Ulrich Middeldorf 
 

 

 
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THE I 
 
 I 
 
 Arc of Painting 
 
 In OYL. 
 
 Wherein is included each particular Ci rcumftance rela¬ 
 ting to the beft and moft approved Rules for prepa¬ 
 ring, mixing, and working of Oyl Colours. 
 
 Tlie whole Treatife being fo full Complear, and fo exaSIy fit¬ 
 ted to the meaneft Capa icy, that all Perfons whaefoever, 
 may be able by thefe Directions, to paint in Oyl-Colours 
 all manner of Timber-work j that require eirher Ufe, 
 Beauty, or Prefervation, from the violence or Injury of the I 
 Weather. 
 
 In which is alfo laid down, all the feveral Circumftances requi¬ 
 red in Painting of Sun-Dials, Printed Pi&ures, Shaflr-Win- 
 dows, &c. In Oily-Colours. 
 
 The Fourth Impreffion with fome Alterations, and ma¬ 
 ny Matters added, which are not to be found in the 
 Three former Editions. 
 
 
 ,To which is now add^d, The whole Art and Myftery of Co¬ 
 louring Maps, and other Prints, with Water Colours. 
 
 By JOHN SMITH , C. M. 
 
 LICENSED, I{plMidgely. 
 
 LONDON: 
 
 Printed for Samuel Crouch 3 at the Cornet of 
 
 Popcs-Head~Al/y in Cornhill , 1705. 
 
 
 
■ 
 
 
 
 
To the Re ader. 
 
 Reader, 
 
 T HE three former Impreffions of this 
 Work having given very good fatif 
 faft ion to feveral ingenious perfons that 
 were defirous offome Infl ruff ions in this 
 matter , and the Books being all fold ojj y 
 and a fourth Impreffion intended , I was 
 defired to take fome more pains to view 
 and correft the Work , and to add fuch 
 things as might be found wanting , to 
 make it compleat ^ which I hope I have 
 done , to the fat is fail ion of all that fhall 
 perufe this Jafi Edition , there being net 
 wanting in it any one material circum- 
 flance that is requifite to a, work of this 
 nature . 
 
 1 fuppofe no Man will judge , that this 
 Book is defgned any ways to in ft ruff thofe 
 that are profeffed Fainters, whofe know - 
 ledge in thefe affairs muft be fuppofed to 
 outftrip thefe firft Rudiments of this 
 their own profefjion s no, the chief defign 
 of this work ft only to inftrutf other inge¬ 
 nious perfons , who are defirous of fome 
 A 2 in fight 
 
To the READER. 
 
 in fight into the nature of working in Oyl 
 
 Colours. 
 
 Be fide s this , the Gentry that live jar 
 remote from great Cities , where Painters 
 ufually re fide 5 may fome times have occa- 
 fjon to play the good Husband^ in prefcry¬ 
 ing fuch Ornaments of their Habitations, 
 as are mcjl expofed to the violence of 
 Rain and Wet \ there being lefs trouble 
 in the preferring what is already made , 
 than in making new : When a Gentle¬ 
 man therefore has been at the Charge of 
 fitting his Habitation with good Doors 
 and Gates 5 has fenced it about with 
 Valijadoes , and adorned his Garden 
 Beds with Borders , and ereUed Seats 
 arrd Arbours to reft in , andfuch like \ it 
 will be eafie then for fome of his Ser¬ 
 vants , by the Directions here given , to 
 be able to colour over and Dainty thefe , 
 or any other kinds of Timber Work in 
 Oyl Colours. 
 
 In Tainting of Sun-Dials , I have been 
 very particular ? for this reafon, that 
 there being many Books extant that teach 
 the way of drawing Dials , and many Gen¬ 
 tlemen are very expert therein , but yet 
 few or none are able to paint their Dial 
 on a Plain zvben they have drawn the 
 
 Draught $ 
 
To the READER. 
 
 Draught •, therefore I thought it not 
 time ill J'pent, to fet down the fever el 
 material particulars relating to that work \ 
 not doubting but all Ferfons that are 
 Lovers of Art, will add this piece to that 
 part of their Library that relates to Dial- 
 ling . 
 
 In the whole Work, I have been care¬ 
 ful to relate only matter of Faff, and fet 
 down fuel) Rules and Obfervations, as by 
 Experience my felf hath found to be true , 
 avoiding altogether things fpedilative, or 
 what is only known by hear fay; and 
 therefore as to all the particulars of it, 
 the Reader may rely upon them as true 
 and certain the file 1 confejs is mecha¬ 
 nic k and plain , but I confider that 
 Difcoufes of this nature require not Elo¬ 
 quence to perfwade ; Knowledge being 
 be ft communicated by clear and figniftcant 
 ExpreJJions • and in this I have done my 
 endeavour and for the reft, if any [hall 
 take exception, I have this only to fay, 
 that my aim in it has been more for the 
 Frofit and Fleafure of others, than my 
 own Advantage. 
 
 All that Ifhall add is, that fines this 
 Treatife hath found fo good Acceptance, I 
 will proceed to publifh a Work of another 
 
 Nature , 
 
f * ■>. ToTHe KTTA D E R. 
 
 Nature ^containing a great number of par' 
 ticulars , <?/ &/<? and advantage to 
 
 moji forts of People, and fucb as relate 
 to almofl every Circumfiance of human 
 Life ; all related with the great eft Faith - 
 fulnefs , G?/r, Plainnefs, //;#/ 
 
 Particular is capable of: in the mean 
 time , /# its all be careful fo far in our 
 own Affairs , ^ ft rive to excel 
 
 others in Knowledge, we fall not fhort 
 if a Vertuous and a good Life : the end 
 of all Science of this kind tends chiefly to 
 a temporal Satisfaction j but he that alfo 
 adds Vertue to his Knowledge , adds to 
 the Felicities of this Life the Joys and 
 Glories of the next Worlds 
 
 . FareweL 
 
 J.s. 
 
 THI 
 
THE 
 
 CONTENTS 
 
 O F T H E 
 
 Several Chapters. 
 
 Chap. I. Account of the fever.d Tools or 
 manual Vtcnfils, that are ufed in 
 the Art of vulgar Fainting, Paee i 
 
 Chap. II. A Catalogue of the federal Colours ufed 
 m Painting with Oyl j their nature and way of 
 making. 
 
 Chap. III. Of the burning of Colours or preparing 
 of them that require to be ufed. p. 2 g 
 
 t-nap. IV. How to wajh fuel, Colours as for their 
 gnttmefs are not other-wife to be made fine 
 enough for certain ufes. p. , , 
 
 Chap. V How to grind Colours with Oyl. p. 33 
 Chap. VI. Horn to order Colours for working af- 
 ter they arc ground. p. L 
 
 Chap VII. How to make a Sfe for the guit'ding 
 both with Gold and Silver. p. 4 I 
 
 Chap VIII. T/j; Practice of working Oyl-Cokurs 
 and Painting of Timber-hVorL after tbermn- 
 ner of vulgar Paiming. p 4a 
 
 Ch /P- JX- Mat Colours are moft futable, 'and 
 Jet off beft one with another, p, 
 
 * Chap, 
 
The CONTENTS. 
 
 Chap.X. Of Painting Sun-Dials, and firft of the 
 Plains on which Dials are drawn. p. 5 i 
 Chap. XL How to make the heft Glue for gluing 
 the Joints of Dial-Boards. P-55 
 
 Chap. XII. What Colours are requiftte for the 
 Painting cf a Sun-Dial. p. 57 
 
 Chap.XIII. The Practice of Painting Sun-Dials. 
 
 P-,59 
 
 Chap. XIV. HoW to guild with Gold on an Oily 
 Si^e, either Letter or Figures , &c. p. 64 
 
 Chap. XV. The way of Painting a Blue with 
 Smalt , the only Colour that requires ftrowing • 
 
 p, 69 
 
 Chap* XVI. How tofcour, refrejh andprefervc , 
 all manner of Oyl Paintings. p. 72 
 
 Chap. XVII. An Experiment of very near affi¬ 
 nity to O'ji-P dinting, hut of great life to Tra¬ 
 vellers of fome kinds: To the chief Officers of 
 Camps and Armies ft e amen,and fuch like, p.77 
 Chap. XVIII. How to preferve all bright Iron - 
 worl^ from ruft and other Injuries of a moift and 
 corroding air t by an Oily Varnifh. p. 81 
 
 Chap. XIX. The Art of Backup dinting, Me^o- 
 tinBo Prints, with Oy 1-Colours. p. 82. 
 
 Chap. XX. The manner of Paintsng Cloth, of 
 Sarfnet Shafh-Windows. p. po 
 
 Chap. XXL The whole Ay t and Mjftery ef Co¬ 
 louring Maps, and Other Prints, with Water- 
 Colours* P*~92- 
 
 THE 
 
THE 
 
 A R T 
 
 O F 
 
 PAINTING. 
 
 CHAP. I. 
 
 An Account of the feveral Tools , or 
 manual Vtenfils^ that are ttfed in the 
 Art of Painting, 
 
 T H E firft is the Grindftone and 
 Muller for grinding of Colours * 
 the Stone muft be a hard Ranee, 
 Marble, or fome other of a clofe grain, 
 not fpongy or full of fmall Pores ^ for if 
 the grain of the Stone be not clofe, but 
 hollow and fpungy* the Col ours that are 
 firff ground on it, cannot fo well be 
 \ B cleanfed 
 
2 C&e of paintmg* 
 
 cleanfed off, but that fome part will ft ill 
 remain in thefe hollow Pores of the 
 Stone, which will fpoil the beauty and 
 luff re of thofe other Colours that are 
 ground after it : this Stone for grinding 
 ought to be about a foot and halffquare, 
 and fo thick, that its weight may be 
 fufficient to keep it faff and ffeady, and 
 not apt to be moved when Colours are 
 grinding on it. 
 
 2 . The Muller is a pebble Stone, of 
 the form of an Egg, the bigger end. of 
 which is to be broken off, and with 
 iharp Sand or Emery, it muff be ground 
 finooth and fiat on fome other hard flat 
 Stone ; and the Eges of it muff be well 
 rounded off, that the-Colours may the 
 better Aide under it when it is moved 
 round : thisStone ought to%e about two 
 Inches Diameter, or three at moff, on the 
 flat end, and about five Inches high v that 
 foyou may command it the more eafily 
 in the time of grinding. 
 
 For want of a fpotted Marble (which 
 is a Stone of a hafle Colour, compaft of 
 a number of Kernels as it were in the 
 Greer of it ) you may make ufe of any 
 kind of hard Marble, either white or ' 
 black*, fome I have known to ufe aSlate, 
 
 fuch 
 
€1 )t act of Paftitlnff* ? 
 
 fuch as in SuJJex they cover their Houfe3 
 with *, fotne of which 1 have feen above 
 two Foot fquare, and an Inch and a half 
 thick * which kind of Slates for tmlgaf 
 Paintings may ferve very well. 
 
 When a good fhap’t Stone for a Mul¬ 
 ler is wanting, a fragment of any fmooth 
 fided Stone, cemented ('with Rofen and 
 Brick-duft mbit together; into a piece of 
 Wood of a fit fhape to hold it by, has 
 performed the work as well as the left 
 Muller fold in the Shops. 
 
 3. To thefe belong a Voider, being 
 no other than a Lanthbrn Horn, about 
 three Inches one way and four the c~ 
 ther *, this Voider is to clear off the Co¬ 
 lours from the Stone when ground, and 
 alfo to keep them together in the time 
 of grinding when it ipreads too much. 
 
 For want of this, a fmooth piece of 
 Wood of the fame fize, cut thin and 
 made very (harp and even on the edge 
 may ferve as well. 
 
 4. Pots and Pans mulf alfo be provi¬ 
 ded, either of Earth or Tinn, of fevera! 
 fizes, according to the quantity of Co¬ 
 lours to be ground, into which they are 
 Pill to be put as you grind, till you 
 have ground fo much Colour of each 
 
 B z fore 
 
 
4 Cbe act of painting. 
 
 fott, as may be neceflary about the work 
 
 you defign them for. * *. 
 
 But in Cafe you defign to grind atone 
 time fo much of each Colour as may be 
 fufficient to ferve your occafions a long 
 time together, asfome do* then when 
 you have ground of each fo much as you 
 think fit, let them be put up and tyed 
 clofe-in Ox Bladders, or in the Bladders 
 of Hogs or Sheep, according as your 
 quantities are* this will preierve them 
 from drying or fpoiling a long time to- 
 
 ^remember I had a parcel of Colours 
 given me in the Year 1661. by a Neigh¬ 
 bouring Yeomen, that were, as he laid, 
 left at his Houfe by a Trooper, that 
 quartered there in the time of the W ars, 
 about the Year 1644. This Man was by 
 Profeflion a Piaure-Drawer, and his 
 Colours were all tyed up in Bladders, 
 according to the Method before prefcri- 
 bed, and when I had opened them, I 
 found them in a very good condition 
 and to my thinking as fit for ule, when 
 mixt with a little frelh Oyl, as if they 
 had been but very lately ground, thougu 
 they had remained in this condition a- 
 bout feventeen Years. Y ou 
 
Wat t orpauitwo:* 5 
 
 5. You muft be alfo provided of 
 Brufhes and Pencils of all forts and fixes 3 
 Brufhes are always made of Hogs Bri- 
 files, they are of feveral fizes and fhapes, 
 fome round, and others flat *, the round 
 ones are of ail fizes, from two Inches 
 Diameter to a quarter of an Inch $ thofe 
 of the largeft fize are for priming the 
 Work, and for laying fuch Colours as 
 are ufed in great quantities, and in Co¬ 
 louring over the fuperficies of all large 
 Work, fuch as Pofis, Pails, Wainfcot, 
 or fuch like: the fmaller fort of Brufhes 
 are to ufe in fuch pacts and places of 
 any Work, as larger ones cannot well 
 come to work in. 
 
 Flat Brufhes are chiefly in ufe for 
 drawing of Lines, and in imitating of 
 Olive and Walnut Work. 
 
 6 . As for Pencils, they are compoun¬ 
 ded of a finer and fmaller Hair : thefe 
 alfo are of feveral fizes, but all generally 
 round, being for the moft part fitted in¬ 
 to Swans, Geefe, or Ducks Quills, and 
 from thence are termed Swans Quill, 
 fitcht or pointed, Goofe Quils, fitchtand 
 pointed, Ducks Quills, fitcht and poin¬ 
 ted -, befides thefe, there are a larger 
 fort of Pencils in Tin Cafes, and fome 
 B 3 in 
 
€$e att of Painting* 
 
 in Stocks like Brufhes, all made of the 
 fine Hair. 
 
 In the choice cf Brufhes and Pencils, 
 .obferve thefe rules: Fdr Brufhes, obferve 
 whether the Bridles are fait bound in the 
 flocks, and the Flair drohg and lie clofe 
 together*, for if they don't lie clofe but 
 fprawl abroad, Inch will never work 
 well, and if' they are not faff bound in 
 the dock, the Bridles will come out 
 when you are ufing them, and fpoil your 
 work ; for fuch 1 have feen where the 
 Ioofe Hairs, from the Brtifh,have lain ba¬ 
 iled up and down in the Colours laid on, 
 to the great disparagement of the work : 
 to prevent this,if they are not faff bound, 
 drive in foms. thin Wooden Wedges be¬ 
 tween the Thread yvkh which they are 
 bound roundand by thus doing the 
 Bridles will be made tire and fecure. 
 
 In thufing of Pencils, efpecially the 
 pointed, ones, do thus *, put them into 
 your mouth, and moiiten them a little, 
 then draw them forth between the 
 Tongue and the Lip, and if they come 
 out with an intire fharp point, without 
 cleaving in twain, they, are good ; pro¬ 
 vided alfo, they be thick and f ull Let 
 npxt the Quill, and alfo fad bound $ if 
 
 they 
 
Cf)e3ct0fL9atntt!t^ 7 
 
 they be thin and lean next the Quill, 
 they never ftand well to the work, nor 
 draw fharp and clever. 
 
 To every one of thefe Cafe, or Quill 
 Pencils, let a neat flock be fitted, about 
 nine Inches in length at the lead-, for 
 nnlefs the Pencil be held a good di fiance 
 from the hand, vou (hall never be able 
 to command it well, nor work fo neat, 
 as when you have the true command of 
 a Pencil, held thus at a large difiance, 
 your hand being fupported, as is ufual, 
 by a Ruler, or fmall walking (lick ^ one 
 end of which you muft hold in your 
 left hand, and the other mult red on the 
 work, but yiet fo as not to do it any In¬ 
 jury. 
 
 7. If you have, at anytime, occafion 
 to guild with Leaf gold, on an oyly fize, 
 according to the ufual pra&ice of Pain¬ 
 ters, there does then belong to this work 
 feveral diftinft manual Tools : As firft a 
 Cufhionupon which the Leaves of Gold 
 muft be laid, when they are to be cut 
 into fuch forms as fit the work you are 
 to guild 5 this guilding Cufhion, is gene¬ 
 rally made of a fmooth grained Bazil 
 Skin, the flefti fide outward, this is to be 
 nailed to the edges of a fquare wooden 
 B 4 bottom 
 
s €&e act of IPatntlttff* 
 
 bottom, about fix Inches fquare, and 
 then well (tuft out with Cotton or Wool, 
 very hard, plain and fiattifh. Upon this 
 guilding Cufhion the Gold Leaves are 
 to he laid, when you would cut them 
 into fuch fcandings as will bed fit the 
 work vou defign to guild. 
 
 8. The Inftrument you make ufe of 
 to cut the Leaves, mud be either a fliarp 
 fmooth-edg’d Cafe Knife, or elfe a flip of 
 the hollow Spanifh Cane, cut up to a 
 fmooth and fharp edge with a good 
 Pen-knife •- this Cane-knife is counted 
 the bed, becaufe if well made, it will 
 not only be very (harp, but alfo^cut the 
 gold leaf more naturally than any other •, 
 for a Steel-Knife, though it cut very 
 well, yet the gold will dick tod, and 
 fo give you much trouble to part the 
 Leaf from it, except you are careful to, 
 keep the edge very dry by continually 
 wiping of it with a clean and dry Cloth j 
 whereas a Cane Knife will put you to 
 no fiich trouble in the ufe of it, its fub- 
 dance being of fuch a nature, as not to 
 retain any yifcous or clammy matter, ca¬ 
 pable of making the Gold dick to it. 
 
 p, When by the .ufe of thefe you 
 have cut p^ij: the Leaves of ,Goid into 
 
 pro- 
 
Cfjeatt of painting- 9 
 
 proper Icantlings, it mult then be taken 
 from off the Cufhion, and laid down 
 upon the work you are to guild ; to per¬ 
 form which, if the work be flat and 
 plain, you muft ufe the guildingPallar, 
 5 tis only a flat piece of wood about three 
 Inches long, and an Inch broad, upon 
 which is to be glewed a piece of fine 
 woolen Cloth of the fame length and 
 breadth; upon thisPallat do but breath 
 with your Breath, that the Cloth may 
 be made a little moift by it, then if you 
 clap it down gently oh the Gold that is 
 cut out, it will flick to the Pallat, and 
 may^rom thence be readily conveyed 
 to the work you are to guild, and laid 
 down on it •, but this kind of Tool^ is 
 only for flat and plain work, in which 
 Cafe if you are to cover any large quan¬ 
 tity of work, your Pallat may be as 
 large as the whole Leaf bf Gold, and fo 
 you may transfer them from the Book 
 to the Work, without farther trouble of 
 cutting into fmall parts. 
 
 10. But if it be any hollow or carved 
 work that is to be guilt, then Painters do 
 ufually take up their Gold, either from 
 the Book or Cufhion, with a bunch ; of 
 jGotton Yarn , a little moiflned with 
 
 their 
 
io Wsz art of painting:. 
 
 their breath * for Cotton is a material 
 very apt and fit to prefs into the hollow- 
 nefs of the work, with the gold upor ft* 
 in cafe you want Cotton, a bunch of 
 good fine Wool may do as well. 
 
 But if this Gold he tc be la d on 
 ■within the hollows ofrarved work then 
 you muff ufe a fine Gamils Hair Pencil, 
 of fuch a fize as is finable, this, when 
 moiftned by breathing on it s will take 
 up your leaf gold, and by the help there* 
 of the gold may be laid in any hollow 
 work. 
 
 Black lead Pencils are of fo great ufe 
 in drawing in fame Cafes, that a fainter 
 can very ill want them ; as alfo good 
 Chalk j'the Chalk mu ft be fuch as is of 
 .a foft grain, that will eafily fpend it felf 
 on the work you draw upon *, if the 
 Chalk be of ahardftony nature, it* will 
 ^fpoil whatever you draw upon, for you 
 rnu.ft prefs fo hard to make it fpend its 
 felf, that the work will be full of deep 
 races, not to be after obliterated ^ a great 
 damage to the beauty of the work.. 
 
 I r. For Black-lead Pencils^ thofe that 
 are right good, are not eafy to be got¬ 
 ten •, therefore that you may not be de¬ 
 ceived In the choice of them, take no* 
 
 ' ' tice, 
 
tOjeayt ofPamtuig. u 
 
 tice, that the beft Black-lead Pencil, is 
 that, that fpends its Colour freely, and 
 draws Black with an eafy and light 
 jftroke, the goodnefs of the Lead may 
 aifo be known by the grain of it* the 
 beft Lead if you (have off a little of it 
 with a fharp Knife, will appear fmooth 
 and fhining as Glafs , not hollow or 
 fpungy •, that Lead that when cut ap~ 
 peats not with a good glafs, is of a dull 
 Colour, and of a hollow fpungy grain, 
 is of little or no value, for the grain is 
 fo hard, it will never fpend black, nor 
 draw free. 
 
 Betimes this,the common Pencils of the 
 Shops are made up fo deceitfully, that 
 they are not good Lead half way up the 
 flock *, the beft way therefore is to buy 
 Black-lead in the lump at the Colour- 
 Shop, and with a fine Spring-Saw, cut 
 it into fcantlings of the bignefs of a 
 Quill, into which you may fit it ^ and ha¬ 
 ving fattened it in with glue, it will be 
 found much better and cheaper, than to 
 buy them at the Shops 
 
 i 2. Befides all thefe before mentioned, 
 there will be required, as neceffary for 
 
 Painting.Bt’afsCompafleSjfor fetting out 
 
 and proportioning your work* theyalfo 
 
 afiift 
 
 / 
 
12^ r ctjegtt or painting- 
 
 affift you much in drawing all Figures 
 that have a circular form i there is need 
 alfo of Rulers of feveral lengths, as alfo 
 Squares, Cruciples to burn Colours, and 
 Bladders forOyl. 
 
 The value of fucb of the forementiorfd 
 t particulars, as are to be bought ready 
 
 fitted, 
 
 A marble Stone for grinding, accord¬ 
 ing to its fize and bulk, will coft from 
 half a Crown to five Shillings the Stone. 
 
 A Muller will coft eighteen Pence, or 
 two Shillings. 
 
 Thelargeft Brufhes will coft file Pence 
 a piece, the other fizes from four Pence 
 to one Penny a piece. 
 
 Thelargeft fort of Pencils made with 
 fine hair, either in Tin Cafes, or in 
 wooden flock#, from eight to two pence 
 a piece * thole inciofed in Swans Quills, 
 a penny a piece, and others in Goofe or 
 Duks Quills are fix pence a dozen, one 
 with another, or a halfpenny a piece. 
 
 Black lead Pencils, the beft in Ceder 
 Cafes, will coft three pence a piece * but 
 an Ounce of the fineft Black lead in the 
 lump, cut out as before dire&ed, will 
 
 do 
 
Cfje act of I 9 amttn&. 13 
 
 do as much fervice as any fix Pencils 
 which Ounce of Lead will coft you a- 
 bout fix pence, if it be prime good. 
 
 Brafs Compafles are from eighteen 
 pence to fix Shillings a pair, according 
 to their fize and goodnefs $ a pair about 
 eight Inches in the (hank will cod about 
 two (hillings fix pence, a pair of the 
 fame fize made with three points, viz r. 
 a fteel point, a pen point, and a black- 
 lead point, will coft you, if well made, 
 fix (hillings. 
 
 Cruciples will coft you about two 
 pence a piece, if they are large ; the o* 
 ther fizes are a penny a piece, and the 
 fmalleft a half-penny. 
 
 Note , That a grinding Stone and Mul¬ 
 ler, and all kind of Pencils, are to be 
 had at the Colour Shops ^ Brafs Compafi 
 fes and Squares at the Mathematical In- 
 ftrument- makers * and Cruciples you 
 fhall find plentiful at the Ironmongers in 
 f ojlerlane. 
 
 CHAP. 
 
h €§£ 9rt0fPaftttut& 
 
 CHAP. II. 
 
 A Catalogue of the feveral Colours ufed 
 in painting with Oyl $ their nature 
 and way of making . 
 
 W HI T E 8. 
 
 T HE principle of all Whites is the 
 White-lead. ^ this Colour ews its 
 original to the common Plummers Lead, 
 of which it is made *, the manner is 
 thus: At Venice , where they make the 
 greateft quantities, they take Sheet lead, 
 and having cut it into long and narrow 
 flips, they make it up into Rouls, yet 
 fo as a fmall diftance remains between 
 every fpiral revolution*, thefe Roulls 
 they put into Earthen Pots, fo ordered, 
 that the Lead may not fink down above • 
 half way or better in them ^ thele Pots 
 have each of them very fharp Vinegar in 
 the bottom, fo full as almofi: to touch 
 the Lead ; when the Vinegar and Lead 
 are both conveyed into the Pot, his co¬ 
 ver’d up dole, and fo left for a certain 
 , time,. 
 
C&esrt crpaintutfs. 15 
 
 time, in which fpace the corrcfives fumes 
 of the Vinegar will reduce the fuperfi- 
 cies of the Lead into a white Calx, 
 which they feparate by knocking upon 
 it with a Harnmar: A more particular 
 Defcription of the whole Procefs you 
 may find communicated tb the Royal 
 Society, by Sir Vb'dberto Vernattt, and 
 Printed in the Plitiofophical Tranfa&i- 
 ons. ' A 
 
 Gf this Colour there is two torts at 
 the Colour Shop, the one called Cerufe, 
 which is ihe mold pure and clean parr, 
 the other is called by the plain name of 
 white Lead ^ th£y are Colours that work 
 with very much eMe-and will be ground- 
 as* fine even'as the Oyl it fdf, in compa- 
 rifon, if you will take time enough in 
 the grinding, •, it lies very fmooth, and 
 binds very hard, : on what wor,k foever 
 it be laid on. It you paint With it any 
 kind of limber work or Stone, that you 
 would preferve from the .weather, it is 
 belt to work it .in Linled 0)1,. for that 
 will bind it extrearn hard, if you lay it 
 upon the work very ft iff \ but if you ufe 
 White lead alone within Doors, his then 
 be v to mix it with drying Nut Qyi, for 
 Linfed Oyl within Doors wHhturn Yei- 
 
 low, 
 
it €:&e att ofpatntmg. 
 
 low, and fpoil the beauty of it* which 
 inconvenience Walnut-Oyl made to dry 
 prevents ; for that makes it keep a con- 
 ifant whitenefs. 
 
 Befides White-Lead and Cerus there 
 is another fort to be met with fometimes 
 at the Colour Shops, which they call 
 Flake-white, which is by fome accoun¬ 
 ted the beft white of all others, but the 
 reafon of that I don’t well underftand, 
 except it be, becaufe it is fearce and 
 dear; this Colour is faid to be found 
 only under the Lead of fome very old 
 Buildings, where time has by the afli- 
 ftance of fome (harp quality in the air, 
 thus reduced the undermoft fuperficies 
 of the Lead in this white Calx, which 
 proves a very good White, but in my 
 opinion not exceeding the beft Cerus, 
 which is as white as the other, and a 
 great deal cheaper. 
 
 BLACKS. 
 
 L Amp black : This Colour is no other 
 than a Soot raifed from the rofeny 
 and fat parts of Fir-Trees,it comes mod- 
 ly from the Northern Countreys, as 
 Sweden and Norway 5 tis a Black that 
 
 is 
 
%\)z £Jrt o'f patntmg. iy 
 
 is more generally ufed than any other, 
 becaufe o i its plenty and cheapriefs* and 
 proves a very good black for moft ufes * 
 3 tis of fo fine a Body, that if tempered 
 only with Linfed Qyi, it will ferve to 
 work with on moft common occafions 
 without grinding, but thus ufed, ’twill 
 require a long time to dry*,: utilefs you 
 mix much drying Oyl with&r* or, which 
 is better,fome Verdigreafe finely ground, 
 this and the drying Oyl together will 
 make it dry in a little time' : Some add 
 alfo Oyl of Turpentine -, and without 
 thefe it will ndt dry in a long time % 
 ior in the fubftance of the Colour is con¬ 
 tained a cettaingreafy fatnefs that is an 
 Enemy to drying, to remedy which, 
 burning in the fire till it be red hot and 
 ceafe to fmoke, will con lump that fat¬ 
 nefs, and then it will dry much fooner v 
 but When ftis burnt it muft then of necef- 
 fity be -ground with the Oyl, for elfe 
 ’twill not work fine ; for the Fire is of 
 that nature, that it’s apt to harden moft 
 Bodies that pafs through it ^ thisColonr 
 is ufuaiiy made up in fmdl Boxes and 
 Barrels of Deal, of feveral fizes, arid fo 
 brought qver to us. 
 
18 ®je act of 10auttfttg. 
 
 Befides, this black, there is another 
 fort of Black, and this is the foot of a 
 Lamp •, which I have heard very good 
 Artifls commend,as a much better black 
 for any uie than the Lam-black, it being 
 of a liner Body and brighter Colour •, 
 but I think not to be gotten in very great 
 quantities, and therefore ufed only in 
 
 very fine work. , 
 
 Ivory-Black , is made of the Comb> 
 makers llafpings, and other walk frag¬ 
 ments of Ivory i thefe are burnt or cha¬ 
 red to a black Coal in a Cructple clofe 
 ftopt up, this proves a very delicate 
 Black when ground very fine you have 
 it at the Shops well prepared, and leve- 
 gated or ground very fine with Water- 
 on a Marble-Stone, and then dryed^n 
 fmaU Lumps ; being thus prepared, tis 
 the more eafily ground in Oyl, with 
 which it will lie with as fmoth a Body, 
 as moft Colonrs do ; but "tis fomething 
 dear, and therefore not ufed-in any com¬ 
 mon Work. i • -r 
 
 Some ufe Willow-Charcoal v this it 
 
 ground very fine, does in Oyl make a 
 very good Black, but being not fo eafy 
 to be gotten as the Lam-black, us fel- 
 dom ufed. 
 
 1 
 
 REDS, 
 
Ctje Sltt «f pamttnff. 19 
 
 REDS. 
 
 V Ermillion is the mod delicate of all 
 light;Red$,being of it felf a perfect 
 Scarlet Colour, Vis made artificially out 
 of Quickfilver and Brimftone, in the 
 manner following : Take fix Ounces of 
 Brimftone and.fnelt it in an Iron-Ladle, 
 then put two Pound of Quickfilver into 
 a Shammy Leather, or double Linnen- 
 Cloth, fqueeze it from thence into the 
 melted Brimftone, ftirring them in the 
 mean time with a wooden Spatula, till 
 they are well united, and when cold, 
 beat the mafs into a Powder, and lub- 
 lime it in a glafs Veflel, with a ftrong 
 Fire, and it will arife into that red fub- 
 ftance which we call artificial Cinaber, 
 or Vermillion *, the whole procefs you 
 may fee more at large in Lemerfs Chy- 
 tniftry. This Colour is of a delicate fine 
 Body, and if pains be beftowed on it, 
 ’twill grind as fine as the Oyl it felf; 
 and then it makes a moft excellent Co¬ 
 lour : but if it be not ground very fine, 
 the Glory of it will not appear, for it 
 will look dull and work courfe ; but if 
 it be ground very fine, no Colour in the 
 C 2 World 
 
2 o cijeatt of painting. 
 
 World looks better, nor works fmoother, 
 nor bears a better body than Vermilion 
 
 does, nor goes farther. . 
 
 Lake, especially the ncheft forts, is 
 the beft: of all dark Reds, being a tnoft 
 pure Crittifon •, ’tis a Colour that wr 
 „rind very fine, and lies with a good Bo¬ 
 dy but there muft be good ftore of Pains 
 taken with it in the grinding, for if it 
 be not well and throughly ground, its 
 Colour will want much of its, glory^ 
 and befides this, ’twill work with fome 
 
 difficulty, being apt t0 
 like a Jelly, after • ’tis laid on, jutt as 
 you fee warm Water does upon a greafy 
 Trencher, when ’tis wafted in it jto 
 prevent which, grind it well, and tem¬ 
 per it as thm as you can wellwork it; 
 of this Colour there be divers forts at the 
 Colour Shops, very different lome be- 
 5no- of a more dead and paleColour 
 ’ri? made of the tinaure of a Vegetable, 
 that Pains a red, but of what, or how 
 do-e 1 cannot as yet learn perfectly =, 
 Sffiynote, that the beft forts come from 
 Venice "ofM Florence-. r n ■p Pf iq 
 
 ■St &*>«*. as1s 001 car,1 » s ”“ d 
 
C 8 e 9 tt of Punting* 21 
 
 very fine, although you beftow much 
 labour on it; this Colour is made out of 
 common Lead, by firft reducing it to a 
 Litharge, and that Litharge being after¬ 
 ward ground to Powder in a Mill, is 
 afterward conveyed into a hot Furnice, 
 for that purpofe, where ’t\s continually 
 kept ftirring with an Iron Rake, till it 
 has attained to the Colour of a fine pale 
 red j the whole procefs you may fee 
 more at large in Mr, Ray's Appendix to 
 his Catalogue of hard Englifh words. 
 Note, that this, though it be a Sandy 
 Colour, yet it bears a. very good body 
 in Oyl, and binds very fad and firm, 
 being alfo a quick dryer. 
 
 Spanifh Brown , is a dark, dull red, of 
 aHorfefiefh Colour, Vis an Earth, it be¬ 
 ing dug out of the ground, but there is 
 fome of it of a Colour pleafant enough 
 to the Eye, confidering the deepnefs of % 
 it: 3 tis of great ufe among Painters, be¬ 
 ing generally ufed as the firft and prim¬ 
 ing Colour, that they lay on upon any 
 kind of timber-work, being cheap and 
 plentiful, and a Colour that works well, 
 if it be ground fine, as you may do with 
 lefs labour than (bme better Colours do 
 require * the belt fort is the deeped Co- 
 C 3 lour, 
 
22 CJje act of painting* 
 
 lour, and freed from Stones ■, the other 
 forts are not fo good to give a Colour 
 to the Eye, but yet they ferve as well 
 as any others for a priming Colour, to 
 fealon the Wood to lay other Colours 
 upon. 
 
 r E L L O W S. 
 
 Y EllowOaker , is of two forts, one 
 called Plain-Oaker, and the other 
 Spruce Ottker, the one is much a lighter 
 Colour than the other •, ’tis a certain 
 concret or ftony fubflar.ee, found among 
 ftiff Clays in divers parts of this King¬ 
 dom but thofe parts that contain mod 
 of it, is the Sbotover Hills near Oxford, 
 from whence mod of the Yellow-Oaker, 
 that is fold in ’England , is dug out; ’tis 
 a Colour, that with pains, will grind 
 * very fine, it bears an excellent body, and 
 refills the weather well. 
 
 Eink-lelbvo, is the Tinaure of a Ve¬ 
 getable, whofe lubllance being teduced 
 to aMufclage, and after dryed, becomes 
 a good light Yellow, a little inclining 
 to a Green; ’tis a Colour that grinds 
 very ealy, and bears a good body. 
 
 Orpiment 
 
Cfje 23 
 
 Orpiment is that Colour that fome 
 call Yellow Arftnick *, Visa good Colour 
 for fome ufes, hut very troublefome to 
 grinds being a Mineral deny fubftance 
 of a poyfonous nature * therefore take 
 care that the fumes of it don’t offend 
 the Brain in the time of grinding. 
 
 Mafticote , is a good light Yellow for 
 mod ufes, efpecially in making Greens, 
 of which feveral forts may be framed 
 out of this Colour, being mixt with 
 Blues •, Vis a Colour that grinds fine, and 
 bears a good body. 
 
 GREENS. 
 
 V Erfligreafe is the bed and mod ule 
 ful Green of all otherrs *, Vis a Go« 
 lour made out of Copper, being no o- 
 ther than the ruff of that mettal promo 
 ted by the fumes of four Wine, and the 
 rape of Grapes ^ the procefs of which, 
 as Vis performed at Montpelier in France 
 (where the bed is fa id to be made) as you 
 may find in Mr. Ray's Travels, pag. 454. 
 Tis a delicate Green inclining to a Biu 
 i(h, but with a little Pink-Yellow, it 
 makes the deiicated Grafs Green in the 
 World ; Vis a Colour that will grind 
 C 4 very 
 
24 Cfje-act Of patnttns. 
 
 very fine, but not without fome pains ; 
 and when ground fine, it lies with a 
 good body, and works well, at the 
 Colour-Shops there is a fort of it that 
 they call diftiiled Verdigreafe, being a 
 fort that is wholly purified from drols 
 and filth, of good ufe in fine work, but 
 too dear in vulgar Painting. 
 
 Green Bice is % Colour of a Tandy na¬ 
 ture, and therefore not much ufed $ 
 Green Ver(liter is alfo a fiydy Colour, 
 neither of them bear any good body, 
 and are feldom ufed, except in Landskip, 
 Where variety is required. 
 
 BLUE 
 
 B Lue Bice bears the heft body of all 
 bright Blues ufed in common work, 
 but tis the paleft in Colour, it works 
 indifferent well, byt inclines a little to 
 he Tandy, therefore it requres good 
 grinding, and that on a very hard ftone ; 
 Tis a Blue that lies befc near the Eye of 
 any now in ufe, except Ultra-Marine , a 
 Colour produced from the Tin&ure of 
 Lapis-Lazuli,; the procefs of doing 
 whicfi, you may find in a Book called. 
 Modern Q#ri$fitifs \ but this is fo vaftly 
 
€ije att of painting, 2$ 
 
 dear, that ’tis not to be ufed except in 
 pieces of great price. 
 
 Blue Verditer is a Colour of no good 
 body, but fomething fandy, and of no 
 very good Colour of it felf, being apt tQ 
 turn greenifh, and being mix with Yel¬ 
 low, make a good Green, 
 
 Indigo is g dark Blue, if workt by it 
 felf, to remedy which, whites are ufu- 
 ally mixt, and then it makes but a very 
 faint Blue ^ this Colour is the tin&ure 
 of a Vegetable called by that name, 
 much growing in both the Indies , the 
 Leaves of which being put into wooden 
 Cefterns, filled with Water,are often vi» 
 olently ftirred about till the greateftpart 
 be reduced to a flime or, or mufcelage, 
 which being feparated from the Water, 
 when funk to the bottom, and dried, 
 produces that fubftance which we call 
 indigo ^ ’cis a Colour that grinds very 
 fine, and lies with a good body, and is 
 very much ufed in vulgar Painting. 
 
 Note, That the longer this Colour is 
 ground, the more beautiful and fair it 
 looks. 
 
 Smalt is a lovely Blue, if it lie at a 
 diftance, but it mult be,'only ftrowed on 
 upon a ground of White Lead, for it is 
 
 a Co- 
 
2 <5 C&eatt'Oflpafntfnff* 
 
 a Colour that carries no good Body in 
 Oyl it is fo Tandy j befides Oyi changes 
 the Colour, and makes it look quite 
 Black, except Whites be mixed, and 
 they fpoil the Beauty of the Colour and 
 makes it faint •, therefore the beft way 
 to lay it on is by (trowing ( as I fhall 
 /hew in the following Work ) and then 
 there is not a more glorious Colour in 
 the World. 
 
 Note, That of this Colour there is 
 two forts, the one much finer than the 
 other, but the courfeft gives the moft 
 glorious Colour of all, it lookt on at a 
 diit a nee, for near the Eye the Beauty is 
 notfo great-, the fineif is that which is 
 called Oyl Smalt, which is ground with 
 White-Lead, may be laid in Oyl; but 
 it bears not a good body, and befides 
 works with much difficulty. 
 
 LW;£r is a'Colour that really has no 
 affinity with the others before mentioned, 
 being neither a White, Black, Red, Yel¬ 
 low, Blue or Green, yet is a Colour of 
 as great ufe as any of the reft in vulgar 
 Painting *, his an Earth or Mine, dug 
 out of a certian Hland in the Mediterra 
 nian Sea , being of the Complexion of 
 that which among us is called a Hair 
 
 Colour $ 
 
CDeart ofpm'ntfno;. 27 
 
 Colour 5 it grinds very fine, and beats 
 the beft body of any Earthy-Colour that’s 
 now in ufe, and when burnt becomes 
 the moft natural fliadow for Gold of all 
 others, and with a mixture of white, it 
 tefembles the Colour of New Oaken- 
 Wainfcot the neareft of any Colour in 
 the World * it dries quickly, and with 
 a good Glofs. 
 
 A Term Explained in the foregoing 
 Notes^ about bearing a-Body. 
 
 Some may fay, What-is to he under¬ 
 flood by a Colour’s bearing a Body ? I 
 fay then, to bear a Body, is, to be of 
 fuch a nature as is capable of being 
 ground fo fine, and mixing with the 
 Oyl fo intirely, as to feem only a very 
 thick Oyl of the fam^Colour • and of 
 this nature are White-Lead, and Cerus, 
 Lam black , Ivory-Black, Vermillion, 
 Lake, Pink, Yellow-Gaker, Verdigreafe, 
 Indigo, Umber, and Spanifli Brown *, 
 Blue Bice and Red-Lead are not fo fine, 
 but yet fo fine as they may be Laid to 
 bear a very good body : all thefe may 
 be ground fo fine as co be like, even OyL 
 it lelf, and then they alfo may be laid 
 
 tG 
 
28 Cfie art of patntittff* 
 
 to work well, fpreading fo fmooth, 
 and covering the body of what you lay 
 it upon,, fo intlrely, as that no part will 
 remain vifible where the Pencil hath 
 gone, if the Colour' he work’t ftiff. 
 enough. 
 
 Whereas on the Contrary ? Verditers 
 and Sfpalts, with all the grinding ima¬ 
 ginable, will never be well imbodied 
 with the Oyl, nor work well 1 $ indeed 
 Bice and Red-lead will hardly grind to 
 an Oily finenefs, nor lye intirely fmooth 
 in the working, yet may be faid to bear 
 an indifferent body, becaufe they will 
 cover fuch work very well that they are 
 laid upon *, but fuch Colours as are faid 
 not to bear a body, will readily part 
 with the Oyl, when laid on the Work 3 
 fo that when the Colour fhallbe laid on 
 a piece of Work, there will be a fepa- 
 ration, the ioltfur in fome parts, and 
 the clear Oyl iri others, except they are 
 temper’d ex.trearii thick. 
 
 CHAR 
 
C&e art af painting?; 29 
 
 chap. nr. 
 
 Of the burning of Colours., or preparing 
 of them that require to be fo ufed m 
 
 O F this nature there he divers forts * 
 as firft Lam-black, a Colour of fo 
 greafy a nature, that except it burnt* 
 ’twill require a long time to dry. 
 
 Secondly, Umber if you intend ic 
 f6r the Colour of a Horfe, or to be a 
 Shadow for Gokfthen burning fits it for 
 that purpofe^ by making it darker. 
 
 Lam-black muft be burnt, or rather, 
 dryed thus: put it into an Iron-Ladle, 
 or a Crticiple, and fet it over a clear 
 Fire, letting it remain till it be red hot* 
 or fo near it, that there is no manner of 
 fmoke arifes from it. 
 
 Umber mud only be put into the na¬ 
 ked fire in large Lumps, and not taken 
 out till they be throughly red hot. if 
 you are more curious you may inclofe 
 it in a Cruciple, and then put it into the 
 fire till it be red hot, then take it out, 
 
 and 
 
C6e 2tt of punting* 
 
 and when cold , put it up for life. 
 Ivory muff be burnt alfo to make a 
 Black as thus : Fill two Cruciples with 
 Ivory-Shavings, then clap their two 
 Mouths together, and bind them faft 
 with an Iron Wire, and lute the Joints 
 clofe with Clay, Salt, and Horfe dung, 
 well beaten together, then let it in a 
 Fire, covering it all over with Coals, 
 and let it remain therein, till you are 
 fore the matter inclofed in the Cruciples 
 be throughly red hot, then take it from 
 the fire, but open not the Cruciple till 
 they areperfeflly cold, for if you fhouid 
 open them while hot, the matter would 
 turn to Afhes ; the fame will be done 
 if the Joints are not luted clofe, for 5 tis 
 only the exclufion of all Air that pre¬ 
 vent any matter whatever that’s burnt to 
 a Coal, from turning to a white afii r 
 and preferves the blacknefs. 
 
 C H A P. 
 
<E 8 e m of Patntmff* 3* 
 
 CHAP. IV. 
 
 Hi?n> waft) fitch Colours as for their 
 grittinefs are not otherwife to be 
 made fine enough for certain Vfes . 
 
 S Ome Colours are of fuch a gritty 
 Tandy nature, that it’s impoflible to 
 grind them fo fine as fome curious works 
 do require ; therefore to get forth the 
 flower and finenefs of the Colour, you 
 muft do thus * Take what quantity of 
 Colour you pleafe to wafh. and put it 
 into a Veflel of fair Water,- ftir it about 
 till the Water be all coloured therewith * 
 then if any filth fwim on the top of the 
 Water, fcum it clean off, and when 
 you think the grofieft of the Colon: is 
 fettled to the bottom, then pour off 
 that Water into a fecond Earthen Veflel 
 that is large enough to contain, the firft 
 Veflel full of Water four or five times * 
 then pour more Water inro the firft Vef- 
 fel, and ftir the Colour that remains till 
 the Water be thick ; and after it is a 
 little fetled, pour that Water alfo into 
 
 the 
 
s 2 Clje of parting* 
 
 the fecond Veffel, and fill the fir ft Veffel 
 again with Water, Birring it as before: 
 do thus fo often till you find all the, 
 fineft of the Colour drawn forth, and 
 that none but courfe gritty fluff remains 
 in the bottom then let this Water in 
 the lecond Veffel ftana to fettle till it 
 be perfeftly clear, and that all the Co¬ 
 lour be funk to the bottom * which 
 when you perceive, then pour the Wa¬ 
 ter clear from it, and referve the Co- 
 lour in the bottom for ufe, which muft 
 be perfe&ly dryed before you mix it with 
 Qyi to work. 
 
 The Colours thus ordered, are Red- 
 Lead, Blue and Green Bice, Verditer 
 Blue and Green, Smalt, and many times' 
 Spanifh Brown, when you would cleanfe 
 it well from Stones for fome fine work, 
 as aifo Yellow Oaker, when you intend 
 to make Gold-Size of it. 
 
 Take Notice alfo , That unlefs you in¬ 
 tend to heftow fome coft, you need not 
 be at the trouble to wafh your Colours, 
 but ufe them for coarfe ordinary work$ 
 as you buy them ar the Shops. 
 
 CH A F. 
 
C&eSttt ofpamttag. 33 
 
 chap. v. 
 
 How to grind Colours with Oyl, 
 
 ■V y*--' f i 
 
 W Hen you come to grind Colours, 
 let your Grinding-ftone be pla¬ 
 ced about the heighth of your Middle ; 
 let it ftand firm and faft, fo that it jog¬ 
 gle not up and down* then take a fmali 
 quantity of the Colour you intend to 
 grind (two fpoonfuls is enough^) for the 
 lefs you grind at a time, the eafier and 
 finer will your Colour be ground : lay 
 this two fpoonfuls of Colour on the 
 midft of your Stone, and put a little 
 Linfeed Oyl to it, ( but be fure you put 
 not too much at firft ) then with your 
 Muller.mix it together a little, and turn 
 your Muller five or fix times about, and 
 if you find there be nor Oyl enough put 
 a little more to it, and grind it till it 
 come to the confifte'nce of an Oyntment * 
 or appears free from any fort of lumps, 
 and fmooth as the rnoft curious fort of 
 Butter* for then when ftififh it grinds 
 much better and fooner than when it’s 
 D fo 
 
34 %% fttt of painting* 
 
 fo thin as to run about the Stone : and 
 you mult -oftentimes, in the grinding, 
 bring your Colour together with a 
 pi. ee oi Lmthcrh Hornfin the middle of 
 y< ui Stone ^ and when you find you have 
 ground it fine enough by the continual 
 Motion of you Muller about the Stone, 
 holding it down as hard your ltrength 
 will permit (which you mull alfo move 
 w’k 5_xh a Height,, as to gather the Co¬ 
 lour under it } u*iu iu^ no knots nor 
 grittinefs remains, but that 3 ds become 
 as fine even as Butter, then with your 
 Horn cleanly it off the ^.one into a Gal- 
 lykppr, Pan, or whatever elfe you de- 
 fign to put it into,and then lay more Co¬ 
 lour on your Stone, and proceed to 
 grinding as before: do fo thus often till 
 you have ground as much of this fame 
 Colour, as (hall ferve your occafions ^ 
 and, if you grind other Colours after it, 
 let the Stone be well cleanfed from the 
 firft Colour with a Cloth and fine dry 
 A flies,' pr Sand. . 
 
 Some grind at one time fo much of 
 every Colour, as may be fufficient to 
 ferve* a long time together, which they 
 keep' tyed up dofe in Oxe or Sheeps 
 
 Bind- 
 
C&e 3 ftt af l&ftntfttg. 4 s 
 
 Bladders *, and by this method a Mars 
 fhali prevent the daubing of himfelf tod 
 often by grinding of Colours. 
 
 Thofe that lift not to be at the trouble 
 of grinding Colours themfeives, may 
 have of any fort, ready ground, at the 
 Colour-fhops. at reafonable rates, eithet 
 in fmaller or larger Quantities as they, 
 have Occafion, from an Ounce to any 
 weight they defire. 
 
 CHAP. VI. 
 
 How to order Colour for wording after 
 they are ground . 
 
 'T'TTHen you have thus ground youf 
 VV Colours (if you obferve my 
 Direftions in grinding) they will be too 
 thick for ufe without the Addition of 
 more Oyl; therefore when you have 
 ground thofe Colours you defire, and in¬ 
 tend to ufe them, either limply by them~ 
 felves, or mixt and compounded with 
 others, according as your fancy of oc- 
 caftans require, you mud then add mors 
 Oyl to theai, till they be fo thin Us not 
 
of Painting. 
 
 to Jet the ground on which they are laid 
 bb feen through them *, for if it be fo 
 thin as to let the ground be leen through 
 them, or to run about when it be laid on, 
 it is not good, and will aifo require to 
 be coloured the oftner before your work 
 be perfe& and fubftantial*, whereas if 
 your Colour be as ftiff as it ought to be, 
 your work will be done with more 
 fpeed * once doing being then more 
 than twice doing with thin Colour. 
 
 And here by the way^ take notice of 
 the fraud and deceit of common Painters, 
 who commonly agree to do work by 
 the Yard at a certain price, to be co¬ 
 loured three times over, which they 
 commonly paint with luch thin Colour 
 ( to avoid the labour of grinding , a lit¬ 
 tle Colour ferving a great deal of Oyl r , 
 and befides it Works with lefs pains , and 
 takes up lefs (luff ) that all three times 
 doing over it is not fo fubftantial as one 
 time would be, if the Colour had a 
 thick and fubftantial Body . and 1 5 11 
 maintain,that three times colouring with 
 fubftantial and well bodied Colour,(hall 
 laft ten times as long as that which is 
 wrought thus flightlp by common 
 Painters. 
 
 But 
 
act of Painting 37 
 
 But if the Colour he your priming Co¬ 
 lour, (that is the fir ft Colour you lay on ) 
 it ought to be made very thin, that it 
 may have Oyl enough to pierce into the 
 Wood, which is much for its prefer va- 
 tion ; but after your firft Colour is laid, 
 let y our , next be thicker, as before is 
 taught. 
 
 Some Colours will be a long time be¬ 
 fore they be dry,if mixt only with plain 
 Linfeed Oyl * 10 remedy which, there is 
 a way to prepare Unfeed Oyl by art , to 
 make any Colour dry that is mixt with 
 it •, As for Example , To a Quart of 
 Linfeed-Oyi, add two Ounces of the Li- 
 thrage of Lead, which may be had at 
 every Drugfier’s Shop ( fome ufe Red 
 Lead ) pouder it finely before you put 
 it to the Oyl, when you have mixt it, 
 fet it on the Fire in an Earthen-Pan, and 
 let it boyl for near an hour, more or 
 lefs, till the Oyl be grown fat, or al- 
 moft of the thicknefs of Treacle that 
 comes from Sugar * then fet it on the 
 fire with a lighted Paper, and ftir it 
 well while burning, then put out the 
 Flame after it hath burnt a Minute or 
 two, and let the matter (land till it be 
 throughly cold, and the Litharage well 
 D 3 fetled 
 
3? Cfje Mtt of 
 
 fetled to the bottom, then pour off the 
 dear CyF, and keep it for ufe in a Blad¬ 
 der clofe tyed up, or for want of that, 
 in a Giafs. Bottle, / 
 
 When' 'ydu mix up y our Colours for 
 working, put three parts of plain Linfeed 
 Oyl, and One part of this drying Oyl, 
 together in a Pan, and mix them well 
 together, and with this temper up your 
 Colours-, this fat-drying-Oyi fhall not 
 pnly make your Colouts dry fooner thin 
 plain Oyl, but it fhall alfoadd a beauty 
 and luftte to the Colours *, fo that they 
 will dry with a glofs, as if they had 
 been varnifhed over, ; ; 
 
 Some Colours indeed don’t need to 
 have their drying haliened by a fat Oyl, 
 and ftich are Red Lead,Verdigreafe,and 
 limber thdfe being very drying in their 
 Own nature, but yet fat Oyl added to 
 thefe alfo, do add a great beanty and 
 lulfre to the Colour. 
 
 Some Painters to make their Colours 
 dry, take Copperas, ‘and having beaten 
 it to ponder, burn it in a Fire-fhovef as 
 people do when they burn Alium y that 
 Is, they fet it On the fire, till being melt- 
 id With tlie heat, it be 'continued there¬ 
 on fo long', till all the moifture be ex- 
 • haled, 
 
%\je ®ti of Fafntfh^ 3* 
 
 haled, and the‘teatier remain. a dry 
 whtte Calx $ fdrrie of th^pouder of burnt 
 Copperas,. bbing added to the Colours 
 in grinding, will;make the Colour dry 
 very well 
 
 The way before recited for making 
 of drying Oyl, has'one inconvenience in 
 it A that it makes.the Oyl of a ^ep.red- 
 ifh Colour, which in feme Caf^s may 
 alter the native beauty of fome Colours, 
 a$ Whites, which be apt to become'Yel¬ 
 low, alfo Blues may by this means be¬ 
 come greeted). 
 
 To prevent this, - a drying Oyl may. be 
 prepared, as rfiall be clear and white of 
 Colour, in the manner following,. 
 
 Put the afore mentioned quantity of 
 Linfeed-Oyl to the like quantity of Li- 
 tharage •, put;the mixture into a Glafs, 
 and fet it in the'hot Sun, for a Month, 
 in the Sumrrief time, iiirritig the Lithar- 
 age and the Oyl well together, twice a 
 Week during the whole time, and you 
 (hall not fail In that time to obtain not 
 only an Oyl, very white and cleay ( for 
 the Sun takes away allColour^ either from 
 Linfeed, or Walnui-Oyl ) But aifo, it will 
 become in that time very fat and thick, 
 and attain to a very drying quality. 
 
 D 4 By 
 
4° w&z att of Pamttitff. 
 
 By the fame methods may Nut-Oyl 
 be made too dry as Well as that of Lin- 
 feed, it being preferred before that of 
 Lin feed, for all White fainting that is 
 not expofed to the open Air, for 3 tis ob« 
 ferved, that in all clofe places, Linfeed 
 Oyl is apt to make White Lead turn 
 Yellow. ■■■ { 
 
 Take Notice,That all fimple Colours 
 ufed in Hoiife Painting, appear much 
 more beauriful and lufirous, when they 
 appear as if glazed over W ith a Varnifh, 
 to which both the drying Oyl before- 
 mentioned contributes very much, and 
 alfo the Oyl of Turpentine that the 
 Painters ufe to help to make their Co¬ 
 lours dry foon, but Experience teaches, 
 that fome good clear Turpentine, diflol- 
 ved in the aforefaid Oyl of Turpentine, 
 before it be rmxt with the Oyl Colours, 
 will make thofe Colours' fhine much 
 when dry, and preferve their beauty be¬ 
 yond moft other things, drying with an 
 extream glafy furface, morefmooth than 
 Oyl alone, and (hall alfo better refill the 
 Injuries of Air and Weather, provided 
 too much he no? put in. 
 
 i •. 
 
 C H A Po 
 
 r~ 
 
®|jeartafpamttn0> 4* 
 
 CHAP. VII. 
 
 Howto wake a Size for the guilding 
 both with Gold and Silver. 
 
 T HE Operation is thus for the making 
 of Gold Size *, Take Yellow-Oaker 
 and grind it on a Stone with Water till 
 it be very fine, and afterwards lay it on 
 a Chalk Stone to dry ; this is the com * 
 mon way: or you may wafh it as is 
 taught in the Fourth Chapter. For when 
 it is waflied, to be fure nothing but the 
 pureft of the Colour will he ufed ; and 
 befides, it’s done with lefs daubing. 
 
 When your Oaker is thus prepared, 
 you muft grind it, as you do other Oyl 
 Colours, only with fat drying Oyl, but 
 it’s fomething more laborious work, and 
 muft be ground very fine, even as Oyl 
 it felf: for the finer it is, the greater 
 Luftre will your Gold carry that is laid 
 on it. 
 
 Here Note, That you muft give it 
 fuch a quantity of your fat Oyl, that it 
 may not be fo weak as to run when you 
 
 have 
 
 
42 CSe art of pamtittg* 
 
 have laid it on ; nor fo ft iff, that it may 
 not work well-, but of Rich a competent 
 Body, that after it is laid on, it may fet¬ 
 tle it felf fmooth and Glafy, which is a 
 chief properry of good Size. 
 
 Silver-Size is made by grinding White 
 Lead with fat drying CM, fome adding 
 a very little Verdigreafe to make it bind. 
 
 The praffice of guilding with either 
 Gold or Silver, I Dial! refer to Chapter 
 
 XIV. 
 
 C M A P. VIII. 
 
 Ha t which I here call vulgar Paint- 
 
 JL ing, is only the way and manner 
 of Colouring all manner of Wainfcot. 
 Doors, W indows, Pofts,Rails,Pails,Gates., 
 Border-Boards for Gardens, or any other 
 material that requires either beauty or 
 prefervatibn from the violence of Rain, 
 or injury of weather ^ the method of do¬ 
 ing which 1 ftiall here lay down as plain 
 
 as 
 
art 6fl,aauttfas£ . ^ 
 
 as I can. Suppole then that there be a 
 Fdt of Palifadoes, or a pair of Gates, or 
 feme Pofts and Ra ; ls to paint, and t 
 would finifh them' a a Stone Colour; 
 firft look over the work, and take notice 
 whether the joints be open in the Gates, 
 or whether there be any large Clefts in 
 the Polls, fot if thefe are notfecured the 
 wet will inlinuate it felf into thofe de¬ 
 feats, and make the quicker di(patch in 
 roting the whole W ork •, let the firft bu 
 finefs therefore hef*to flop up thefe pla¬ 
 ces 4 fmooth and fctfen, with a fubftance 
 by the Painters called Putty, made of 
 Whiting and Linfeed Oyl, well beaten 
 together on the grinding (tone, or with 
 a Wooden Mallet, to the Confiftance of 
 a very ftifFDow,and with this let all the 
 Crannies,' Clefts, and other Defers be 
 perfectly filled up, that it may be equal 
 to the Surface or outfide of the Scuff,; 
 then proceed to the priming of the Work 
 with fome Spauifh-Brown well ground 
 and mixt very thin with Linfeed Oyl 5 
 with this do over rhe Work, giving it 
 as much Oyl as ’twill drink up *, this 
 in about two days will be indifferent dry, 
 then if you would do the Work fubftan- 
 tially, do it over again with the fame 
 ; * 3 . ' prim- 
 
44 €!)£ artofpaurtfn^ 
 
 priming Colour * when this is through 
 dry, then take Whire Lead well ground 
 and tempered up, but not too thin, for 
 the ftiffer you work it, provided it be 
 not too ftiff,the better Body will be laid 
 on, and the longer ’twill laft*, let this 
 Colour be well rub’d on,with a large Bri- 
 idle Brufh, and the whole furface of the 
 Work be fo intirely covered, that there 
 remain no crick nor corner bare, which 
 you may eafily do by jobbing in the 
 point of a Brittle Bmfli: Let this firft 
 Colouring dry, and then go over it a fe- 
 cond time, and if you pleafe a third aL 
 fo; the charge will be a little more, but 
 the advantage will be great in the Du¬ 
 ration. 
 
 This Courfe is fufficient for any kind 
 of Timber-work that requires only a 
 plain Colour; whether you thus cover 
 the Work with a Stone Colour, or eife 
 with a Timber-Colour in Umber and 
 White, or a Leid-Colour with Indico 
 and White, that with White being the 
 cheapeft of the three by much •, nay, I 
 have known fame lay over their Work 
 only with a coat of Spanilh Brown, by 
 tempering it up more ftiff than was done 
 for the two firff primings, which infome 
 
 refpe£ls 
 
CSeSUtofPamttn^ 45 
 
 refpe&s is cheapeft of all, and preferves 
 the Timber perhaps as well as any* Now 
 he that is able to bring the work thus 
 far on, has proceeded to the higheft 
 pitch of that vulgar Painting that aims 
 at prefervation beyond beauty, though 
 fomething of Beauty is neceffarily inclu¬ 
 ded in this alfo } but this is not all, for 
 he that is arrived thus far, is in a fair 
 way to other perfections in the Art of 
 Painting* but for the Pannelling of 
 Wainfcot with its proper fhadows, and 
 for imitating Olive and Walnut-Wood, 
 Marbles and fuch like} thefe muft be at- 
 tained too by ocular infpeftion, it being 
 impoflibie to deliver the manner of the 
 Operation by Precept without Example, 
 and I am bold to affirm, that a Man 
 (hall gain more Knowledge by one day 5 s 
 Experience, than by a hundred fpent to 
 acquire it fome other way. 
 
 1 advife therefore all thofe that defir§ 
 an infight into thisBufinefs, to be a little 
 curious, if opportunity offers, in ohfer- 
 ving the manner, of a Painters working, 
 not only in grinding his CoLours, but al¬ 
 fo in laying them on, and working in 
 them } in all thefe obferving the motion 
 of his Hand, in the manage of any kind 
 
4<* cf painting. 
 
 of Tool 4 amf by this means, with a lit- 
 imitation, joined to the direOdons here 
 given ; I doubt not but in a ffiort time 
 you may arrive to great proficiency in 
 the bufinefs of vulgar Painting. 
 
 Note, That if when you have made 
 ufe of your Colours, there be occafion 
 for a fmall (deflation till the Work be fi- 
 nifhed 4 in inis Cafe his b'eft to cover the 
 Col our, if any remain in your Pots with 
 Water, for that will prevent their dry¬ 
 ing, even in the hotted time. 
 
 And for your Pencils, they ought, fo 
 foon as you have done working, to be 
 well wafh't out in clean Lin feed Oyl,and 
 then in warm Soap Suds for if either 
 Oyl. or Colours be once dryed in the 
 Brufh or Pencil, Vis fp oiled for ever 
 
 It has Been obierved, that Tir oer Lid 
 over with white, when it has ftood feme 
 time in the weather, the Colour will 
 crack and (brink up together, juft as 
 Pitch does if laid on any thing that (lands 
 in the Sun ^ the (iaufe of this is for that 
 the Colour was laid on with too ftiffa 
 body, for being wrought too'.thick at 
 once, it will dry with a Skin on the oist 
 fide, which twill keep the inflde moift, 
 
CP 3 tf of patntrnjy* 47 
 
 and prevent its binding firm, from 
 whence thofe Cracks proceed. 
 
 For the clofe of this Chapter take No¬ 
 tice, that if you fhall at any time have 
 occafion to. life either Brufhes that are 
 very fmall, or Pencils, as in many cafes 
 there will be occafion, you ought then 
 to difpofe of the Colours you ufe upon a 
 Pallet ( which ps, a woods n Instrument, 
 e&fy 10 be had at any Colour-fhop ) and 
 there work and temper them about with 
 your Pencil, that the Pencil may carry 
 away the more Colour-, for you are to . 
 note , that if a Pencil be only dipt into 
 a Pot.of Colour, it brings out no more 
 with it than what hangs on the outfide, 
 and that will work but a little way, 
 whereas if you rub the Pencil about in 
 the Colour, on the Pallet, a good quan¬ 
 tity of Colour will be taken up in the 
 Body of the Pencil and befides all this, 
 you may work your Pencils berter to a 
 point on a Paliat, than you can do in a 
 Pot$ the point of a Pencil being of 
 greateft ufe in divers cafes, efpecially 
 in drawing of Lines ajid all kind of 
 Flourifhingf 
 
 C H A p. 
 
^ mt art tf printing; 
 
 CHAP. IX. 
 
 What Colours are tnojl futable , and fet 
 off be & one with another ; 
 
 B Y fetting off heft, I mean their ma¬ 
 king each other look moft pleafant j 
 for two of fome particular Colours put 
 together, or one next the other, ftiall 
 add much to the Beauty of each other, 
 as Blue and Gold, Red and White, and 
 fuch like : But Green and Black put to* 
 gether, look not fo pleafant, neither do 
 Black and timber, or Haw-Colour, and 
 fuch like. 
 
 Ail Yellows fet off beft with Blacks, 
 with Blues, and with Reds. ^ 
 
 All Blues fet off beft with Whites and 
 Yellows. 
 
 Greens fet off well with Blacks and 
 Whites. 
 
 Whites fet off well enough with any 
 Colour. 
 
 Reds fet off beft with Yellows, and 
 Whites and Blacks. 
 
 Sol'd , 
 
CfteactoflNtitting. 4 * 
 
 Gold looks well upon a White ground, 
 efpecially if the matter to be guilt be 
 carved. 
 
 Gold and Black alfo fhew very well. 
 
 Gold on Timber-Colour, fhews alfo 
 very well. n 
 
 So does Gold and a Horfe Flefh Co¬ 
 lour, made with the brighteft Spanifh 
 Brown. 
 
 But the moft glorious ground of all 
 others for Gold are the Vermillion Red, 
 •the Smalt-Blue, and the Lake, laid on a 
 light ground. . 
 
 Of Jome Colours that arife from mixture* 
 
 Afh Colour is made of White Lead 
 and Lam-blaek * if a deep Afh Colour, 
 then take the more Black, hut if a light 
 one, then take but little White, and moft 
 Black. 
 
 A Lead-Colour is made of Indico and 
 White. 
 
 A Colour refembling new Oaken Tina* 
 ber, is made of Umber and White Lead,' 
 
 A Flefh-Colour is compounded of 
 Lake, White Lead, and a little Vermil¬ 
 lion. 
 
 £ 
 
 A 
 
5° Cfje 9 tt of padtttttff* 
 
 A Buff-Colour, is made of Yellow- 
 Oaker and White-Lead. 
 
 For a Willow-Green take Verdigreafe 
 alone. 
 
 For a light Willow Green, take Ver¬ 
 digreafe and White. 
 
 For a Grafs Green, take Verdigreafe 
 and Pink. 
 
 A Carnation is made of Lake and 
 White. 
 
 Yellow-Oaker, and Red-Lead, make 
 an Orange Colour. 
 
 For a Light-Tiraber-Colour, mist 
 Sprufe Oaker and White, and a little 
 Umber. 
 
 Red-Lead, a little White and Yellow- 
 Oaker, make a Brick Colour. 
 
 For a Straw-Colour, take White and 
 a little Yellow-Oaker. 
 
 Olive-Wood is imitated with Oaker, 
 and a little White veined over with burnt 
 Umber. 
 
 Walnut-Tree is imitated with burnt 
 timber, and white vein’d over with the 
 fame Colour alone, and in the deepeft 
 places with Black. 
 
 Pales and Polls are fometimes laid o- 
 ver only with White, which they call a 
 Stone Colour. 
 
 Some- 
 
act af Patntfnjy. 5* 
 
 Sometimes Poft and'Pales are laid.o- 
 ver with Indico and White, which is cal¬ 
 led a Lead-Colour. 
 
 Window-Frames are laid in White, if 
 the Building be new, but if not, then 
 they generally are laid in Lead Colour, 
 or Indico and White, and the Bars with 
 Red-Lead. 
 
 Doors and Gates, if painted in Pan- 
 nels, then the fhadows of a White ground 
 are Umber and White, but if laid in a 
 Lead-Colour, then the ftiadows are lifted 
 with Black. 
 
 Tis not poflible to fet down all thofe 
 varieties of Colours that may be produ¬ 
 ced by mixture - 9 but thofe which I have 
 here given an account of, are fufficient 
 for common Painting. 
 
 CHAR X. 
 
 Of PHinting Sun-Dials, and firli of 
 the Plains on which Dials are to be 
 drawn . 
 
 D ial-Plains are of two forts, firft 
 fuch as are made on the Wall of 
 E 2 a 
 
52 cije 9 tt of painting. 
 
 a Building, or fecondly, fuch as are 
 drawn on Tables of Wood y vulgarly 
 called Dial Boards. 
 
 The firlt fort, if they are made on 
 Brick Work, is done by Plaftering on 
 the Wall with Lime, Sand, and Hair 
 mixt *, this, if well drencht with Lin- 
 feed Oyl, after 'tis dry, or as long as it 
 will drink in any, and then with Oyl 
 and White Lead, may be durable 
 enough. 
 
 But a better way is to temper theLime, 
 Sand and Hair with Ox Blood, which 
 will be no great charge, hut of great 
 advantage*, lor this mixture will equal 
 in time the hardnefs of a Freeftone, and 
 keep the furface as free from the injuries 
 of Weather $ but you mud afterwards 
 paint it White. 
 
 If you were to work on a Stone,. the 
 belt way is to drench the Stone with 
 Linfeea Oyl and White, very thin, 'till 
 twill drink in no more, then fhail the 
 Dial you paint upon it, laft longer and 
 be the better prepared again!! the ruins 
 of time. 
 
 Now for Tables or Dial-Boards of 
 Wood, they being the moft Common, 
 I fhail give fuch Directions for the ma¬ 
 king 
 
 
f cije m it twiuiuw. 
 
 king of them, as I have always found 
 molt profitable and fit for this pur- 
 pofe. 
 
 The Woods that I find belt for this 
 ufe are the cleared:Oak, and the redded 
 Firr, provided it be not Turpentiney 
 between thefe two Woods I^find little, 
 difference, as to their alteration by the 
 weather, both being fubjeft to fpiit in 
 cafe they are hound, and have adt free 
 liberty to Ihrink with dry weather, and 
 fwell with wet ^ but as to their lading, 
 I judge Oak to be the better: how long 
 Firr will lad when fecured and defended 
 with Oyl-Colours, I have not yet expe¬ 
 rienced ^ but we may judge that good 
 Red Firr, that is hard, will lad the Age 
 of any ordinary Man, if it be fecured as 
 things of this nature ought to be. 
 
 In working any of thefe kind of 
 Woods, I advife, that fird vour Boards 
 be cut to fuch a length as you intend your 
 Dial-Board fhail be of, and fo many of 
 them as may make up the breadth de- 
 figned ; then let them be jointed on the 
 Edges and plained on both (ides, and af¬ 
 terwards let to dry (for *tis obferved , 
 That though Board have lain in an Houfe 
 never fp long , and are never fo dry , ys* 
 E 3 when 
 
54 €&z art of painting:* 
 
 when they are tbits [h&t and plained , they 
 will Jhnnk afterwards beyond belief , if 
 kept dry : ) when you think they are 
 dry enough and will (brink no more, let 
 them be again fHot with good Joints, 
 and let every Joint be fe cured by two 
 Wooden Dove-Tails, let in crofs the 
 Joint on the Back fide * but let this be 
 done when the Boards are glewed toge¬ 
 ther and well dryed, and what a Dove- 
 Tail is every Joiner knows. After it is 
 thus glewed, and the Joints be fuffici- 
 ently dry, then let the face of the Board 
 be very well plained and tryed every¬ 
 way, that it may be both fmooth and 
 true, and the edges (hot true, and all of 
 a thicknefs, as Pannels of Wainfcot are 
 commonly wrought, the edges muft be 
 thus true and even, that they may fit 
 into the rahet of a moulding put round 
 it*, Juft as a Panel of Wainfcot doth in 
 its Frame, This will give liberty to the 
 Board to fhrink and fwell without tear¬ 
 ing ; whereas Mouldings that are nail¬ 
 ed round the edge, as the common way 
 is, doth fo reftrain the Motion of the 
 Wood, that it cannot (brink without 
 tearing: but Boards made this way will 
 jUit a long time without either parting 
 
 in 
 
act of paiittfitff; 55 
 
 in the Joints, or fplkting in the Wood. 
 
 Dials are fometimes drawn on Plains 
 lined with Gopper or Lead, that they 
 may be free from fplitting or tearing 
 but I prefer a Board ( if it be made as 
 above is diretfed) before them in many 
 xefpe&s : As firft, it is much cheaper: 
 Secondly, Lead {and Copper too a little) 
 will fwell with the heat of the Sun, and 
 grow in time hallow outwards, or Con¬ 
 vex, inflead of a perfe£t flat* fo that’ 
 the Truth of its fhadow will be much 
 injured. Thirdly, the Colours will be 
 apt to peel from the mettal, and the 
 Dial will by that means be in danger to 
 be fooner defaced than if it were painted 
 on a wooden Plain. 
 
 CHAP. VI. 
 
 How to make the be ft Glue for gluing 
 the Joints of Dyal-Boards. 
 
 T His may by fome perhaps be count¬ 
 ed needlefe to be inferted, efpecial- 
 Jy in thefe parts, where few Men that 
 work in Timber, C can be ignorant of it * 
 £ 4 But 
 
Bat fuppofing a Gentleman that lives in 
 the Country, have a mind to have a Di= 
 al Bo^rd made, and being not willing to 
 fend L to London , imploys his own Car¬ 
 penter •, I mult tell you, that many 
 Country Carpenters fcarce underfland 
 the right way of making or tiling Glue, 
 to whom liich a dire£tion as this may 
 prove very welcome. .. 
 
 Take then a Quar t of Wa ter, and fet 
 it on the fire, then put in it about half 
 a pound of' good Glue, and boyl them 
 gently together on a foft fire, till the 
 Glue be wholly diffolved, and of a due 
 confiltdnce *, for if it he too thin, : the 
 Wood will fo drjnk it up, that, there 
 will not remain a Body fufficient to bind 
 the parts together ^ on the contrary, if 
 it be too thick, ’twill not give way for 
 the Joint to fhut clofe enough, to be 
 ffrongly joined; for though ’tisGlue that 
 makes the Joints flick, yet where there 
 is fo much of it, that the Joint can’t 
 clofe exactly, ’twill never hold firmly. 
 
 Whenever you come to ufe Glue,take 
 care that it be firft throughly hot y for 
 Glue' that is not hot, never takes firm 
 bold of the Wood. • 
 
Cfje att of painting* 57 
 
 Be fure alfo, that the Subfiance you 
 are to glue, have not been touched with 
 Qyl, nOr injured with Gr.eafe; for where 
 thefe have before touched, Glue will ne¬ 
 ver take faff hold : But note, that after 
 a thing is once glued fall, no Greafe 
 nor Oyi can then hurt it. 
 
 Your Glue being made ready,. and the 
 Joints of your Boards (hot true, fetboth 
 the faces of the Joint dole together, and 
 both alfo turned upwards, then dip a 
 Brufh in the Glue, and befmear the fa¬ 
 ces of both Joints, as quick as poffible, 
 then clap the two faces of the joint to¬ 
 gether, and Aide or rub them long ways 
 one upon another, two or three times to 
 fettle them ciofe, and fo let them ftand 
 till they are firm and dry. 
 
 CHAP. XII. 
 
 What Colours are reqnifite for the 
 Painting of a Sun-Dial. 
 
 I ^Qur Colours are fufficient for this 
 Work, viz . Spanifli Brown, for the 
 priming or firft Colour. 
 
 Whiter 
 
5$ € fie art of paittttttffi 
 
 White Lead, for the fecond Colour 
 and finifhing the face of the Table. 
 
 Vermillion, for drawing of the hour 
 Lines. 
 
 And Lam-black, for the Figures in the 
 Margent, refpedVing the Lines of every 
 Hour, if it be a plain Dial. 
 
 But if you intend to guild the Figures, 
 then there is required force others, as 
 Gold, and the Size to lay it on, and 
 Smalt for a Blue ground, if you intend 
 a rich Colour; but fome lay the ground, 
 where the Figures are guilt, with Ver¬ 
 million, and that fhews well, if the Fi¬ 
 gures are lifted with Black, and a Black 
 Moulding round the Dial. 
 
 The next particular ftiould be the 
 pra&ice of Painting the Dial, but before 
 that can be done, the Draught muft be 
 drawnand therefore I think a word of 
 advice may not be unfeafonable, if it 
 directs you to the beft Authors that have 
 written of that Subject. 
 
 To which purpofe I place firft Stir, 
 rup' s Dialling, as being of excellent ufe 
 to acquaint a young Learner with the 
 knowledge of the Sphear, thjt he may 
 underfta.nd the nature and reafon of 
 Dials. 
 
 The 
 
C&e 8tt of painting. 5* 
 
 The next in order fliall be Collin's Di¬ 
 alling ; a Book of great worth through* 
 out. 
 
 The third Leybounf s Dialling, in 
 which you have the bed ways for draw¬ 
 ing Halt and Weft Dials, and Far De¬ 
 clines : He is excellent alfo in the In¬ 
 strumental way. 
 
 The fourth is Collin s Seftor on a 
 Quadrant, in which you have commu¬ 
 nicated the Cut of a Scale, that by 
 knowing the Declination, gives all the 
 reft of the requifites of an upright De^ 
 diner, by infpeftion only , with as 
 great exaftnefs, as by the niceft Calcu¬ 
 lation : Befides, it teaches the way of 
 drawing the Hours of a Dial by the Tan¬ 
 gent Line,and alfo by the Scale of Hours; 
 two of the belt and moft expeditious 
 ways that ever were yet found out. 
 
 CHAP. XIII. 
 
 The Praftice of Painting Sun-Dials, 
 
 W Hen according to the Rules given 
 in the Books aforementioned, 
 
 you 
 
6q €f}t mt orpamtutg. 
 
 you have drawn on Paper the draught of 
 your Dial and that your Board be rea¬ 
 dy, and your Colours prepared accord¬ 
 ing to the Directions before given, you 
 mud then in Painting of your Dial pro¬ 
 ceed thus; Take Spanilh Brown that is 
 well ground and mixed fomewhat thin, 
 and with a large Bridle Brufh, _ dipt 
 therein, Colour your Board or Plain all 
 over, both on the Back as well as Fore- 
 fide, to preferve it the better, fo that 
 you leave no part uncoloured ; this is 
 called the Priming of your Dial.- When 
 this firft Colour is dry, do it over again 
 with more of the fame Colour, temper¬ 
 ed fomewhat thicker ; and when this is 
 alfo dry, you may, if you pleafe, do it 
 over again with the fame Colour, your 
 Whrk will be the fubllantiailer, and iaft 
 
 longer. ^ , . . 
 
 When this hft time of Colouring with 
 vonr Priming is dry, then with White 
 Lead colour the face of your Plain over, 
 and when it is dry, work it over again 
 three or four times more, fucceflively af¬ 
 ter each drying, fo (hall the face of your 
 Plain be fufficiently defended againft 
 the many years fury and violence of 
 
Cfje art of painting 61 
 
 When the lafl: Colouring of your 
 White be dry, you mull draw on your 
 Plain ( with a Biack-Lead Pencil) a Ho- 
 rozontal Line fo far diftanc from the 
 : upmoft edge of your Dial, as your dif- 
 cretion lhall think fit, or your Experi¬ 
 ence finds to be molt becoming your 
 | Plain •, thenTet out the Margin of your 
 Dial with boundary Lines for the Hour, 
 half Hour, and quarter divifipns of your 
 Dial (as in nioii Dials you fee it done:) 
 when you have thus fet out the Margin 
 and Boundary Lines of your Dial, then 
 take your Paper draught fairly drawn, 
 and place the fiorozontal Line thereof on 
 that which you before drew on yourPiain: 
 I in doing of which, obferve to place the 
 Center according as the Situation of your 
 Plain for Convenience lake requires r 
 thus : If your Dial be a full South Di¬ 
 al, then let the Center be exaftly in the 
 middle of your Plain : but if your Dial 
 decline from the South, either Eaif or' 
 Weft, then place not the Center of y our 
 Draught in the' Center of your Plain, 
 but nearer to one fide or other of It, ac¬ 
 cording as it declines, having alfo re- 
 to the quantity of its declination. 
 
e* €6e9tt of faftttfit# 
 
 For Example : If your Dial decline 
 Eaftwards, then let the Center of your 
 Draught be plac'd between the Center 
 and the Eaftern fide of your Playn, the 
 quantity thereof muft be according as 
 your Dial declines; if it decline but a 
 little, then place the Center of your 
 Draught but a little from the Center of 
 your Plain * and if it declines much, 
 place the Center of your Draught the 
 more out of the Center of your Playn : 
 The reafon of my advifing this, is, that 
 by fo doing you may gain a greater di* 
 fiance for thofe Hour* Lines, which in 
 declining Playns fall nearer together on 
 one fide than they are on the other $ for 
 which reafon I always ufe it in all de¬ 
 clining Playns, except they decline far, 
 as between 80 and po Degrees: for then 
 we commonly draw them without Cen« 
 ters, to gain the more diftance for the 
 Hour-Lines. 
 
 When your Paper Draught is thus Ar¬ 
 tificially placed on the Playn, and faft- 
 ned with Pins or fmall Tacks; then let 
 the Draught thereof be transferred to 
 the Playn, by laying a Ruler over every 
 Hour, half Hour, and Quarter Divifi- 
 on : and where ysur Ruler lhail cut or 
 * inter- 
 
S&eStt of painting* 
 
 Interfeft the boundary Lines of your 
 Margin there make marks, by drawing 
 Lines with a Black-Lead Pencil, of fuch 
 a length as each divifion requires ( or is 
 dejigned by your boundary Lines ) obfer- 
 ying always to draw the Hour, and 
 half Hour Lines quite through your 
 Margin that they may be guides for 
 the right placing of the Figures, and for 
 a fmali fpot that isufually placed in the 
 Margin, right againft the half Hour. 
 
 When your Dial Draught is thus 
 transferred to the Playn it felf, you muft 
 not forget to draw the fubftil Line ac¬ 
 cording as it lyerh in your Draught, to 
 be your guide for ihe right placing your 
 Still or Cock ; for you mult in every 
 1 particular be very exaQ:, or elfe your Di¬ 
 al cannot be good. 
 
 When you have taken every thing 
 that is required from your Draught, and 
 have transferred it to the Playn, then 
 take your draught off*, and with Ver¬ 
 million very well ground and prepared, 
 as before is taught, let the boundary 
 Lines of your Dial, as alfo the Hour, 
 half Hour, and Quarter Divifions be 
 drawn therewith ,* let your Colour be as 
 
 thick 
 
6\ %l)Z act or painting 
 
 thick and ftiff as you can poffibte Work 
 it, fo as to draw a clear and fmooth 
 Line, becaufe this is to be done but 
 
 once. 
 
 When your Vermillion Ones are 
 drawn, then with Lamp Black let the 
 Figures be made, and a fpot in the mid¬ 
 dle of the Margin right againft the half 
 Hour Line; and if you pleafe, in the 
 Margin, at the top of your Playn you 
 may ""put the date of the Year, your 
 Name, or fome Sentence, as it is ufual 
 in things oLthis nature.- then fit in your 
 Gock lo as to make right Angles with 
 the Playn, fo (hall your Dial be drawn 
 and finifhed in all refpe&s as a plain Di¬ 
 al ought te be. 
 
 CHAP. XIV. 
 
 How to guild with Gold on an Oily 
 Size , either Letter or Figures , in 
 Dials or any other Works. 
 
 W Hatfoever you would guild muff. 
 
 firft be drawn with Gold Size 
 ( of the making of which, fee Chap. 7.) 
 + - accord- 
 
€f>e3tt of printing. ^ 
 
 according to the true proportion of what 
 you would have guilt, whether Figure* 
 Letter, or whatever elfe it be; when 
 you have thus drawn the true proporti¬ 
 on of what you would have guilt, let it 
 remain till ic be fufficientSy dry to guild 
 upon, which you Ihall know by touch¬ 
 ing it with the end of your finger for 
 if your Finger flick a little to it, and yet 
 the Colour come not off, then it is dry 
 enough; but if the Colour come off on 
 your Finger, then it is not dry enough* 
 and muft be let alone a little longer 5 for 
 if you (hould then lay your Gold on, it 
 would fo drown it, that it would be 
 worth nothing: but if your Size ftiould 
 be fo dry as not to hold your Finger as it 
 were to it, then is it too dry, and the 
 Gold will not take *, for which there is 
 no remedy but new Sizing ; therefore 
 you muft watch the true time that it be 
 not too wet or too dry * both extreams 
 being unfit for laying the Gold on it* 
 When your Size is ready for guilding, 
 take your Book of Leaf Gold, and o- 
 pening a Leaf of it* take it out with 
 your Cane-PlyerSj and lay it on your 
 guilding Cufhion, and if it lye not 
 fnaopth, blow on it with your breath 
 F which 
 
^ Cijc att of pauttmg* 
 
 which will make it lye fiat and plain-, 
 then with a Knife of Cane, or for want 
 of it, an ordinary Pocket Knife (that 
 hath a /moth and jharp edge - y being 
 wiped very dry on your Sleeve that the 
 Gold/tick not to it J let your Leal Gold 
 be cut into fuch pieces, or forms as 
 your Judgment (hall think moft futable 
 to your work. 
 
 When you have thus cut your Gold 
 into convenient forms, then take your 
 Tool that was before defcribed in Nuh. 
 p. of Chap . i. and breath upon it to make 
 it dampiihv that the Gold may flick to 
 it •; with this Tobi take your Gold up 
 ( by clapping it dotion on the feveralpiece 's 
 you had before cut into forms') and tranf- 
 fer it to your Sfee, upon which clap, it 
 down according to difcretion, and your 
 Gold will leave your Tool, and cleave 
 to your Size y which you muff after¬ 
 wards prefs down fmooth with a bunch 
 of Cotton, or the bottom of a Hares 
 Foot : and thus you muft do piece by 
 piece till you have covered all your 
 Size wiih Gold $ and after it is fully 
 dryed, then with your Hares Foot brum 
 oft all the loofe Gold, fo will your 
 gnilding remain fair and beautiful. 
 
c&e 3 tt 67 
 
 If your Work to be guik be very- 
 large, open your Book of Leaf Gold, 
 and lay the Leaf down on your Work, 
 without cutting of it into pieces, and 
 fo do Leaf by Leaf till you have cover- 
 ed quite over what you intend to guild: 
 and if fome particular places Ihould 
 mifs, take up with a fmall bunch of 
 Cotton a piece of Leaf Gold, cut to a fit 
 Size, and clap it on, that the Work may 
 be intirely covered $ and if the Gold be 
 to be laid in, the hollows of Carved 
 Work, you muft take it up on the point 
 of a Camel-Hair Penfil* and convey it 
 and with the faid Penfil, dab it down 
 till it lie elofe and fmooth. 
 
 ’ Note, That after your guilding is thus 
 perfeflly laid on,you may, if you pleafe. 
 Diaper or flourifh on it with thin burnt 
 timber, whatfoever ftiall be fuitable to 
 your defign : Let the Umber be tempered 
 but thin, fo that the Gold may appear 
 through it*, the form and order of which 
 take from Examples which are abun¬ 
 dant, where Painting and Guilding are 
 found. 
 
 Note further, that a Book of Gold con¬ 
 tains 24 Leaves, each Leaf being three 
 inches lquare •, the price of each Book 
 Fa i s 
 
(58 Cfoe get of painting. 
 
 is two Shillings at the Gold-Beaters ^ one 
 Book will cover 216 fquare Inches of 
 work-, for fo many fquare Inches is con¬ 
 tained in 24 Leaves, that are three Inches 
 fquare, every Leaf containing nine 
 fquare Inches fuperficial in Gold : the 
 right undemanding of this will much 
 guide you in judging how many Books 
 of Gold will ferve to guild that work, 
 whole fuperficial content in fquare Inch¬ 
 es may before be known. 
 
 How to guild, with Silver. 
 
 I N lay ing on Silver upon an Oily Size, 
 the fame method in all refpe&s is 
 required as for guilding with Gold * fave 
 only in this, that the Size upon which 
 Silver is laid, ought to be Compound¬ 
 ed of a very little Yellow Oaker, and 
 much White-Lead 5 for the Size being 
 of a light Cc.vur, the Silver laid on it 
 will look more natural, and retain its 
 own Colour better, the whiter the Size 
 is. 
 
 Note, That the Common Painters do 
 now generally in guilding ufe more Sil¬ 
 ver than Gold, in moff Works that are 
 not much expofed to the Air, to which 
 
 'It they 
 
mjzwtt or punting* 69 
 
 they afterwards give the Colour of 
 Gold, by means of the LakerVarnifh, 
 whofe ufe is now fo common, that if 
 they guild any thing that ftands free 
 from the weather, they only guild with 
 Silver, and fo give it the Colour of Gold 
 with a Lacker Varnifh, made of Gum- 
 Lake, diffolved in Spirit of Wine* and 
 laid over it. 
 
 f'~0 >i , ? r ■ ' : ; ••• ' 
 
 C H A P. XV. 
 
 L V ! •] I. ’ . j ) I Qj r , . ; • . ‘ * f 1L 
 
 ij'* 
 
 The way of Painting a Blue with 
 Smalt , the only Colours that re¬ 
 quires lbrewing . 
 
 S Malt being a Colour that gives its 
 greatelf luftreby the way of ftrow- 
 ing only, I (hall lay down the true me¬ 
 thod of performing this work / firft 
 temper up White-Lead pretty ftiff with 
 good clear drying Oyl •, let it be as ftiff 
 as it well can be to fpend well from the 
 Pencil, with this white Colour cover 
 overs the Superficies of the work you in¬ 
 tend to ftrow with Smalt; and if it be 
 the Margent of a Dial whofe Fijgures 
 r.oMh F 3 are 
 
WfyzMt of patutm^ 
 
 are already Gilt with-Gold, let every 
 part between the Figures, and where 
 there is no Gold laid on, be done over, 
 and be very exaft in the work, for the 
 Smalt takes fio where but on this new 
 and moift ground; then take Smalt, 
 and the Work to be done over with it 
 lying flat,' throwing it thick on the thing 
 to be coloured, and with the feather 
 edge of a Goofe-Quill ftroke over it, 
 that it may lie even and alike thick on 
 all Places $ and then with a Bunch of 
 Linnen Cloath, that is foft and ply able, 
 dab it down clofe, that it may take 
 well updn the ground to be throughly 
 dry, then wipe off the loofe Colour with 
 a Feather, and blow the remainder, of it 
 off with a pair of Bellows, fo is your 
 Work finifhed. And thus you havje a 
 Method for Colouring any kind of v^ork, 
 by the way of ftrowing with Smalt, pro- 
 vid'ed the work b^fuch as requires only 
 the plain Colour. 
 
 But in Cafe you defign to paint any 
 kind of Body in Smalt, that requires 
 fhadow for the more perfeft refembling 
 the thing you intend. As fuppofc. it 
 were a Blue Bell, or a Blue Boar, , or the 
 like. In this Cafe, when you have 
 
 dtawn 
 
C&e 9tt of pafittfttir* 71 
 
 drawn out the perfect Simetry of the 
 ftape you intend, and have covered it 
 with a ground of .White Lead, well and 
 Bifly tempered with dear and fat Lin- 
 feed Oyl, then proceed to give it thofe 
 neceffary fhadowsyou intend, with good 
 Black well tempered • and when you 
 have finifhed theie fhadows, then Brow 
 on your Smalt, as before was direfted; 
 and when the whole"is dry, and the fu- 
 perfluons part be taken away, the Work 
 will appear, with all its fhado.ws^ as 
 exa£t as poflible. 
 
 Note , That the Work upon which 
 you lay on this ground, for to be brow¬ 
 ed on with Smalt, ought firft to beiuf- 
 ficiently primed and laid alfo over once 
 with white before you lay on the ground, 
 that you may be fure the ground be per 
 fe£Uy white •, for a white ground is the 
 only thing that gives beauty and glory 
 to the Colour of the Smalt. 
 
 In all other Cafes, where the Work 
 to be Browed over with Smalt does not 
 lye flat, you mufl take Smalt up upon a 
 flat bunch of LionenCloath, and fo dab 
 i£ upon the ground you ate to lay it upon. 
 
 F 4 C H AP. 
 
J2 
 
 %l)z of Pauttittfi;. 
 
 v chap. xvi. 
 
 How to fcour , refrejh and preferve y all 
 manner of Oj/l Paintings . 
 
 T H E Oyl Paintings that I here in¬ 
 tend, are only fuch as are kept 
 from the injuries of weather ^ for fuch 
 Paintings as endure the fury of Rain 
 and Storms ( fuch as Sun-Dials, Polls, 
 Pales, &c. ) are not any ways to be re¬ 
 newed or refrefhed, but by being new 
 coloured with the fame Colour in which 
 it was at firft wrought, becaufe that the 
 body apd ftrength of the Colour is worn 
 out by the continual aflaults of wafting 
 time, and cannot be made frelh, unlefs 
 new done over once in 4 or 5 Years, of 
 more according as the Weather is found 
 to wear it off, and make it look dull. 
 
 But as ? for fuch Painting that is fhel- 
 tered from weather* as all In-door Paint¬ 
 ings are, they ftill keep their Body and 
 Colour, : •although their beauty may be 
 much impaired by duft, fmoak, fly-lhits, 
 and the like, which will in time foyl 
 H 3 *> l and 
 
€f)e §tt onpafntfttff. 73 
 
 and tawnilh them * To remedy which, 
 rake thefe few Rules : 
 
 If your Painting be Wainfcotting, or 
 any other Joy nary or Carpentary Work 
 that is painted in Oyl, take Wood afhes 
 well lifted, which mix with Water 
 fomewhat thickly, then take a large 
 ftrong brittle Brufh, and dip it in the 
 moittened afhes, and therewith rub and 
 fcour your Painting all over very gently 
 in ail places alike, and when you find 
 that ail theSoyl is taken off, then wafh 
 it clean with fair Water, and let it dry * 
 and you will find your Painting to be 
 near as frefli as when laid on. 
 
 But if your Painting be more Curi¬ 
 ous, whether Figures of Men, Beafts, 
 Land skip, Frutage, Florage, or the like, 
 then let your Pifture be gently fcoured, 
 and then cleanly wattled off with fair 
 Water: after it is well dry, let it be 
 run over with Varnifh made with white 
 of Eggs, and you will find the Beauty 
 and Luftre of your Pifture much reco¬ 
 vered. ■ 
 
 The whites of Eggs before mentioned, 
 are only to be beaten to an Oyl, and 
 then curioufly rubbed on either with a 
 $lean Linnen-Cloath, or a Penfil. 
 
 But 
 
74 C&e at* of paitttutff; 
 
 But Note, That this fcouring of Pic¬ 
 tures ought not to be praftifed but very 
 feldom ( as when your Picture is very 
 much foiled) becaufe often and too fre¬ 
 quent doing this muff needs wear off a 
 little of tho Colours ; therefore ftrive 
 what you can to preferve their firft 
 beauty, by kneeping them free from 
 fmoak, and by often linking off the duft 
 with a Fox-Tail * as likewife preferving 
 them from Flies, by burning Brimftone 
 fometimes to kill them, or by dreffing 
 up your Rooms with green Boughs, to 
 which; the Flies will gather themfelves, 
 and fo hot hurt your Piftures. Sir Hugh 
 Platt in the Firft part of his Garden oj 
 Eden , and 17 page, tells us of an Italian 
 Fancy for this purpofe* by hanging in 
 the Roof and Tides of the Room fmall 
 Pompions or Cucumbers ftuck full of 
 Barley, Which will fprout into green 
 Spiers on which the Flyes will lodge. 
 §>uery. Whether Veffel of Tin made 
 round about full of holes filled with 
 Earth, and every hole planted" with a 
 Corn of Barley, and watered as need re¬ 
 quires, would not be more beautiful and 
 ufeful to this purpofe. 
 
 Ano- 
 
W&z 9 tt of pauitmc. 7r 
 
 Another Note worth Obfervation is. 
 That all Pi&ures ( efpecially thofe that 
 are wrought with mixtures of White 
 Lead) are apt to tarnifh and grow rufty* 
 as is feen in all ancient Pieces ^ To pre¬ 
 vent which, in the Months of May and 
 June let your Pictures be expofed fome- 
 times to the hot Sun, for this will draw 
 oft much of the’ ta wnifh, and make the 
 Colours more frefh and beautiful. and 
 thus doing from year to year will pre- 
 ferve them wonderfully. • 
 
 Although in the beginning of this. 
 Chapter I mentioned Dials among thofe' 
 things thaj/are not to be refrefhed but - 
 hymew Painting*, yet her take notice. 
 That I thiafti it riot convenient at all to 
 lay new Colouring upon the old ground 
 of a Sun-Dial for to draw the old Lines 
 and Figures over again in the fame po~ 
 Jure wherein they were drawn before ) 
 but rather to take the declination anew, 
 and according thereunto make a new 
 Draught of your Dial, and proceed in 
 the Painting of it in all refpe&s as if it 
 were a new Dial : For it is obferved. 
 That Dials which were made fifty or 
 lixty years ago ( which we believe went 
 true when firfl made ) will not give the 
 
 true 
 
76 c&e ofpamttrtff. 
 
 true Hour now, but go very falfe, which 
 is caufed by dome fecret Motion of the 
 Earth not hitherto taken notice of, 
 which apparently alters the declination 
 of all Playns. If any ones requires more 
 fatisfaftion herein, let him repair to 
 fome old Dial that was made many years 
 ago, and according to the diftance of 
 the Subfile from the Meridian, let him 
 find out the declination when firft 
 made, as any Man, that is an Artift, 
 can eafily do; then let him take the de¬ 
 clination of the Plain by the Sun, and 
 he fhali find thefe two declinations to 
 differ confiderably, according to the 
 number of years contained between 
 your obfervation and the time of the 
 Dials firft making-, fo that a Plain that 
 flood full South, iixty years ago, (hall 
 now decline fome degrees either to the 
 Eaft or Weft, which perhaps may be a 
 Caufe of the Variation of the Compafs, 
 which is found by Obfervation, to differ 
 much in the Fame Country,, in the fpace 
 of 50 or 6 o years, as all skilled in Aftro- 
 nomy know , very well 
 
 CHAP, 
 
C&eatt of Painting; 77 
 
 CHAP. XVII. 
 
 An Experiment relating to Oyl Colours 
 of great ufe to Travellers of fome 
 kinds : To the chief Officers of 
 Camps and Armies , to Seamen and 
 fuch like . 
 
 T His Experiment is no other than a 
 difcovery of the way and myftery 
 of making Oyi-Cloth, now ufed for 
 Hat-Cafes, and that is this: Take of 
 the drying Oyl mentioned in Chap. 6 . 
 fet it on the fire, and diffolve in it fome 
 good rofen, or ( which is better , but 
 dearer ) Gum-Lack * let the quantity be 
 fuch, as may make the Oyl thick as a 
 Balfom, for it muft not be fo thin as to 
 run about, if fpread on a Cloath: when 
 the Rofen or Gums are diffolved, you 
 may either work it of it felf, or add to 
 it fome Colour, as Verdigreafe for a 
 Green, or Umber for a Hair-Colour ^ or 
 Indieo and White for a light Blue. 
 
 1 
 
 This 
 
7* Cfjeatt of pntrm'nff* 
 
 This Varnilh, if fpread on Canvas, or 
 any other Linen Cloth, fo that the Cloth 
 be fully drenced and intirely glafed over 
 with it, and fuffered to dry throughly, 
 is Impenetrable for all manner of we.t ^ 
 a nd if Carriers and fuch kind of pertons 
 that are necelfitated to travel in all man¬ 
 ner of weathers, had bhr lfttle light 
 Canvas'Cloaks made for them, of luch 
 Cloath and Hats lined on the obtefide 
 with the fame, thefe Cloaks and Hats 
 would fecure them frotn wet as well as 
 if they remained ftill in their own 
 Houfes for as I faid before, no wet 
 will penetrate through it; four and 
 twenty hours rain would make no more 
 impreffion upon it, than if it had never 
 rained at all. 
 
 The Officers Tents in an Army or 
 Camp, if covered over with this Var- 
 nifht Cloath on the top, would pre- 
 ferve thefn as fecurely from all wet, as 
 the beft Houles, and be as warm and 
 dry j neither will there follow any great 
 inconvenience in decamping v for Cloath; 
 fo Varnilhed, is almoft as ply able as u 
 the naked Cloth, and not very mirchf 
 more weighty, especially if the Varnilh 
 be laid on plain, without any Colour 
 
 mixt 
 
9 rt of Painting, 7 $ 
 
 mixtwith it; for that is both the light- 
 er and more pliable. 6 
 
 The fame advantage may Seamen reap 
 
 by it, or any other perfons that muft ne- 
 eeflarily attend in (forms and rain. 
 ..^ ee P,Skin Boot well liquored with 
 this Varmlfi after the Boot is made, and 
 fo throughly done over as to lye with a 
 glafs on the outfide, (hall endure more 
 wee than the beft Neats-Leather Boot! 
 being alfo much more plyable, eafy and 
 
 great pSt * may be faid of Shoes in 
 
 The great reafon why the OylHat- 
 Gafe has mot been more often in ufe, is 
 by reafon of the difficulty required to 
 form it into Garments, and then the 
 very Hat Cafe themfelves do let Water 
 
 iaifn - Se ri 5 but thii Varniffi being 
 
 amrnaT 5 ® "r™ afte , rtheGa ™enl 
 are made, does io intirely fecure every 
 
 ? at ’ as f bere s no pollibility or place 
 tor the wets admittance. ^ 
 
 ,^, e fame: may be of advantage to 
 abundance of other humane neceffities 
 too long here to enumerate; and for 
 fecurmg any kind of Timber Work it 
 equals Painting with Colours in Oy] 
 and much more eafy to attain; for Lin! 
 
 * feed 
 
*0 ®je act of painting. 
 
 Teed Oyl and Rofen are much more ea 
 lily melted together by boyling than Co¬ 
 lours can any ways be grou nd ; and be¬ 
 ing of the confiftance of a Balfom,works 
 delicately with a Brufli, and of it felf, 
 without the addition of Colours, bears' 
 a body fufficient ro fecure all manner of 
 Timber-work, equal to, moll Oyl-Co- 
 lours. 
 
 In the working of it theie’s no great 
 skill required, if you can but ufe a Pain¬ 
 ters Brufh=, only let the matter you lay 
 it on be throughly drenched, that the 
 outfide may be glazed with it: if you 
 defire a Colour on the outfide, you need 
 only grind a Colour with the laid Varf 
 nifh you lay on. 
 
 CHAP. 
 
€8e$ltt ofLBafntfhff. 8* 
 
 CHAP. XVIII. 
 
 How to preferve all bright Iron work^ 
 from ruft and other Injuries of a 
 moift and corroding air , by an*Oily 
 Varnifo . 
 
 T Ake good Venetian, or for the want 
 of that, the bed: and cleared com¬ 
 mon Turpentine, diffolve it in Oyl of 
 Turpentine, and add to it fotne good 
 drying Linfeed Oyl, made clear by long 
 Handing in the hot Sun (for feme ufes , 
 the common drying Linfeed Oyl mayferve ) 
 mix them well together, and with this 
 mixture, Varniih over any fort of bright 
 Ironwork whatever, that is uled about 
 the Houfes of the Nobility and Gentry * 
 as alfo all kind of bright Arms that is 
 kept in Armories and other places of 
 publick date: 3 Tis a certain preferver 
 of all fuch Iron-work from iuft, let it 
 be what It will, provided it be fuch as is 
 not brought into common ufe, for much 
 handling will wear it off, and heat will' 
 again diffolve it, but for all fuch bright 
 
 G Iron 
 
8 2 Ctje 9rt of painting. 
 
 Iron work that is ufed about either Car¬ 
 penters or Joyners Work, that require 
 not much handling, as alfo Arms, 
 that (lands up for ftate rather than pre* 
 fent ufe ; ’tis, as I faid before, an in¬ 
 fallible Prefervative. 
 
 When you ufe this Oily Varnifh, 'tis 
 beft to warm it, and then with a Brufh 
 lay ft on as thin as poffibley this is beft 
 for Arms* hutfor other Iron-work,it may 
 be laid on cold •, in* four or five days af¬ 
 ter 5 tis laid on, 'twill be throughly dry. 
 
 Note , That fuch Arms as is done over 
 with it, may, when they come into ufe 3 
 be cleanfed from it again,by being warm- 
 ed hot before a fire * for heat will dif- 
 folve it, but Water will do it no hurt. 
 
 CHAP. XIX. 
 
 The Art of Back Paintings Mezotinfto 
 Prints , with Oyl- Colours. 
 
 T His Myftery confifts chiefly in pall¬ 
 ing the Print upon a piece of glafs 
 of fuch a Size as fits the Print. Now to 
 do this, take your Print and lay it in 
 
 clean 
 
tE&eatt ofpamttnty. s 3 
 
 clean Water for two Days and two 
 Nights, or longer , if your Print be on 
 very ftrong Papery then take it out, and 
 lay it upon two Sheets of Paper, and * 
 cover it with two more, and let it lie 
 there a little to fuck out the Moifture: 
 In the mean time* take the Glafs your 
 Print is to be pafted on, and fet jt near 
 the Fire to warm, then take Strasburg 
 Turpentine and put it into a Gaily-Pot, 
 and warm it upon the Fire, then take a 
 Hogs hair Brufh, the Hairs being well 
 fajlnei by wedging , as before was Jhewed , 
 and therewith fpread over the Turpen¬ 
 tine very fmoothly on the Glafs; theft 
 take the Print from between the Paper, 
 and lay it upon the Glafs, beginning firft 
 at one part, and fo rub it down gently, 
 as you go on, till it lie ctofe, and there 
 be no Wind Bladders between, then 
 with your Finger roll or rub off the 
 Paper from the back fide of the Print, 
 
 ' till you fee nothing but the Print left 
 upon the Glafs, and when this is done, 
 fet it by to dry, and when ? tis dry Var- 
 I nifli it over with fome White Tranfpa- 
 xent Varnifh, that the Print may be 
 ; feen through it, and then it is fit for 
 1 Painting* 
 
 Q 2 
 
 You 
 
$4 ^ije 9tt of 
 
 You may, inftead of foaking your 
 Prints two Days and two Nights, roll 
 them up and boil them for about two 
 Hours in Water, and that will make 
 them as fit for peeling as the other Way, 
 when rubbed with your Fingers, then 
 having prepared your Oyf Colours, as in 
 the preceding Work is direfred, grind¬ 
 ing them very fine, and tempering them 
 up very ttiff; let the backlide of the 
 tranfparent Print be Coloured over with 
 fuch Colours as each particular part does 
 require, letting the Matter Lines of the 
 Print ttill guide your Pencil, fo will 
 each particular Colour lye fair to the 
 Eye, on the other fide, and look almoft 
 as well as a Painted-Piece, if it be done 
 neatly. 
 
 Note^ That thefhadows of the Print 
 are generally fufficient for the fliadow 
 of every Colour, but if you defire to 
 give a lhadow from your Pencil, then let 
 thefhadowsbe laid on drift, and the 6- 
 ther Colours after. . ., 
 
 Note alfo, That in laying on of Co- r 
 lours in this kind of backfide Painting, 
 you need not be curious in laying them 
 on fmooth, Vis not at all reqtiilite here 
 where the chief aim is only to have the" 
 
 Colours 
 
Cfieatt ofipaftttfttff* *5 
 
 Colours appear well on the forefide of 
 the Print *, and therefore the only care 
 to be ufed in this work, is to lay Co¬ 
 lour thick enough, that its body may 
 (trike the Colour of it plainly through 
 the Glafs. 
 
 Some Directions for mixing of Qyl- 
 Colour for divers purpofes , in this 
 Art of Colouring Prints with Oyl- 
 Colours. 
 
 Colours for fever d Faces. 
 
 I f O R Faces that are accounted fair, 
 take White-lead, a little Vermilli¬ 
 on, and a very fmali touch of Lake. 
 
 For the Lips take more of the Ver¬ 
 million and Lake than you did for the 
 Face 
 
 For a Brown Face take burnt Oaker 
 and White. 
 
 For a Tawny Moor, take Cullens 
 £arth, a little burnt Oaker, and a little 
 White. 
 
 Colours 
 
C&e of iPainttttg. 
 
 Colours for Hair . 
 
 For a brown Hair, mix limber and 
 a little Black and White. 
 
 For a yellow Hair, take Stone-Oaker, 
 White-lead, a little Vermillion. 
 
 For a flaxen Hair, take White lead, 
 Stone-Oaker, and a little Cullens-Earth. 
 
 Linnen. 
 
 Is done with White Lead or Cerus. 
 
 Silver. 
 
 Is done with White, a little Smalt, 
 and fome White Mafticote. 
 
 Gold. 
 
 Is done with Red Orpiment and 
 White Mafticote, of each equal quan* 
 tity. 
 
 Colours for Garments . 
 
 For Blue Garments the beft Smalt and 
 White-Lead. 
 
 For a Grafs Green, mix Verdigreafe 
 and a little Pink Yellow. 
 
 For a Willow-Green, mix Verdigreafe 
 and a very little White. 
 
 A Sea Green is made by mixing green 
 Verditer, Pink and White-Lead. 
 
 A 
 
Wart orptfittinff* 87 
 
 A French Green is made by mixing 
 Pink and Indico. 
 
 A Carnation by mixing Lake and 
 White-Lead. 
 
 A Crimfon is made by mixing Ver¬ 
 million, Lake and White. 
 
 A Scarlet is only Vermillion laid on 
 alone, 
 
 A Cherry Colour is made by mixing 
 Vermillion and White-Lead. 
 
 For Yellow, lay on either Yellow Or- 
 piment, or Yellow Mafticoate; if'your 
 Yellows are more pale, then mix White 
 with the former. 
 
 For an Orange Colour, mix Orp> 
 ment and a little Vermillion. 
 
 For a Purple, mix Smalt, Lake and 
 White. 
 
 For a Violet, mix Bife and Lake. 
 
 A Straw-Colour is made with White, 
 Yellow-Oaker, and a very little Umber. 
 
 An Afh*Colour is made by mixing 
 Black and White. 
 
 A Chefnut Colour is made by mixing 
 Umber, Lake and White. 
 
 A Dove-Colour, or the Wings of an 
 Angel, take White, a little Lake, and 
 a little Smalt. 
 
 G 4 
 
 Colours 
 
■*8 cije art of painting 
 
 Colours for Trees. 
 
 For the Bodies of Trees, take Pink, 
 Yellow, White-Lead, Yellow-Oaker, and 
 a little Black. 
 
 For the Leaves of them that are near 
 the Eye, take Verdigreafe and Pink, or 
 if darker Coloured, then takelndico and 
 Pink.- 
 
 For Leaves of Trees farther off, take 
 Green Verditer, Pink, and White-Lead. 
 
 For them that are fartheft of ail, take 
 Terrevert and White. 
 
 Colours for Grounds behind a Tifture. 
 
 Note , That a light Hair requires a 
 dark ground, and a dark Hair a light 
 ground. 
 
 Ground Colours for a Pi£ture with a 
 light Hair, is made with Umber, White 
 and Black. 
 
 A Ground Colour for a dark Hair is 
 made with Umber and White. 
 
 for 
 
Cbe 3tt of painting. # 
 
 Far Ground in a Lanskip. 
 
 Take Pink, Oaker, and White, with 
 a little Green Verditer. 
 
 For Country Houfes, at a didance, 
 take White-Lead, Yellow-Oaker, and 
 Smalt •, the fame Colour ferves alfo for 
 Houfes of Stone. 
 
 For Brick-Houfes or Walls, take Yei 
 low-Oaker burnt, and White-Lead, if 
 the Work be far off, but if near, then 
 India Red, and a little White. 
 
 For Pails of Wood or other Timber- 
 Work, of what kind foever, in Counrry- 
 Cottages, take Umber, White, and a 
 little Oaker. 
 
 Sky Colours . 
 
 Are made of Smalt and White for the 
 higheft Skies, more White for the lower, 
 and Yellow mixt with a little Vermilli¬ 
 on For the lowed of all. 
 
 CHAP. 
 
90 at t otmtntins* 
 
 CHAP. XX. 
 
 The manner of Painting Cloth , 
 Sarfnet Shaft) Windows . 
 
 L ET the Cloth or Sarfnet be firft 
 ftrained tite to the Frames, and 
 there made fa ft, and when they be 
 through dry, Varnifti them over with 
 the following tranfparent Varnifti thus 
 made. 
 
 Take a pound of good clear Nut-Oyl, 
 put it into an Earthen Pipkin, and add 
 to it half a pound of good Silver Li- 
 tharage in fine Powder, fet it on a fmall 
 Fire, but not to boyl, and let it ftand 
 hot at leaft twelve hours, ftirring it often 
 in that time ( this aids a drying quality 
 to the Oyl ) when it has ftood thus long, 
 pour it off from the Litharage by Incli¬ 
 nation, then take a pound and a half of 
 the cleareft white Rofen, beat it to 
 Powder, and mix it with the Oyl on a 
 flow Fire,always ftirring it till the Rofen 
 be diffolved; then take it off and put 
 into it a Pound of good clear Venus Tur¬ 
 pentine, 
 
Cfie 8tt of painting. 9 » 
 
 pentine, and ftir them all well together; 
 then with a good Brufh let your Shafhes 
 be throughly Varnifhed over with this 
 mixture, fo that they may appear all 
 over clear and tranfparent. 
 
 When this Varnifh is dry, then you 
 may Paint upon them what fancy you 
 pleafe with Oyl Colours, but Landskip 
 is moft common and natural, for which 
 purpofe, the Colours you mix ought to 
 be fuch as are of a fine Body, and apt 
 to become tranfparent. 
 
 For thefe purpofes, Lake makes an 
 excellent transparent Ruby Colour, and 
 diftilled Verdigreafe makes an incompa¬ 
 rable tranfparent Green,Orpiment makes 
 an excellent tranfparent Gold Colour ; 
 Umber and Yellow Oaker will become 
 indifferent tranfparent, if thinly mixt, ' 
 but for the reft, there are none that will 
 lye clear in this work, but only accord¬ 
 ing to the very thinnefs of their mixture 
 with the Oyl. 
 
 The aforefaid Varnifh, as it is clear 
 of it felf, is an excellent Varnifh for Pa¬ 
 per Windows, being much more tranf¬ 
 parent than any other Compofition, and 
 more lading; for the Rofen and Tur¬ 
 pentine being made tough, when dry, 
 
 by 
 
#2 art of painting. 
 
 by means of the Oyl mixt with it, does 
 more powerfully refill the Injuries of all 
 weather than Oyl alone. 
 
 ff any are troubled with weak Eyes, 
 and cannot indure a bright Light, this 
 Varnifh mixt with diftilled Verdigreafe, 
 and Paper Windows,or Sarfnetones done 
 over with it, will make an4ncomparable 
 green light, very comfortable to the 
 light, and of great benefit tofuch as loye 
 not too much brightnefs : a Note of 
 good ufe, efpeciaUy to all great Stu¬ 
 dents, whofe fight is often much im¬ 
 paired and weakened by poring too 
 much upon their Books ^ the whitenefs 
 of the Paper being obferved to be often 
 a great Eqemy to the fight of fome Men, 
 the inconveniencies of wphich, fuch a 
 • green Light as this now mentioned, will 
 infallibly prevent, beyond green reading 
 ©lafsj Spe£tacies, or any other contri¬ 
 vance, yet found out ; the like benefit 
 may fome Tradefmen alfo receive from 
 it. 
 
 CHAP. 
 
Cfie&t of painting 93 
 
 C H A P. XXI. 
 
 The whole Art and My fiery of Colour - 
 ing Maps , and other Prints, in 
 H ater Colour . 
 
 H Aving, as yet, feen nothing publiflv 
 ed upon this Su.bjeQ that is Au» 
 thentick, 1 have thought fit ior the fake 
 of thofe that are inclined to Ingenuity, 
 to fet forth the way and manner of do¬ 
 ing this Work, it being an excellent Re¬ 
 creation for thofe Genuy, and others, 
 who delight in the Knowledge of Maps * 
 who by being Coloured, and the feverai 
 Divifions difiinguifhed one from the 
 othei by Colours of different kinds, db 
 give a better idea of the Countries they 
 defcribe, than they can poffihly attain to 
 uncoloured., 
 
 Now to perform this Work after the 
 belt'manner, there mull be provided in 
 the firil place a Lye made with Tartar, 
 and a Gum-Water. 
 
 To make the Tartar Lye do thus, 
 take two Ounces of the bell White la/- 
 
5?4 C&e Sict WpmtmsT^ 
 
 tar , which is a ftony Subfiance that flicks 
 19 the fide of the Wine Veflfels, and is fold 
 by the Drugifls. Wrap it up hard and 
 tite in half a Sheet of Brown Cap Paper, 
 wet it throughly in Water, and put it 
 into a clear Fire, either of Wood or Sea- 
 cole ; let it remain therein till it he red 
 quite through, then take it out with a 
 pair of Tongs, and put it immediately 
 into half a Pint of Water, and with 
 your Fingers rub it well to pieces * put 
 it into a long narrow Glafs, and in a 
 Day or two the Black will all fettle, 
 and the Lye will become pure clear: 
 Pour off the clear Lye into a clean Glafs, 
 and keep it dole ftopt for ufe. 
 
 To make Gum Water, take Three 
 Ounces of the whiteft and cleared Gum- 
 Araback , which is alfo fold at the Drug- 
 ifls , and beat it as fmall as you can 
 bruife it ; then put it into a Paint of 
 fair Spring Water, and let it diffolve 
 therein, which will be much haftened 
 by fhaking the Glafs three or four times 
 a Day very well, that the Gum that is 
 diffolved may mix the better with the 
 Water that is above it : And when it is 
 all diffolved, if there appear any Foul- 
 
 I 
 
€fje 3 tt of Patnttoff; 9 5 
 
 nefs in it, ftrain it through a Rag into 
 a clean Earthen Difh, and put it into a 
 Glafs, and flop it up for life. Note^ 
 That too much of this ought not to be 
 made at a time: For if the Gum be 
 kept diffolved too long in the Water, 
 it will rot, and fo be of no ufe * there¬ 
 fore obferve to make it frelh once a 
 Month at the fartheft. 
 
 In the next Place, you muft prepare 
 or make your Colours ready for life, 
 and the belt for this Work are thofe 
 that follow ; Namely, 
 
 Copper-Green, and that is made thus; 
 take a Pound of Right French Verdi - 
 greafe , made at Monpeliar , this being 
 the be ft •, for the Verdigreafe made at 
 any other place will fade. To this add 
 Three Ounces of Cream of Tartar, beat 
 them both into a fine Pouder, and take 
 care, while the Verdigreafe is in the 
 pounding, to ftop your Nofe, and hold 
 a Bunch of fine Linnen in your Mouth 
 to breath through, elfe the fubtii Pouder 
 of the Verdigreafe will be apt to offend; 
 and when this is done, mix both the 
 Pouders in two Quarts of Water, and 
 boil it in an Earthen Pipkin till it boil 
 away a Quart, then ftrain it out when 
 
 cold, 
 
C&e&t Qf 9 ftfittut& 
 
 cold, and put the Liquor into a Glais, 
 flop it up, and let it (land to fettle tilt 
 the Liquor be very clear, fo you wilt' 
 have a delicate Green: But fometimes 
 th zVerdigreafe not being always of a 
 Goodnefs, the Colour may not be deep 
 enough for fome Ufes. In this Cafe, 
 put fome of it into abroad Earthen Difti, 
 and let it over a Chafing-Dilh of Coals* 
 and by a gentle Heat, diminifh fomuch 
 of the Liquor, till by trying on a Pa¬ 
 per and letting of it dry y the Colour 
 pleaie you : and here you are to note , 
 That if it Ihine too much when dry, it 
 is not right; for it is not rightly made 
 except it but ju(t fhine, and if you can-, 
 not make the Colour deep enough by 
 evaporating by Heat, the abounding Li¬ 
 quid, without making it (hine too much, 
 it were better to add fome more Verdi- 
 greafe, and boil it up anew, till it be¬ 
 come a Tranfparent deep Willow Green, 
 If you would make but a Pint of this, 
 you mult take but half the Quantities 
 df each; And you are aifo to take no v 
 tice, that this is a Colour that will 
 keep a Year or more without decaying, 
 if the Giafs that contains it be dole 
 ffot*? 11D. 
 
€fje %tt of parntmo;* 
 
 The next Colour needful to be made, 
 is a Stone Colour, or a Liquor of 
 Myrrh , which is thus done; take a 
 Pint of your Tartar Lye, and add to it 
 an Ounce of Myrrh in Ponder, the 
 bed for this ufe is the blacked or 
 courfeft, and boil it till th y Myrrh is 
 diffoived, which will be doritetn a fmall 
 time; let it fettle and pour off the clear 
 for Ufe, which you mud keep clofeftopt 
 up : This is alfo a TinQure which will 
 keep long, and may be made fainter 
 or deeper by boiling more of the Liquor 
 away to make it deeper, or by adding 
 Water to it to make it fainter. Some 
 make alfo a Colour of Pitch like Soot, 
 made by Wood ; this Soot they boy l 
 in Water, and when clear, is good for 
 many tiles, and ferves in fome Cafes 
 inftead of this Liquor of Myrrh, 
 
 And in the lad Place, there is requi¬ 
 red a Crimfon Colour which is fpeedily 
 made thus. Buy at the Drugids fome 
 good Cochinele, about half an Ounce 
 will go a great way. Take Thirty or 
 Forty Grains, bruife them in a Gally- 
 Pot to fine Pouder, then put to them 
 as many Drops of the Tartar Lye as 
 will juft wet it, and make it give forth 
 H its 
 
%ij£ itt af painting. 
 
 Its Colour •, and immediately add to it 
 half a ipoonfiii of Water, or more if 
 the Colour be yet too deep, and you 
 will have a delicate purple Liquor or 
 Tincture.^ of'hen take a bit of Allum , 
 and with Knife fcrape very finely a 
 very it into the Tincture, and 
 
 this will take away the Purple Colour, 
 and make it a delicate Crimfon. Strain 
 this through a fine Cloath into a clean 
 Gaily.-Pot, and ufe it as foon as you 
 can, for this is a Colour that always 
 looks mdft Noble when foon made ufe 
 of, but it will decay if it ftand long. 
 
 Indieo is another Colour ufed in co¬ 
 louring of Maps. This is bought at 
 the Colour Shops that fell Paint, and 
 it muft be ground very fine on a Stone, 
 as you do Qyl Colours, with a little 
 Tartar Lye .to make it give its Colour, 
 and look the brighter, when ’tis ground 
 perfect fine like a thick Syrrup, add 
 Gum Water to it till it be thin enough 
 ior your purpofe, and keep it in a Glafs 
 dole ft opt up, but it wall fettle fo, 
 that when you ufe it you muft ftir it up 
 from the Bottom. 
 
 For a Yellow, Gamboge is the beft, it 
 fe fold at Brugift ia Lumps, and the 
 
 way 
 
€ Jje at* of Paifttmg. 
 
 way to make it fit for Ufe, is to make a 
 little hole with a Knife in the Lump, 
 and put into the Hole fome Water, fiir 
 it well with a Pencil till the Water be 
 either a faint or a deeper Yellow, as 
 your occafion requires, then pour it in¬ 
 to a Gally-Por, and temper up more, 
 till you have enough for your purpofe. 
 Some inftead of this life French Berries, 
 by fome called Yellow Berries, which 
 they put into Water with a little Pou- 
 der of Alum , which in a days time will 
 draw out a delicate Yellow Tincture % 
 the more Berries, the Yellower will the 
 Liquor be. 
 
 Red Lead is alfo a Colour much ufed 
 in this Work, and fo is Orpiment; both 
 which you may buy at the Colour 
 Shops very finely ground, fo that they 
 need only fo be tempered with Gum- 
 Water to be fit for life. 
 
 Blue Bice is alfo uied often, which 
 needs only to be tempered with Gum 
 Water, and when Men defign to be cu¬ 
 rious, they may ufe inftead thereof VL 
 tramarine, which is the beft and moft 
 glorious of all Blues, but very dear^ 
 yet fmall Papers of it of about Two 
 Shillings Price may be bought at fome 
 H 2 Colour 
 
too Cfic 3tt of pafutfttg;. 
 
 Colour Shops, which if carefully uled, 
 will go a great way: It needs only to 
 be tempered in a very fmall Gally Pot 
 with a little Gum Water, till it lie on 
 the Paper with a good Colour. 
 
 There is alfo an exceeding glorious 
 Red or Crrmfon Colour, called Car mu 
 ne, which is alfo very dear, yet about 
 Half a Crowns-worth will go a great 
 way in. the Ufes to which it is put; it 
 needs only to be tempered with Gum- 
 Water, and gives feveral degrees of Co¬ 
 lour according as it is thicker or thin» 
 net tempered * for if it be very thin, it 
 refembles in Colour the Crimfon made 
 from Cocbene/e , and may be uled indead 
 thereof, by the Gentry, to whom the 
 Price will not be confiderable. 
 
 Vermillion is alfo tifed in fome Cafes. 
 This is a glorious Scarlet , and needs 
 only to be tempered with Gum-Water, 
 for it may be bought very finely ground 
 to Pouder at the Colour Shops only 
 the lighted coloured Vermillion is the 
 l ed lor this ufe ; and his to be noted, 
 that this Colour Ihews much brighter 
 when dry, if glazed over with thick 
 Gum-Water, made by putting Two 
 Ounces of Gum Araback to half a Pint of 
 
 Water 
 
Clje act of pafntmg. io r 
 
 Water y or lefs *, which fhouid always 
 be ready for this purpofe. 
 
 And for fome llfes, burnt Umber 
 ground very fine with Water as thick 
 as polfible, and then tempered up with- 
 Gum-Water to a due thicknefs, make a 
 good Tranfparent Colour. 
 
 There is another Colour needful in 
 this Work, which is' a moil: pleafant 
 Grafs Green , and that is made thus, 
 take a Lump of Gum Boge^ and make a 
 little Hole in it, then put therein fome 
 Copper Green , ftir it about with a Pen¬ 
 cil, and from a Willow you will lee it 
 turn to a Grafs Green , which you may 
 make deeper or lighter, as you dir it a- 
 bout a longer or a lelfer time. 
 
 Of the PraSice of Colouring Maps. 
 
 The Colours being prepared as before 
 is directed, you may proceed to Colour 
 a Map in this manner, firft take notice 
 of the feverai Divifions in a Map which 
 diftinguifh one Kingdom from another, 
 or one County from another, which are 
 known by certain Lines, or Rows of 
 Pricks, er Points of feverai Sizes and 
 Shapes agreeable to the Divifions they 
 H 3 are 
 
102 HDjje 9 tt of painting. 
 
 are to denote. As for inftance, Tortu¬ 
 ga! is diftinguifhed from Spain by a 
 row of large Points, or Pricks, and the 
 Provinces of that Kingdom, or Shires, 
 as we call them in England , are diftin- 
 gu idled one from another by Lines of 
 leffer Points or Pricks. Now if you 
 were to colour the Kingdom of Tortu¬ 
 ga! do thus, firfl: with a fmali Camel 
 Hair Penfil in a Ducks Quill, colour 
 over all the Hills within the Large prick 
 Line that divides it from Spain with the 
 Tint!ure of Myrrh very thin-, then if 
 there be any Woods, dab every Tree 
 with the point of a very fine Penfil dipt 
 in Grafs Green, made of Copper Green 
 tempered up with GumBbge , but in 
 dipping your Pencils into any Colour, 
 droke it againft the fides of the Fot or 
 Glafs in which you put it, that the Co¬ 
 lour may not drop from it and fpoil your 
 Work } then with another Pencil dipt 
 in Read Lead, tempered thinly with 
 Gum-Water, let the Principal Cities 
 and Towns be done over that the Eye 
 may more readily perceive them. Laft- 
 ly, with a Ducks Quill Pencil dip in 
 fo re Colour, as Copper Green , and 
 trace out the Bounds oi one of the Pro¬ 
 vinces, 
 
C&eart of painting* 103 
 
 vinces, keeping the outmoft Edge of 
 the Pencil clofe to the Pricks, and 
 be careful to lay your Colours all 
 alike, and not thicker in one place 
 than in another, and when his almoft 
 dry, take another clean Pencil of the 
 fame Size, and dip it in Water, ftroak- 
 ing the Water out well, and therewith 
 rub upon the infide of the coloured Line, 
 till it take away molt of the Colour on 
 the edge, and make it grow faint and 
 Jofe it felf by degrees, and continue fo 
 to do till you have gone quite round 
 then take Yellow made of GumBoge , 
 and go round the infide of the Pricks 
 that divide the next Province, fweetning 
 over the inner mo ft Side of it, when ah 
 moft dry, with a Pencil dipt in Water, 
 as you did before, do over the. next to 
 that with the Crimfon Tinffure made 
 with Cocbinele , or thin Carmine , and 
 the next to that do round with Red¬ 
 head ,, and the next to that with Graft 
 Green, and the next to that with any 
 of the former Colours that will fo agree 
 with the Work, that two joining Pro¬ 
 vinces may not be coloured with the 
 fame Colour, for then you could not 
 diftioguUh them fo well by fight* 
 
 H 4 And 
 
io4 Clje att of isanttfttg. 
 
 And in this Work of dividing, ob~ 
 ferve, That when your Boundary Lines 
 pals through Woods already coloured, 
 or Hills obferve then, 1 fay, to mifs 
 the Colour of thofe Woods and Hills in 
 your drawing a Colour round the Pro¬ 
 vince, and be careful aifo not to draw 
 any Colour over the Cities or Towns 
 that are painted Red, for that fpoils 
 the Beauty of it„ 
 
 And when you have coloured over or 
 divided all the Counties, then colour 
 the Seajhoar , and all Lakes of Water , 
 if there be any, with thin \ndico, work¬ 
 ing of that fide of the Colour which is 
 from the Land faint, with a wet Pencil 
 as before was taught, and if there be 
 any Ships, colour the Water fhaded at 
 the bottom with the fam zlndico, paint¬ 
 ing the Hull of the Ship with Umber , 
 the Sails with Tinfture of Myrrh, and 
 the Flags with Vermillion or Blue Bice ; 
 and if they are reprefented as firing their 
 Guns, let the fire be done with Red 
 Lead , and the Smoak with very thin 
 Bice , and as for the Margent or fquare 
 flick of Degrees , as the Gravers term 
 it , which goes round the Map, let 
 fhat be coloured either with Yellow or 
 
tElje ait of painting T0 5 
 
 Red Lead, or Crimfon, none but thofe 
 three Colours lerving well for this pur- 
 pofe. 
 
 As for the Compartment or Title, 
 which confifts generally of fome neat 
 Device to fet the Map off, and make 
 it appear more beautiful, it may be co¬ 
 loured according to the Nature ©f it. 
 As for inftance, Crowns or any thing re- 
 prefenting Gold with Yellow, fhadow- 
 ed in the darkeft parrs of the Graving 
 with Orpment,the Hair of Men or : Wo- 
 men with Tinfture of Myrrh, or if 
 Black, with half Water half common 
 Ink, or with burnt Umber ; the Flefh of 
 Women or Boys with a very little of 
 the Tinfture of Cochinele, in a large 
 Quantity of Water, and Garments ei¬ 
 ther with thin Green lhadowed with 
 thicker, and with the Tinfture of Co- 
 cbinele made thin with Water, and 
 (haded with the fame Colour thicker, 
 and thin Bice, and fhadowed with a 
 thicker mixture of the fame, or with 
 Vermillion (haded with Carmine . In 
 general obferve, That the Colour muft 
 be laid in the lighted: part of all Gar¬ 
 ments, very thin and deeper in the 
 Shades, for then the more beautiful it 
 
 wii 
 
106 Cf?e art 0fpainting* 
 
 will appear • the thick of the fame Co¬ 
 lour being the moft natural Shade for 
 moft Colours, except Tellow and Blue, 
 for Blue forneti.mes requires to be fha< 
 ded in the durked Places with a Black, 
 or at lead with thick Indico *, and Tel¬ 
 low requires Red-Lead or Crimfon , and 
 ibmetimes it appears very pleafing when 
 fliaded with Green . 
 
 If you are to paint Clouds, do them 
 fometimes with Tin&ure of Myrrh ^ 
 and in Tome Cafes, with a very thin 
 Crimfon, and for Variety, you may do 
 fome with thin Ivory Black, ground 
 very fine, and tempered up with much 
 Gum-Water. Smoak is bed reprelented 
 with very thin Blue Bice , and if you are 
 to colour any Reprefentation of Sea 
 Waves, do it with Indico . 
 
 If you are to colour any Reprefenta- 
 tions of Land, do the lighted parts over 
 with very thin Yellow that reprefents a 
 Straw Colour, (hading it in fome pla¬ 
 ces with Qrpment; and in others let a 
 light Green be laid, and fhade it with 
 a deeper Green: Rocks mud be done 
 with Tin Sure of Myrrh , or of Soote, 
 and the Trees fome with Copper Green, 
 Lottie with dark Grafs Green, and fome 
 
 with 
 
VL\)t art of pauttmg* * °7 
 
 with thin burnt Umber and Gum-Boge 
 mixt * Houfes may be done with Red- 
 m LejJ , and the Tiles with Vermillion , or 
 with Bice to reprefent Blue Slat, Cattles 
 may be done with Tin&ure of Myrrh in 
 fome parts, in others, with thin Red- 
 Lead, and the Spires and Pinaeles with 
 Blue . 
 
 But when all is faid that can be fa id, 
 the only way to colour Maps well, is 
 by a Pattern done by fome good Work¬ 
 man, of which the Dutch are etteemed 
 the heft* three or four fuch Maps co> 
 loured by a good Artift, is fufficient to 
 guide a Man in the right doing of his 
 Work: But if he cannot obtain this, he 
 may by a few Tryals grow a good Artift 
 in a (hort time *, for this is only attain- 
 ed to by Pra&ice, and if a Man does 
 fpoil half a fcore Maps in order to get 
 the knack of colouring well at laft, 
 there’s no Man that is ingenious will 
 grumble at it, or grudge at the Charge. 
 
 The hardeft thing in this Art is, to 
 know rightly how to make and prepare 
 the Colours which here is taught faith¬ 
 fully : And if your Paper be good and 
 bear the Colours well, without fuffering 
 them to fink into it ? all that are herd 
 
i os cfjc art of pamtftt& 
 
 mentioned will lie fair and pleafant to 
 the Eye, and his the Fairnefs of the Co¬ 
 lours that is moft efleemed in this Art 
 of Map Painting : But if the Paper be 
 not good and lirong, no Art can make 
 the Colours lie well * therefore in buy¬ 
 ing ifk/>r,chufe thofe that are Printed on 
 the ilrongeft or thickeft Paper : For 
 they colour beft, provided the Paper be 
 well fized, and indeed it will be found, 
 when we have taken the great eft Care we 
 can , that Colours will lie fairer, and 
 look more bright and pleafant on fome 
 Paper, than on other forts, tho 3 they 
 feern to be as ftrong. 
 
 F I . A 7 I A 
 
SonJe Books Printed for , and fold by 
 Sam. Crouch at the Corner of Popes- 
 Head-Ally in CornhilL 
 
 FOLIOS . 
 
 R UfhmortV s Cohesions. 
 
 Lord Falkland's Life of Edward 
 
 the lid. 
 
 Cambridge Concordance. 
 
 Dryden's Works in Four Volumes, 
 
 &U A R T 0 E S. 
 
 The Royal Dictionary, french and 
 Englifl. r ? 0 and Eng/ifb and French . By 
 Mr. Boyer, 
 
 The New A-la-Mode Secretary: Or 
 PraClical Pen Man. A New Copy-Book. 
 Wherein the Baftard Italians , common¬ 
 ly called the New A-la-Mode , Round 
 Hands, Mixt Running Hands, and Mixt 
 Secretary’s/ are fo Model’d and Com* 
 pofed, as to difpatch Bufinefs with Fa¬ 
 cility and Neatnefs. Written with much 
 Variety, and performed according to the 
 Nature, Freedom, and Tendency of the 
 Pern 
 
 Youths 
 
Books Printed for S. Crouch* 
 
 Youth’s Introdu&ioft to Trade: An 
 Exercife-Book, chiefly defigned for the 
 life of the Writing School, to Imploy 
 Youth at Night , and other vacant Times, 
 while they learn to Write ; by which 
 the Young Apprentice may be able to 
 apply his Writing and Arithmetick 
 to Bulinefs 5 as, a Merchant, Shop- 
 keeper, or other inferior Trades : Fir£¥ 
 Methodized for the benefit of the Am 
 thofs Scholars : And Publifhed for the 
 life of fuch as Teach Writing and A- 
 rithmetick. The third Edition, Gor- 
 refied, and very much enlarged. Both 
 by John Ayres. 
 
 OCTAVO and TWELVES. 
 
 The Phylical DiS:ionary: Wherein 
 the Terms of Anatomy, the Names and 
 Caufes ofDifeafes, Chyrurgical Inftru* 
 ments, and their life are accurately De- 
 fcrib’d. Alfo the Names and Virtues of 
 Medicinal Plants,Minerals,Stones,Gums, 
 Salts, Earths, &c. And the Method of 
 ehoofiiig the beft Drugs. The Terms of 
 Chymiitry, and the various Forms of 
 Medicines, and the ways of compound¬ 
 ing them. By Stephen Blancard , M. D. 
 Phyfiek Profeffor at Middleburg in Zen¬ 
 fold, The Fourth Edition. With the 
 
 Ad. 
 
Books "Printed for S. Crouch, 
 Addition of many Thoufand Terms of 
 Art, and their Explanation. Alfo a Ca¬ 
 talogue of Characters ufed in Phyfick, 
 both in Latin and Englifh. Engraved 
 in Copper. 
 
 A Rational Practice of Chyrurgery * 
 or,ChyrurgicalOblervations refolved ac¬ 
 cording to the Solid Fundamentals of 
 true Philofophy, By John Muys^ Doc¬ 
 tor of Phfick in Arnhem. In five Decades. 
 
 The Spaniff) Rule of Trade to the 
 Weft Indies: Containing an account 
 of the Cafa de Contratacion , or India - 
 Houfe , its Government, Laws, Ordi¬ 
 nances , Officers , and Jurifdiflion : 
 Of its Inferiour Courts: Of the re¬ 
 ceiving and fending out Armada* s and 
 lotas : What thefe are : Of the Duties 
 paid to the King : Who may go over to 
 the Indies , and who not: Of the Corpo¬ 
 ration of Sailers .* Of Building of Ships: 
 Of the Pons in the Indies: and many 
 more Curious Obfervations of this Na¬ 
 ture. Written in Spamfh by D. Jofeph 
 de Veitia Linage, Knight, Treafurer and 
 Commiffioner of the India Houfe. Made 
 Englifh. To which are added,Two Com- 
 pleat Lifts : One of the Goods Tranfport- 
 ed out of Europe to the Spanifb Weft*In¬ 
 dies $ 
 
Books Printed for S. Crouch. 
 dies ; the other of Commodities brought 
 from thofe Parts into Europe . 
 
 Grammatical AnglioEufitanica : Or a 
 fhort and Compendious Syflem of an 
 Englifh and PortuguOze Grammar. Con¬ 
 taining all the moft lifeful and Neceffa- 
 ry Rules of the Syntax^ afid Conftruftion 
 of the -Portuguese- Tongue. Together 
 with fome uiefui Dialogues and Collo¬ 
 quies, agreeable to common-Conven¬ 
 tion. With a Vocabulary of Ufeful Words 
 in j Englifh and Portuguese. Defigned for, 
 and fitted to alTCapaciries, and rnoree- 
 fpecialiy fuch whole Chance orBufinels 
 may lead them into any part of the 
 World, where that Language is ufed or 
 efteemed. By A. J. 
 
 Boyers Di ft ion a ry, french and Eng¬ 
 lifh, and Englifh and french , Abridg’d. 
 
 Advice to the Readers of the Com¬ 
 mon Prayer-Book, and the People at¬ 
 tending the fame. With a Preface of 
 Divine Worfhip in General. By T.Sey - 
 mor y lay man. The Third -Edition, 
 Correfted. 
 
 Ayres's A ft [unstick made eafy for 
 the ufe of Traddmen, with the Art of- 
 meafuring. The feventh Edition. 
 
 The Englifh; Tutor^ or a plain way to 
 the Englifh Tongue, The fifth Edition, 
 

 
 
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 4