Typed in by Simon St.Laurent, simonstl@simonstl.com, 2017. No copyright claimed. Part of a set at http://toolbytool.org/resources/Japanning.html . Please note that many of the ingredients used here are toxic! The ART OF Japanning, Varnishing, &c. The ART OF Japanning }{ Pollishing, AND Varnishing }{ Gilding BEING A COLLECTION of very Plain DIRECTIONS and RECEIPTS. Written for the Use of those who have a mind to follow those diverting and useful Amusements, and Published at the Request of several Ladies of Distinction. By Mrs. ARTLOVE. LONDON Printed for T. Warner, at the Black- Boy in Pater-Noster-Row. 1730. 1 THE ART OF Japanning, Varnishing, &c. To choose Spirits TO make Varnish, you must have Spirit of Wine, which must be strong, or else it will spoil the Varnish, and not dissolve the Gums, the stronger the Spirits are, the better will the Varnish prove. To try the Spirits, put some into a Spoon that has Gunpowder in it, set fire to it as you do [2] to Brandy, and if it burns for so long as to fire the Gunpowder, 'tis fit for Use. To choose Seed-Lacc. THE best is that which is large grain'd, bright and clear, freest from Sticks and Dross. Gum Sandrick. THE best is the largest grain'd and whitest, let it be as clear from Dust as possible. Gum Animae. THE whitest, clearest, and most trans- parent, is the best. Venice Turpentine. THE clearest, finest and whitest is the best. Of Rosin. THERE are two Sorts, the white Sort should be very white and clear. Of the common Sort, the best is clarified and transparent. [3] Gum Capal. THE best is the whitest, as free from Dross as you can get it. It is a thick whi- tish heavy Gum, seldom without Dross. Gum Elemni. THE best is the hardest, whitest, and clearest from Dross, it is brought over commonly in the Bark of a Tree. Gum Benjamin. THE best is that of a bright reddish Colour, like clarify'd Rosine. Isinglass THE best is the clearest and whitest. Gum Mastick. THE best is the whitest, largest grain'd, clear and free from Dross. THE Dutch Rushes and Tripoly, are to be had at the Iron-mongers. The Brushes and [4] common Size, always ready made at the Color-shops. To make Seed-Lacc-Varnish. TAKE a Gallon of Spirits, and put it into as wide-mouth'd a Bottle as you can procure. To your Spirits add one pound and half of Seed-Lacc, let it stand twenty or thirty Hours, that the Gum may be well dissolv'd, shaking it very of- ten, that the Gum may not cake together; when it has stood long enough, take ano- ther Bottle of the same bigness, or as ma- ny Quart ones, as will contain the Var- nish; you must have a Strainer, made of fine Flannel, like the common Jelly-Bags, hang it upon a Hook, that the end of it may almost touch the bottom of a Tin-tun- nel, which must be put into the Mouth of the Bottle, to receive the strain'd Varnish. Then shake the Gum and Spirits well together, and pour it into the Bag, leaving room enough to squeeze it, which must be done until the Dregs are left quite dry. When you have got as much as you can, stop the Bottles, and let them stand four Days without moving, then pour it into other Bottles as long as it will run clear. Stop it and let it stand four Days [5] more, pour it off again as long as it runs clear, then 'tis fit for Use. Keep the mud- dy Part for laying red or black Grounds. To make the White Varnish. TAKE a Pound of Gum-Sandrick, and an Ounce of Mastick, put them into a Bottle with a Pint and half of Spi- rits, an Ounce and a half of Gum-Capal, and half an Ounce of white Rosine, both beaten to a pouder; put these into a Bottle with half a Pint of Spirits, an Ounce and half of Gum-Animae, and half an Ounce of Gum-Benjamin; both pou- red into another Bottle, with three Ounces of Venice-Turpentine, and three quarters of a Pint of Spirits, half an Ounce of Gum-Elemni by it self, with a quarter of a Pint of Spirits. It is not absolutely necessary to observe with great Exactness, the Quantities of Spirits, but in general, that the Whole does not ex- ceed three Quarts; the Reason they are dissolv'd separately is, that the Virtue of each Gum may be the better extracted. Having carefully mixt them, stop the Bot- tles, and let them stand three Days, shak- ing each Bottle very well every two Hours; then get a Bottle large enough to [6] contain all the Varnish you have made. Strain it through the Flannel-strainer; in- to it. You must not squeeze the Bag so hard with this, as with the Seed-Lacc Varnish; when 'tis all strain'd off stop it up, and let it stand three Days, then pour it off into another Bottle as long as it will run clear, then let it stand four Days longer, pour it of again, as long as it runs clear. Keep it for Use; keep the Muddy part for laying of Grounds. Another Varnish. TAKE a Pint of Spirit of Wine, half a Pound of Gum-Sandrick,two Ounces of Venice-Turpentine, and two Ounces of Rabbets-Oyl, put these all together into a Bottle, large enough to hold double the Quantity; let it stand eight Days in the Sun, or on a Stove, shaking the Bottle frequently, that all the Ingredi- ents may melt and mix well together. After which let it stand eight Days more without moving, that it may settle, then pour it off clear twice, and keep it for Use. You must warm this Varnish every time you use it, by dipping the Bottle into hot Water: This Receipt [7] came from Abroad, but in my Mind is not so good as the white Varnish. To make Size. TAKE a Handful of Vellum, cut it in small Pieces, and boil it in a Pint of Water till it looks like Glue, make no more than you want, for it will not keep. When 'tis cold; it shou'd be a thick strong Jelly. To make Isinglass Size. TAKE an Ounce of Isinglass, break it in pieces, put it into a Pint and a half of Water, let it stand twelve Hours, then set it over a gentle Fire, and let it boil slowly, till the Isinglass is consum'd. After the Water is wasted to a Pint, let it stand to be cold, when 'tis cold it will turn to a Jelly; make no more then will just serve your turn, for in three or four Days it will loose its Vir- tue. To lay the Red-Ground. TAKE Vermillion and mix it with the thickest of the Seed-Lacc [8] Varnish, wash your Work with it three or four times over, letting it dry between every time, then rub it smooth with Dutch Rushes, that there may not appear the least roughness or uneveness in it; if the Ground does not look very well covered, wash it over two or three times more, and rush it as before. You may likewise Polish all Grounds with strong white Paper, lapp'd smooth about your Finger, and rub hard with it, this is almost at well as Rushes. When you have polish'd it to your Mind, Varnish it once over with the clearest Seed-Lacc-Varnish, then it will be fit for your Pictures. If you wou'd have the Red deeper, mix a little Dragon's Blood (reduc'd to a very fine Pouder) with the Vermillion and Var- nish. You must not make it so deep a Colour as you wou'd have it, because when the Pictures are fix'd on, the finish- ing Varnish will heighten it; the same Rule must be observed in most other Co- lours, the more you Varnish the deeper it will grow. This Colour may be laid in Size. [9] Pale Red. TAKE white Lead, very finely Ground, mix it with Vermillion, and Var- nish. Stir it about very briskly, that it may mix well together, follow the above writ- ten Directions for laying the Ground, and remember to make it paler then you wou'd have it, because of the finishing Var- nish. To lay Chesnut-colour Ground. TAKE Indian Red, or Brown Red Oaker, (either will do) what Quantity you think will serve your Turn, and with a Marble Pestle, grin'd it, mix'd with common Size, as fine, and as thick as Butter; then take a little white Lead, and grin'd it, after the same manner, with Size; put both these, into any small Earthen Vessel, that will bear the Fire, mix them well together; if the Colour is to bright, darken it with Lamp- black; if to dark, brighten it with White- Lead, this do, till you have made, the Colour you like: For the same Colour, you make, when 'tis wet, will arise when 'tis varnished, though when the Ground, [10] is laid, and dry, t'will look otherwise. When you have made it to your Mind, set it over a gentle Fire, with as much common Size, as will make it fit to work. It must be something thicker than Cream, let it just melt, lay it on your Work three times, always drying it well, be- tween each time; then lay it on three times more, rushing it smooth every time. Varnish it over with the best Seed-Lacc- Varnish, before you lay on your Pictures. N. B. After the Pictures are laid on any of the Grounds, you must finish it up with the white Varnish, or the foreign Varnish, because they are the most transparent. The Olive-Ground. GRIND English Pink with common Size, as before directed, white Lead and Lamp-black ground likewise with Size, mix'd with it, make an Olive; if too bright, Lamp-black will darken it' if to dark, White-Lead will brighten it; if it is to Green, grind Raw-umber with Size, and add to it, till you have made the Colour you like; follow the above written Receipt, for laying the Ground, &c. [11] To lay bright Yellow. YELLOW Masticot, ground with common Size, or mixt with White Varnish, makes a good Yellow; and Pale Masticot, used the same way, makes a good Buff Colour. N. B. All Colours may be laid in Size, but it is easier rubb'd off, and will not endure so strong a Pollish as those laid in Varnish. The dark Colours may be laid with the muddy Varnish, but the light ones with white. To lay the black Ground. POUR some of the thickest Seed- Lacc-Varnish into a Galley-pot, with as much Lamp-black as will, at first wash, blacken all your Work; repeat this three times, drying it well between each. Wash it over again with the same mixture three times more, rushing it smooth, between each time. Take of the best Seed-Lacc-Varnish, and the White Varnish, of each an equal Quantity; put into it as much Lamp-black as will make it quite black, but not thick; wash it over four times with that, always rush- ing it between each time; then Varnish [12] it twice with the best Seed-Lacc, before you stick on the Pictures. To lay a White Ground. TAKE Isinglass Size, scrape into it as much Whiting, as will make it of a reasonable Consistence, mix it very well together, with a Brush of the softest Hogs-Hair; this being prepared, whiten over your Work with it, repeat this three times, drying it throughly between each time, after which, let it stand twelve Hours free from Dust; then rush it as smooth and close to the Wood as you can, without rubbing it off, then mix white Flake, with Isinglass-Size pretty thick, that it may cover your Work well, wash it over three times with this, rushing and drying it as before. this second rushing must be done very gently, but so as to make it quite smooth. Then take the best Poland Starch, boyl'd till it is pretty thick, wash it over twice with this, Blood warm, rushing and dry- ing it as before; then Varnish it over, twice or thrice with the white Varnish, before you lay on your Pictures. Great care must be taken, to keep the Work from Dust, especially before 'tis Var- [13] nish'd; for this Ground shews all Faults more than any other. To lay the Blue Ground. TAKE White-Lead, and grind it very fine on a Marble Stone. Then mix the finest Smalt with Isinglass Size, add- ing as much White-Lead. Ground a quantity proportionable to the Smalt. Temper these together to the thickness of common Paint; wash over your Work with it three or four times, till the Blue lies with a good full Body. If it shou'd happen that the Blue is to pale, put more Smalt into it, and wash it over again, till it is a Colour you like. Then dry it, and rush it smooth, as you do other Grounds, and with a clean Pencil wash it over twice with the clearest Isinglass Size alone. Lay it by two Days carefully cover'd from the Dust, then varnish it two or three times with the white Varnish, be- fore you lay on your Pictures. N. B. The Isinglass-Size must be weak, otherwise your Work will be apt to crack. Having thus finish'd your Ground, stain your Prints with the proper Co- lours, and cut out all the white Paper, [14] leaving only the Figures or Landskip that you have colour'd. Liquid Colours are the best for this Use, because they are trans- parent, and show the shading of the Prints. You may stick them on, either with strong Gum-water or thick Starch, or Varnish your Work over gently, and in six or seven Hours place your Pictures as you design they shall remain, and with a small Brush-Pencil, dip'd in the best Spirits of Wine, dab the Pictures every where, and the Varnish will draw and fasten them to your Work: But you must not draw your Pencil in Streaks, only dab them with the point of the Pencil. In the Varnishing you must make use of a Ca- mel's hair Brush, which must be well soap'd for twelve Hours. Then wash it with Spirits of Wine, and let it lye in the Spirits about half an hour before you use it, and shake off the loose Hairs, which otherwise will be very troublesome in your Varnishing. Every time you have used it, let it be wash'd in Spirits of Wine, but take care that it never touches Water, for that will spoil your Varnish. [15] GENERAL RULES to be observed in Varnishing. LET your Wood be close grain'd, exempt from all Knots, and Greasiness, very smooth, and well rusht. You must work in a Room with a good Fire, because your Work must be al- ways warm, but never put it so near the Fire as to scorch it or make it quite hot: For that will Blister and Crack it, which is a Damage can never be re- paired. When you lay the Grounds, warm your work before every Wash, and keep it in a gentle Heat, always, while 'tis drying. When 'tis ready for the Pictures, rub the wrong Side of the Prints with Starch, and fix them on as flat as possi- ble, that there may be not Blisters, nor any Part which is not fix'd down close with the Starch, otherwise the Edges will be apt to rise, and will always lie rough. When they are dry'd on, pass them over with a small Pencil dipt in common Size (which you must have rea- dy melted) to secure the Colours from running, ; when that is dry, you may begin to varnish. [16] WHEN you begin the Varnishing Stroke, fix you Brush in the Middle of the Work, and with a quick steady Hand, draw it to the End. Then fix it again on the Place you begun at, and draw it to the other End. Then fix it again on the Place you begun at, and draw it to the other End: Thus you must do, till it is all varnish'd. The Reason for this Caution is, that if you drew your Pen- cil from End to End, the Brush being over-charg'd at first, the Varnish wou'd run over the Edges of your Work. Ne- ver pass your Brush twice over the same Place while 'tis wet, for that will make it lie rough. STROKE your Brush once or twice against the Side of the Pot, every time you dip it to take Varnish, that it may not be too full: For the thinner you lay on the Varnish (each time) the smoother it will be, and not so liable to speck and bubble. Continue Varnishing till the Ground and Pictures lie even; that is to say, that the Ground be as high as the Prints, and it all looks smooth and even. You must not omit Varnishing it once every Day till it is finished; then let it lie three Weeks or a Month before you Pollish it. [17] To Pollish. THERE are three several Ways to Pollish, which I shall give you all. First is, a Pommice-Stone steeped and melted in Water, smear your Work with it and rub it with Felt, till all the Strokes of the Pencil disappear: Then wash it off with cold Water, and wipe it off with a soft Cloth or Muslin. The Second is, The Dust which comes from sawing of Stones, finely sifted and us'd like the Pommice-Stone. The Third is with Tripolee. Wrap a Piece of very fine old Linen about your Fore-Finger. Dip it in Water, then into the Tripolee, which must be scrap'd with a Piece of Glass, or otherwise reduc'd to a very fine Pouder, without the least Grit- tiness; for that would ruin all. Let your Hand be moderately hard, and very even in all your Pollishing Strokes. Pollish and brighten one Place, as much as for that time you intend to do, before you pass to another. [18] REMEMBER not to Pollish your Work, as smooth as you intend at one time: But let it rest two or three Days, and then give it the finishing Stroak. Take a large Quantity of Tripolee for the first Pollishing, till it begins to become smooth; the Second Time a small Quan- tity will suffice. Let your Endeavours be chiefly to Pollish the Ground: For that being plain, will shew all Faults the more. To clear it up, wash off the Tripo- lee with a Spunge and Water, and wipe it dry with a fine soft Cloth. Mix Oyl and Lamp-black together, and with that anoint your Work all over. Then take another soft Cloth, and with a nimble quick Stroke, and a hard Hand, take the Oyl entirely off, and you will find it answer the Pains you have been at. THIS way of Clearing serves for all but the White and Yellows, where instead of Lamp-black you must mix fine Flower with the Oyl. And in the Pollishing, your Hand must not be so heavy as in Pollishing other Colours. [19] To make Gold Size. TAKE of Gum-Anima half an Ounce, Gum Espaltum half an Ounce, Letharge of Gold a Quarter of an Ounce, Red-Lead and Brown- Umber, of each a Quarter of an Ounce. Put all these into a new ear- then Pipkin, that holds one third more than you put in. Put in half a Quarter of a Pint of Linseed-Oyl, and a Quarter of a Pint of drying Oyl. Set the Pipkin over a gentle Fire that does not flame out in the least, let it but just bubble up, or almost boil; for should it run over, it would fire the Chimney. As soon as it begins to bubble or boil, keep stirring it with a Stick till the Gums are all melted thoroughly, and that it becomes thick and ropy, like Treacle, then 'tis boil'd enough. Take it off the Fire, and when the Extremity of the Heat is over, then strain it through a coarse Linnen Cloth, into another earthen Pot, there to cool and lye ready for Use. When you use it, put some of it into a Muscle-Shell, with [20] as much Oyl of Turpentine, as will dis- solve the Size, and make it as thin as the muddy Part of the Seed-Lacc-Var- nish. Hold it over a Candle, and when melted strain it through a Linned Rag into another Shell. Add to it as much Vermillion as will make it of a darkish Red. DRAW the Figure or Pattern which you design to Gild, after the Ground of your Work is laid. Then with a Pen- cil proportion'd to the Work, lay the Size neatly on those Places you intend to Gild and no other. Let it stand till it is so dry, that when you touch it with your Finger, it may be Gluti- nous and Clammy, and stick a little, but not so moist, that the least Spot or Speck should come off with your Finger, not unlike to thick Glue when 'tis half dry. When it just answers this Description, take a Piece of Wash-Lea- ther, rap it round your Fore-Finger, and dip it into your Gold-Dust (which you must have ready in a Paper) and rub all over where the Gold Size is laid. If any should be sprinkled about your Work, sweep it into the Paper again, [21] with a clean Pencil that has been us'd. When your Gold is dry, secure it with the following Varnish. The Securing Varnish to be used only in Gold Work. TAKE of the best Venice Tur- pentine as much as you please, put it into a Pipkin that will hold dou- ble the Quantity you put in. Set it over a clear gentle Fire, and be cautious it does not boil over. When it boils, which must be very gently, keep it al- ways stirring with a Stick till it is boil'd enouh, which you may know by pour- ing some on the Ground; for when 'tis cold it will crumble into Pouder, be- tween your Fingers. When it is suffici- ciently boil'd, let it cool and keep it for the following Use. TAKE a Quarter of a Pint of the clearest Seed-Lacc-Varnish, and one Ounce of the Turpentine finely pouder'd. Put them into a double Glass-Viol large enough to contain twice as much. Stop it close, and set it over a very [22] gentle Fire, that it heat leisurely, to prevent the Bottle's breaking. When it is very hot the Danger is past, let it just bubble up for a little Time. Then take it off and unstop the Bottle, shaking it well. Stop it again, and set it on the Fire to bubble as before. Let it continue till the Turpentine be dissolv'd to the Bigness of a large Pea, that being the Dross will not incorporate with the rest, take it off and let it stand two Days to settle, pour it off clear and keep it for Use. As this is only to secure the Gold, you must be very careful in laying it on, that it touch not the least Part of your Ground, nor any thing but the Gold. If there are Colours mixt a- mongst it, finish it up with the white Varnish. If the Design be all Gold, finish it with the following Varnish. N. B. The Gold must be pass'd over twice or thrice, with the Securing Var- nish. [23] The finishing Varnish for Gold Work. TAKE one Pound of Venice- Turpentine, three Pints of Wa- ter, put them into an Earthen Pip- kin, big enough to hold twice the Quantity, place them over a gentle Fire and let it warm by Degrees till it begins to bubble up. Then, keep- ing it always stirring with a Stick, that it may Boyl leisurely for some time, pour some of this Liquor on the Ground, and when it is cold, if it Crumbles to Powder in your Finger, it is boyl'd enough. Set it by till it is cool enough to take into you Hands, and squeeze the Water intirely out of it. Then make it into a Ball, and after a Day or two, beat it into fine Powder for your Use. Set it in a very dry Place, but not near the Fire for that will melt it. Put one Ounce of this pou- der'd Turpentine to half a Pint of the best Seed-Lacc-Varnish. Put it in a Bottle that will hold twice as much close stop'd. When it has stood some [24] time on a gentle Fire, take it off un- stop and shake it. Continue this till the Turpentine be dissolved to the big- ness of a large Pea. Set it by two Days to cool and settle, then pour off the clearest for your Work. Six or eight times Varnishing will do, but you must use your own Judgement accor- ding to the Colour of the Gold. Let it stand three Weeks or a Month before you Pollish. To take off any Japan-Patterns from Prints. WHEN your Ground is lay'd and Pollish'd, take your De- sign which must be drawn upon Paper, with Whiting. Rub well over all the backside of your Draught, with a Cloth. Wipe off all the Whiting that lies rough and dusty on your Paper so prepared. Then lay it on your Work with the whited Side next to it. And with a needle or Iron-Wire round and smooth at the Point, fix'd in a Wooden-handle for the purpose, not sharp to cut or scratch the Paper (Which we call a [25] tracing Pencil.) With this trace all the Lines of the Draught as much as you think necessary: This by the Assistance of the Whiting will give the Fashion and Lines of what you have traced upon the Work. After this, if you draw in Gold-Size, use Vermillion mix'd with Gum-Water, and with a small Pencil dipp'd in it, go over all those Lines made by the Whiting. For by this Operation it will not easily come off, than you may work with Gold-Size at your Leisure. To make Gum-Water. PUT an Ounce of the whitest Gum- Arabick into three Quarters of a Pint of fair Water. Shake it often till 'tis dissolv'd, then strain it through a fine Holland-Rag, and keep it for your Use. How to lay Speckles on your Work. PUT what Quantity of Speckles you think proper into Seed-Lack-Var- nish, Stir them very well with a Brush till they are well mix'd, warm your Work [26] gently by the Fire, and wash your Work over with it. This repeat till the Speckles lye as thick and even as you desire. It must dry between every Time. Then wash them over two or three Times with your Varnish mix'd with Turpen- tine. If you intend to Pollish it after this, you must give it eight or ten Washes with your best Seed-Lacc-Var- nish. FINIS.