

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To counterfeit Marble.

Whiten and prepare your wood in all respects as you do for
white Japan; and after you have done it over with flake white, or
white-lead, if you design a white with some veins, use some Vine-
black, (which is made of the cuttings of Vines burnt and grinded,)
mix two or three degrees of it with white-lead and a very weak
size being warmed, until you have produced the intended colour
for the clouds and veins of the Marble.  Being thus far advanc't,
call for a large, clean brush, wet your piece over with water, and
before tis dry, with a great Camels-hair-pencil, dipt in the palest
thin mixture, flush or lay the faintest large clouds and veins of
your Marble, which being laid on whilst the work is wet, will lie
so soft and sweet, that the original will not exceed it.  Then if your
work be not too drie, take a smaller peniicil, and with a colour one
degree darker than the first, touch all the lesser veins and variety of
the Marble: If your work drie too fast, wet it again with the
brush and water, and lay not on your colours when the water is
running off, lest they bear it company.  Lastly, take a small-poin-
ted feather, and with the deepest colour touuch and break all your
suddain or smaller veins, irregular, wild, and confused, as you have
them in the natural Marble.  After a days drying, cold-clear it,
that is, do it over with Isinglass or Parchment-size; and then var-
nish, polish, and clear it up, exactly in all things according to the
directions for white Japan, to which places, and others above men-
tioned, we refer you.  By mixing other colours this way, any sort
of Marble is subject to your imitation; and if neatly done, well
polisht, and varnisht, will not only exceed any Marbling in oyl, but
will in beauty and gloss equal the real stone.

-----------------------------------------------

CHAP. XXVII.

Of Dying or Staining Wood, Ivory, &c.

To Dye Wood a beautiful Red.

VVoods, that are very white, take this dye the best of any: set
a kettle of water boiling with a handful of Allom, cast
your wood into it, permitting it to boil a little; that done, take
your wood out, and put into the said water two handfuls of Brasil
wood, then return your wood into the vessel again to boil for a
quarter of an hour, and tis concluded.  When dry, you may rush
and polish it, or varnish it with the tops of Seed-lacc-varnish, and
polish it; by which management you will find the wood covered
with a rich and beautiful colour.

To stain a fine Yellow.

Take Burr or knotty Ash, or any other wood that is white, cur-
led, and knotty; smooth and rush it very well, and having warmed

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it, with a brush dipt in Aqua fortis wash over the wood, and hold
it to the fire, as you do Japan-work, until it leaves smoaking: when
dry rush it again, for the Aqua fortis will make it very rought.  If
to these you add a polish, and varnish it with Seed-lacc, and then
again polish it, you'l find no outlandish wood surpass it; for the
curled and knotty parts admit of so much variety, being in some
places hard, in others soft and open-grained, to which Aqua fortis
gives a deeper colour, than to the harder and more resisting parts.
In short, you'l perceive a pleasing variety interwoven, beyond what
you could imagine or expect.  If you put filings or bits of metal,
as brass, copper, and iron, into the Aqua fortis, each metal will
produce a different tincture: the best French Pistols are stockt ge-
nerally with this sort of wood, and stained after this manner.

To Dye or Stain Woods of any colour, for Inlaid or Flower'd work, done
by the Cabinet-makers.

Use the moistest horse-dung you can get, that has been made the
night before; through a sieve or cloth squeez out what moisture
you judge sufficient for the purpose. convey it into several small
vessels fit for the design; in each of these dissolve of Roach-allom,
and Gum Arabick, the bigness of a nutmeg, and with them mix
reds, blews, greens, or what colours best please you, suffering them
to stand two or three days, yet not without often stirring them.
Then take your woods (of which I think Pear-tree is the best if t be
white,) cut them as thick as a half-crown, which is in all reason
thick enough for any Fineered or Inlaid work, and of what bredth
you please; making your liquors or colours boiling hot, put the
wood into it, for asa long time as will sufficiently colour them; yet
some must be taken out sooner than the rest, by which means you'l
have different shades of the same colour; for the longer they lie
in, the higher and deeper will be the colours: and such variety you
may well imagin contributes much to the beauty and neatness of
the work, and agrees with the nature of your parti-coloured flowers.

To Dye or stain Wood Black.

Take Log-wood, and boil it in water or vinegar, and whilst very
hot brush or stain over your wood with it two or three times; then
take the Galls, and Copperas, well beaten, and boil them well in
water, with which wash or stain your work so often till it be a
black to your mind; the oftner it is layed, the better will your
black be: if your work be smal enough, you may steep it in your
liquors instead of washing it.

The best Black Dye for Ivory, Horn, Bone, &c.

Put pieces of Brass into Aqua fortis, letting it stand till tis turn-
ed green, with which wash your Ivory (being polished) once or
twice.  Next, boil Logwood in water, into which put your Ivory,
whilst tis warm, and in a little time it gives a fine black, which

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you must now rush and polish again, and will have as good a gloss
and black as any Japan or Ebony.

If you desire any foldage, flowers, or the like fancies should re-
main white, and of the same colour with the Ivory; draw them
neatly on the Ivory with Turpentine-varnish, before you stain it;
for those places which you touch with the varnish, are so secured
by it, that the Dye cannot approach or discolour them.  After tis
dyed, if you can hatch and shadow those fancies with a Graver, and
fill the lines by rubbing and clearing up the whole with Lamblack
and Oyl, it may add much to its ornament and perfection.

To stain a Green colour on Wood, Ivory, Horn, or Bones.

First, prepare either of them in Allom-water, by boiling them
well in it, as you were just now instructed.  Afterwards grind of
Spanish-green, or thick common Verdegreas, a reasonable quantity,
with half as much Sal-Armoniack; then put them into the strong-
est wine-vinegar, together with the wood, keeping it hot over the
fire till tis green enough: if the wood is too large, then wash it
over scalding hot, as in the other instances.

To Dye Ivory. &c, Red.

Put quick-lime into rain-water for a night; strain the clear
through a cloath, and to every pint of water add half an ounce of
the scrapings of Brasil-wood: having first boil'd in in Allom-water,
then boil it in this, till tis red enough to please you.

Thus, Courteous Reader, we are at length arriv'd at our de-
sired Port: Our Performances have been no way inferiour to our
Promises.  What we ingaged for in the beginning, we have punctu-
ally accomplisht; and nothing certainly remains, but that you
convert our Precepts to Practice; for that will be the ready way
to examin, and try, whether they are false or insufficient.  We have
all along been directed by an unerring Guide, Experience; and do
therefore advise you, upon the least miscarriage, to make a dilligent
review, and doubt not but second thoughts will convince you of
too slight an observance.  We desire you'd be as exact and regular
in your performances, as we have been in ours; for by these means,
Satisfaction will attend both Parties, all our designs must succeed
to our wish, and our Labours shall be crowned with success and re-
putation.

FINIS.


[Figures available at https://archive.org/stream/treatisejapanin00Stal#page/84/mode/2up]