A BOOK OF SUNDRY DRAUGHTS, principally serving for glaziers: And not Impertinent for Plasterers, and Gardiners▪ be sides sundry other professions.  
WHEREUNTO IS ANnexed the manner how to anniel in Glass: And also the true form of the Furnace, and the secrets thereof.  
LONDON Printed in Shoolane, at the sign of the Falcon by Walter Dight, 1615.    

The Author to the willing practisers of glazeing, and anneiling in Glass.  
AS the principal beauty, and countenance of Architecture, consists in outward ornament of lights, so the inward parts are ever opposite to the eyes of the beholder, taking more delight in the beauty thereof, being cunningly wrought, then in any other garnishing within the same. To which purpose, is set down in this, variety of draughts, some, ordinary and plain, others, curious & pleasant, and although, it may seem to those that are expert in glazeing, that some of these draughts are needless, being so plain and in use, not deserving in this sort to be published, yet notwithstanding here I do in friendly courtesy admonish, that it is most needful, giving choice to the builder, both for price, and draft of work, which by no understanding can the Glazier so sensibly demonstrate his fret, as by showing his examples of draft, for by such show, the builders shall understand, what to make choice off, for whose ease & furtherance only, I have published this practice of glazeing, knowing the expert master is not unfurnished of these usual draughts, though each workman have not all of them.  
And for the further benefit of the practiser, there is hereunto annexed dyapring on each draft, either to be wrought or left, as it shall please the builder, most pleasant to all that are willing to have the same: Therefore have it not in light regard▪ for the use thereof, will give you great delight, and worthy to be practised, as a special ornament to building, and will beautify the Glaziers' work, be they never so expert.  
So by observing the order and rules here set down, the master or workman shall not only see a plain way, to imitate and follow those draughts, in glazeing and painting on glass: but the simplest, and unskilled apprentice, shall reap full and perfect understanding thereby: praying the Almighty, to bless your labours in following the same.  
Wa: Gedde.   


THE MANNER TO DRAW THE SQVARE.  Directions how to make your Square.  
First then concerning the square, which although it be common to sundry artificers, each one having his own form and device, in drawing of it, some by division of half circle, some by other rules: there is herefore set down a more perfect and readier way for any work in draft, and also if need be, to try the square rule thereby: for certainly, glass work of all others▪ requires most an exact square, for the distance, of one hair out of square, will deface the whole work, and bring it out of all frame.  

The ordering of the square.  
To draw this square: First you must draw your line draft so long as your work requireth, marking right thereon with your compass, three points of alike distance, next, divide your compass larger, setting the one point on the figure 2. & with the other draw a quarter circle betwixt 4. and 5. after, remove your compass to the figure 3. and draw a cross circle over betwixt 6. and 7. and wheresoever the just middle of the cross appeareth, mark the same with the point of the compass, as you may perceive in the character, by the figure 8. lastly, draw a draft, betwixt the figure 1. and the cross point by the figure 8. and thou shalt found a perfect square to conduct thee all thy draughts. As on the former side is showed.    

The division of measures, in glass draughts▪  
To make this more plain to the practiser, the square draugh● for the most part passes on three several divisions, the first, on a declining, or collateral square, others, on even squares, and the third, interlaced with both: This declining division and setting this work thereon, must begin after the form you perceive here on his division, and may be extended, in any quantity you please: the perfect draft of this work, and how it shall stand in glass, you shall find it in fol. 38. & other draughts also agreeable to the same measure, in sundry other places, as in fol: 16. 27. 47. and others.  
It is also to be understood, that the shadowing, and darkening, set down in all those frets and draughts, demonstrates the diapring, which is for the use of those that desire to have their work beautified with the same, and the plain draft, is the convoy, and course of the lead, which dyapring, must only be in grey, or blue colour, as is largely set down amongst the rules of colour.  
Begin this at the figure 3   

Of even square division.  
There be a number of draughts, wrought by this even dire●● square, which is most perfect of any; to set this work right, ye must begin your first losing, at the figure 4. and so run out i● any quantity you will, as this division will show you: the perfect, and full draft hereof, as it must stand in glasse-worke, you shall find in fol: 43. with sundry other draughts of the same measure, as in fol: 40. and in other places.  

Begin at the figure 4.    

Of even cross division.  
This showeth a plain draft with a double circle, and even over cross measure, beginniug his set at the figure 7. This whole perfect draft, as it is to be wrought in glass, you shall find in fol: 72. with sundry other draughts also of the same division, as in fol: 77. 78. 79. 80. 81. 82▪ and others.  

Begin at the figure 5.    

Of a declining cross draft.  
This Interlaced double circle, with double declining cross division, must begin his setting, at the figure 8. and his whole draft standeth in fol: 86. and also others of the same division, with double circle, as in fol: 83. 82. 80. 76. & other places as may be perceived.  

Begin at the figure 6.    

Of interlaced division.  
This interlaced division, yieldeth very pleasant draughts, exceeding close, & strong: the setting of this work on his division, must begin at the figure 5. and from thence to follow out to the full quantity that your glasse-worke requireth: the principal draft hereof, you shall find in fol: 47. with sundry other of the same measure, as in fol: 12. 27. 32.  
Some other square draughts are here set down of greater difficulty, but as they are somewhat more painful in working, so are they more pleasant, & will make a delectable show: which works must have his right division, on the glass table drawn with black, which will conduct the setting perfectly, making the most curious draft in this book, easy, & plain to be wrought in glass.  
Begin at the figure 7.   

Of compass works, or draughts.  
These draughts following, with their division, are differing from the other: some there be of single compass draft, others double: some be square, & compass declining cross draughts, and even cross and withal interlaced.  
First then this single circle of this division, as you see here set down, is a very fine draft in glasse-worke, & the setting thereof, must begin at the figure 6. and the whole draft as it must show in glasse-worke, you shall find in fol: 74. and in sundry other draughts of the like division, as in fol: 87. very easy to be wrought, making exceeding pleasant work.  
Begin at the figure 8.   

Interlaced cross draft.  
This as you perceive is even cross and declining draft, intermixed, exceeding pleasant in glasse-worke: hi● beginning of setting of your work is at the figure 9 & the principal whole draft is to be found in fol: 71. as also a great many more of the same division, in diverse other places.  
Other sorts there be of these circle works, of greater difficulty, but the division thereof on thy glass table, must be thy help to make it easy, as is before mentioned in the square draughts  
Begin at the figure 9   


HERE BEGINS The first part of square draughts Form upon direct, and collatterall lines: which fitly may be applied to sundry uses.  
And now newly published BY WALTER GIDDE.  
1615.    


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HERE Followeth Sundry sorts, of Circular, or Compass Draughts for Glazing: And will fitly serve for diverse uses.  
Newly Published by Walter Gidde▪    


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THE MANNER, How to Anneile, or Paint in Glass: THE true receptes of the colours, The ordering of the Furnace, and all the secrets there unto belonging.  
1616    

THE TRUE FORM, OF THE Furnace, for the Anneiling in Glass, withal the Instruments belonging thereunto.  
  

THE MANNER how to erect the Furnace.  
TAKE freestone, or Brick, and proportion it four foot square, and three foot high and two foot and half in each square: And at either corner which is marked with the letter A. leave an open hole, to let out the smoke, when need shall require: which holes you shall cover, with pieces of brickbats. And in the middle of the top of the Furnace, around hold made, four inches over as ye see it marked with letter B. which hole you must always keep covered with a turf or Charcoal, & renew it so often as the fire doth consume it away: And note that this hole doth serve to give vent to the smoke, and to keep in the heat: for this hole is right over the mouth of the Pan where the glass lieth.  
This Pan, marked with the letter C. must be made of fine clay, fit to endure the fire and placed on an Iron trevet, in the midst of the Furnace, so that the fire may have place to give heat, both under and above the pan.  
This Pan wherein the glass is put, must have an open square in the side, five inches high, and three inches broad, as you see marked with the letter D. and the like open place must be made in the side of the furnace, right opposite to the open square in the side of the pan, where the pieces of glass do lie, called the proof pieces, which pieces, are to be taken in & out at your pleasure, whereby you may know when your wrought glass is thoroughly enamelled, and of a fair colour.  

How you aught to prepare and put your Glass into the Furnace.  
TAKE Chalk that is clean, and beat it small in a Mortar, or else grinned it well on a painter's stone: then sprinkle some of it in the bottom of the Pan, before the fire be put in the Furnace: then lay a ply, or lain of glass that is wrought thereon, them sift on more chalk and then lay another tire, or lain of glass: So by beds of chalk & glass, you may lay on as much prepared glass as the Pan will hold one rue above another, but remember that between every rue of glass you do sift on chalk, that the wrought glass may not touch one another. Than take little pieces of glass, and touch them with the same colour that your wrought glass is of, & put them in at the passag, at the side of the Furnace, betwixt the beds of wrought glass, & then begin to make a reasonable fire under and about the Pan until you think, that the glass hath taken a fair colour.  
Now to know when your glass is perfectly ready; take a pair of tongues, and draw out one of those little pieces of glass, called the proof piece, and hold it betwixt you and the light: if the colour show fair, and stick fast upon the glass, than you may be sure that the work under is well and perfectly anneiled, because it hath had the greatest strength of the fire: But if you doubt that the colours be not sure, then rub with a rough stone or a knife, one of the proof pieces, and then if the colour come of, than you must let it continue longer in the fire, while you put the next piece to the proof. Note further that the proof hole in the side of the Furnace, marked with the letter D. must have a stone that will abide the fire fitted to it, such a one as you see marked with the letter F. which stone serveth to take of, and put on so often as you make trial of the proof pieces.  
Also you must have an earthen pot, such as ye see marked with the letter E. wherein you must have a readiness some soft clay to fasten the stone again, so often as you shall have occasion to remove it? But the holes in the top of the furnace you must not stop with clay, but only with pieces of brick bats so that the smoke may have vent out.    

THE RECEIPETS, FOR THE true making of Colours for Glass.  

To make a fair Black.  
TAKE the Scales of Iron & Copper, of each a like weight, & put it in a clean vessel that will endure the fire, till they be read hot, then take half as much jet, and stamp them into small powder, then mix them with Gumwater, & grinned them fine upon a painter's stone and so draw with it upon your glass.   

To make a Green colour.  
TAKE Vertegrease, and grinned it very well with Turpentine than put it in a clean pot, and when you would use it warm it at the fire.   

To make a fair read.  
TAKE Sanguis draconis and beat it well in a Mortar, & after strain it through a linen cloth, with a little Aquavitie, and so use it.   

Carnation.  
TAKE two ounces of Tyn-glas, and six ounces of jet, half an ounce of gum, ten ounces of read Ocker, and grinned them very well together, and so use it.   

Blue.  
TAKE beads of blue glass, and beaten them into powder, in a brazen mortar, and half as much of goldsmiths blue amaling that shines through, & grinned them together with gum-water, and so use it.   

Yellow.  
TAKE a quantity of fine silver, and cut it in small pieces, and put thereto a little Antimonium beaten to powder, and put them together in a melting-pot, and set them on the fire well covered round about with hot embers the space of an hour, then take it from the fire, and pour it into the bottom of a clean earthen vessel that will abide the heat thereof: after it is cold beaten it into fine powder, and grinned it on a Painter's stone, and when it is well ground, take six times as much Ocker as the Silver weighs, and seven times as much old earth that hath been scraped off from enameled work: after that, let it be well ground, than put all this together in apot with gume-water, and stir it well about and so use it.   

To make a Grey colour.  
TAKE Iron scales, a little Crystal, and sum small quantity of jet, grinned these well together upon a painter's stone, the more jeate ye take, the sadder the colour will be, & likewise the more crystal you put to it the lighter.   

To Diaper upon glass.  
TAKE Crystal, beaten to powder, and grinned it well upon a painter's stone with Gumwater, and so use it: It will appear a pretty light colour, different from the glass: Keep this colour in a little Pot, and when you will use it, stir it well about.   

Another fair read Colour.  
TAKE a quantity of read glass beads, and half as much of goldsmiths read Enamaling, and prepare it as you did the blue colour before.   
FINIS