A Short Introduction TO THE ART OF PAINTING AND Varnishing, LONDON, Printed for George Dawes, over against Lincolns-Inn-Gate, in Chancery-Lane, 1685. THE NAMES OF COLOURS FOR PAINTING, WHite Lead, Flake, Cerus, White. Kirmine, vermilion, Red lead, Spanish Brown, Indian Red, Red Ocker. Red. Ultramarine, Bice, Smalt, Verditer, Indigo, Blew. Distilled Verdigrass, Green. Three sorts of Masticote, Yellow ocker, light pink, Ortmeut two sorts, Yellow. Ivory Black, Black. Brown pink, Brown ocker, Umber, Brown. Venice Lake, a sort of Red or Blome. To Mix your Colours. WHite Umber and Black, Hair Colour White and a little Black, Grey Hair. White, little Black, little Yellow ocker and very little Lake, Dead Body or Face. Black and little Umber Dark part of the Eye. Lake and vermilion, Scarlet. White, Black a little Smalt, Armour. Yellow ocker and little Vermilion, Gold. Lake and little White, Pale Purple. Lake White and little Indigo, Deep Purple Light Masticote, Lemmon. Verdigrass, and very little White, Willow Green. Verdigrass brown pink and very little white, Grass green Verdigrass & light pink Bright green. Verdigrass and light Masticote another, Green. Smalt and light Masticote, Moss green. And for Variety you may put together any of the Blewes to any of the Yellows. Smalt and White, Sky or Pearl. vermilion and Umber Brick. Indigo, White & Lake, Violet. Light Masticote and Vermilion, Flaming Fire. Lake and Bice, Blome. Indigo and White, Led. White, Black, and little Yellow Ocker, Stone. Deep Masticote Buff. Deep Masticote and little Vermilion, Orange. Lake and little Black Sables. White and little Verdigrass, Grass Window. Verdigrass and White, Sea. White, Black, and Umber for grounding. When you have laid on your Cut and Rubbed it, you are to do it over with Oil of Turpentine, with a soft Brush, & in an hour after, to do it again with Nutt Oil, and then to close it well to the Glass with your fingers, to disperse those little hollownesses that then will appear, and if after there shall appear any little glissinings or bright places, you are to repeat the last oil upon the places, & close it well as before, & they will disappear or if they happen after Painting, then lay your Nutt oil upon the back of the Colours against the place and it will in a little time pierce through and cure it, but at the first in laying on of your Oils, use of neither sort more than what will just wet your Cut through. You are to grind all your Colours in Nutt Oil, and that extremely Fine. To make the Varnish. Take half a pound of Gum Sandrock four ounces of Gum Animy, two ounces of Gum Copal, one ounce of Mastic and half an ounce of Tackamahacka, steep your Gumlack twenty four hours in water in a course bag, then put to it a Lump of hard Soap, the bigness of an Egg and chafe it well about half an hour to beget a lather to take as much of the Red Tincture from it as you can, then clean the Soap from it with water, then make it very dry either in the Sun or before the Fire, then bruise all your other Gums, that is, your Gum Animy, very small, and the other but as gross Pepper, then divide all your Gums into two equal quantities, and put them severally into 2 glass bottles that hold 3 quarts a piece, then into each bottle put two quarts of Spirit of Wine, stop them close & keep them in a moderate heat before the fire for six or seven days, shaking 'em once an hour to prevent the Gums for settling to the bottom, then take it from the fire and let it rest twenty four hours, then through a cloth into a clean Bottle, pour as much off as will run perfectly clear and let the remainder settle again, and as it becomes clear pour it off as before. To do black Work. TO some of your Varnish put a little Ivory black in a little pot of a thin consistence, and do your work over nine times, letting it dry two hours betwixt each time before a fire, then let it dry a day, then smooth it a little with polishing Rushes either wet in water or dry. If you wet your Rushes, then when you have done, wash your work clean, and dry it with a cloth by the fire, then do it over ten times with clear Varnish, without Colour, allowing the same space for drying as before, then let it dry three days, then polish it with Tripola made fine upon a wet cloth until you have brought it to an exact eveness, then wash it as before, and dry it, then take a little oil upon a clean soft rag, and just touch it over to take off the dulness given it by washing, but use not so much oil as to leave your work greasy. Tortoise-shell upon Red Ground. FIrst do your Work over four or five times with Vermilion mixed with Varnish of a like thin consistence until you see your Wood be perfectly covered, then do it twice with clear Varnish, than cloud it with Dragon's Blood and Ivory black mixed together, then let it dry a day, then varnish it ten times with clear Varnish, then let it dry three days, and polish and finish as in your black work. Tortoise upon Yellow Ground. INstead of Vermilion mentioned in the last, use white Lead and very little yellow ocker and Cover your wood as in the Red Tortoise, then proceed and finish as in that, only in this you must observe, that your cloudings must be more Ruddy then on the Red Ground. Tortoise upon Gold Ground. WHen you have silvered your work let it dry a day, then with a Camel's hair brush do it twice or thrice over with the mixture next mentioned then let it dry another day, than cloud it with the clouding directed in your Yellow Tortoise and go on and finish as in the other. To turn Silvered work to a Gold Colour. TO half a pint of varnish put as much gam budge as will lie upon a large shilling, and as much Dragon's blood as will lie upon a groat, both beaten small and let it dissolve two or three days, sometimes shaking it, then run it through a fine rag into a clean bottle, and this laid twice or thrice upon silvered work, 'twill bring it to an Exact gold Colour. To Gild. TAke Parchment shreds and boil them in water that when the Liquor is cold, it may be as stiff as jelly, then to some of that put some Spanish White to make it somewhat thicker than Cream and keep it warm upon a few Coals, and do your work four or five times, that your wood be throughly Covered, then smooth it with Rushes, and then do it twice over with the Size alone, then smooth it again a little more, then lay on your Gold Size thin and even and let it dry until it be of such a temper that when you touch it with your finger, you may perceive it stick and yet none of the Size to come off upon your finger, then lay on your mettle and press it down with a Hare's seutt. To do the Red work that appears to have Black to be sprinkled on in little specles. FIrst Ground your work with Vermilion, as in the Red Tortoise, then with the clouding directed for that taking very little in your brush, and holding it upright in your hand, strike it down pretty quick and hard, and take no greater compass at a time than you can well attend (before the Varnish dries) to disperse the little black eyes and froth occasioned by the quick motion of your brush, and then begin again at the edges where you left off, after that proceed as in your Tortoise. To make Gold Size. TO a quart of Linseed Oil put White Copperis, Honey, razen and Littridge of Gold, each one ounce, and boil it four or five hours upon a gentle fire, sometimes stirring it, that it burn not to the bottom, and let it cool, & pour off all the thin part into a pot or bottle, and as you have occasion to use it, grind a small quantity of it at a time upon your stone, with a little white Lead, yellow Ocker, and a little boul Almanick, to be of a thinner consistence than you make your Colours for Painting, but you must be careful to grind it extremely Fine, otherwise your mettle will not lie even. White Varnish. TAke four ounces of the Largest Lumps of Gum Sandrock four ounces of Gum Animy, one ounce of Mastic, and one ounce of Camphier, scrape off the outsides of your Gums that they be very clean, and bruise them all as in your other Varnish, and slice the Camphier thin, and put them altogether into a quart of Spirit of Wine, and manage it at the fire after the same method, and for the same time as you do the other Varnish and when it has stood twenty four hours, let it through a cloth into another bottle, and it will at once all run off clear. This is to be used with Blue and White Colours after the same Manner as you use your other Varnish, with other Colours (it likewise being twice laid on) preserves anything silvered from ever tarnishing and is most used for this. To Enammel. DIssolve some Gum Arabic in fair water and mix with it some of your Shell Gold or Shell Silver, and with a small Pencil, draw upon your work either before your work be fit to polish or after it be done, but I conceive it best before you Varnish it the last ten times, so that Varnishing and polishing upon it will both secure it from tarnishing and rubbing off. You must observe, that all the wood you intent to Varnish, that is of an open grain, as Oak, Fir or such like, you must first white and smooth it just as you do for Gild, otherwise the Varnish will not fill it up though you repeat it never so often. To lay on your Mettle Speckles. FIrst wet your work with Varnish, with a soft brush, then while 'tis wet dust your speckles upon it through a piece of Tiffany, and then Varnish it twice, to keep 'em from rubbing off 'tis enough. You are to grind all your Colours dry and very smallâ–ª FINIS.