J . ^aadmajL 
 
 THE GETTY CENTER LIBRARY 
 
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Y PRACTICAL J NSTR^UCTIONS 
 
 IN 
 
 MMk^ h ?Al ^Tn\Q> 
 
 GLASS. 
 
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 S am 
 
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 ETO. 
 
 TO WHICH IS ADDED 
 
 FULL INSTRUCTIONS FOR THE MANUFACTURE OF THE 
 VITREOUS PIGMENTS REQUIRED, 
 
 WITH 
 
 JpEweloe ^§>ag$s of ^lustrations, 
 
 BY 
 
 HENRY JAMES SNELL, 
 
 For many years one of the principal Analytical Painters 
 in the Profession. 
 
 LONDON : 
 
 ^RODIE 8 j ^VS. I DDL ETON , 79, J^ONG y^CpE ; 
 
 jSlMPKIN, yVL AI^SHALL, pO., 
 
 Stationers’ Hall Court. 
 
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 S5o<t 
 

 THE j. PAUL GETTY CENTfcf- 
 
 LIBRARY 
 
CONTENTS 
 
 Preface * . . 
 Introduction . . . 
 
 CHAPTER I. 
 
 Of the different systems of Glass Painting, and the 
 system most suitable for the production of windows 
 for domestic purposes... 
 
 CHAPTER II. 
 
 On the Painting of Stained Glass 
 
 CHAPTER III. 
 
 On the Staining of Painted Glass, with instructions for 
 the making of Stain and applying it ... 
 
 CHAPTER IY. 
 
 On Diapers, Heraldry, &c. ... 
 
 CHAPTER Y. 
 
 On the Firing of Painted Glass ... 
 
 CHAPTER YI. 
 
 General remarks and requisites necessary for Painting 
 on Glass ... ,,, **• 
 
 PAGB 
 
 5 
 
 7 
 
 12 
 
 28 
 
 35 
 
 43 
 
 50 
 
 54 
 
4 
 
 CONTENTS. 
 
 PAGE 
 
 CHINA AND TILE PAINTING 65 
 
 Various kinds of Porcelain ... ... ... 70 
 
 Method of making the Glaze ... ... ... 70 
 
 Temperature in Firing ... ... ... 72 
 
 Vitrescible Pigments ... ... ... ... 76 
 
 Euamels, making of ... ... ... ... 76 
 
 Table of Colours in their order for Firing... ... 85 
 
 Gilding on China ... ... ... ... 86 
 
 Fluxes ... ... ... ... ... ... 87 
 
 General Remarks ... ... ... ... 91 
 
 Requisites required ... ... ... ... 94 
 
 % 
 
 \ 
 
 
PREFACE. 
 
 l|Jjr l ANY works have from time to time been written upon 
 — ™ this ancient and interesting Art, but, unfortunately, 
 in most instances they have failed in the intention of the 
 authors. Nor is this result to be wondered at, when we 
 remember, that they have been produced either by amateurs, 
 possessing but a theoretical smattering of the subject,* or by 
 compilers, who have obtained their knowledge from encyclo- 
 pedias of a past date — which have in turn procured their 
 information from, at times, very questionable authority. 
 Certain it is, that there are very few works upon the subject 
 which will bear reading by the Glass Painter of the present 
 day : and even those few are found so burdened with enunci- 
 ations of opinions, and unnecessary antiquated recipes, as to 
 be totally useless for any practical purpose. It is evident, 
 therefore, that to place any of these works before the tyro 
 desirous of obtaining any intimate knowledge of the profes- 
 sion, would have no effect, beyond that either of misleading 
 him, or of causing him to waste time which he could more 
 profitably employ. 
 
 The object of the Publishers of this work being to popu- 
 larise and extend this branch of decorative art ; they have 
 considered it advisable to obtain the assistance of one, who 
 for many years has been professionally engaged in the exe- 
 cution of every description of Enamelling upon Glass, Tiles, 
 and China, and whose information may therefore be relied 
 on as being the result of actual experience* 
 
 * From this rather sweeping condemnation we must except Mr. Winston, 
 who, although an amateur, was without doubt well acquainted with the 
 subject on which he wrote, and who has left behind him a collection of 
 tracings of did glass extrenlely Valuable ioti Reference and comparison. 
 
r act ical Instructions 
 
 IN 
 
 ENAMEL PAINTING 
 
 ON 
 
 Ulass, China, Tiles, &c., 
 
 INTRODUCTION. 
 
 1HOR the amateur to hope to attain any degree of pro- 
 =1 ficiency in this beautiful art, it is necessary he should 
 possess a knowledge of drawing, and some idea of the har- 
 mony of colour. With these essentials, and a certain 
 amount of mechanical practice, there is no reason why the 
 amateur should not, as in some instances in fact he really 
 does, equal the professional. 
 
 It is an absolute fact that several members of the aristoc- 
 racy, and others occupying the highest positions in society, 
 are proficient and indefatigable students of the art : and 
 that many of those beautiful windows which adorn the supe- 
 rior class of dwelling houses, and several of those to be seen 
 in our various ecclesiastical buildings, have been executed 
 by them • and bear witness not only to the excellent taste, 
 but also to the artist's manipulative skill. 
 
 For the purpose of church decoration, stained glass is 
 unrivalled : no other art can compare with it for effect. 
 There is a charm about it which excites the admiration of 
 even the most uneducated mind ; mid the richness of its 
 
INTRODUCTION. 
 
 colouring and its wonderful and magnificent splendour, will 
 ever cause it to be patronised by the lover of the beautiful ; 
 and prevent it, however much the taste may vary, from 
 becoming utterly eliminated from the list of distinguished 
 arts. 
 
 When we consider the centuries that have elapsed since 
 the birth of the art* and its first application and dedication 
 to religious purposes, from a time so remote that the most 
 primitive appliances were in requisition for its prosecution, 
 down to the present time when thousands are constantly 
 engaged in the various branches of its manufacture ; we are 
 led to the conclusion that it is something more than a mere 
 affected taste that has raised it to its present high position. 
 At the present moment stained glass is universally in request, 
 and the demand for it, even in India and the Colonies, is a 
 sure sign of its enduring and lasting prosperity. 
 
 In America, a country that, in 1812 , could not throughout 
 its whole extent manufacture any glass save the very com- 
 monest description of bottle glass, and that only in very 
 limited quantities, there are factories innumerable, and 
 glass painters’ studios out of number. 
 
 Who can look at the wonderful blaze of colour in a window 
 of the twelfth century, without becoming impressed with a 
 sense of its splendour and dazzling effect ; or at the marvel- 
 lous taste and talent displayed in glass paintiug of the six- 
 teenth century h A love for the art was then predominant, 
 and that which was soon to descend to the position of a 
 trade occupied its proper and rightful place. Happily, in 
 the present day, it is regaining, and, in fact, has regained its 
 proper position ; and there have never been finer or more 
 
 * To give some idea of the great antiquity of the art of colouring glass, 
 I may state that there are beads in the British Museum, adorning the 
 bodies of mummies known to have been embalmed more than three thou- 
 sand years ago. 
 
INTRODUCTIONS. 
 
 9 
 
 magnificent windows, revealing a purer taste, than those 
 executed by the artists of the present day. Nor is it in the 
 composition and drawing alone of our windows, that the 
 moderns excel. Chemistry, for ages the handmaid of glass 
 painting, has within the present century made wonderful 
 strides ; and the colours manufactured in the present day 
 have never been surpassed even in the palmiest days of the. 
 art. 
 
 And in another way also have the moderns made great 
 progress in glass painting. They have made it more gene- 
 rally useful, and have extended its use to a degree never 
 contemplated by their predecessors. In the past stages of 
 the art, stained glass was used simply as an ornamental 
 means of retarding light ; and for obtaining that sombre 
 effect so suitable to meditative and devotional purposes. 
 In the present day we have applied it to memorial purposes ; 
 for which it is far better fitted than the unsightly stone 
 monuments found in our cemeteries, inasmuch as it is deco- 
 rative, useful, and lasting. A window erected to the memory 
 of some deceased friend, is imperishable ; and for a thousand 
 years will convey, without the outlay of a shilling more than 
 the first cost, the record of his virtues. Can this be said of 
 stone 1 How many decayed and mouldering monuments 
 are there in our churchyards where the inscriptions have 
 long since disappeared, which now remain merely useless 
 encumbrances, and monuments of bad taste ! 
 
 Another word as to the utility of painted glass, and the 
 extension of its application to private dwellings. Its utility 
 here may not at first sight be so easily perceived, therefore, 
 it may not be out of place to give a few examples by way of 
 explanation. It frequently occurs, especially in towns so 
 densely crowded as to necessitate the erection of buildings 
 close to each other, that the view from the windows over- 
 
10 
 
 INTRODUCTION. 
 
 looking the rear is anything but a pleasing one ; opening, as 
 it may, upon domestic offices, stables, or merely brick walls. 
 Here the value of painted glass is very apparent; blocking 
 out an unpleasant view, and substituting without in any 
 way (if the window is properly executed) retarding the light, 
 an harmonious arrangement of colour. 
 
 Another example. Nothing is more annoying to a person 
 accustomed to polite society, than to find his domestic pri- 
 vacy invaded, by even the unconscious eye of a neighbour. 
 Stained glass affords here a ready means of preventing such 
 overlooking; and there are many other advantages also 
 attending its use. By its means, the cold northerly aspect 
 of a room can be entirely changed, and the glaring effect of 
 a south aspect considerably toned and modified. It can be 
 made to act a subordinate part, in relation to other decora- 
 tion ; and i3 then well suited for drawing rooms and other 
 apartments richly furnished : or it can be coloured, and 
 executed in such a manner, as to flood a staircase with the 
 most magnificent prismatic hues. 
 
 Painted glass is suitable, and is eminently apjflicable, not 
 only to drawing rooms and staircases, but also to libraries, 
 dining rooms, conservatories, and fanlights ; and even, in a 
 simple form, to the windows of sleeping apartments. To me 
 it has always been a matter of surprise, that fanlights, form- 
 ing as they do the most prominent part of the entrances to 
 our dwelling houses, should be allowed to remain, as many 
 of them are, a disgrace to the inhabitants. As a rule, they 
 are, without doubt, totally unworthy of the mansions they 
 are intended to adorn. Here again stained glass can be 
 utilised to a very great extent ; either by the introduction 
 of armorial bearings, or of subjects equally suitable. 
 
 For library and drawing room windows, painted glass is 
 best arranged in the form of blinds, somewhat similar to the 
 
INTRODUCTION. 1 1 
 
 wire blinds with which we are so familiar. Constructed 
 upon this principle, there is no absolute necessity for the 
 removal of existing panes ; and as they can be as easily 
 moved as a wire blind, they afford every facility for cleaning. 
 And it is a great mistake to suppose there is any external 
 unsightliness ; for, by the simple process of gilding the leads 
 with which the pieces cf glass are attached to each other, the 
 great drawback, which I admit at one time tended to prevent 
 the introduction of painted glass into dwelling houses, has 
 entirely disappeared. 
 
 I think sufficient has been stated to show the utility of 
 painted glass ; and as the beauty of it requires no dilating 
 upon, I think I cannot do better than at once proceed to 
 give such instructions as will enable the amateur to enrol 
 himself in the list of successful students. 
 
 In concluding this introduction, I will ask the reader to 
 bear in mind the golden axiom, “ learn to crawl before you 
 try to walk,” and not to be disheartened if he finds the early 
 stages of glass painting somewhat difficult to master. This, 
 however, I can confidently say, that a proper study of the 
 following pages, combined with a fair amount of natural 
 talent and perseverance, will enable any person to acquire 
 proficiency sufficient for any ordinary purpose. Should, how* 
 ever, it be considered desirable in the execution of any very 
 important work to obtain professional assistance, no doubt 
 the publishers would be willing to recommend some gentle* 
 man competent for the task. 
 
CHAPTER I. 
 
 Of the different systems of Glass Painting, and the system 
 most suitable for the production of windows for domestic 
 purposes, 
 
 PpjHERE are three distinct systems of glass painting ; viz., 
 ==■ the “ Mosaic/’ method, the “ Enamel ” method, and a 
 combination of the two, which we may term the “ Mosaic 
 Enamel” method. 
 
 The first the “ Mosaic,” was that practised from the 
 earliest possible times, down to about the middle of the 
 sixteenth century. Glass paintings executed by this system, 
 are composed of several pieces of various colored glasses, 
 arranged somewhat like a mosaic ; hence its name : the pieces 
 of glass being cut to correspond with such parts of the 
 design, as are similarly coloured. Subordinate outlines and 
 shadows, are then painted on in a black or brown opaque 
 vitreous pigment, which is afterwards fused or melted into 
 the glass, by means of heat in a kiln. This pigment is made 
 either from copper, or iron : the former producing a greenish 
 black colour, the latter a reddish brown. Any gradation 
 of tint can be obtained with these pigments ; from grey, or 
 brown, to an absolute blackness, by simply increasing the 
 thickness of the coat of paint. 
 
 The various earths can also be utilised in the manufacture 
 of vitreous colour ; and a very good — useful pigment for 
 painting purposes, is made from umber. 
 
 No colour however is of use for the purpose of glass 
 painting, until it has received a certain proportion of flux, 
 Varying according to the hardness of the preparation to be 
 employed as a base. This flux is a vitreous compound, pos- 
 
• qru.tigf’ moqu’.^ .toj 
 
^.ui)U0 
 
 
- 
 
 - 
 
OF THE DIFFERENT SYSTEMS OF GLASS PAINTING. 17 
 
 sessing the property of melting at a lower temperature, than 
 either the mineral employed as a pigment, or the glass upon 
 which it is to be painted : and its use, enables the colour 
 after undergoing the process of firing, to adhere to the glass 
 in such a manner, that it is impossible without the applica- 
 tion of certain acids, to remove it. 
 
 After being fired, the pieces of glass are joined together 
 by means of grooved leads, which usually form the main out- 
 lines of the design. This style of painting, notwithstanding 
 its simplicity, is susceptible of the most beautiful effect : and 
 most of the fine windows which claim our admiration for 
 their magnificent arrangement of colour, are executed 
 according to this system. 
 
 The second method practised by the glass painter, is the 
 “Enamel” method, and is very expensive to execute, on 
 account of its technical difficulties. It will perhaps be as 
 well to give here, some slight account of the process of 
 colouring glass. There are four methods in use. First, 
 staining ; which is only practicable in the case of the various 
 shades of yellow. Secondly, by the use of pot-metal ; that 
 is a glass to which the colouring matter has been added, 
 whilst in the metal pot. Thirdly, by the use of flashed 
 glass ; that is a glass which being originally white, has had 
 in the course of manufacture, a thin sheet of coloured glass 
 melted on it : and Fourthly, glass which is coloured by the 
 process of applying enamels ; which are fusible fluxed colours, 
 that are applied to the surface of white glass, somewhat upon 
 the principal of oil painting. 
 
 This mode of colouring glass, is the system termed the 
 “Enamel” method: and its principal difficulty lies in the 
 application of the colour ; and in the necessity of the glass 
 upon which it is painted, requiring repeated firings : a pro- 
 cess which tends to inj ure it, and frequently causes it to fly 
 
18 OP THE DIFFERENT SYSTEMS OF GLASS PAINTING. 
 
 in pieces. In fact it is impossible to exaggerate the risk 
 attending the firing of glass painted by this method ; for be- 
 sides the possibility of there being imperceptible flaws, or 
 impurities in the glass ; there is a liability of its being spoilt 
 from sulphuring,* or from over-heating. Moreover there it 
 a great difficulty in laying on certain enamels, and as the 
 expansibility of the pigments, must in every case, be the 
 same as that of the glass to which it is applied ; it is patent 
 that the difficulties are very great. 
 
 We now ccme to the third and last system of painting, 
 practised by the glass painter. This is the “ Mosaic Enamel ” 
 method ; and is, as its names implies, a combination of the 
 two methods already described. It is undoubtedly not only 
 the best method, and the most suitable for the amateur to 
 undertake, but is by far the best for the purposes of 
 domestic decoration. By this system of painting, every 
 description of white and coloured glass can be used, as well 
 as every variety of enamel and stain. 
 
 Having given this preliminary account of the various 
 methods of painting on giass, it will be as well if we proceed 
 with the instructions. 
 
 The first step in the execution of a Stained Glass Painting, 
 is the preparation of a full sized design or cartoon, upon 
 which is marked the shapes of the various pieces of glass, 
 with the patterns which are to be painted upon them. These 
 are to be clearly and legibly drawn, as by doing so it will 
 considerably facilitate the progress of the work in its future 
 stages. A piece of ordinary thin glazed calico is then laid 
 upon the cartoon, and a skeleton tracing made, showing only 
 the outline of each separate piece of glass. This is techni- 
 
 * The sulphurous gases arising from the fuel are very deleterious ; and 
 sometimes, in spite of the greatest care, they succeed in getting into the 
 kiln, where they act in a very arbitrary manner. When this occurs, the. 
 glass is termed “ sulphured.” 
 
•H’tJ* Snell- 
 
 SUuivrifg ^tinning J attorn 
 

■Batten? tt 
 
 * L l . 
 
 J?.JTS*ve7t. 
 

 
 
 S* ' 
 
 
 
OF THE DIFFERENT SYSTEMS OF GLASS PAINTING. 25 
 
 cally called a “ cutting drawing,” and is intended for the 
 purpose of cutting from and for glazing on. This separate 
 drawing is not absolutely necessary, as the .cartoon itself 
 could be used for the purpose, but as the design is sometimes 
 of considerable value, and may be required at some future 
 period ; it is advisable not to expose it to the risk of unneces- 
 sary damage. The cut line may also be found very useful for 
 laying the pieces of glass on while painting. 
 
 In making both the drawing and cutline, it must be 
 borne in mind that the shapes of the pieces of glass must in 
 every instance be as simple as possible, shapes such as these 
 
 should be avoided, as they are most difficult to cut, and 
 when cut, are very liable to break. For the better under- 
 standing of this part of the subject, my readers cannot do 
 better than refer to the illustrations on pages 13 and 14 where 
 we have on the one a stained glass window- blind, suitable 
 for a dining room or library : and on the other, the cutting 
 drawing for the same window. 
 
 The next step after making this drawing is to get the glass 
 cut. This operation is a purely mechanical one, but requires 
 a considerable amount of practice and skill : and consists in 
 laying a piece of glass of the colour required upon the cut 
 line, and cutting it exactly to the shape by means of a 
 diamond. Should the glass be found to be too dark for the 
 shape to be seen through ; it can be breathed on, and a little 
 fine whiting dusted on it from a pounce bag : * and then 
 by placing it beneath the drawing, and following the lines 
 
 * A “pounce bag” is a small piece of linen or fine muslin tightly tied 
 containing some fine dry whiting. 
 
26 OF THE DIFFERENT SYSTEMS OF GLASS PAINTING. 
 
 with a pointed stick ; the shape will be found marked on the 
 glass, and can be easily cut. 
 
 The diamond which is used for cutting, is the bark, or 
 outer coating of the natural stone. The spark, as the diamond 
 itself is called, should possess an edge perfectly convex, and 
 should be one whose edge or cutting point has not been pro- 
 duced by the art of the lapaiary. 
 
 It has long been known that the power of the diamond to 
 cut glass is owing to its hardness ; but it has but lately been 
 discovered, and that only after elaborate experiments, that 
 its cutting value depends entirely upon its power of depress- 
 ing that portion of glass immediately beneath it. It acts by 
 the displacement of particles : which particles, when dis- 
 placed, can be found on each side of what is termed the cut. 
 It is by a thorough understanding of this principle, that it 
 has been found possible to rule with a diamond as many as 
 four thousand cleanly cut lines on one square inch of smooth 
 glass. 
 
 Although the ability of the diamond to scratch glass, seems 
 to have been known as early as the sixteenth century ; (if 
 we are to credit the stories of Francis I. and Queen 
 Elizabeth writing on glass with their rings,) it does not seem 
 to have been used for the purpose of cutting until the be- 
 ginning of the seventeenth : before which time the practice 
 described by Theophilus seems to have prevailed with but 
 little variation. 
 
 The shape to be cut, after it had been traced on the glass 
 by means of white paint, was first roughly wrought out by 
 means of a hot iron, which caused it to crack ; and was then 
 reduced to the exact shape required with a grozing iron : and 
 the accuracy of even the most difficult shapes, reflect the 
 highest credit on the skill of the medieval workman ; who 
 with his rude and primitive appliances, was in some respects, 
 
OF THE DIFFERENT SYSTEMS OF GLASS PAINTING. 27 
 
 quite equal to the workman of the present day. There is 
 one respect however, in which the cutters and glaziers of the 
 present day vastly excel their predecessors, and that is, in 
 their rapidity. 
 
 Although I have given a few instructions on the subject 
 of cutting, yet I should strongly advise my readers to trans- 
 fer this branch of the business to the regular workman, whose 
 services no doubt can easily be obtained through the kind 
 offices of the publishers of this work : and I the more advise 
 this, as irrespective of the great waste of glass involved 
 in the practice necessary ; the time can be more profitably 
 occupied in that branch of the art, to which I would in 
 the next chapter direct your attention. 
 
CHAPTER II. 
 
 On the Painting of Stained Glass. 
 
 WjPAVING laid out the pieces of glass which are to be 
 ==• painted upon the cutting drawing, they should be well 
 cleaned to remove all greasiness. After this preliminary, 
 the next operation is to trace the outlines of the patterns 
 drawn upon the cartoon, on the upper or cut side of the 
 glass, and this may be done either in water colour or in oil. 
 The greatest difficulty in glass painting arises from the ten- 
 dency of the pigment to wash up, in consequence of there 
 not being on the surface of glass, what practical painters call 
 “key,” and a second stroke of the brush frequently takes off 
 that which the first has deposited. To obviate this difficulty, 
 some foreign artists paint only on glass whose smooth surface 
 has been removed by rubbing with sandstone or emery, 
 ground glass in fact, but this spoils the effect completely ; 
 for the brilliancy being utterly destroyed, the painting is no 
 better than those peper imitations of stained glass, sold 
 under the name of Diaphanie. 
 
 A far better method of overcoming the difficulty is to mat 
 the glass with colour. To do this, take a little painting 
 colour and grind it on the slab with the glass muller, and, 
 after mixing a few drops of solution of gum with it, lay a 
 slight wash on the surface of the glass with a flat camel-hair 
 brush ; and render it even by drawing a tool, termed a 
 badger, across it in various directions until it is of uniform 
 smoothness. It must be particularly borne in mind that 
 the gum must not be in too great a quantity, as then there 
 would be a difficulty in removing such portions of the mat 
 as might require it. 
 
ON THE PAINTING OP STAINED GLASS. 29 
 
 The piece of glass is now laid upon the drawing, and the 
 pattern put on it with the tracing colour by means of a small 
 brush, termed a tracing pencil. 
 
 During the Operation of tracing, it is usual to employ the 
 assistance of a rest. This is made of, wood, and is about 
 two feet in length, two inches in breadth, and is raised to 
 the height of about two inches, by blocks of wood placed at 
 each end. It is intended for the purpose of giving freedom 
 to the hand. 
 
 To trace in water proceed as follows : — 
 
 Having procured a ground glass muller and slab, and a 
 glass of clean water, take a little of the pigment used as 
 tracing colour, (it is immaterial whether it is brown or black,) 
 and w T ith water grind it to a smooth paste ; and then, with 
 the addition of either sugar, a few drops of a solution of 
 gum arabic, or a little treacle, the colour is ready for use. 
 In the case of mixing colour for oil tracing, it must be 
 ground up in turpentine, and a thick viscid fluid, known by 
 the name of “fat turpentine,” substituted for the sugar, 
 treacle, or gum. Fat turpentine can be made by pouring 
 ordinary spirit of turpentine into a shallow dish, and allow- 
 ing it to stand until it is of the consistence of honey. It 
 will be found advisable to tie a piece of muslin or flannel 
 over the vessel containing it, to keep the contents clean and 
 free from dust. The object of these ingredients is to facili- 
 tate the laying on of the colour, and to cause it to adhere 
 more closely to the glass. 
 
 It would be most excellent practice for the student to 
 undertake the execution of a window such as is illustrated 
 on page 14. The glass could be procured ready cut, and, 
 together with all the materials necessary, would not involve 
 a very large outlay. On pages 19, 21, and 23 will be found 
 several full-sized patterns of quarries and borders, and, on 
 
30 
 
 ON THE PAINTING OF STAINED GLASS. 
 
 application to the publishers, other designs with all the 
 drawings of detail necessary can be obtained. 
 
 In some domestic work the ornamentation of the glass 
 goes no farther than the tracing, with the exception of certain 
 portions of the patterns on the white being stained with 
 yellow ; but as there are other means employed, beside this, 
 to give a richness of effect and body to the work, I shall 
 describe them. 
 
 If the glass has not been matted previous to tracing, and 
 has been traced in water, it is necessary that it should be 
 fired in a kiln in order to “ tack ” it, or, in other words, to 
 attach the colour by means of heat to the surface of the 
 glass. This burning need not be very great, the only object 
 being to enable the colour to withstand the action of both 
 water and oil, and to prevent the tracing from rubbing up 
 in subsequent operations. If, however, the tracing has been 
 executed in water colour on a mat, this preliminary firing is 
 unnecessary. Should, however, it have passed through the 
 kiln, carefully wipe it, and lay an even water mat as before 
 described, and then proceed to take out the lights. 
 
 The process is as follows : — 
 
 Procure some flat French tools or hog-hair brushes, and 
 burn their working ends down to about half their length. 
 This is done by placing the bristles or hair sideways on a 
 bar of red-hot iron, and afterward rubbing them on emery 
 paper. According to the stiffness of these “scrubs" as they 
 are termed, and the quantity of gum in the mat out of 
 which the lights are to be taken, so are they more or less 
 easily taken out. It is usual for the glass painter to have 
 several of these scrubs — of different sizes and lengths of 
 hair — suitable for various widths of lights, and various thick- 
 nesses of mat ; and it should be understood that the quantity 
 of gum in the colour to be used for a light mat must not 
 
ON THE PAINTING OF STAINED GLASS. 31 
 
 be near so great as that intended to be used for a dark one. 
 These brushes, when drawn across the surface of the mat, 
 remove a portion, varying according to the pressure put upon 
 the scrub ; and a great deal depends upon the manner in 
 which the pressure has been directed and regulated, as to 
 whether the result is merely an unmeaning “ wdpe ” or the 
 effect intended. 
 
 Should there be any error in the taking out of the lights, 
 it is better to wipe off the mat and to commence afresh, 
 than to allow any portion to remain that is incorrect. 
 Avoid all unnecessary scratches and wandering brush marks ; 
 they show a want of decision, that inevitably causes the 
 work to betray itself as the effort of a beginner. 
 
 I would strongly advise my readers to make themselves 
 thorough masters of this branch of painting; as there is 
 more art knowledge and manipulative skill required in this 
 apparently simple process than might be supposed. Excel- 
 lent effects can also be obtained with styles of fine-grained 
 wood, pointed in front and smooth on the back, and which 
 are sold under the name of etching tools. 
 
 There is another method of putting the mat upon glass, 
 which, when executed in a proper manner, is very effective — - 
 especially in large work, where there are considerable masses 
 of shade. It is termed “stippling,” and is managed by lay- 
 ing a watery mat upon the glass, and rapidly dabbing it 
 whilst in a wet condition with the end of a brush made ex- 
 pressly for the purpose. It gives a peculiar granular effect 
 to the mat, and is much to be preferred to the flat mat for 
 intense shadows. It is, however, rather difficult to manage 
 properly, and, in unpractised hands, is apt to produce a 
 peppery appearance. 
 
 The operations which I have hitherto described are exe- 
 cuted on the pieces of glass in their separate state ; but in 
 
32 
 
 ON THE PAINTING OP STAINED GLASS. 
 
 large work it is usual to “stick up the work,” as it is 
 called, before taking out the lights or commencing to paint. 
 
 This is managed in the following manner : — 
 
 A piece of rolled or plate glass, sufficiently large to take 
 in the subject or portion of the window to be painted, is 
 laid upon the cutting drawing, and the pieces of glass in 
 their proper positions placed upon it. Bees’ wax, with or 
 without the addition of a little rosin and pitch, is then 
 melted, by heat, in a pipkin, and dropped from the point of 
 a knife at the corners of each piece of glass. This causes 
 them to adhere so strongly to the large sheet, that the whole 
 of the work can be raised without any difficulty or risk. In 
 this condition it is placed upon an easel ; when the general 
 effect may be studied, injudicious colouring altered, and 
 pieces that are found to be too dark removed to make way 
 for pieces that are lighter. The easel that is used differs but 
 little from the ordinary easel, beyond that it has a piece of tis- 
 sue paper or thin glazed calico pasted on the back of it, to soften 
 the effect of light. The work is now ready for the next stage 
 of the process of painting, which is called painting in tar. 
 
 Having provided yourself with a little pure spirit of tar 
 in a glass, grind your painting colour with it — but be careful 
 not to make it too thin — and then add the least possible 
 portion of fat turpentine or fat tar. The object of this is to 
 keep the colour open, and prevent it drying too rapidly. 
 
 You now take a flat camel-hair brush, similar to the one 
 Used for laying on water mats, but in this case termed a 
 wetter, and, dipping it lightly in {he tar, apply it to the 
 surface of the glass it is intended to paint ; not using the 
 brush too full, as the tar is apt to run on the back of the 
 glass, and makes the colour very difficult to manipulate; 
 and it should be evenly applied, or the painting will have a 
 very disagreeable appearance. 
 
ON THE PAINTING OF STAINED GLASS. 33 
 
 This done, you must next, with either a camel or sable- 
 hair pencil of a suitable size, paint the intense shades and 
 half-tones that are represented on your drawing. 
 
 By all means let your every touch be decisive ; in other 
 words, do not put your colour on the glass until you have 
 decided o^i its proper position ; and, by thoroughly entering 
 into the spirit of the subject, your work will, when finished, 
 convey that feeling and expression which is the very life and 
 soul of art. This feeling I want my readers to acquire. 
 It is the transmission of an indefinite and indefinable sense 
 to an inanimate body ; and, although it is genius alone that 
 possesses it as a natural birthright, it can be, by perseverance 
 and close study, acquired by those of ordinary capacities. 
 
 It must be understood that, during the execution of that 
 part of the work of which we have just been treating, it is 
 imperative that there should be an entire freedom from dust, 
 that the colour should be well ground, and that the spirit 
 of tar, used for the purpose of grinding the colour, should be 
 kept clean. Should the colour by any accident get dirty, 
 or show any signs of seediness, it is much better at once to 
 throw it away and mix fresh; as with dirty colour, it is 
 impossible to paint with any degree of satisfaction. 
 
 After the work is painted, it must be allowed to stand a 
 few T hours until it is partly dry, when a few high lights may 
 be taken out with the etching tool before mentioned ; after 
 which, having become thoroughly dry, it may be taken down 
 from the easel, the wax removed from the edges, and the 
 work itself placed in trays, either to be stained or fired. 
 
 Should any portion of the work require a coat of enamel^ 
 such as the flesh of the figures, or parts of the draperies, — 
 take a portion of finely-ground enamel of the colour required, 
 and apply it to the reverse side of the glass. It will, 
 however, be as well to fix the painting colour by firing 
 
34 ON THE PAINTING OP STAINED GLASS. 
 
 before doing this, as both the painting pigment and the 
 enamels flux better when fired colour-side up. 
 
 I shall further on, give my readers the full particulars of 
 the mode of making these enamels ; but as the manufacturing 
 of them requires on the part of the maker, many years of 
 experience, and considerable chemical knowledge ; and as 
 moreover they require for their proper grinding and mixing, 
 heavy and expensive machinery ; I recommend the amateur 
 to purchase them ready made and mixed for use. 
 
 It will be as well perhaps to state here, that arrangements 
 have been made with the author of this work, by which the 
 publishers are enabled to offer lessons in every branch of 
 the art at a reasonable charge. They are also prepared 
 to undertake the execution of every description of painted 
 glass, both for church and domestic purposes; and will be 
 glad to submit designs for approval. Assistance can also 
 be given in the furthering or carrying out of clients own 
 designs ; and the publishers place themselves unreservedly 
 at the service of those desirous of acquiring the art. 
 
CHAPTER III. 
 
 On the Staining of Painted Glass ; with instructions for the 
 making of Stain, and applying it. 
 
 S LASS staining differs from enamelling in this, that 
 whereas enamels contain a certain proportion of fusible 
 glass, and adhere only to the surface upon which they are 
 painted ; stain requires no flux of any description ; but con- 
 tains within itself, the power of penetrating and colouring 
 the glass to a certain depth with ’various fixed shades. 
 
 The colouring matter of stain, is either the chloride or 
 the sulphuret of silver; and although there are nearly a 
 dozen different kinds of stain, they all, as a base, have one 
 or the other of these expensive compounds. Yet although 
 silver itself contains the elements of a stain, it must not be 
 imagined that every glass is susceptible of taking it alike. 
 Some kinds of glass there are which it is impossible to stain ; 
 whilst others can be scarcely breathed on with the silver, 
 without, on being fired, striking an intense orange. 
 
 Nor does the difference in the glasses end here. In some 
 the stain will penetrate to a considerable depth, whilst in 
 others, it will merely lie upon the surface in somewhat the 
 same manner as an enamel. The difference is caused by the 
 variations of the proportions of the alkalies in the glass. It 
 is always advisable for the amateur, as well as the profes- 
 sional, before commencing to stain his work, to make a 
 proof : this is, to put a little stain on a piece of the same 
 description of glass which he intends to use, and then 
 fire it, by which means he will be enabled to judge of the 
 effect. 
 
 A great deal of sensational secrecy has been observed by 
 
36 
 
 ON THE STAINING OP PAINTED GLASS. 
 
 some artists professing to have discovered the method of 
 making red stain, but in reality there is no secret in it. 
 Glass containing no excess of uncombined akali, and in which 
 a small quantity of chloride of silver has been mixed in the 
 process of manufacture, yields a fine red when stained in the 
 ordinary manner. Or if we direct a stream of Hydrogen gas 
 on glass which has been thus manufactured whilst it is of a 
 red heat, it will immediately turn red. 
 
 The time was, when even the practical man was satisfied 
 by knowing how to apply the various materials necessary to 
 his business ; but in the present day, when the demand for 
 technical knowledge is so prominently to the fore, even the 
 amateur is not satisfied, unless he is made fully acquainted 
 with the ivhy and wherefore. I will therefore explain in as 
 few T words as I can, the chemical action of the preparation 
 of silver that yields so beautiful a stain. 
 
 The chloride of silver being volatilized by the intense heat 
 of the kiln ; the glass is saturated by the vapour, and a por- 
 tion of the potash contained in the glass being liberated, the 
 silver is reduced to its original metallic state ; a chloride of 
 the alkali is produced, and the metallic silver is fixed upon 
 the glass. 
 
 Volatilization of the potash in glass, deprives it of its 
 glaze and according to the ease with which this volatilization 
 occurs, so is the glass capable of receiving the stain, 
 
 We now give the formula for making the stains mostly in 
 use ; namely the float stain, and the brush yellow. We will 
 commence with the float stain, which is usually made from 
 the sulphuret of silver. 
 
 Take olie ounce of silver, and twice its weight of raw 
 antimony, and melt in a crucible. Stir the mass, and plunge 
 it into water, after which pulverize it in an iron mbttar, and 
 grind it on a slab to an impalpable paste. 
 
ON THE STAINING OF PAINTED GLASS. 37 
 
 Then take a quantity of yellow ochre, and having heated 
 it to redness, well wash it in water. Now by adding from 
 four to seven parts of the ochre, to one part of the sulphuret 
 of silver and antimony, and grinding them together, and 
 floating them on the surface of the glass to the thickness of 
 a shilling, a peculiar rich stain, similar to that used by the 
 ancients is obtained. 
 
 According to the proportions of the parts— the nature of 
 the glass — and the thickness that the stain is floated on so 
 is the resultant tint. 
 
 It is not generally known what purpose the ferruginous* 
 clay, or yellow ochre, serves in producing this stain. Many 
 painters who are constantly using it, imagine that it is solely 
 for the purpose of separating and dividing the particles of 
 silver, and conveying them in a more minute form to the 
 glass. To a certain extent this is correct, but the true reason 
 of its employment is this, — yellow ochre possesses the 
 property in company with other clays, of assisting the glass 
 to part with its glaze ; and as we have before explained, this 
 is conducive to a good stain. 
 
 Chloride^of silver can also be substituted for the sulphuret, 
 in the following proportions ~ 
 
 Chloride of silver, 1 part; ferruginous clay, from 5 to 10 
 parts. 
 
 An excellent stain, and one much in vogue at the present 
 day, is prepared thus : — 
 
 Procure a wide mouthed bottle, and put in it two ounces 
 of fuming nitric acid, and three ounces of boiling watei* : 
 then put in it one ounce of pure granulated silver, and stand 
 it up to its neck in boiling water. It will then dissolve. A 
 piece of glass placed over the mouth of the bottle will pre- 
 vent the fumes (which are very injurious) from rising and 
 
 Of an iron nature. 
 
38 
 
 ON THE STAINING OF PAINTED GLASS. 
 
 being inhaled. When dissolved, the silver which is now in 
 the state of a nitrate must be plunged into boiling water, 
 and precipitated ; either by the addition of chloride of sodium, 
 (common salt,) or by suspending it in a thin strip of clean 
 copper or tin. The precipitate must now be repeatedly 
 washed in hot water, collected on a piece of bibulous paper, 
 and well dried. Now take of the precipitate, by weight, 1 
 part, and of yellow lake, 2 parts ; and having well ground 
 and mixed them in either turpentine or water, apply in 
 precisely the same manner as an enamel. 
 
 I have given these instructions as I consider the staining 
 of a window a very great feature : and I strongly recommend 
 the amateur before commencing this portion of his work, to 
 consider to what extent he is justified in introducing it. Do 
 not introduce too much, nor in small window’s especially, 
 have it too powerful. Avoid also getting it too flat ; at the 
 same time do not have its flatness broken by sudden streaks ; 
 and within certain degrees, keep it varied in fulness. 
 
 To apply it, simply put it on the back of that portion of 
 the painted work you wish yellow, and be sure it does not 
 go beyond the part intended ; if it does, remove the super- 
 fluous portion vfith a pointed stick, or point of a knife. 
 
cresce nt bum 
 
 a0Ct)f»O? 
 
 It string potj if i|itimT $® J ' Sn ‘' 11 
 

CHAPTER IV. 
 
 On Diapers, Heraldry, & e. 
 
 D IAPERS are often used for the purpose of giving rich- 
 ness to the work, either as ornamentation on portions 
 of the drapery, or as back grounds for the figures. 
 
 There are two ways of introducing them, either in the 
 form of a traced pattern, or in what is called a “ sticked” 
 diaper : the former is effected by placing the design under the 
 piece of glass on which the main outlines of the drapery, 
 &c., have been painted, and tracing the pattern with the 
 pencil in the ordinary way ; and the latter, by covering the 
 piece of glass with a coating of mat, and picking the pattern 
 out with a hard stick. 
 
 Again there are two styles of diapers : the flowing pattern, 
 and the set pattern. The flowing diaper is foliated ; and the 
 set pattern, one in which the various designs are repeated. 
 These various diapers are illustrated on page 39 and a refer- 
 ence to them will show what is meant. One thing however 
 should be remembered, and that is, the same pattern must 
 not be allowed to occur on more than one of the draperies 
 in the same subject; nor must the same style of diaper be 
 repeated in it. For instance, — a figure, the drapery of which 
 has a running diaper, should be set off with a back ground 
 having a set diaper. 
 
 It is sometimes required to have an inscription in a stained 
 glass window, either as a label running under the subject, 
 which label usually refers to the subject illustrated ; or as a 
 memorial inscription at the bottom of the window, setting 
 forth for what purpose, and by whom, the window was erected. 
 
44 ON DIAPERS, HERALDRY, ETC. 
 
 There are two methods of writing these inscriptions ; one 
 is by tracing a black letter on a plain ground ; and the other 
 by picking out of a solid mat, a clear letter on a black 
 ground. 
 
 When the latter is to be done, the colour must be mixed 
 with but little gum, and an even coat laid upon the glass with 
 a flat camel hair and badger brush. The letters are then to 
 to be sketched in with a soft pencil, and picked out with a 
 stick. Some illustrations of the various kinds of lettering 
 are given on page 41. 
 
 Heraldry is one of the best branches of glass painting ; and 
 to execute it well, requires a certain knowledge of that art 
 itself. 
 
 If you have only a written description of the shield or 
 coat of arms to be painted, remember that 
 
 Gules signifies ... 
 
 red. 
 
 Azure „ 
 
 blue. 
 
 Or „ 
 
 yellow 
 
 Purpure „ 
 
 ... purple 
 
 Yert „ 
 
 green. 
 
 Sable „ 
 
 ... blaok. 
 
 Argent „ 
 
 white. 
 
 In painting put on no line or ornament, save that which is 
 represented on the shield itself ; as by adding to it in any 
 way you make it incorrect. 
 
 The only latitude that is allowed to the glass painter, is 
 in the w r ay of diapering. Diapers can be put on the. “ field ” 
 as it is called, provided they are not allowed to appear too 
 prominent. 
 
 Should the shield to be copied neither have the colours 
 indicated, nor have the names of them written beneath, as 
 is sometimes the case in engravings : it will be found on look- 
 ing closely at it, that there are certain lines or marks on the 
 
ON DIAPERS, HERALDRY, ETO. 
 
 45 
 
 shield varying in tlieir direction. These lines indicate the 
 colours. For instance, lines perpendicular in their direction 
 signify red ; horizontal lines, blue ; lines running diagonally 
 from the left of the shield to the right, represent purple • 
 those running the same from the right to the lett, green ; 
 perpendicular lines with horizontal lines crossing, represent 
 black ; absence of colour, white ; and black dots on a white 
 ground, yellow. 
 
 As some guide to know whether a sketch is coloured 
 rightly or not, I may mention that in heraldry, Or (yellow,) 
 and Argent (white,) represent the metals, gold and silver ; 
 and that it is the rule in English heraldry, for metal not to lie 
 upon metal, nor colour upon colour. Thus if the field be 
 argent or silver, the charge could not be gold or silver, but 
 must be a colour. There are deviations from this rule, but 
 they are few in number. 
 
 Heraldic painting on glass is very effective, in consequence 
 of the richness of the colours : and nothing is more suitable 
 for a hall or corridor window, especially when coloured shields 
 are disposed upon white grounds, as then we have richness 
 of effect without any material diminution of light. 
 
 In diapering that portion of the shield coloured sable ; 
 lay your glass with a solid coat of colour, and pick out your 
 diaper with the point of a needle, and then lay a slight mat 
 over the back, as by this means the glass will convey the idea 
 of being black, without being so in reality. 
 
 It may sometimes be desired to give a tone to glass, with- 
 out putting any pattern whatever upon it ; or it may be that 
 work which is already traced and painted, is not sufficiently 
 dark : under these circumstances the glass can be matted on 
 the cut side, or on the reverse side if it be painted, and then 
 rubbed with the finger in a circular direction, when the 
 colour will, if the matting colour has its right proportion 
 
46 
 
 ON DIAPERS, HERALDRY, ETC. 
 
 of gum, come off in parts, and leave a scum on the surface 
 of the glass, giving the depth of tone required. 
 
 There is another thing very necessary to be known, and 
 that is, never apply stain to any but a clean surface ; it must 
 never under any circumstances be laid on the painting colour, 
 or the result will be that it will appear muddy, and the 
 work will be spoiled. 
 
 In tracing work, be careful to keep your pattern well with- 
 in the edges of the glass ; recollect that the lead used by 
 the glazier will require at least a sixteenth of an inch all 
 round each piece, and if this is not borne in mind it is quite 
 possible that you ma) find the tips of fingers, &c., cut off 
 in an absurd manner, and may feel inclined to lay the blame 
 upon the glazier, when in reality, the fault lies with the 
 painter. 
 
 A great deal of modern work is cheaply executed, by lay- 
 ing flat coats of enamel colour on sheets of glass, and brush- 
 ing out various patterns from a stencil with a moderately 
 hard brush, and afterwards firing them ; there is, however no 
 great skill required to accomplish it, the only branch in 
 which art intervenes, being the designing of the pattern. 
 
 In cutting stencils, tinfoil is used ; the only tools required 
 being a sharp pen-knife or engraving tool, and an accuiate 
 pair of steel dividers. 
 
 A good stencil cutter is a great acquisition to an establish- 
 ment ; as great care is required, not only in the setting out 
 of the pattern, but also in the cutting, as an unlucky slip of 
 the knife, might perhaps render a considerable quantity of 
 work perfectly useless. 
 
 A few years ago a great trade was done in what is called 
 lace glass, a style of work bearing a certain resemblance to 
 lace, which was effected by cutting small patterns out of 
 paper, and attaching them to pieces of muslin. These pieces 
 
ON DIAPERS, HERALDRY, ETC. 
 
 47 
 
 of muslin were afterwards stretched over the pieces of glass 
 intended to be ornamented, and a finely powdered enamel 
 allowed to settle on it. 
 
 In the process of staining glass, the ferruginous clay, used 
 as a medium for applying the chloride and sulphuret of silver, 
 should after firing, be scraped or brushed off the glass ; it 
 may then be used again for the same purpose. 
 
 The best glass for taking stain, is that made from kelp. 
 This is made from seaweed, which is gathered during certain 
 months of the year, and allowed to dry ; after which it is 
 reduced to a state of fusion by the agency of heat, and is 
 ' allowed to cool. It is then found to be a hard solid mass, 
 and is broken up by heavy machinery, and ground in 
 a mill. The best kelp is that made in the Orkneys, but a 
 quantity is also made in the West Highlands, and also in 
 Ireland. 
 
 It may sometimes be of advantage to obtain effects by 
 staining flashed glasses. This can be done by staining the 
 unflashed side ; thus by covering the white side of a ruby 
 sheet with a stain, we can obtain a fiery red, or b}’ staining 
 the unflashed side of a sheet of blue, we can obtain a green. 
 
 It is also useful at times to know that hydro fluoric acid 
 possesses the property of decomposing glass. For instance, 
 suppose white jewels are required on a ruby dress, or a white 
 crown required to have ruby jewels ; it can easily be done by 
 means of this powerful acid. At one time it was customary 
 to warm the piece of glass on which the jewel or pattern 
 was to be taken out, and then to coat it with a thin layer 
 of wax, out of which the pattern w T as picked with a stick ; 
 the acid was afterwards poured on it, and the parts not 
 covered with the wax, were found corroded with the acid. 
 In the present practice it is found that Brunswick or Japan 
 black is far preferable, on account of its being less liable to 
 
48 
 
 ON DIAPERS, HERALDRY, ETC. 
 
 peel or eome off when under acid ; and of its allowing of a 
 greater rapidity of working. It is applied in the ordinary 
 way of tracing on the flashed side of the glass. 
 
 After it is thoroughly dry, an edging of Russian tallow is 
 placed round it, and the acid poured on to the thickness of 
 a half an inch. The Brunswick black is afterwards cleaned 
 off with common paraffin, or spirit of turpentine.* 
 
 Hydrofluoric acid is composed of fluor spar, and sulphuric 
 acid. 
 
 The common embossed work ordinarily used for the orna- 
 mentation of plate glass, for shop fronts, &c., is executed 
 with this acid. The pattern is either traced, or else the 
 plate is laid with an even coating of the colour. This when 
 dry, has a stencil of tin-foil, or thin sheet brass, out of which 
 the pattern has been cut, laid on it, and the pattern is then 
 brushed out with a stiff brush moistened with paraffin spirit. 
 The back of the stencil is frequently soaped to prevent it 
 adhering to the colour, After the pattern is brushed out, 
 the edging of tallow is put on as I before remarked, and 
 the acid is put on ; and the plate being corroded to a suffi- 
 cient depth, the tallow is scraped off and put aside for 
 future use ; and the glass being thoroughly clean, is ground 
 with emery. 
 
 As hydrofluoric acid affects glass so powerfully, it must 
 be kept in either a gutta percha bottle, or a metal one. 
 
 Those who are desirous of learning more concerning this 
 branch, are recommended to procure a work on the subject, 
 
 * To give some idea of the various effects that can be obtained on one 
 sheet of glass by a combination of the process of embossing, staining, and 
 painting, I may say that a landscape can be nicely managed on a sheet 
 of blue, by taking out with acid, that part intended to represent water, 
 buildings, &c., leaving the ground and sky nicely graduated ; now by 
 staining the trees and the foreground the reverse side of the glass, 
 various shades of green are obtained, after which, the work is painted in 
 the ordinary manner. 
 
ON DIAPERS, HERALDRY, ETC. 
 
 49 
 
 written by James Callingham, and published by Messrs. 
 Brodie & Middleton, which has already reached the twenty- 
 sixth edition. The work is of very great value, and contains 
 not only instructions in the art of embossing, but a variety 
 of information of general use. 
 
 I have no doubt but that those of my readers who have 
 followed me thus far, and who have aided my remarks by 
 practising as I have advised, have obtained a fair amount of 
 general knowledge of painting, and some degree of proficiency 
 in execution ; but I need hardly say, that it will be desirable 
 to practise for some time further both tracing and painting, 
 before submitting work to the process of firing; both on 
 account of the waste of glass involved in firing that which 
 would scarcely bear the ordeal of criticism ; and on account 
 of the expense of firing itself, of which I shall in the next 
 place give some few particulars ; although the amateur will 
 in all probability prefer entrusting his work when painted to 
 the hands of those who place their kilns at the service of 
 those not possessing them, and who in consequence of their 
 kilns being kept continually going, charge comparatively 
 speaking but a mere trifle for the convenience. 
 
CHAPTER Y. 
 
 On the Firing of Painted Glass. 
 
 brickwork, as, when closed, enables the flames to circulate 
 around it. The fire hole is below this box, and a system of 
 dampers are so arranged in the flues as to regulate the direc- 
 tion of the heat. 
 
 Cast on the inner sides of this box are ledges, for the 
 reception of the plates on which the glass is laid, and upon 
 which they slide. 
 
 The modus operandi of firing is as follows : — 
 
 Heat either whiting, plaster of paris, or lime to redness in 
 a furnace ; and, when cold, by means of a fine sieve put a 
 smooth layer upon the surface of the plate ; upon this place 
 the pieces of glass which have been painted and thoroughly 
 dried : place them close together, but do not allow them to 
 touch each other, and be careful to allow a space of an inch 
 all round the plate itself. Should this not be done, and a 
 large piece come in too close contact with the edge, it is 
 liable to crack or it may be “ buckle,” as the heat is far 
 greater at the sides of the plate than it is in the middle. 
 
 Upon this layer of glass, place another layer of your pow- 
 der, and then another of glass, till the plate will hold no 
 more : then proceed with the others until all your glass is 
 in. The door of the kiln is now put in its place, and a 
 luting of whiting so placed over the cracks as to prevent 
 the admission of any sulphur from the fire. The front of 
 the kiln is now bricked up, and the fire lit, 
 
ON THE FIRING OF PAINTED GLASS. 
 
 51 
 
 Should you have any enamels to fire, or any important 
 pieces such as the flesh of figures, you must be careful not 
 to cover them with whiting, but to allow them to be what is 
 called “ top-layers.” 
 
 I must not omit to state that the door of the kiln has two 
 arms projecting from beyond the brickwork, and which arms 
 have openings in them ; their object being, to enable the 
 kilnman to watch the contents of his kiln without exposing 
 them to the flames or deleterious gases : these openings, in 
 the early period of the firing, are allowed to remain open ; 
 but as soon as the glass becomes thoroughly hot, they are 
 closed by stoppers, which are removed only as occasion 
 requires. 
 
 'The great object the kilnman has in view, while firing his 
 kiln, is to obtain an even heat ; so that the back, front, top, 
 and bottom are equally fired. This, the dampers and the 
 method of stoking assist him in obtaining. 
 
 A good kilnman sometimes depends upon his judgment 
 as to the extent of the heat to be given to the glass ; but 
 what are termed “ proofs ” are more often used for the pur- 
 pose, These are strips of glass, laid on pieces of tile in such 
 a manner that they will bend when the kiln is sufficiently 
 heated ; and thus give notice to the person in charge, who, 
 by means of the openings already described, can see the 
 entire contents. 
 
 The fire is now drawn, and the kiln, which takes from 
 five hours upwards to heat, is allowed to cool. This takes 
 from ten to twenty-four hours; after which the glass is 
 removed and carefully wiped, and those parts which require 
 retouching having been put on one side, the remainder is 
 ready for the glazier. 
 
 The open kiln differs from the closed in this particular — 
 that, whereas the latter requires luting up at each time of 
 
6 2 ON THE FIRING OF PAINTED GLASS. 
 
 using, the former requires no luting whatever. The flames 
 in this case circulate only at the sides, top, and back ; and, 
 as it is impossible for the gases to enter the kiln in any way, 
 it is a particularly clean method of firing. 
 
 The fire having been lit, the kiln is allowed to get to 
 almost a white heat ; and the plates, upon each of which a 
 single layer of glass only is placed, are introduced. The 
 door, which is either a drop door, a sliding one, or one on 
 hinges is then closed; and, after a quarter-of-an-hour or 
 twenty minutes, is again opened, and the plates turned, to 
 enable the front ends (which have not received so great a 
 firing as the back) to get the requisite heat. 
 
 The glass being now properly fired, the plates are taken 
 out and put in a box, somewhat similar to the kiln itself, 
 where it is allowed to remain until it is cool. 
 
 The principal drawback attending the use of the open 
 kiln is, that large pieces of glass, when put suddenly in it, 
 are apt to break, and the same is likely to occur on taking 
 them out ; but for firing small work, the closed kiln cannot 
 compare with it. 
 
 The amateur must be careful in firing his work not to 
 overheat it, as such a course would burn off the colour in 
 too great a degree, and perhaps would injure the glass so 
 much as to completely spoil it. He must also remember 
 that different kinds of glass vary in their power of resisting 
 heat. The glass painter gives the name of hard or soft to 
 glass according to this power; and it is strange, but yet 
 strictly true, that he can tell by the mere appearance of the 
 glass whether it is the one or the other. 
 
 As a rule all white glasses are hard ; greens, yellows, and 
 purples, soft; but this is a rule that cannot always be 
 depended on. 
 
 When putting his glass in the dosed kiln, the painter 
 
0 N THE FIRING OF PAINTED GLASS. 
 
 53 
 
 should endeavour to put that which is hard on the top and 
 bottom plates ; as the heat on them is much greater than 
 on those in the middle of the kiln ; and, of course, soft 
 glasses should be placed on the cooler plates. 
 
 In firing stain, do not go beyond a certain heat ; as the 
 stain is apt to become deposited on the glass in a dirty 
 opaque manner, and cannot be removed without the aid of 
 hydroflouric acid, a fluid which injures the glass and destroys 
 its brilliancy. 
 
 Many instruments have been invented for the purpose of 
 indicating the degree of heat required in kilns of this des- 
 cription. These- are called pyrometers, or measurers of high 
 temperatures. They are usually constructed on the known 
 principle of the expansion and contraction of metals and 
 clays under heat, but have not as yet received any consider- 
 able countenance, in consequence of their varying their con- 
 ditions by continued use. 
 
 I hope I have made the subject of firing sufficiently clear 
 to my reader, and that nothing which it is necessary for 
 him to know has been omitted. Of course a little practice 
 is worth a deal of reading ; but, as it is not absolutely requi- 
 site that the painter himself should execute this particular 
 branch, I shall say no more about it. 
 
CHAPTER VI. 
 
 General remarks and requisites necessary for Painting 
 on Glass. 
 
 PplHERE is another operation necessary for the glass to 
 — 1 undergo, before it is in a condition to be fixed in its 
 proper place ; but, as it is purely a mechanical one, I shall 
 do no more than to allude to it. It is called glazing. The 
 work is first laid out upon the cutting drawing, and then 
 joined together by grooved leads, which surround' the pieces 
 of glass, and the joints are afterwards soldered. This being 
 done, the interstices between the leads and the glass are 
 filled up with putty, or a cement composed of white lead and 
 oil ; and after lying by for a day or two, the glass is fixed in 
 its position. 
 
 Before mentioning the materials and tools required by the 
 glass painter, I would suggest a few rules, that it would be 
 as well to bear in mind. 
 
 In executing large work, do not, with the idea that you 
 are improving it, aim at prettiness. This is a mistake as 
 often made by the professional as the amateur* Days may 
 be expended in putting work on portions of the window, 
 that, when placed in the position they are to occupy, are, to 
 our surprise, found flat and ineffective. 
 
 Do not be led away by the erroneous idea that old glass 
 is alone grand, and that the modern is nowhere, and thus 
 be tempted to copy its imperfections, 
 
 Bear in mind that the object of a window is to admit 
 light: painting to some extent retards it. Do not paint 
 your work so that the window fails in its intention. 
 
 There are, in some of our public museums, paintings on 
 
GENERAL REMARKS FOR FAINTING ON GLASS. 
 
 55 
 
 glass which are totally useless as windows. One window I 
 have seen, and which is painted in a masterly manner, would 
 require the wdiole of a room for no other purpose than to 
 exhibit it : the admission of light to the apartment from 
 any other window would spoil its effect ; and without more 
 light than the painting itself would admit, the room would 
 be too dark for ordinary purposes. 
 
 One golden rule I would fain impress upon my reader, 
 and that is, that both in drawing and in painting your work 
 you remember the window as a whole. By doing this, you 
 will avoid those ridiculous mistakes which so often meet our 
 eye, and which are so liable to occur. 
 
 Be sure your colour has the right proportion of flux added 
 to it ; an excess causes the colour to lose body, and an in- 
 sufficiency causes it to wear off in a few years. I should 
 advise that the colour be purchased ready fluxed, although 
 it is as well to have a little on hand in case it is required: 
 Keep your brushes clean. After using, carefully w r ash 
 with warm w r ater and soap ; but do not allow them to remain 
 long in the water so as to soften the hairs, or loosen the 
 handles. Also let your colours and your stain be w T ell 
 ground, and your muller and palette knife be well wiped 
 after using ; especially do this after mixing stain, as otherwise 
 the palette knife will soon be useless. 
 
 I shall now give a list of the requisites required. The 
 amateur will at first do well not to trust too much to his own 
 judgment in purchasing the materials, but had far better rely 
 on the respectability of the firm supplying him, and on their 
 knowledge of the nature of the art. 
 
 The amateur will require : — 
 
 A few camel and sable-hair pencils, for tracing 
 Ditto ditto brushes, for painting; 
 
 A few flat camel-hair brushes, in tin. 
 
56 GENERAL REMARKS FOR PAINTING ON GLASS. 
 
 Hog-hair brushes or French tools of various sizes, for 
 making scrubs. 
 
 A badger, for water matting. 
 
 Ditto, for oil painting. 
 
 An easel complete, with glass and mahl stick. 
 
 A rest. 
 
 A few wood etching tools. 
 
 One or two glass mullers and slabs. 
 
 Ditto palette knives. 
 
 Some tracing colour, painting colour, flux, flesh red, chlo- 
 ride of silver, sulphuret of silver, yellow ochre, yellow lake, 
 and gum arabic. 
 
 To these may be added trays for containing the work, a 
 diamond, lead pencils, a few sheets of drawing paper, some 
 continuous cartoon paper, some glazed calico, &c., &c. 
 
 
REQFISITFS NECESSARY FOR P Alls TING ON GLASS. 57 
 
 BRUSHES FOR GLASS PAINTING. 
 
 Sable-hair Pencil s of the very best quality , for 'painting in 
 
 tar : — 
 
 Camel and Sable-hair Pencils , of various sizes, for tracing :■ 
 
 Sable-hair Brushes , in tin , round and Hat, in sizes varying 
 from 1 to 12 : — 
 
58 REQUISITES NECESSARY FOR PAINTING ON GLASS. 
 
 Camel-hair Pencils 
 
 
 MINIATURE. 
 
 CROW. 
 
 DUCK. 
 
 GOOSE. 
 
 FULL GOOSE. 
 
 SWAN QUILL. 
 
 LARGE SWAN, 
 
 Flat and round French Tools or Hog-hair Brushes, for 
 
 'making scrubs, in sizes varying from 1 to 1 2 — 
 
 Long and short-hair B tipplers, for glass painting : — 
 
REQUISITES NECESSARY FOR PAINTING ON GLASS. 59 
 
 Round Badger-hair Tools, for softening : — 
 
 Flat Camel-hair Brushes :■ — 
 
 Rests, for glass and tile painting : — 
 
 Glass and Marble Mullers and Slabs : — 
 
 P alette and Stone Knives , varying from 4 to 18 inches : — 
 
60 REQUISITES NECESSARY FOR PAINTING ON GLASS. 
 
 Easels for Glass Painting : — 
 
REQUISITES NECESSARY FOR PAINTING ON GLASS. 61 
 
 Enamel colours and materials for painting on china, tiles, 
 and glass, to be had of all the leading Artists’ Colourmen, 
 Stationers, &c. These colours are crushed by heavy machi- 
 nery, have been passed through the finest silk lawn, and are 
 warranted free from grit. 
 
 ENAMEL COLOURS. 
 
 For china , grot 
 
 Blue. 
 
 For bands and 
 lines 
 
 Old tile painting 
 'Brown. 
 
 Austrian 
 
 Ancient 
 
 Border 
 
 Battamian 
 
 Brunswick 
 
 Crest 
 
 French 
 
 Olive 
 
 Russet 
 
 Unique 
 
 Vandyke 
 
 Black. 
 
 Copper (soft) 
 
 Jet 
 
 Shining 
 Strong Shining 
 Tracing 
 Carmine. 
 
 Drab. 
 
 Fawn — G olden 
 
 THE ABOVE 
 
 ind in water and fat 
 Flux. 
 
 Ground of all 
 kinds, for Gold 
 and Mixing 
 Gold. 
 
 Brown 
 
 Green. 
 
 Blue 
 
 Celadon for 
 Grounds 
 Chrome YelloV 
 „ French drk. 
 
 „ Gordon 
 
 „ Dover 
 
 Lilac. 
 
 For Grounds 
 Marone. 
 
 Orange. 
 
 Light 
 
 Dark 
 
 Strong 
 
 Opaque 
 
 Pink. 
 
 For Grounding 
 Rose de Berry 
 
 COLOURS CAN BE HAD 
 
 turpentine : — 
 
 Paste for Raised 
 Gold 
 Purple. 
 
 Rose. 
 
 Regular for 
 painting. 
 Strong 
 Coral 
 
 Rose de Berry 
 Red. 
 
 Regular 
 
 Coral 
 
 Turquoise. 
 
 Imperial 
 
 Blue 
 
 Soft 
 
 Grounding 
 
 Violet. 
 
 White Enamel. 
 Soft 
 Best 
 
 Common. 
 
 Yellow. 
 
 Opaque 
 
 Silver. 
 
 powder. 
 
62 REQUISITES NECESSARY FOR PAINTING ON GLASS 
 
 GLASS COLOURS, 
 
 For stained glass, ready for use : — 
 
 Brown. 
 Tracing 
 Ancient 
 Umber 
 Vandyke 
 Black Shade 
 
 Black. 
 
 Copper Soft 
 
 Tracing 
 
 Shining 
 
 Shining Ground 
 ENAMELS, 
 
 Red. 
 
 For Flesh 
 Silver Stain. 
 Flux Ground. 
 Strong- 
 
 Pale 
 
 For modern glass painting : — 
 
 Crimson, Purple, Pink Ferrara, Blue and White Mat. 
 
 Majolica Colours, also Under-glaze Painting and Printing 
 Colours, on short notice. 
 
 Lessons given in glass painting, and every material sup- 
 plied at short notice. 
 
 Tiles for enamel painting. Gold for ditto — leaf or preci- 
 pitate. 
 
jr.tl£ y ne7i. 
 
 <SiU*N 0 l 
 
HINTS 
 
 ON 
 
 TILE & CHINA PAINTING. 
 
 PjpILE and china painting, to which we are now about to 
 ==j direct attention, has of late years received a great 
 impetus, and probably there is not at the present time any 
 branch of art receiving greater or more fashionable patronage. 
 
 The honour of the discovery of porcelain is due to the 
 Chinese, and it was by them that it was introduced into 
 Europe in the reign of Augustus. It is unnecessary to relate 
 the vast strides it has made in public favour since that time ; 
 it is sufficient to say that it is now a very important branch 
 of British industry. 
 
 Pottery generally is composed of a combination of clay and 
 silex, and is glazed with certain preparations of lead to fill 
 up the pores, and render the surface smooth and glossy. 
 The knowledge of the glazes employed, was originally 
 acquired by the Egyptians and Assyrians, continued by the 
 Romans under the empire, and was by them transmitted to the 
 Persians, Moors, and Arabs. In 1555, a great impetus was 
 given to the art by the discovery of Palissy, who at Saintes 
 invented the process of manufacturing a grey glaze , since 
 which time, thanks to such men as Wedgwood, Brongniart, 
 and many others, the progress made in the manufacture and 
 finish of fictile ware has been very rapid. 
 
 There are various kinds of ornamental tiles made — 1st, 
 self-coloure(J tiles, made from what is called dust clay, 
 
66 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 and to which great pressure has been applied ; 2nd, encaustic 
 tiles, which are flat, and have patterns inlaid or slipped 
 on them in various coloured clays ; 3rd, earthenware tiles, 
 in simple colours glazed, which can be ornamented either 
 by painting or printing; Ith, majolica tiles, which have 
 the ornament in relief, and are decorated with various 
 coloured enamels ; and lastly, enamelled tiles, which are 
 those that have opaque and transparent vitreous colours 
 painted on their surface, and which are the tiles I have had 
 in my mind, whilst writing the foregoing remarks. 
 
 A knowledge of the true principles of ornamentation is 
 very essential to the tile and china painter ; and it is this 
 knowledge of decorative laws, combined with excellence of 
 execution which gives value to the work. Ill designed orna- 
 ment setting at defiance the rules of taste, though the 
 execution be in itself good, will never have any true artistic 
 value; and again, a subject though uiever so well designed 
 which is indifferently executed, has no commercial value. I 
 would therefore strongly recommend the tile and china 
 painter, to see that his design be good, appropriate, and 
 characteristic, and to remember that simplicity of design 
 is the perfection of art. If a tale can be told with a few 
 figures, or if the feeling to be expressed can be conveyed in 
 a few lines ; is it not far better to convey them in a simple 
 manner, than to overload the work unnecessarily for the mere 
 purpose of exhibiting dexterity ? 
 
 Again be sure that your design is appropriate. I have 
 seen designs of tiles for backs of grates, which have as sub- 
 jects, “ Cupids gathering flowers.” Could anything be more 
 absurd? Bacchanalian groups, — Feasts of the Ancients, — 
 Festivals of. the Gods, — these are the subjects suitable for 
 the banqueting hall, — Processions for entrances and stair- 
 cases, and delicate birds and flowers for boudoirs. 
 
JZJ Snell. 
 
 

 
 
 -S.V-- 
 
 
 
 
 
HINTS ON TILE AND CHINA PAINTING. 69 
 
 Also, do not let your design bear the impress of another’s 
 mind, he who does, is but a copyist ; form a style of your 
 own that is distinctive. 
 
 Mr. Redgrave, in his “ Report on Design ,” says,—' “ that 
 in England our china painters are not artists, and but few of 
 them have artists’ feelings.” These remarks were more in 
 accordance with the truth at the time they were penned than 
 they are now; but there are still mauy openings for improve- 
 ment, and it remains with the china painters to remove, by 
 close study and application, every trace of the stigma cast 
 upon them by so eminent a judge. 
 
 Theie are two kinds of ability, the creative, and the imita- 
 tive. Strive earnestly for the first, it bears the same rela- 
 tion to the latter, as genius does to talent. 
 
 In the present day when schools of art are established all 
 over the kingdom, there is no difficulty in acquiring the 
 power of imitating forms, and thanks to the museums of art, 
 there is every opportunity offered for pursuing that course of 
 comparison and study, which is so essential to the founda 
 tion of a pure style. 
 
 When tiles are used for the decoration of large surfaces, it 
 is advisable to panel them out, or to allow the design to run 
 over them ; a constant repetition of the same pattern is not 
 recommended. 
 
 In painting your work, do as much as you possibly can 
 before the first firing, as both tiles and china are apt to fly after 
 many heatings ; and in selecting the article you wish to paint, 
 see that there are no flaws, either in the glaze, or on the 
 ground, as they are almost certain to fly in the kiln. And 
 do not apply your enamel any thicker than there is occasion 
 for, as there is a liability of the colour cracking ; nor put it in 
 the kiln until it is thoroughly dry ; as failing attention to this, 
 the colour will u sputter,” and irremediably spoil the work. 
 
70 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 A very pleasing mode of practising enamel painting, and 
 one not beyond the power of the youngest amateur to under- 
 take ; is to paint a service, or simple set of china, with groups 
 of flowers, monograms, or small crests, &c. 
 
 Flowers and fruit judiciously and tastefully grouped, are 
 well suited for the purposes of tile and china decoration ; and 
 a reference to works on natural history and botany will 
 supply an endless variety of subjects for the amateur. 
 
 There are two kinds of porcelain manufactured ; one called 
 “ hard,” and the other “ tender. The former is made of an 
 infusible clay which preserves its whiteness in a strong heat, 
 and a flux composed of silica and lime. Tender porcelain, 
 differs from this in its composition, being made of a vitreous 
 frit, rendered opaque by the admixture of a calx. 
 
 Porcelain possesses the property of softening in the fire ; 
 therefore the greatest care is required not to allow it to lose 
 shape. For this reason, each piece is fired in a separate 
 “ sag,” and is thus prevented from warping. The sags are 
 then placed one above the other in the kiln, and are then fired. 
 In spite however of all care, a very great quantity of porce- 
 lain is damaged ; and it is estimated that out of the whole 
 number of articles manufactured, at least one third are 
 injured ; most of this damage takes place in the kiln. 
 
 The following is a method of making one of the glazes used 
 for surfaces, which are to be painted on in enamels : — 
 White felspar ... ... ... ... 26 parts, 
 
 Soda ... ... ... ... 6 do. 
 
 Nitre ... ... ... ... ... 2 do. 
 
 Borax 1 part. 
 
 This having been fritted together, we take 
 
 of the above ... ... ... 20 parts, 
 
 Felspar ... ... ... ... 26 do. 
 
 White lead ,.. ... ,.. 20 do, 
 
hints on tile and china painting. 
 
 71 
 
 Ground flints 
 
 Chalk 
 
 Oxide of tin 
 
 6 do. 
 4 do. 
 
 1 part, 
 
 and a slight trace of Oxide of Cobalt. 
 
 Now of this mixture take 
 Red lead ... 
 
 White lead 
 Flint 
 
 13 parts, 
 50 do. 
 40 do. 
 12 do. 
 
 The whole is now ground together, and gives a glaze un- 
 affected by vegetable acids. The best glaze however for 
 porcelain, is composed of silica, alkali, and lead. 
 
 Although the antiquity of porcelain is very great, yet the 
 process of painting on it in enamel, as practised in the present 
 day was unknown to the. ancients. Even had the colours 
 then known been of a character suitable for the purpose ; 
 the ware itself, both as regards the materials of which 
 it was composed, and the manner in which they were com- 
 bined, was of too crude a nature to be painted on. 
 
 A good enamel should possess a hardness and indestruc- 
 tibility, a moderate fusibility, an expansion conformable to 
 the base upon which it is to be applied, and a certain degree 
 of opacity, a transparency of colour being in this case an 
 inconvenience. It should not be capable of being sullied by 
 time, but at the end of a thousand years should appear as 
 brilliant and fresh as on the day when it was first applied. 
 
 There should also be an affinity between the various 
 enamels ; an equal degree of expansion and fusilibity being 
 especially desirable, otherwise there would be a possibility of 
 seams and fractures appearing on the surface of the painting 
 that would tend to deteriorate it ; the colours under such 
 conditions being apt to crack and peel off. 
 
 Enamels require laying on considerably darker than they 
 are wanted to appear after firing, as they become much 
 
72 HINTS ON TILE AND CHINA PAINTING. 
 
 lighter by burning. This arises from the quantity of flux 
 employed, which in some cases is so great, as to be in the 
 proportion of six parts of the flux, to one of the colour. 
 
 The value of a painting on porcelain depends on the 
 following conditions : — purity of the ground on which the 
 subject is painted, suitablity of the subject itself, excellence 
 of the drawing, neatness of the pencilling, vivacity of the 
 pigments used, and last, but not by any means the least, on 
 the degree of heat employed for the purpose of vitrifying the 
 colours. 
 
 The effect of the pigments must not be judged by their 
 appearance before they are fired, heat alone develops them 
 thoroughly, and gives them the requisite brilliancy ; though 
 when the heat is carried to an excess, the character of the- 
 colours undergo a change which completely destroys the 
 effect of the painting. 
 
 The proper degree of temperature is only to be known 
 from practice, and the greatest possible care is required in 
 firing, to prevent the blackening of the colours. Paintings 
 sometimes require as many as three or four firings, but it is 
 advisable to finish the work in as few as possible, in order 
 to lessen the risk. It is also necessary to give the work a 
 regular heat, so that a uniformity of tone should prevail. 
 
 In painting on china and tiles, the artist has a vast scope 
 for ornament, harmony of colour, and variety of treatment : 
 and though we* are taught that colouring is generally the 
 refuge of those who are not able otherwise to animate their 
 designs, yet w T e may be sure that colour appropriately applied * 
 i& the very keystone of ceramic painting. Variety of colour 
 when wedded to a tasteful design, contributes a pleasure 
 that conveys to the educated eye an indescribable charm. 
 
 But in applying colour to tiles and china, it requires a 
 d elicacy of judgment to balance the extent to which it may 
 
N°&. 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 75 
 
 be used. It must not be lavishly applied, or the work will 
 look gaudy ; and it must not be too sparingly used, or it will 
 be poor in effect ; but it requires applying with that even 
 mean which taste alone can prescribe. 
 
 Taste is a distinct knowledge of what is beautiful, and is 
 acquired by making use of our powers of reflection, and by 
 their use, perfecting those first principles inherent in most 
 of us, but which in many people remain too long dormant, 
 or in too crude a condition to be of ahy service. But without 
 there is in the first instance, a natural aptness or sagacity, 
 all the study and experience of a life-time, will be of no avail 
 in securing a refinement of taste. 
 
 I have spoken at length on this subject, as there is no 
 doubt a great future both for painting on china and on tiles, 
 for enamels are not only comparatively speaking imperishable, 
 but they offer so elegant a medium for conveying colour and 
 design for decorative purposes, that I feel justified in assert- 
 ing that their universal extension and use, is only a question 
 of a few years. As my readers are doubtless aware enamel- 
 ling on china consists in applying various opaque and trans- 
 parent pigments to certain prepared grounds. The colours 
 used are the same as those used for enamelling on glass, and 
 have as bases the oxide of the several metals, or other 
 metallic combinations. These, when aided by a flux, are by 
 means of heat made capable of adhering to the surface of any 
 substance able to withstand a red heat, such as gold, iron, 
 copper, silver, porcelain, and glass. 
 
 * Some of these metallic oxides, simply require the flux to be 
 added to them at the instant of mixing, whilst others require 
 chemically combining with the flux, and for that purpose 
 must be melted with it. Enamels made by the latter pro- 
 cess are called fused colours, and those made by the former, 
 mixed colours. 
 
76 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 I shall now give the directions for the manufacture of 
 these vitrescible pigments, the properties of the ingredients 
 being in most instances the same as those laid down by Dr. 
 M. A. Gessert, Emanuel Otto Fromberg, Brongniart, Kunckel, 
 Levied, Haudicquer de Blancourt, Felibien, Florent le Comte, 
 the Brothers Recollet, Reboulleau, Cassola, Stegers, Buisson, 
 Creuzburg, Dumas, Fuchs, Cassius, Frick, Clouet, and several 
 others. These are the recognised authorities, and although 
 the proportions are sometimes varied, the ingredients are 
 adhered to. 
 
 Though these receipts will be found to differ in many 
 respects from those given in many so-called hand books, 
 they may be thoroughly relied on. They have been practi- 
 cally in use for many years, although it has been the object 
 of many in the profession to make secrets of them : confining 
 knowledge which was intended for the use of the world at 
 large solely to themselves, for the purpose of benefiting 
 thereby. 
 
 I intend to give the directions for making the following 
 enamels : — 
 
 White, 
 
 Black, 
 
 Red, 
 
 Blue, 
 
 Yellow, 
 
 Green, 
 
 YtoleT, 
 Brown, and 
 Furple, 
 
 And, in following the arrangement of the manufacturers and 
 chemists, as introduced by Gessert, I shall describe them 
 under the heads of “ Fused ” colours and “ Mixed ” colours. 
 I shall commence with the “ Fused.” 
 
 FUSED COLOURS. 
 
 White. 
 
 (1) Bone Glass ... ... ... ... 2 parts, 
 
 Minium ... ... ... .;. 1 do. 
 
 to be mixed melted in a crucible, and ground with water. 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 77 
 
 (2) Carbonate of Potash 
 
 ... 2 parts, 
 
 Calcine ... 
 
 5 do. 
 
 Silica 
 
 ... 3 do. 
 
 Borax 
 
 1 do. 
 
 to be melted and well pounded in an iron mortar, to free 
 
 from an excess of potash. 
 
 To make the calcine used in this, take 
 
 Lead 
 
 ... 40 parts, 
 
 Tin 
 
 10 do. 
 
 to be oxidised and calcined. 
 
 Blacks. 
 
 The best blacks are the mixed ones, 
 
 and they will be 
 
 treated under a different heading. 
 
 Reds. 
 
 (1) Oxide of Iron 
 
 1 part, 
 
 Flux 
 
 3 do. 
 
 melted, thrown into water, pulverised, 
 
 and ground on a 
 
 glass slab. 
 
 The flux used for this red is made of 
 
 Sand 
 
 ... 4 parts. 
 
 Borax Glass 
 
 1 do. 
 
 Litharge .** 
 
 ... 4 do. 
 
 (2) Oxide of Mhnganese 
 
 , . * 1 part. 
 
 Flux ... .;. . ;1 
 
 8 do. 
 
 The flux for this is made of 
 
 Sand ..i 
 
 ... 1 part. 
 
 Litharge ,,i ..; 
 
 3 do. 
 
 Blues. 
 
 (1) Oxide of Cobalt 
 
 ... 3 parts, 
 
 Flux from 
 
 2 to 5 do. 
 
 to be melted for an hoiir-itnd-a-half ill Et crucible* and ground 
 to a paste. 
 
78 HINTS ON TILE AND CHINA PAINTING. 
 
 The flux for this is made as follows : — 
 
 Silicious Sand ... ... ... 8 parts. 
 
 Borax Glass ... ... from 4 to 6 do. 
 
 Nitre ... ... „ 1 to 2 do. 
 
 White Chalk 1 do. 
 
 To prepare the cobalt for this blue, zaffre is to be dissolved 
 in diluted nitric acid, precipitated with carbonate of soda, 
 and well washed with hot water. After being dried, it must 
 be mixed with three times its weight of dry nitre, and ig- 
 nited in a crucible. It is now to be heated to redness, 
 washed, and dried. 
 
 (2) King’s Smalt ... ... ... 4 parts, 
 
 Minium ... ... ... from 2 to 3 do. 
 
 melted with intense heat, thrown into cold water, and pul- 
 verised for use. 
 
 (3) Best King’s Smalt ... 
 
 1 
 
 part, 
 
 White Glass 
 
 1 
 
 do. 
 
 Minium 
 
 1 
 
 do. 
 
 to be made as the foregoing. 
 
 (4) Zaffre 
 
 2 
 
 parts, 
 
 Nitre 
 
 G 
 
 do. 
 
 Minium 
 
 6 
 
 do. 
 
 White Glass ... ... 
 
 8 
 
 do. 
 
 as the preceding. 
 
 Yellows. 
 
 (1) Of a calcined mixture of equal parts 
 
 of Lead and Tin, take ... ... 
 
 2 
 
 parts. 
 
 Antimonic Acid... 
 
 1 
 
 do. 
 
 Carbonate of Soda ... 
 
 1 
 
 part. 
 
 Flux ... 
 
 24 
 
 parts. 
 
 The flux for this to be made of 
 
 Calcined White Silicious Sand 
 
 2 
 
 parts. 
 
 Minium ... 
 
 6 
 
 do. 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 T9 
 
 (2) Sand 
 
 2 parts, 
 
 Litharge 
 
 G do. 
 
 mix, melt, and pound ; then add 
 
 Oxide of Silver 
 
 1 part, 
 
 Antimony Ore ... 
 
 i do. 
 
 grind, melt, and again grind for use. 
 
 Greens. 
 
 (1) Green Carbonate of Copper 
 
 1 part, 
 
 White Glass 
 
 4 parts, 
 
 , Minium 
 
 2 do. 
 
 melted with intense heat, thrown into water, 
 
 and ground. 
 
 (2) Oxide of Copper 
 
 4 parts. 
 
 Antimoniate of Potash ... 
 
 1 part. 
 
 Flux 
 
 6 parts. 
 
 Flux for this to be composed of 
 
 Sand 
 
 6 parts. 
 
 Yellow Oxide of Lead ... 
 
 4 do. 
 
 Borax Glass... 
 
 1 part. 
 
 Nitre 
 
 1 do. 
 
 (3) Copper Precipitate ... 
 
 1 part. 
 
 Pulverised White Glass 
 
 4 parts. 
 
 Minium 
 
 2 do. 
 
 (4) Borate of Copper ... 
 
 1 part.. 
 
 Powdered Glass... 
 
 3 parts 
 
 Minium 
 
 1 part. 
 
 Violets. 
 
 (1) Of equal quantities of Manganese 
 and Saltpetre, calcined and ground, 
 
 take 
 
 1 part; 
 
 White Glass 
 
 6 parts; 
 
 Minium 
 
 2 parts. 
 
80 
 
 HINTS ON TILE AND CHINA PAINTINO. 
 
 (2) Calcined Oxide of Manganese 
 
 ... 1 part. 
 
 Zaffre ... 
 
 1 do. 
 
 White Glass Powder 
 
 ... 10 parts. 
 
 Minium ... 
 
 4 do. 
 
 Either of the above to be melted in a crucible with intense 
 
 heat, thrown into water, and well ground. 
 
 
 Browns. 
 
 
 (1) Oxide of Manganese 
 
 ... 1 part. 
 
 Flux 
 
 8 parts. 
 
 The flux for this to be made from 
 
 
 Sand 
 
 ... 1 part. 
 
 Litharge 
 
 3 parts. 
 
 We now come to the “ Mixed” colours. 
 
 MIXED COLOURS. 
 
 
 White. 
 
 
 (1) Bones, calcined to whiteness 
 
 ... 1 part. 
 
 Flux 
 
 2 parts. 
 
 (2) White Oxide of Tin 
 
 1 part. 
 
 Flux . 
 
 2 parts. 
 
 Blacks. 
 
 
 (1) Oxide of Copper ..* 
 
 ... 2 parts. 
 
 Flux ... ... .** ..; 
 
 1 part; 
 
 (2) Black Protoxide of Iron 
 
 .;. 1 part. 
 
 Protoxide of Copper .;. 
 
 1 do. 
 
 Flux 
 
 ... 2| parts. 
 
 By adding a little oxide of cobalt to the 
 
 preceding, a beau- 
 
 tiful blue black may be obtained; or, by adding a small 
 quantity of oxide of manganese, a black inclining to brown; 
 
 (3) Copper Smalt 
 
 1 part. 
 
 Oxide of Manganese m 
 
 1 do. 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 81 
 
 (4) Purple 1 part. 
 
 Oxide of Cobalt ... ... ... 1 do. 
 
 Manganese 1 do. 
 
 Reds. 
 
 (1) Sulphate of Iron ... ... ... 1 part. 
 
 Flux ... ... ... from 2 to 3 parts. 
 
 This gives various shades, varying from light red to violet. 
 
 (2) Silver 1 part. 
 
 Red Antimony ... ... ... 2 parts. 
 
 Sulphur ... ... ... ... 1 part. 
 
 Flux ... ... ... ... 2 parts. 
 
 Blues. 
 
 To manufacture this mixed colour properly, requires an 
 amount of skill and practice beyond the capability of the 
 amateur : he is therefore advised to make only those that 
 are described under the head of Fused Colours. 
 
 We will, however, give the method of making it, so as to 
 render the list of colours complete. 
 
 Take roasted cobalt, and pour on it in a glass vessel, nitric 
 acid, diluted with two-thirds its weight of water. Allow the 
 mixture to stand until such time as it acquires a fine red 
 colour, when it must be very carefully poured off to avoid 
 disturbing the sediment, which may have more diluted acid 
 added to it in order to extract the whole of the colour. 
 
 Now add one part of purified sea-salt, to three parts of the 
 solution, and after the former is dissolved, carefully decant 
 into an evaporating dish, and set it in hot ashes. As often 
 as a sediment is deposited, remove it by filtration, and con- 
 tinue the evaporation, stirring the solution with a glass rod 
 immediately it begins to thicken. If the operation has been 
 carefully performed ? the solution will be found to have 
 
82 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 changed into a beautiful blue salt, and it should, after it has 
 been left in a warm place for a few hours, be exposed to the 
 open air, until such time as it changes to a crimson red. It 
 should then be placed in a sand bath, when it will be found, 
 to again acquire its blue colour ; after which it is once more 
 to be exposed to the air. 
 
 This operation must be continued until the salt ceases to 
 impart its red colour to water, when it requires careful wash- 
 ing and drying in hot ashes. It must then be brought oyer 
 a charcoal fire, when the deep red colour will be found to 
 change into a beautiful constant blue. 
 
 Now take equal quantities of rock crystal and well fused 
 borax glass, and having triturated them in an iron mortar, 
 melt and grind. By then taking 2 parts of the blue colour, 
 and 5 parts of this flux, the process is complete. 
 
 I can scarcely imagine any operation in chemistry requiring 
 greater nicety than the manufacture of this colour ; and it 
 would be interesting to know, by what chain of reasoning the 
 inventor was prompted* in the first instance, to undertake 
 so elaborate an experiment. 
 
 Pure uranium ore roasted, dissolved in nitric acid, and 
 filtered ; and the green solution evaporated to dryness. 
 This is kept at a red heat until it turns yellow. 
 
 Yellows. 
 
 (1) Of this preparation take 
 
 1 part. 
 3 parts. 
 
 Flux 
 
 The flux of this to be composed of 
 Minium 
 
 Flint Powder ... 
 
 4 parts. 
 1 part. 
 
 Greens. 
 
 (1) Yellow Chromate of Potash 
 Powdered Quartz 
 
 1 part. 
 3 parts. 
 
HINTS ON TILE AND CHINA PAINTING. 83 
 
 (2) Oxide of Cobalt ... ... ... 2 parts. 
 
 Flux ... ... ... ... 1 part. 
 
 Violets. 
 
 (1) Gold Purple.,. 1 part. 
 
 Blue ... ... ... ... 3 parts. 
 
 Various shades may be obtained from this mixture accord- 
 ing to the shade of blue used. 
 
 (2) Gold Purple 
 
 Flux 
 
 The flux for this enamel to be made of 
 Sand ... 
 
 Litharge... 
 
 Borax Glass... 
 
 Browns. 
 
 (1) Red Oxide of Iron ... 
 
 Lead Glass 
 
 (2) Sulphuret of Silver Stain ... 
 
 Oxide of Manganese 
 
 This pigment requires no flux. 
 
 Umber, Sienna, and other earths, when mixed with flux, 
 give various shades of brown. 
 
 Purple. 
 
 Purple of Cassius is made from a solution of chloride of 
 gold by precipitation with proto-muriate of tin. and receives 
 tints varying from scarlet to a brown tint, according to the 
 degree of oxidation of the solution. 
 
 To prepare the purple, proceed as follows : — 
 
 Dissolve 1 ounce of pure gold in nitro-muriatic acid,* 
 or aqua regia ; pour the solution into a glass vessel, and add 
 
 * To make Nitro-Muriatic Acid, take 
 
 Nitric Acid 4 parts. 
 
 Muriatic Acid 1 part. 
 
 1 part. 
 
 6 parts. 
 
 4 parts. 
 8 do. 
 
 1 part. 
 
 1 part. 
 
 1 do. 
 
 7 parts. 
 1 part. 
 
84 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 to it 15 ounces of distilled water. Pour upon this a solution 
 of H ounces of clean tin filings dissolved in muriatic acid, 
 and at the instant of adding, well stir the mixture. Now 
 let it stand for twenty minutes, when one half part of clean 
 urine must be added to it, and the whole must be well stirred 
 with a glass rod. 
 
 After it has been allowed to remain undisturbed for a few 
 hours, the purple w T ill be found in the form of a sediment, 
 and it is then ready for use. 
 
 A flux very fusible, and one well adapted for use with the 
 purple, is made as follows : — 
 
 Calcined Borax ... ... ... 7 parts. 
 
 Silica ... ... ... ... 3 do. 
 
 Minium ... ... ... ... 1 part. 
 
 Or if we require one still more fusible, we may take 
 Calcined Borax ... ... ... 7 parts. 
 
 Silica ... ... ... ... 1 part. 
 
 Minium ... ... ... ... 1 do. 
 
 I would not however recommend this flux, as it is easily 
 affected by moisture, and is very liable to come off. In fact 
 the purple colours generally are liable to scale, owing to the 
 quantity of acid they contain. 
 
 The following is called Cassola’s purple — 
 
 A solution of protacetate of tin is added to a solution of 
 hydrochlorate of gold, diluted with four or five times its 
 weight of water, until a red precipitate has formed. 
 
 The following is Professor Frick’s method of obtaining 
 the purple: — 
 
 Add a solution of permuriate of iron to a solution of 
 protochloride of tin, until the permuriate obtains a green 
 tinge. This must be diluted with water, and added slowly 
 to a diluted solution of gold ; this is a most beautiful purple, 
 and it has the advantage of being easily prepared. 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 85 
 
 All purples obtained from the precipitates of gold and tin, 
 wary from one another according to the conditions under 
 which they are made. The strength of the solutions of gold 
 and tin, and the proportion which the tin bears to the gold, 
 — even the purity of the water, affects the result. 
 
 Having thus given the instructions for making the various 
 colours, I shall, in the following table, arrange them accord- 
 ing to their different degrees of softness ; so that my readers 
 tnay be enabled to select those colours which are hardest for 
 the first firing, as otherwise they would find some of the 
 colours after two or three firings completely burnt away. 
 
 Arranged according to their degrees of hardness, varying 
 from a soft to hard : — 
 
 TABLE OF COLOURS, 
 
 No. 1.— Soft. 
 
 Chrome Yellow Green. 
 Light Yellow. 
 
 Olive Brown. 
 
 Strong Yellow. 
 Orange. 
 
 Best Eed. 
 
 No. 2. 
 
 Strong Shining Black. 
 Shining Black. 
 
 Soft Black. 
 
 Border Brown. 
 Brunswick Brown. 
 Soft Turquiose. 
 
 No. 3. 
 
 Best White Enamel. 
 
 Medium Whtte. 
 
 Yellow Green. 
 No. 4. 
 
 Copper Black. 
 
 Blue Green. 
 
 No. 5. 
 
 Bose, No. 1. 
 Rose, No. 2. 
 Rose, No. 3. 
 
 Rose, No. 4. 
 Best Purple. 
 French Green. 
 
86 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 The above table is constructed on the basis of the colours 
 supplied by the publishers — whose enamels are, without 
 doubt, the best to arrange such a table from — being, as they 
 are, manufactured on the largest possible scale, on one fixed 
 principle, at their colour works. 
 
 I now proceed to give the directions for 
 
 GILDING ON CHINA. 
 
 This is effected either by applying leaf gold by means of 
 a weak solution of gum, and afterwards firing, or by putting 
 a thin coating of flux upon the ground, laying on the gold, 
 and then firing. 
 
 Or, it can be done by grinding leaf gold with honey till it 
 is thoroughly fine, mixing the mass with water and retaining 
 the gold, which is afterwards mixed with oil, and applied 
 with a pencil. 
 
 Or, it can be made in the following manner : — 
 
 Dissolve one ounce of grain gold in eight ounces of 
 aqua-regia until it entirely disappears. Now gradually add 
 a solution of copperas, drop by drop, until no further preci- 
 pitation takes place. 
 
 The precipitate must now be well washed, and will then 
 present a bright and shining appearance. Or. it can be pre- 
 cipitated by placing slips of clean copper in the solution of 
 gold, but the colour of the deposit is very different to that 
 obtained by the former method, being, in this instance, a 
 lustreless brown. 
 
 Those parts of the gilding which require burnishing, can 
 have the requisite lustre given them by rubbing with bur- 
 nishers, to be obtained from the artists’ colourmen. A little 
 white lead or vinegar can also be used to clean the gilding. 
 
 The following is the method of making aqua -regia : — 
 
 Add two ounces of clean powdered sal-ammoniac to eight 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 87 
 
 ounces of pure spirit of nitre. This converts the spirit of 
 nitre into aqua-regia. 
 
 In making up the various receipts we have given, be 
 careful to have thoroughly clean utensils. 
 
 The only difference between enamelling on china, and 
 enamelling upon glass, lies in this, that whereas that upon 
 glass, depends for its effect upon transmitted rays of light, 
 that upon china or other opaque body, depends upon its 
 reflected rays. 
 
 In tile painting, the design is either pounced on, or is 
 transferred by means of transfer paper ; either method will 
 do, but the former is the better when there are many repeti- 
 tions of the one pattern. The rest used in glass painting, 
 and described on page 59, is also required by the tile painter. 
 
 In using, the colours are ground with any of the essential 
 oils or with water, and are applied with ordinary camel or 
 sable hair painting brushes in precisely the same manner as 
 painting on glass. 
 
 In describing circles and curves, use a “ whirler,” an im- 
 proved form of which is known by the name of “ Snell’s table 
 wheel,” by the use of which any curve can be traced with an 
 exactitude unattainable by any other method. It consists 
 of a plate of glass moving freely on a pivot in a metal socket, 
 and is used by placing the tile in the centre, and holding 
 the pencil, charged with colour, at the exact radius required ; 
 the plate of glass being then turned round, the line is cleanly 
 described. This wheel is also extensively used in glass 
 painting, for tracing curves and circles on quarries and lines. 
 
 The fluxes which are added to the colours vary consider- 
 ably in their component parts, and in the proportions in 
 which they are used. 
 
 This is necessary on account of the varying expansibility 
 of the colours themselves, and of the necessity of there being 
 
88 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 a perfect accord between the pigments and the bases upon 
 which they are to be applied. 
 
 An excess of flux in an enamel causes it to spread in firing, 
 or overrun its limits, and an insufficiency prevents the colour 
 glazing ; it is therefore as well to make proofs of the pigments 
 before commencing to paint. There are many ways of 
 utilising the art of tile painting, such as by executing a series 
 for the decoration of chimney pieces, walls, &c. Boxes con- 
 taining flowers made of zinc or wood and ornamented with, 
 these tiles look very well, and when patterns similar to those, 
 for which we give designs, are used, they are not only 
 tasteful in appearance, but are easy to execute. The pub- 
 lishers are prepared to supply tiles for these purposes 
 together with the enamels, and utensils necessary for every 
 description of china painting. 
 
 In painting tiles, such as borders, &c., see that they range 
 properly, so that when they are in the position they are to 
 occupy, they may show an unbroken line. 
 
 In connection with these remarks will be found several 
 designs for tiles, conventional and otherwise, intended for 
 the use of the amateur ; and it will be found very good 
 practice for him to endeavour to execute them. I should 
 however, advise the reader to commence at the bottom of 
 the ladder, and make himself familiar with the method of 
 tracing the outlines before proceeding to the more artistic 
 branch of laying on the tints. It is absolutely necessary 
 that these should be thoroughly ground, the slightest grit 
 present in them preventing their proper working. To 
 do this, the glass slab and muller mentioned in our article on 
 glass painting, should be used ; and they should be carefully 
 wiped both before and after use, particularly at the edges ; 
 the palette knife must also be well .cleaned. 
 
 In grinding your colour, try to avoid spreading it over the 
 

 
 
 - 
 
 
 #• 
 
/f S' riell 
 
HINTS ON TILE AND CHINA PAINTING. 
 
 91 
 
 edges of the slab, as it wastes the colour ; and do not attempt 
 to grind too much at once. After grinding, get your colour 
 in as clean and workmanlike a manner as you can in the 
 centre of the slab, for which purpose the palette knife should 
 be used. This requires considerable practice to accomplish 
 properly. To keep the ground pigment clean, cover the slab 
 with an inverted saucer. 
 
 In choosing the pencil intended to he used for tracing the 
 outlines, see that it has a fine point, and is of a sufficient 
 length of hair. Should the hairs show any tendency to come 
 out, the pencil should be rejected without further consider- 
 ation. A good tracer is a great acquisition, and should be 
 valued accordingly. 
 
 For working in water, those that are made of red or black 
 sable hair are the most suitable ; and for working in oil, 
 those made of camel or martemhair, will be found to be the 
 best. 
 
 In purchasing the enamels, it will be advisable to state 
 whether they are intended to be used on glass or on china, as 
 some manufacturers supply them fluxed in varying propor- 
 tions for each purpose. 
 
 In sending tiles which have been painted, to be fired, do 
 not, as is sometimes the practice, pack them in wadding, as it 
 is apt to adhere to the colour, and is then very troublesome 
 to remove ; nor pack them whilst in a wet condition, as the 
 colour is liable to come off. It is much better to send them 
 in a covered tray. 
 
 It is as well to bear in mind, that those establishments 
 undertaking the firing of work, do not hold themselves 
 responsible for accidents which are beyond their control. 
 There are so many conditions rendering an accident possible, 
 that it would be unfair in the highest degree to expect other- 
 wise. In the first place, there is a possibility of a flaw being 
 
92 
 
 HINTS ON TILE AND CHINA PAINTING. 
 
 concealed in the material of which the tile is composed ; the 
 colours themselves may be improperly applied, or may con- 
 tain, unless they are the production of a careful manufacture, 
 some ingredient which may tend to discolour the work. 
 This however the artist may be assured of ; it is to the direct 
 advantage of those undertaking the firing, to give all possible 
 care and attention to the work, and he may rest satisfied that 
 no damage will arise, save that which is unavoidable. 
 
 Take care that the bench on which you work, is convenient 
 as regards height and light. Should it be too high, the con- 
 stant strain on the back is very painful ; and on the other 
 hand, should it be too low, the pressure on the chest of the 
 artist is very injurious. 
 
 It is advisable to have a direct light immediately in front 
 of the operator. 
 
 In whatever description of painting you may be engaged, 
 let your hand move freely ; avoid both pinching the pencil, 
 and leaning heavily on the rest. The more perpendicular 
 you can manage to keep your tracing pencil, the cleaner your 
 work in appearance. 
 
 Do not allow your body to sprawl over your bench, but 
 keep your elbows to your side ; by this means you will sit 
 more compact, and appear more workmanlike than you other- 
 wise would. Some there are, who in the process of working, 
 appear as if they were going to sleep ; there is nothing what- 
 ever in the practice of the art, requiring a departure from 
 gracefulness. 
 
 Tiles can be cut to any shape that may be required by 
 means of a diamond, or can be sawn with a fine saw. 
 
 To give some idea of the extent to which hand painted 
 tiles have become fashionable, I may mention that more than 
 one important building, owe the chief feature of their inter- 
 nal decoration to them ; as an instance we may mention the 
 
HTNTS ON TILE AND CHINA PAINTING. 93 
 
 Criterion, in Piccadilly. Many beautiful specimens of enamel 
 painting were to be seen in the International Exhibition of 
 1873, some of them perfect marvels of art workmanship. 
 
 The number of ladies who are engage! in this occupation 
 is very great, and it is, without doubt pre-eminently a lady’s 
 occupation. The school at South Kensington has done a 
 great deal towards rendering it popular, and making it a 
 means by which many are enabled to earn a respectable 
 livelihood. 
 
 I should have liked, had the limits of this work allowed 
 of so doing, to have given an exhaustive history of the art 
 of painting, so as to show the manner of the growth of the 
 art of china painting, and the various means to which we 
 are indebted for the present excellence of our style. To do 
 this thoroughly, I should have had to enter upon the subjects 
 of encaustic painting in wax, painting in tempera, and par- 
 ticularly upon painting in oil ; which subject alone, were I 
 to treat of it as I ought, from the time of its invention by 
 John Van Eyk, in 1410, and the carrying of the secret by 
 Antonio of Messina to Venice, and Dominico of Venice to 
 Florence, down to the present time, would occupy a volume. 
 
 Glass painting, of which I have already treated in another 
 part of this work, was perfected long before the invention of 
 oil painting, and still tends in a considerable measure to 
 influence the present style of enamel painting. 
 
 I have said nothing whatever in this work of enamel, as 
 commercially applied to such purposes, as name plates, 
 watch and clock dials, &c. Nor have I said anything what- 
 ever, as to the method of printing in enamel ; such subjects 
 are beyond the province of this work, which professes only 
 to instruct in the artistic branch. This I have endeavoured 
 to do in a succint and intelligible manner, and I trust my 
 endeavours will be found successful. 
 
94 
 
 HINTS ON TILE AND SHIN A PAINTING. 
 
 I do not think any more need be said upon the subject ; 
 the means employed for firing are the same as those used for 
 firing glass, and as I have treated that portion of the subject 
 at length in my remarks on glass painting, further comment 
 is unnecessary. 
 
 The various painters and tracers, both camel and sable-hair, 
 will be found illustrated on pages 57 and 58. Their manner 
 of using is precisely similar to that in which they are used 
 for glass painting, and the remarks on glass painting, with 
 but trifling modifications, will apply to tile and china painting 
 equally, as well. 
 
 It is stated, in the article on the painting of stained glass, 
 that the author is prepared, through the medium of the 
 publishers, to give lessons in every branch of glass painting ; 
 these remarks also apply to the painting of tiles and china ; 
 and the amateur is recommended to apply to the publishers 
 for general advice and assistance, should such be required. 
 
BRODIE & MIDDLETON, 79 , LONG ACRE, LONDON, 
 
 BRODIE & MIDDLETON’S 
 
 Boxes of Colours and Materials 
 
 FOR 
 
 ON 
 
 China, Tiles, Porcelain, &e., 
 
 READY FOR USE. 
 
 SPECIALLY PREPARED. 
 
 Boxes of Colours ground in Water:— 
 
 £ s. d. 
 
 No. 4.— MAHOGANY COLOUR BOX— containing 18 Tube 
 Colours, Brushes, Glass Slab, Bottles of Medium, 
 
 Nos. 1 and 2 , &c., &c ... 110 
 
 No. 5.— MAHOGANY CADDY LID COLOUR BOX— containing 
 24 Tube Colours, Brushes — Camel-liair and Sables, 
 
 Slab — Glass and China, Bottles of Medium, Nos. 1 
 
 and 2, with Drawer, &c., &c 22 0 
 
 No. 6 .— WALNUT CADDY LID COLOUR BOX— containing 
 36 Tube Colours, Brushes — Camel-hair and Sable, 
 
 Bottles of Medium, Nos. 1 and 2, Slabs — Glass and 
 China, Muller, with Drawer, &c., &c 3 3 0 
 
 AMATEURS’ WORK FIRED AT MODERATE CHARGES. 
 COLOURS, for Enamel Painting on China, can be had separate, to 
 replenish the Boxes, as also the 
 BOTTLES OF FAT TURPS AND SPIRITS, SLABS, BRUSHES, ETC., ETC. 
 
 Lessons given by competent Artists on Enamel Fainting on China . 
 
BkODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BRODIE & MIDDLETON’S 
 
 Boxes of Colours and Materials 
 
 FOR 
 
 ON 
 
 China, Tiles, Porcelain, &e., 
 
 READY FOR USE. 
 
 SPECIALLY PREPARED. 
 
 Boxes of Colours ground in Fat Turps 
 
 £ s. d. 
 
 No. 1.— JAPANNED TIN COLOUR BOX— containing 18 Tube 
 Colours, Palette Knife, Brushes, Bottle of Fat Turps, 
 and Spirit of Turpentine ... ... ... ... .. 110 
 
 No. 2.— JAPANNED TIN COLOUR BOX— containing 24 Tube 
 Colours, Palette Knife, Brushes, Slab, Muller, &c., 
 
 Bottle of Fat Turps, and Spirit of Turpentine 2 2 0 
 
 No. 3.— JAPANNED TIN COLOUR BOX- containing 36 Tube 
 Colours, Palette Knife, Brushes — Camel-hair and Sable, 
 
 Bottles of Fat Turps, and Spirit of Turpentine, Slab, 
 
 Muller, &c., &c. ... ... ... ... ...3 3 0 
 
 AMATEURS’ WORK FIRED AT MODERATE CHARGES. 
 
 COLOURS, for Enamel Painting on China, can be had separate, to 
 replenish the Boxes, as also the 
 
 BOTTLES OF FAT TURPS AND SPIRITS, SLABS, BRUSHES, ETC., ETC. 
 
 Lessons given by competent Artists on Enamel Painting on China. 
 
Brodie & Middleton, 79, long acre, -London. 
 
 AND MATERIALS 
 
 Painting on China, 
 
 1 9 
 
 Tiles, and Glass. 
 
 Prepared, ready for use, either in Water or Fat Turps. 
 
 These Colors are crushed by heavy Machinery , have been passed through the 
 finest Silk Lawn, and are Warranted Free from Grit. 
 
 Per Tube 
 s. d. 
 
 BLUE. 
 
 Per Tube 
 
 H. d. 
 
 For Bands ami Lines 
 
 ... 1 
 
 0 
 
 Old Tile Painting 
 
 1 
 
 0 
 
 BROWN. 
 
 Austrian 
 
 ... 0 
 
 6 
 
 Ancient 
 
 0 
 
 6 
 
 Border 
 
 ... 0 
 
 6 
 
 Battamian 
 
 0 
 
 6 
 
 Brunswick 
 
 ... 0 
 
 6 
 
 Crest 
 
 0 
 
 6 
 
 French 
 
 ... 0 
 
 6 
 
 Olive 
 
 0 
 
 6 
 
 Russet 
 
 ... 0 
 
 6 
 
 Unique 
 
 0 
 
 6 
 
 Vandyke 
 
 ... 0 
 
 6 
 
 BLACK. 
 
 Copper (soft) 
 
 ... 0 
 
 6 
 
 Jet 
 
 0 
 
 6 
 
 Shining 
 
 ... 0 
 
 6 
 
 Strong Shining ... 
 
 0 
 
 6 
 
 Tracing 
 
 ... 0 
 
 6 
 
 CARMINE 
 
 2 
 
 0 
 
 DRAB 
 
 ... 1 
 
 6 
 
 FLUX. 
 
 Ground, of all kinds, 
 Gold and Mixing . . . 
 
 for 
 ... 0 
 
 6 
 
 FAWN— Golden 
 
 ... 1 
 
 6 
 
 GOLD — Brown 
 
 2 
 
 6 
 
 GREEN. 
 
 Blue 
 
 ... 2 
 
 0 
 
 Celadon, for Grounds . 
 
 0 
 
 6 
 
 Chrome Yellow 
 
 ... 0 
 
 6 
 
 ,, French Dark .. 
 
 1 
 
 0 
 
 ,, Gordon 
 
 ... 0 
 
 6 
 
 ,, Dover 
 
 0 
 
 6 
 
 ,, Yellow 
 
 ... 0 
 
 6 
 
 Any of the above Colors can be had in Po' 
 
 In ordering, please state whether 
 
 Fat Turps 
 
 In most cases the Colors groun 
 
 LILAC. 
 
 For Grounds... 
 
 MARONE 
 ORANGE. 
 
 Light ... 
 
 Dark 
 
 Strong 
 
 Opaque ... 
 
 PINK. 
 
 For Grounding 
 Rose de Berry 
 
 PASTE FOR 
 GOLD. 
 
 PURPLE 
 
 ROSE. 
 
 Regular, for Painting 
 
 Strong 
 
 Coral 
 
 Rose de Berry 
 
 RED. 
 
 Regular 
 
 Coral 
 
 TURQUOISE. 
 
 Imperial 
 
 Blue 
 
 Soft ... 
 
 Grounding 
 
 VIOLET. 
 
 For Grounds 
 
 WHITE ENAMEL. 
 
 Soft 
 
 Best 
 
 Common 
 
 YELLOW— Opaque 
 SILVER 
 
 RAISED 
 
 2 6 
 
 1 6 
 
 AMATEURS’ WORK FIRED AT 1 /- PER SQUARE FOOT. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BRODIE & MIDDLETON’S 
 Boxes, of Colours and Materials 
 
 FOR 
 
 ENAMEL PAINTING on 6LAS3, 
 
 In Water and Fat Turps— Ready for use. 
 
 SPECIALLY PREPARED. 
 
 JAPANNED TIN COLOUR BOX— containing Tubes of Tracing £ s. d 
 Black and Tracing Brown, Shading Black and Shading 
 Brown, Hair Brown, Flesli Red, and Enamel Blue— ground 
 in Fat Turps ; Bottles of Stain, Fat Turps, Spirit of Turps, 
 
 Spirit of Tar, and Oil of Aniseed ; Palette Knife, Hog-hair 
 Tools — for making Scrubs, Badger, Muller, and Slab ... Ill 6 
 MAHOGANY CADDY-LID BOX —containing Tubes of Tracing 
 Black and Tracing Brown, Shading Black and Shading 
 Brown, Hair Brown, Flesh Red, and Enamel Blue — ground 
 in Water ; Bottles of Medium — Nos: 1 and 2, Glass and 
 China Slabs, Palette Knife, Water Glass, and Selection of 
 
 Brushes ... ... ... ... ... .. Ill 6 
 
 A COMPLETE SET OF GLASS ENAMELLING COLOURS, 
 both in Water and Fat Turps, fitted with Brushes, Slabs, 
 and Medinm for both processes ; in Mahogany Box 3 3 0 
 
 /MATEURS’ WORK FIRED AT MODERATE CHARGES. 
 
 EASELS, RESTS, &c., &c., ALWAYS IN STOCK. 
 
 COLOURS, for Enamel Painting on Glass, can be had separate, to 
 replenish the Boxes, as also 
 
 GLASS SLABS AND MULLERS, BADGERS, HOG-HAIR TOOLS, SABLES, AND 
 CAMEL-HAIR PENCILS, ETC., ETC. 
 
 lessons given by competent Artists in Enamel Painting on Glass, 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 For STAINED GLASS. 
 
 HEADY FOE USE — GROUND IN FAT TUEPS OE WATER. 
 
 > 
 
 Per Tube 
 s. d. 
 
 BROWN. 
 
 Tracing 
 
 1 0 
 
 Ancient 
 
 1 0 
 
 Umber 
 
 1 0 
 
 Vandyke 
 
 1 0 
 
 Black Shade ... 
 
 1 0 
 
 BLACK. 
 
 Copper, Soft 
 
 1 0 
 
 Tracing 
 
 1 0 
 
 Per Tube 
 8 . d. 
 
 Sliming 1 0 
 
 Shining Ground 10 
 
 RED. 
 
 For Flesh 1 6 
 
 SILVER STAIN ... 16 
 
 FLUX GROUND. 
 
 Strong 1 0 
 
 Pale 10 
 
 ENAMELS, 
 
 FOR MODERN GLASS PAINTING. 
 
 IN “TUBES. 
 
 Crimson, 2 /- ; Purple, 2 /- ; Pink Ferrara, 2 /- ; Blue, 1 / 6 ; White Mat, 1 /-. 
 In most cases the Colors ground in Water are recommended. 
 
 MAJOLICA COLORS; also UNDEE-GLAZE PAINTING AND 
 PRINTING COLORS, on Short Notice. 
 
 1 /- per Bottle. V~ l 301, Bottle. 
 
 Spirit, 1 /- ; Oil of Aniseed, 1 /-. 
 
 AMATEURS’ WORK FIRED at 1 /- PER SQUARE FOOT. 
 
 Messrs. BRODIE <& MIDDLETON cannot be answerable for Breakages in Firing. 
 
BRODJE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 SABLE-HAIR PENCILS 
 
 OF THE VERY BEST QUALITY. 
 
 Red Sable BrownS. 
 
 Red Sable Brown S. 
 
 S. (1. 
 
 Miniature 
 
 s. d. 
 
 0 4 
 
 s. d. 
 
 0 3 
 
 Small Swan 
 
 S. (i. 
 2 0 
 
 Crow Quill ... 
 
 0 4 
 
 0 3 
 
 Middle ,, 
 
 3 0 
 
 Duck ,, 
 
 0 5 
 
 0 4 
 
 Large „ 
 
 4 0 
 
 Goose ,, 
 
 0 8 
 
 0 6 
 
 Extra Large do. 
 
 5 0 
 
 Large ,, 10d., 1/-, & 
 
 1 6 
 
 8d.&l/ 
 
 Eagle Quill, 10/-, 12/-, & 
 
 15 0 
 
 10 6 
 
 IMITATION SABLE-HAIR PENCILS. 
 
 Crow Quill, l^d. ; Duck do., 2d. ; Goose do., 3d. ; Extra Large do., 4d. ; Small 
 Swan Quill, 6d. ; Middle do., 9d. ; Large do., 1/- ; Extra Large do., 1/6. 
 
 SABLE-HAIR BRUSHES, 
 
 IN METAL FERRULES, WITH BLACK POLISHED HANDLES. RED OR BROWN 
 HAIR— FLAT OR ROUND. 
 
 No. 1 2 3 4 5 6 
 
 5d. 6d. 7d. 8d. 9d. lOd. each. 
 
 For larger sizes see Artists ’ Catalogue. 
 
 SABLE-HAIR BRUSHES, 
 
 IN ALBATA FERRULES. RED OR BROWN HAIR-FLAT OR ROUND. 
 
 No. 1 2 3 4 5 6 
 
 8d. 9d. lOd. 1/- 1/2 1/3 each. 
 
 TRACING PENCILS, 
 
 SABLE 
 
 Crow, 4d. ; Duck, 6d. ; Goose, 9d. each. 
 
 CAMEL-HAIR 
 
 Crow, Duck, Goose, lOd. per dozen. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 FRENCH TOOLS or HOG-HAIR BRUSHES, 
 
 FLAT AND ROUND— FOR MAKING SCRUBS. 
 
 Flat or Hound, same price , 
 
 No. 1 2 3 4 5 6 7 8 9 
 
 2/6 2/6 3/- 3/- 3/6 4/- 4/6 5/- 6/- 
 
 10 11 12 
 
 7/- 8/- 8/- doz 
 
 EXTRA FINE HOG-HAIR TOOLS, 
 
 YELLOW HANDLES. 
 
 No. 1 2 3 4 5 6 7 8 9 10 II 12 
 
 5d. 6d. 6d. 7d. 8d. 8d. 9d. lOd. 1/- 1/2 1/3 1/4 each. 
 
 LONG AND SHORT-HAIR STIPPLERS, 
 
 FOR GLASS PAINTING. 
 
 No. 1 
 6d. 
 
 8 
 
 3/3 each. 
 
 RADGER-HAIR SOFTENERS or BLENDERS. 
 
 6 
 
 5 inch. 
 13/- each. 
 
 ROUND BADGER-HAIR TOOLS, 
 
 FOR SOFTENING. 
 
 No. 1 2 3 4 5 6 7 8 9 10 11 12 
 
 6d. 8d. lOd. 1/- 1/3 1/6 2/- 3/6 3/- 3/9 4/6 5/- each. 
 
 GLASS MULLERS. 
 
 6d., 7d., 9d., 1/-, 1/3, 1/6, 1/9, 2/-, 2/3, 2/6, 2/9, 3/- each. 
 Stone Mullers of all sizes, Granite , Purbec , <&c. 
 
 GLASS SLABS. 
 
 1/4, 1/6, 1/8, 2/-, 2/4, 2/6, 3/- each. 
 
 Qlass Slabs in Frames. Slabs made to order, any size, 
 
From 21/-- each. 
 
 BRODIE & MIDDLETON, 79, LONG A'CRE, LONDON 
 
 GLASS PAINTING EASEL, 
 
 FOLDING MAHL STICKS. 
 
 3/- each. 
 
 RESTS, 
 
 FOR glass and tile painting 
 
 2/6 each. 
 
 PALETTE AND STONE KNIVES. 
 
 From 6d. each, 
 
MA TERIALS 
 
 FOR 
 
 Water Color Painting, Illuminating 
 Glass Painting, &e. 
 
 'it & Middll 
 U.OJVG ACI 
 LONDON, 
 MOIST 
 
 ICOBALT.I 
 
 HALF PAN. 
 
 JBrodie & Middleton 
 79. LONG ACRE. 
 LONDON. 
 
 WHOLE PANS. 
 
 WHOLE CAKE. 
 
 SUPERFINE WATER COLORS, 
 
 PREPARED IN CAKES, HALF-CAKES, AND QUARTER-CAKES; MOIST IN 
 PANS, HALF-PANS, AND TUBES. 
 
 BLUES, 
 
 Antwerp Blue 
 
 Cobalt 
 
 Cerulean 
 
 French Ultramarine . 
 Indigo . 
 
 Intense Blue 
 Prussian Blue 
 Royal Smalts . 
 Ultramarine, genuine 
 
 
 or Tubes. 
 
 Dry. 
 
 Moist. 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 
 ‘ # 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 % 
 
 # 4 
 
 I 
 
 6 
 
 O 
 
 9 
 
 O 
 
 9 
 
 
 
 I 
 
 o 
 
 o 
 
 6 
 
 o 
 
 6 
 
 
 
 I 
 
 6 
 
 o 
 
 9 
 
 o 
 
 9 
 
 
 , # 
 
 o 
 
 6 
 
 o 
 
 3 
 
 o 
 
 34 
 
 m 
 
 . # 
 
 2 
 
 o 
 
 I 
 
 o 
 
 I 
 
 o 
 
 
 
 O 
 
 6 
 
 c 
 
 3 
 
 o 
 
 32 
 
 ; 
 
 ; , 
 
 I 
 
 6 
 
 o 
 
 9 
 
 o 
 
 9 
 
 
 
 16 
 
 o 
 
 8 
 
 o 
 
 8 
 
 o 
 
 J-Cakea. 
 s. d. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 SUPERFINE WATER COLORS — Continued. 
 
 Cakes 
 
 
 Moist, Pans J Cakps 
 or Tul'ps. Dry. 
 
 Puns 
 
 Moist. 
 
 REDS. 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 S. 
 
 d. 
 
 Burnt Sienna . 
 
 
 0 
 
 6 
 
 0 
 
 3 
 
 O 
 
 3 4 
 
 Carmine ...... 
 
 
 2 
 
 6 
 
 I 
 
 3 
 
 I 
 
 3 
 
 Crimson Lake .... 
 
 Indian Red . . . 1 
 
 • each 
 
 I 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Light Red . . . ... > 
 
 O 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 Madder Carmine .... 
 
 
 3 
 
 6 
 
 I 
 
 9 
 
 I 
 
 9 
 
 Madder Lake 
 
 
 2 
 
 0 
 
 I 
 
 0 
 
 I 
 
 0 
 
 Magenta 
 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Pink Madder .... 
 
 
 2 
 
 0 
 
 I 
 
 0 
 
 I 
 
 0 
 
 Pure Scarlet . . . 
 
 
 3 
 
 6 
 
 I 
 
 9 
 
 I 
 
 9 
 
 Rose Madder .... 
 
 
 2 
 
 0 
 
 1 I 
 
 0 
 
 I 
 
 0 
 
 Scarlet Lake . . . , . \ 
 
 Scarlet Vermilion. \ 
 
 * each 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Venetian Red . . . . • . < 
 
 Vermilion \ 
 
 t each 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 3 4 
 
 PURPLES. 
 
 
 
 
 
 
 
 
 Burnt Carmine 
 
 
 3 
 
 6 
 
 I 
 
 6 
 
 I 
 
 6 
 
 Dahlia Carmine .... 
 
 
 2 
 
 6 
 
 I 
 
 3 
 
 I 
 
 3 
 
 Mauve ...... 
 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Purple 
 
 
 0 
 
 6 
 
 O 
 
 3 
 
 0 
 
 34 
 
 Purple Lake 
 
 
 0 
 
 9 
 
 O 
 
 44 
 
 O 
 
 44 
 
 Purple Madder . j 
 
 Violet Carmine . . . 1 
 
 | each 
 
 2 
 
 0 
 
 I 
 
 0 
 
 I 
 
 0 
 
 BROWNS. 
 
 
 
 
 
 
 
 
 Bistre 
 
 Brown Ochre . . . 
 
 Brown Pink ..... 
 
 Burnt Umber 
 
 Cologne Earth .... 
 
 . each 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 Madder Brown ..... 
 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Raw Umber ..... 
 
 # 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 Roman Sepia 
 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Vandyke Brown .... 
 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 Warm Sepia ..... 
 
 • 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 WHITES. 
 
 
 
 
 
 
 
 
 Chinese White .... 
 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 Constant White .... 
 
 0 
 
 1 
 
 0 
 
 O 
 
 6 
 
 O 
 
 6 
 
 Flake White .... 
 
 
 0 
 
 6 
 
 O 
 
 3 
 
 O 
 
 34 
 
 BLACKS. 
 
 
 
 
 
 
 
 
 Blue Black ) 
 
 
 
 
 
 
 
 
 Ivory Black > 
 
 b-amp Blapk , , , * , ] 
 
 ■ each 
 
 0 
 
 6 
 
 0 
 
 3 
 
 O 
 
 34 
 
 I Ouk^s 
 s. d. 
 
 O 2 
 
 o 9 
 O 4 
 
 0 2 
 
 1 O 
 
 o 6 
 
 o 4 
 
 0 6 
 
 1 o 
 
 o 6 
 
 o 4 
 o 2 
 
 o 10 
 o 9 
 o 4 
 O 2 
 
 O 3 
 o 6 
 
 O 2 
 
 O 4 
 
 O 2 
 
 O 4 
 O 2 
 
 O 4 
 
 O 2 
 
 O 4 
 
 O 2 
 
 0 ? 
 
BRODIE & MIDDLETON, 79, LONG A?CRE, LONDON. 
 
 SUPERFINE WATER COLORS — Continued. 
 
 YELLOWS AND ORANGES. 
 
 j- en 
 
 Emerald Green 
 
 Green Lake, No. 1, Pale . 
 
 Ditto No. 2, Middle . 
 
 Ditto No. 3, Deep . 
 
 Ditto No. 4, Extra Deep 
 
 Hooker’s Green, No. 1, Pale 
 Ditto No. 2, Deep 
 
 Malachite Green 
 Oxide of Chromium 
 Olive Green .... 
 Sap Green .... 
 Terra verte . 
 
 Verdigris .... 
 Veronese Green 
 
 ^ each 
 
 | each 
 | each 
 
 > each 
 
 GREYS. 
 
 Neutral Tint 
 Payne’s Grey . 
 Ultramarine Ash 
 
 each 
 
 Cakes 
 
 Moi^t, Pans £-Cakes Pans 
 
 each 
 
 each 
 
 Aureolin 
 
 Cadmium Yellow, Pale . 
 
 Ditto Deep 
 
 Chrome Yellow, No. 1, Pale Lemon 
 
 Ditto No. 2, Golden Tint 
 
 Ditto No. 3, Orange 
 
 Ditto No. 4, Red 
 
 Gallstone 
 
 Gamboge . ' . 
 
 Indian Yellow .... 
 
 Italian Pink .... 
 
 King’s Yellow .... 
 
 Lemon Yellow .... 
 
 Mars Orange .... 
 
 Mars Yellow .... 
 
 Naples Yellow ...... 
 
 Orange Vermilion 
 
 Raw Sienna . . . . • ( ^ rh 
 
 Roman Ochre ( 
 
 Royal Yellow (or Chinese Orange) 
 
 Strontian Yellow 
 
 Yellow Lake ... ^ each 
 
 Yellow Ochre .... 
 
 Yellow Madder 
 
 GREENS. 
 
 each 
 
 s. d. 
 
 s. d. 
 
 s. d. 
 
 3 0 
 
 i 6 
 
 i 6 
 
 3 .6 
 
 1 9 
 
 1 9 
 
 0 6 
 
 0 3 
 
 0 34 
 
 3 0 
 
 1 6 
 
 1 6 
 
 0 6 
 
 0 3 
 
 0 34 
 
 1 0 
 
 0 6 
 
 0 6 
 
 0 6 
 
 0 3 
 
 0 34 
 
 0 6 
 
 0 3 
 
 0 34 
 
 2 0 
 
 1 0 
 
 1 0 
 
 1 6 
 
 0 9 
 
 0 9 
 
 0 6 
 
 0 3 
 
 0 3i 
 
 2 0 
 
 1 0 
 
 1 0 
 
 0 6 
 
 0 3 
 
 0 34 
 
 2 0 
 
 1 0 
 
 1 0 
 
 0 6 
 
 0 3 
 
 O 34 
 
 2 6 
 
 1 3 
 
 I 3 
 
 0 6 
 
 0 3 
 
 0 34 
 
 1 0 
 
 0 6 
 
 0 6 
 
 0 6 
 
 0 3 
 
 0 34 
 
 1 6 
 
 0 9 
 
 0 9 
 
 0 6 
 
 0 3 
 
 0 34 
 
 1 6 
 
 0 9 
 
 0 9 
 
 0 6 
 
 0 3 
 
 0 34 
 
 3 6 
 
 l 9 
 
 l 9 
 
 J-Cakes. 
 s. d. 
 
 I O 
 
 O 2 
 
 O IO 
 O 2 
 
 O 4 
 
 O 2 
 O 2 
 o 6 
 
 O 5 
 
 O 2 
 
 o 6 
 
 O 2 
 
 o 6 
 
 O 2 
 
 o 9 
 
 O 2 
 
 o 4 
 
 O 2 
 
 O 5 
 
 O 2 
 
 O 5 
 
 0 2 
 
 1 Q 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BOXES OF SUPERFINE WATER COLORS. 
 
 Box No. 15, £1 7s. 6d. 
 
 (MAHOGANY,) LOCK AND KEY. 
 
 No. I. — Containing 12 5-Lakes, Brushes and Slab . 
 
 No. 2. — Containing 14 5-Cakes, Slab, Brushes, Indian Ink, Lead 
 Pencil, &c. . . 
 
 No. 3. — Containing 18 5-Lakes, Slab, Brushes, Pencil Rest, Indian 
 Ink, and Water Glass, &c. 
 
 No. 4. — Containing 27 J-Cakes, Slab, Brushes, Pencil Rest, Lead 
 Pencil, Indian Ink, and Water Glass 
 
 No 5. — With Drawer and Tray, containing 12 ^-Cakes, 4 Saucers, 
 Brushes, 2 Slabs, Water Glass, Indian Ink, India Rubber, 
 Pencil Rest, Lead Pencil, Sky Brushes, and Thumb 
 Palette in Drawer . . ... 
 
 No. 6. — The same as No. 5, with 18 ^-Cakes . . 
 
 No. 7. — The same as No. 5 > with 24 |-Cakes 
 
 No. 8. — (Narrow) with Tray and Drawer, containing 12 Cakes, 
 4 Saucers, Brushes, Pencil Rest, Lead Pencil, Sky Brush, 
 and a Divided Palette in Drawer 
 
 £ s. d. 
 050 
 
 060 
 
 086 
 
 0150 
 
 017 6 
 1 2 6 
 
 1 7 o 
 
 0176 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BOXES OF SUPERFINE WATER COLORS— Continued. 
 
 No. 9. — With Drawer and Tray, containing 12 Cakes, 4 Saucers, 
 
 2 Slabs, Indian Ink, India Rubber, Water Glass, Brushes, 
 Lead Pencil, Sky Brush, Pencil Rest, and Thumb Palette 
 in Drawer . . . . . .1 
 
 No. 10. — The same as No. 9, with 18 Cakes . . .1 
 
 No. 11. — The same as No. 9, with 24 Cakes . . .1 
 
 No. 12. — Caddy Lid, with Drawer and Tray, containing 12 4 -Cakes, 
 
 4 Saucers, 2 Slabs, Indian Ink, India Rubber, Water Glass, 
 Brushes, Lead Pencil, Sky Brush, Pencil Rest, and Thumb 
 Palette in Drawer . . . . .1 
 
 No. 13. — The same as No. 12, with 18 J-Cakes . . 1 
 
 No. 14. — The same as No. 12, with 24 4 -Calces . . .1 
 
 No. 15. — Caddy Lid, with Drawer and Tray, containing 12 Cakes, 
 a Bottle of Chinese White, and Water Color Mygulph, 
 
 4 Saucers, 2 Slabs, Indian Ink, India Rubber, Water Glass, 
 Brushes, Lead Pencil, Sky Brush, Pencil Rest, and Thumb 
 Palette in Drawer . . , . . .1 
 
 No. 16. — The same as No. 15, with 18 Cakes . . .1 
 
 No. 17. — The same as No. 15, with 24 Cakes . , .2 
 
 No. 18.— Caddy Lid, (Rosewood) with Fittings as No. 15. , 3 
 
 7 
 
 15 
 
 7 
 
 i5 
 
 7 
 
 i5 
 
 2 
 
 3 
 
 Fancy Wood Color Boxes oj various descriptions , at equally low prices. 
 
 MAHOGANY SLIDING TOP BOXES, 
 
 CONTAINING 
 
 6 quarter Cakes and Brushes 
 
 s. d. 
 i 6 
 
 18 half Cakes and Brushes 
 
 s. 
 
 6 
 
 12 
 
 2 6 
 
 6 whole ,, ,, 
 
 3 
 
 ,, ,, 
 
 4 0 
 
 12 
 
 6 
 
 6 half ,, 
 
 2 6 
 
 18 1 1 1 1 
 
 .9 
 
 *2 >* 
 
 4 0 
 
 
 
 d- 
 
 O 
 
 6 
 
 o 
 
 o 
 
 6 
 
 o 
 
 6 
 
 o 
 
 o 
 
 o 
 
 d. 
 
 o 
 
 6 
 
 6 
 
 6 
 
 BOXES OF COLORS. 
 
 ARRANGED AS RECOMMENDED BY THE SOCIETY OF ARTS. 
 
 No. I.— Slide Lid Box, containing the 10 Colors and 3 Brushes, 
 with practical directions for use .... 
 
 No. 2. — Lock Box, containing 10 Colors, Slab, 2 Water Glasses, 
 Brushes, Pencil, &c. . . » ♦ • 
 
 s. d. 
 
 1 o 
 
 S Q 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 MINIATURE AND OTHER SIZE JAPANNED 
 
 SKETCH BOXES. 
 
 FILLED WITH MOIST COLORS. 
 
 JAPANNED TIN WATER COLOR BOXES. 
 
 (EMPTY.) 
 
 WITH PALETTE FLAPS, FOR MOIST OR DRY CAKE COLORS 
 
 MINIATURE. 
 
 contain 3 
 
 Colors . 
 
 
 
 
 J-Cakes 
 s. d. 
 
 i-Cak'^s 
 s. d. 
 
 J-Cakes 
 s. d. 
 
 2 3 
 
 „ 6 
 
 yy 
 
 
 
 
 2 3 
 
 2 3 
 
 2 9 
 
 „ 8 
 
 yy 
 
 
 
 
 2 6 
 
 2 6 
 
 3 
 
 3 
 
 ,, 10 
 
 yy 
 
 
 . 
 
 
 2 9 
 
 2 9 
 
 3 
 
 9 
 
 „ 12 
 
 yy 
 
 
 
 
 3 0 
 
 3 0 
 
 4 
 
 3 
 
 „ 14 
 
 yy 
 
 . 
 
 
 . 
 
 1 3 3 
 
 3 
 
 3 
 
 4 9 
 
 ,, 16 
 
 yy 
 
 
 
 
 3 6 
 
 3 6 
 
 5 0 
 
 ,, 18 
 
 yy 
 
 
 
 
 3 9 
 
 3 
 
 9 
 
 5 
 
 9 
 
 ,, 20 
 
 yy • 
 
 
 
 
 — 
 
 — 
 
 6 0 
 
 „ 22 
 
 yy 
 
 
 
 
 — 
 
 — 
 
 6 9 
 
 >» 24 
 
 yy • 
 
 . 
 
 . 
 
 ■ . 
 
 — 
 
 — 
 
 7 0 
 
 Cakes 
 S. d. 
 2 6 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 WITH FOLDING PALETTE LID. 
 
 Holl 'wed & divided Lids 
 
 12 Moist Tube Box 
 
 I Fitted, 
 s. d. 
 
 14 O 
 
 Empty, i 
 S. d. I 
 
 6 6 I 
 
 12 Moist Tube Box 
 
 Fitted, 
 s. d. 
 12 O 
 
 14 
 
 17 6 
 
 7 6 
 
 14 
 
 15 O 
 
 16 
 
 20 0 
 
 9 0 
 
 lb ,, ,, 
 
 17 6 
 
 , 18 „ „ 
 
 25 0 
 
 10 0 
 
 18 
 
 20 0 
 
 Flat Lids 
 
 Empty 
 s. d. 
 5 6 
 6 6 
 
 7 o 
 
 8 o 
 
 MOIST TUBE COLOR BOXES. 
 
 PALETTE BOXES. 
 
 For holding a small supply of color for a few days’ use ; the Well to be filled 
 from the Tubes. — 5/- and 6/- each. 
 
 RIMMED DIPPER, (A), to prevent the water spilling, 1/6. 
 Ditto ditto (S), ditto, 1/-, 1/3, and 1/6 each. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 The following arrangement of Colors has been selected and recommended by 
 Water Color Artists of the first celebrity : — 
 
 JAPANNED TIN SKETCH BOXES, 
 
 FILLED WITH MOIST COLORS. 
 
 THE FLAPS OF WHICH SERVE AS PALETTES. 
 
 Three Cake Boxes, for Light and Shade Drawing. 
 Containing French Blue, Sepia, Chinese White 
 Six Cake Boxes, for Landscapes. 
 
 Raw Sienna, Gamboge, Crimson Lake, Venetian Red, 
 Prussian Blue, Vandyke Brown .... 
 
 Six Cake Boxes, for Landscapes and Figures. 
 Vandyke Brown, Light Red, Indigo, Cobalt, Indian Yellow, 
 Crimson Lake ...... 
 
 Eight Cake Boxes, for Landscapes. 
 
 Whole Pans 
 s. d. | 
 
 6 o 
 
 6 6 
 
 8 6 
 
 i Pans 
 s. d 
 
 4 O 
 
 4 9 
 
 5 6 
 
 Cobalt, Indigo, Vandyke Brown, Light Red, Yellow Ochre, 
 Burnt Sienna, Gamboge, Crimson Lake 
 Eight Cake Boxes, for Landscapes and Figures. 
 
 Yellow Ochre, Light Red, Cobalt, Vermilion, Madder 
 Brown, Rose Madder, Prussian Blue, Vandyke Brown . 
 
 Ten Cake Boxes, for Landscapes. 
 
 Gamboge, Burnt Sienna, Yellow Ochre, Venetian Red, Olive 
 Green, Vandyke Brown, Crimson Lake, Cobalt, Indigo, 
 Neutral Tint ...... 
 
 Ten Cake Boxes, for Landscapes and Figures. 
 
 Yellow Ochre, Indian Yellow, Burnt Sienna, Light Red, 
 Vermilion, Cobalt, Rose Madder, Olive Green, Prussian 
 Blue, Vandyke Brown ..... 
 
 Twelve Cake Boxes, for Landscapes. 
 
 Vandyke Brown, Brown Pink, Indigo, Crimson Lake, 
 Cobalt, Neutral Tint, Indian Red, Burnt Sienna, Vermilion, 
 Gamboge, Yellow Ochre, Italian Pink 
 Twelve Cake Boxes, for Landscapes and Figures. 
 
 Gamboge, Indian Yellow, Raw Sienna, Burnt Sienna, Light 
 Red, Scarlet Vermilion, Rose Madder, Purple Lake, 
 Vandyke Brown, Brown Pink, Indigo, French Ultramarine 
 
 9 o 
 
 10 6 
 
 10 6 
 
 12 o 
 
 12 o 
 
 14 6 
 
 6 6 
 7 6 
 
 7 6 
 
 8 6 
 
 9 o 
 
 10 Q 
 
MODlE & MIDDLETON, 79 , LONG ACRE, LONDON. 
 
 PHOTOGRAPHIC WATER COLORS. 
 
 CHESTNUT 
 BRIGHT GREEN 
 FLAXEN 
 
 Sixpence per Cake. 
 BROWN 
 BLACK 
 AUBURN 
 LIGHT GREY 
 
 CHINESE WHITE 
 GOLDEN YELLOW 
 DEEP BLUE 
 
 MAUVE 
 
 FLESH SHADOW, No. i 
 ,, No. 2 
 „ „ No. 3 
 
 ULTRAMARINE 
 
 Ninepence per Cake. 
 
 | VERONESE GREEN 
 
 One Shilling per Cake. 
 PALE FLESH 
 FLESH 
 
 DEEP FLESH 
 SCARLET 
 
 LEMON YELLOW 
 ITALIAN BLUE 
 CARMINE 
 ROSE TINT 
 
 THE 
 
 One Shilling Box of Photographic Colors, 
 
 Containing 12 Colors and 3 Brushes. 
 
 WATER COLOR 
 MEDIUM, 
 
 ADAPTED EQUALLY FOR WATER COLOR 
 OR PHOTOGRAPHIC PAINTING. 
 
 This preparation overcomes a difficulty 
 long felt by Colorists, viz : the greasy ten- 
 dency of the paper. One application of the 
 Medium (diluted with water,) evenly laid 
 on with a brush and allowed to dry, entirely 
 removes the grease. The Medium can then 
 be used with the color, giving the Picture 
 an Ivory Surface appearance. 
 
 Sixpence and Shilling per Bottle. 
 
 GOLD, SILV 
 
 ER, 
 
 & ALUMINIUM SHELLS. 
 
 GOLD. 
 
 each 
 s. d. 
 
 dozen 
 s. d. 
 
 SILVER, &c. 
 
 each 
 s. d. 
 
 dozen 
 s. d. 
 
 Half Shell . 
 
 O 4 
 
 3 6 
 
 Silver Shells . 
 
 0 3 
 
 2 6 
 
 Whole Shell 
 
 0 5 
 
 4 0 
 
 Aluminium Shells 
 
 0 3 
 
 2 6 
 
 Extra Large Shell 
 
 0 7 
 
 6 0 
 
 Green Gold Shells . 
 
 0 6 
 
 5 0 
 
 2 dot Gold Shells, is. each. 
 
 GOLD SAUCERS. 
 
 i-in. Gold Saucer 
 
 each 
 s. d. 
 
 0 5 
 
 dozen 
 s. d. 
 
 4 6 
 
 if Gold Saucer, 3 dots 
 
 i each 
 | s. d. 
 
 1 6 
 
 dozen 
 s. d. 
 l6 O 
 
 if-in. „ 
 
 0 7 
 
 1 6 0 
 
 24 ,, 6 dots 
 
 1 3 0 
 
 32 O 
 
 GOLD and SILVER CAKES, in China Pans. 
 
 Gold Cakes 4s. each. Silver Cakes is. each. 
 
 Liquid Gold, in Stoppered Bottles, 5s. Gold & Silver Ink, 6d. & is. Bottle. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 I5KOD1E & MIDDLETON’S 
 
 IN PANS AND TUBES. 
 
 For Painting Magic Lantern Slides , &c. 
 
 GLASS PAINTING WATER COLORS (IN BOXES,) 
 
 No. I. — Slide Lid, containing 6 Colors in Pans, Brushes, and I 
 
 Fixing Varnish 
 
 2. — Slide Lid, containing 12 Colors in Pans, Fixing Varnish, 
 and Brushes ...... 
 
 3 » — Lock Box, containing 12 Colors in Pans, Slab, Fixing 
 Varnish, Brushes, &c. ..... 
 
 4. — Lock Box, containing 9 Colors in Tubes, Slab, Fixing 
 
 Varnish, Brushes, &c. ..... 
 
 5. — Lock Box, containing 12 Colors in Tubes, Slab, Fixing 
 
 Varnish, Brushes, Etching Needle, &c. . 
 
 6. — Caddy Lid Box, elaborately fitted 
 
 7- — Ditto ditto ditto with drawer and extra fittings 
 
 Etching Needles , 9 d. each. Outlining Pencils , 2 d. each. 
 
 TRANSPARENT MOIST WATER COLORS, 
 
 CLASS 
 
 PAINTINCl 
 
 COLOR. 
 
 YELLOW 
 
 BRODIE &MIDDLETON.| 
 79. LONG ACRE. 
 LONDON. 
 
 Blue, No. 1 . 
 
 Pans, 
 s. d. 
 O 6 
 
 Tubes, 
 s. d. 
 
 i 6 
 
 Black 
 
 Pans, 
 s. d. 
 
 0 3 
 
 ,, No. 2 
 
 O 3 
 
 0 9 
 
 Light Green 
 
 0 3 
 
 Crimson 
 
 0 6 
 
 1 6 
 
 Dark ,, . 
 
 0 3 
 
 Amber . 
 
 0 3 
 
 0 9 1 
 
 Orange . 
 
 0 3 
 
 Brown 
 
 0 3 
 
 0 9 
 
 Purple 
 
 0 4 
 
 Mauve , 
 
 0 6 
 
 1 6 1 
 
 Scarlet . . 
 
 Q 6 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BOXES OF COLORS (varnish,; 
 
 No. 1. — Contains 9 Colors, Medium, Palette, Spirit, Brushes, 
 
 Palette Knife, &c. ..... 
 
 ,, 2. — Contains 12 Colors, Medium, Spirit, Varnish, Palette, 
 
 Eraser, Brushes, Palette Knife, Outlining Pen, &c. 
 
 R.S. — In ordering, to prevent mistakes, please describe them as VARNISH COLORS. 
 
 d. 
 
 12 O 
 
 21 O 
 
 BRODIE & MIDDLETON’S 
 
 VARNISH COLORS AND MEDIUMS, 
 
 For Painting Magic Lantern Slides, &c. 
 
 VARNISH COLORS, IN TUBES. 
 
 Raw Sienna 
 
 s. d. 
 
 0 6 
 
 Light Blue . 
 
 Burnt ,, 
 
 0 6 
 
 Orange . 
 
 Green 
 
 0 6 
 
 Crimson 
 
 Black 
 
 0 6 
 
 Purple . 
 
 Yellow, No. 1 
 
 0 6 
 
 Rose 
 
 „ No. 2 . 
 
 0 6 
 
 Medium . 
 
 Blue 
 
 0 6 
 
 Spirit, per Bottle . 
 
 Brown f . . 
 
 0 6 
 
 Varnish ,, , 
 
OMiPKOWii 
 
 BRODIE k MIDDLETON, 79, LONG ACRE, LONDON. 
 
 BEST DRAWING PENCILS. 
 
 H, HH, HHH, HHHH 
 B, BB, HB 
 F, FF 
 
 HHHHHH . . 4d. each, or 3s. 6d. dozen. 
 
 BBB . . . 5d. ,, 4s. 6d. ,, 
 
 3^d, each, or 3s. dozen. 
 
 DRAWING PENCILS. 
 
 Polished , Gilt Lettered. 
 
 RECOMMENDED FOR SCHOOL USE AND 
 GENERAL PURPOSES. 
 
 HB, H, HH, HHH, B 
 BB, BBB, F, FF 
 
 ALSO 
 
 Faber’s Drawing Pencils ) , , , - A 
 
 Gilbert’s „ „ j 2d. each, or is. gd. doeen. 
 
 Brockendon’s Pure Cumberland Lead Pencils, 
 5d. each, or 4s. 6d. dozen. 
 
 2d. each, or is. 9d. dozen. 
 
 BRODIE & MIDDLETON’S BEST EXTRA BROAD LEAD, 
 
 Ninepence each. 
 
 PENNY DRAWING PENCILS. 
 
 4 Degrees HB, B, BB, H. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 JAPANNED TIN SKETCH BOXES— Continued. 
 
 Fourteen Cake Boxes, for Landscapes. 
 
 Cobalt, Indigo, Neutral Tint, Emerald Green, Brown Pink, 
 Vandyke Brown, Madder Brown, Crimson Lake, Indian 
 Red, Light Red, Burnt Sienna, Indian Yellow, Yellow 
 Ochre, Gamboge ...... 
 
 Fourteen Cake Boxes, for Landscapes and Figures. 
 Indigo, French Ultramarine, Neutral Tint, Olive Green, 
 Emerald Green, Madder Brown, Vandyke Brown, Purple 
 Lake, Rose Madder, Scarlet Vermilion, Light Red, Indian 
 Yellow, Gamboge, Yellow Ochre .... 
 
 Sixteen Cake Boxes, for Landscapes and Figures. 
 Lemon Yellow, Gamboge, Indian Yellow, Yellow Ochre, 
 Light Red, Burnt Sienna, Vermilion, Purple Lake, Rose 
 Madder, Vandyke Brown, Madder Brown, Olive Green, 
 Emerald Green, Indigo, French Ultramarine, Crimson Lake 
 Sixteen Cake Boxes, for Landscapes, Figures, & Flowers. 
 Royal Yellow, Indian Yellow, Gamboge, Chrome, Vermilion, 
 Pure Scarlet, Indian Red, Rose Madder, Carmine, Burnt 
 Carmine, Vandyke Brown, Ivory Black, Olive Green, 
 Emerald Green, French Ultramarine, Indigo 
 Twenty Cake Boxes, for Landscapes, Figures, & Flowers. 
 Lemon Yellow, Indian Yellow, Gamboge, Yellow Ochre, 
 Chrome Yellow, Vermilion, Light Red, Indian Red, Rose 
 Madder, Carmine, Purple Madder, Vandyke Brown, Brown 
 Pink, Sepia, Sap Green, Emerald Green, Indigo, French 
 Ultramarine, Cobalt, Cerulean .... 
 
 s. 
 
 14 
 
 16 
 
 19 
 
 26 
 
 j 27 
 
 d. s. d. 
 
 6 10 6 
 
 6 
 
 o 13 o 
 
 o 16 6 
 
 o 
 
 18 6 
 
 JAPANNED TIN WATER BOTTLES, 
 
 WITH CUPS. 
 
 BOTTLES. BOTTLES. BOTTLES. 
 
 s. u. 
 
 Japanned Water Bottle, with Cups, Oval 2 o 
 „ Middle Size ditto ,, 26 
 
 „ Large Size ditto „ 30 
 
 ., Water Bottle ditto, ditto. 
 
 Plated inside . • 5 0 
 
 Japanned Water Bottle, Middle Size, 
 
 with Cups, Oval, Plated inside 6 o 
 Large Size ditto, ditto, ditto 7 6 
 Broad Oval Water Bottle, 
 
 with Cups . . - 3 s 
 
 „ Long ditto, ditto, ditto . 5 6 
 
BRODlE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 COLORS AND MATERIALS 
 
 FOR 
 
 No. I. — Slide Lid Box, containing 12 Colors, 3 Brushes, and 
 Practical directions for use .... 
 
 ,, 2. — Hook and Eye Mahogany Box, containing 12 Colors, 
 
 Brushes, and 3 Saucers ..... 
 
 ,, 3. — Hook and Eye Mahogany Box, containing 12 Colors, 
 
 Gold and Silver Shells, Slab, Brushes, &c. 
 
 ,, 4. — Hook and Eye Mahogany Box, containing 18 Colors, 
 
 Gold and Silver Shells, Slab, Brushes, &c. 
 
 ,, 5.— Lock Mahogany Box, containing 12 Large Best Colors, 
 
 Gold and Silver Shells, Slab, Water Glass, India Rub- 
 ber, Brushes, See. ..... 
 
 ,, 6. — Lock Mahogany Box, containing 14 Large Best Colors, 
 
 Gold and Silver Shells, 2 Water Glasses, Slab, Indian 
 Ink, Brushes, &c. ..... 
 
 ,, 7. — Lock Mahogany Box, containing 10 Best MOIST Colors, 
 
 Large Gold Saucer, Silver Shell, Tube Chinese White, 
 Burnisher, Slab, Water Glass, Brushes, &c. 
 
 ,, 8. — Lock Mahogany Box, with Tray, containing 18 Large Best 
 
 Colors, Gold and Silver Shells, Slab, Indian Ink, Rub- 
 ber, Saucers, Burnisher, Brushes, Water Glass* &c. 
 
 £ s. d. 
 010 
 
 026 
 
 040 
 
 056 
 
 066 
 
 086 
 
 o 10 6 
 
 o 15 0 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 ILLUMINATING COLOR BOXES— Continued. 
 
 No. 9. — Lock Mahogany Box (Caddy Lid) containing 18 Best 
 MOIST Colors, Large Gold Saucer, Silver Shell, Tube 
 Chinese White, Burnisher, Slab, 2 Water Glasses, Pot 
 Water Gold Size, Pencil Rest, Brushes, &c. . . 1 1 o 
 
 ,, 10. — Caddy Lid, Walnut or Rosewood Lock Box, containing 
 same as No. 9, with Drawer containing Palette, &c., 
 and superior Brushes . . . . .220 
 
 No. 11 . — £2 2s. No. 12 . — £3 3?. Moist or Dry Colors. 
 
 ILLUMINATING COLORS. 
 
 MOIST, IN CUPS. 
 
 6d. each. 
 
 Grey 
 
 Light Green 
 Dark 
 
 Venetian Red 
 Neutral 
 Purple 
 Black 
 
 Prussian Blue 
 Orange 
 
 Yellow Ochre 
 Chrome 
 
 Vandyke Brown 
 Vermilion 
 
 Is. each. 
 
 Lemon 
 Cobalt 
 Mauve * 
 Ultramarine 
 
 Madder Brown 
 Scarlet Vermilion 
 Crimson Lake 
 Sepia 
 
 Veronese Green 
 
 Is. 6d. each. 
 
 Carmine 
 Rose Madder 
 Intense Blue 
 
 CHINESE WHITE, in Tubes, 6d. and Is. each. 
 „ „ in Bottles, 8d. 
 
 LARGE ILLUMINATING COLORS (dry.) 
 
 6d. each. 
 
 Chrome 
 Bright Green 
 V ermilion 
 Neutral 
 Burnt Sienna 
 Black 
 
 Yellow Ochre 
 Venetian Red 
 Vandyke Brown 
 
 Orange 
 Prussian Blue 
 Purple 
 Grey 
 
 Is. each. 
 
 Ultramarine 
 
 Mauve 
 
 Sepia 
 
 Veronese Green 
 Permanent White 
 
 Lemon 
 
 Madder Brown 
 Cobalt 
 
 Crimson Lake 
 Scarlet Vermilion 
 
 Is. 6d. each. 
 
 Rose Madder 
 Carmine 
 Intense Blue 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 SUPERIOR 
 
 Messrs. B. & M. having been solicited by many of their customers to turn 
 their attention to the manufacture of superior Photographic Water Colors, 
 they beg to say, that while paying particular attention to the pureness of the 
 Colors, they have not lost sight of the necessity of producing the same at prices 
 within the reach of all classes — at least, 50 per cent, less than is generally 
 charged for such articles. These Colors are warranted not to contain anything 
 injurious to the Photograph. 
 
 BOXES OF PHOTOGRAPHIC WATER COLORS 
 
 No. I. — Sliding Lid Box, contains 12 Cakes, Pencils, &c. . 
 
 ,, 2. — Sliding Lid Box, contains 18 Cakes, Pencils, &c. 
 
 ,, 3. — Mahogany Lock Box, contains 12 Cakes, Pencils, Palette, 
 
 Water Glass, Tube of Chinese White, and a Bottle of 
 Liquid Carmine ...... 
 
 ,, 4. — Mahogany Lock Box, contains 18 Cakes, Pencils, Palette, 
 
 Water Glass, Tube of Chinese White, and a Bottle of 
 Liquid Carmine ...... 
 
 ,, 5* — Mahogany Lock Box, contains 24 Cakes, Pencils, Palette, 
 
 Water Glass, Tube of Chinese White, and a Bottle of 
 Liquid Carmine, Water Color Mygulph, &c. 
 
 ,, 6. — Mahogany Lock Box, Caddy Lid, contains 24 Cakes, 
 
 Pencils, Palette, Water Glass, Tube of Chinese White, 
 and a Bottle of Liquid Carmine, Water Color Mygulph, 
 Preparation, & c. , , , , 
 
 x, s. a. 
 
 076 
 o 12 o 
 
 0 15 o 
 
 1 I o 
 
 1 II 6 
 
 2 2 Q 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 FINELY GROUND BY MACHINERY. IN PATENT COLLAPSIBLE TUBES. 
 
 
 Single, 3d. 
 Double Size, 6d. 
 Larger, 9d. & Is 
 
 Yellow Ochre 
 Roman or Golden 
 Ochre 
 
 Brown Ochre 
 Raw Sienna 
 Burnt „ 
 
 Prussian Blue 
 Antwerp „ 
 
 Indigo „ 
 Permanent Blue 
 Indian Red 
 Light „ 
 
 Venetian Red 
 Bone Brown 
 Cappah „ 
 
 Vandyke „ 
 
 Pale Naples Yellow 
 Deep ,, ,, 
 
 Extra Deep Naples 
 Yellow 
 
 Patent Yellow 
 Chromes. Nos. 1,2, 3, 4 
 Raw Umber 
 Burnt ,, 
 
 Sacrum, or Dryers 
 Mineral Green 
 Mummy 
 Bitumen 
 Asphalt um 
 Dutch Pink 
 Brown „ 
 
 Italian ,, 
 
 Neutral Tint 
 Red Lead 
 Cologne Earth 
 Yellow Lake 
 Purple „ 
 
 Indian ,, 
 
 Lake 
 
 Ivory Black 
 Lamp ,, 
 
 Blue „ 
 
 Terravert 
 Verdigris 
 Emerald Green 
 White 
 
 Cassell Earth 
 Blue Verditer 
 
 5d. each. 
 
 Crimson Lake 
 Scarlet „ 
 Vermilion 
 Sap Green 
 
 6d. each. 
 
 Royal Yellow 
 Cerulean (blue) 
 French Ultramarine 
 Green Lake 
 
 ,, No. 1 
 
 8d. each. 
 
 Oxide of Chromium 
 Mars Yellow 
 Strontian Yellow 
 Indian ,, 
 Gamboge 
 
 9d. each. 
 
 Cobalt 
 
 Scarlet Vermilion 
 
 10d. each. 
 
 Madder Brown 
 Mars Orange 
 
 Is. each. 
 
 Lemon Yellow 
 Pink Madder 
 Madder Lake 
 Malachite Green 
 Rose Madder 
 Pale Ultramarine 
 Ash 
 
 Veronese Green 
 
 Is. 6d. each. 
 
 Carmine 
 Violet Carmine 
 Cadmium Yellow 
 Deep Ultramarine 
 Ash 
 
 2s. 6d. each. 
 
 Aureolin 
 Purple Madder 
 Madder Car- 
 
 SINGLE. 
 
 The more expensive Colors are put in Tubes 2 inches long ; the middle prices art 
 put in 3-inch, and the cheaper Colors in \-inch Tubes . 
 
 DOUBLE. 
 
 6d. 
 
 Double. 
 
 8d. 
 
 Treble. 
 
 WHITE. 
 
 2S. 6d. 
 
 i-lb. 
 
 is. 
 
 Quadruple. 
 
 4s. 6d. 
 2-lb. 
 
 each. 
 
 MYGULPH (Mastic), 
 
 Single . . . . 3$d. | Double , , • 7d, 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 JAPANNED TIN OIL COLOR BOXES, 
 
 FOR CONTAINING TUBE COLORS, BRUSHES, OILS, &c., &c. 
 
 No. 1 
 
 „ 2 
 >» 3 
 „ 4 
 
 it 5 
 
 Box No. 5. Fitted, ,£1 15s.; Empty, 10s. 6d. 
 
 Size 94 in. by 44 in . , 1 4 inch deep. 
 
 Containing 8 Colors, 3 Flat Sables in Tin, 6 Hog- 
 hair Tools, Badger Softener, Palette Knife, and 
 Mahogany Folding Palette 
 
 Size g^-in. by \\-in., 2 -in. deep. 
 
 Containing 16 Colors, Fittings same as Box No. 1 
 Size 134 'in. by $-in., \\-in. deep. 
 
 Containing 12 Colors, Fittings same as Box No. 1 
 Size 134 'in. by $-in., 2 -in. deep. 
 
 Containing 16 Colors, 6 Flat Sable Tools, 6 Hog- 
 hair Tools, Badger Softener, Palette Knife, Chalk, 
 Port Crayon, Mahogany Folding Palette, Bottle 
 of Turpentine, Linseed Oil, and Dipper . 
 
 Containing 19 Colors, Fittings same as Box No. 4. 
 This Box can be placed on the knees, the strap 
 passing underneath the feet keeping it firm. The 
 dot lines representing a canvas or mill board, which 
 can then be adjusted for painting on, being held 
 tight by a hook at the end of a piece of elastic band. 
 
 Fitted 
 
 Empty 
 
 £ s. d. 
 
 £ s. d. 
 
 0 15 O 
 
 046 
 
 IOO 
 
 0 5 6 
 
 IOO 
 
 060 
 
 I s 0 
 
 VO 
 
 0 
 
 1 15 0 
 
 0 10 6 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 10 
 
 11 
 
 12 
 
 13 
 
 14 
 
 15 
 
 16 
 
 Fitted 
 £ s. d. 
 
 I 5 
 
 9 o 
 
 1 5 o 
 
 6 6 
 
 JAPANNED TIN OIL COLOR BOXES— Continued, 
 Size 13 in. by 8| in., i| in. deep. 
 
 No. 6 Containing 20 Colors, 6 Flat Sable Tools, 6 Hog- 
 hair Tools, Badger Softener, Palette Knife, 
 
 Dipper, Bottle of Mastic Varnish, Pale Drying 
 Oil, and Mahogany Palette 
 
 ,, 7 The same as Box No. 5, with Recess, containing 
 
 two Mill Boards, 12 X 8 
 
 Size 8f in. by 6f in., 2 § in. deep. 
 
 „ 8 Containing 12 Colors, 6 each Round and Flat Sable 
 
 Tools, 6 Hog-hair Tools, Badger Softener, Bottle 
 of Mastic Varnish, Turpentine, Linseed Oil, Pale 
 Drying Oil, Chalk, Port Crayon, Palette Knife, 
 
 Dipper, and Mahogany Palette . 
 
 9 The same as Box No. 6, with Recess, containing 
 two Prepared Mill Boards, 8^ X 6| 
 
 Size 10 in. by 7 in., 3 in. deep. 
 
 Containing 16 Colors, Fittings same as Box No. 6 
 The same as Box No. 8, with Recess, containing 
 two Prepared Mill Boards, 10 X 7 
 Size 1 1 in. by 8 in. , 3 in. deep. 
 
 Containing 20 Colors, Fittings same as Box No. 6 
 The same as Box No. 10, with Recess underneath, 
 containing two Prepared Mill Boards, 11x8 . 
 
 Size I2| in. by 8^ in., 3 in. deep. 
 
 Containing 27 Tube Colors, and 6 each Round and 
 Flat Sables in Tin, 12 Hog-hair Tools, Badger, 
 
 Palette Knife, Chalks, Port Crayon, Bottle of 
 Mastic Varnish, Turpentine, Pale Drying Oil, 
 
 Linseed Oil, and Mahogany Palette 
 The same as Box No. 12, with Recess, containing 
 two Prepared Mill Boards, 12 X 8 
 Size 14 in. by 10 in., 3^ in. deep. 
 
 Containing 27 Tube Colors, 9 Flat and 6 Round 
 Oil Color Sable Tools, 12 Hog-hair Tools, Badger, 
 
 Palette Knife, Mastic Varnish, Turpentine, Pale 
 Drying Oil, Linseed Oil, Poppy Oil, Preparation 
 Copal, Mahogany Palette, Mill Boards, Dippers, 
 
 Rest Stick, &c. , &c. . . . -33 
 
 7 6 
 
 1 10 6 
 
 1 12 6 
 
 * 15 
 
 220 
 
 270 
 
 Empty 
 
 7 6 
 
 9 c 
 
 7 o 
 
 090 
 
 o 10 o 
 
 o 10 o 
 
 O 12 O 
 
 O 12 O 
 
 o 14 
 
 ! 
 
 00 16 o 
 
 JAPANNED & PLAIN TIN BRUSH CASES. 
 
 No. 1 Oval, 11 inch long 
 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 TABLETS FOR SKETCHING IN OIL. 
 
 Made on the principle rf the Solid Sketch Books , set page 27. 
 
 Being composed of a number of sheets of Prepared Paper, fastened at the 
 edges, forming a solid block of paper, from which each sheet may be separated 
 by passing a knife round the edge. 
 
 EACH TABLET CONTAINS 24 SURFACES OF OIL SKETCHING PAPER. 
 
 In Covet 
 with 
 Protector 
 s. d. 
 
 Size 
 
 i6mo Imperial, 7 inch by 5 
 8vo ,, 10 ,, 7 
 
 4to „ 14 „ 10 
 
 Half ,, 20 ,, 14 
 
 Black 
 
 In 
 
 only. 
 
 Cover. 
 
 s. d. 
 
 s. d. 
 
 2 O 
 
 3 2 
 
 3 0 
 
 4 6 
 
 5 6 
 
 8 0 
 
 10 0 
 
 14 6 
 
 PAPER. 
 
 per sheet 
 
 OIL SKETCHING 
 
 Size 
 
 Imperial 30 inch by 22 
 Half Imperial 22 ,, 15 
 
 MILL BOARD OR SKETCHING FRAMES. 
 
 FOR SKETCHING FROM NATURE. 
 
 And afterwards for carrying two wet Sketches without injury, the frame being 
 made with a rabbet on each side, a Mill Board being placed into each of them. 
 PRICES AND SIZES OF FRAMES. 
 
 s. d. 
 3 6 
 3 6 
 4 o 
 
 Any size made to order . 
 
 ARTISTS’ PALETTE KNIVES. 
 
 14 inch by 10 
 
 . each 
 
 s. 
 
 2 
 
 d. 
 
 6 
 
 18 inch by 12 
 
 . each 
 
 15 „ 11 
 
 • 99 
 
 2 
 
 9 
 
 19 » 13 • 
 
 99 
 
 16 „ 12 
 
 • 99 
 
 3 
 
 0 
 
 20 „ 14 
 
 • 99 
 
 No. 556. 
 
 No. 540. 
 
 3 inch 
 
 Si inch 
 
 4 inch 
 
 4i inch 
 
 5 inch 
 
 5 i inch 
 
 6 inch 
 
 s. d. 
 
 S. 
 
 d. 
 
 S. 
 
 d. 
 
 s. d. 
 
 s. 
 
 d. 
 
 S. 
 
 d. 
 
 s. 
 
 d. 
 
 — 
 
 
 
 O 
 
 6 
 
 — 
 
 O 
 
 7 
 
 
 
 O 
 
 8 
 
 0 6 
 
 O 
 
 7 
 
 O 
 
 8 
 
 O 9 
 
 O 
 
 10 
 
 I 
 
 O 
 
 I 
 
 2 
 
 0 7 
 
 O 
 
 8 
 
 O 
 
 10 
 
 I O 
 
 I 
 
 2 
 
 I 
 
 4 
 
 I 
 
 6 
 
 0 8 
 
 O 
 
 9 
 
 O 
 
 10 
 
 I O 
 
 I 
 
 2 
 
 I 
 
 4 
 
 I 
 
 6 
 
 0 9 
 
 O 
 
 10 
 
 I 
 
 0 
 
 I 2 
 
 • 
 
 4 
 
 I 
 
 6 
 
 I 
 
 8 
 
 — 
 
 
 
 I 
 
 6 
 
 i — 7 
 
 * 
 
 8 
 
 I 
 
 9 
 
 I 
 
 JQ 
 
 No. 
 
 520, Cocoa Handle 
 
 540, ,, ,, Artists’ 
 
 541, ,, Balance 
 
 549, „ „ askew) 
 
 points . . S 
 
 545, Cocoa Balance ) 
 
 black tips . ) 
 
 556, Ebony Handle ) 
 
 Trowels . S 
 
 Also Palette Knives in many other varieties , 
 
BRODIE & MtDDLETON, 79, LONG ACRE, LONDON. 
 
 For Water Color Painting. 
 
 SABLE-HAIR PENCILS 
 
 OF THE VERY REST QUALITY. 
 
 Red Sable Browns. 
 
 Miniature 
 
 s. d. 
 
 O 4 
 
 s. d. 
 
 0 3 
 
 Small Swan . 
 
 S. d. ! 
 
 2 0 
 
 Crow Quill 
 
 O 4 
 
 0 3 
 
 Middle „ 
 
 3 0 
 
 Duck ,, 
 
 0 5 
 
 0 4 
 
 Large ? j 
 
 4 0 
 
 Goose , , 
 
 0 8 
 
 0 6 
 
 Extra Large, do. . 
 
 5 0 
 
 Large „ iod., 1/-, & 
 
 1 6 
 
 8d &i/- 
 
 Eagle Quill, 10/-, 12/-, & 
 
 15 0 ! 
 
 lied Sable BrownS. 
 
 s. d. 
 
 2 O 
 2 6 
 
 3 o 
 
 4 o 
 to 6 
 
 IMITATION SABLE-HAIR PENCILS. 
 
 Crow Quill, ijd.; Duck do., 2d.; Goose do., 3d.; Extra Large do., 4d.; Sinai* 
 Swan Quill, 6d.; Middle do., gd.; Large do., 1/- ; Extra Large do., 1/6. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON. 
 
 SABLE-HAIR BRUSHES, 
 
 FLAT, IN METAL FERRULES WITH BLACK POLISHED HANDLES. 
 REP OR FROWN HAIR. 
 
 No. 1 23456789 10 11 12 
 
 5d. 6d. 7d. 8d. 9d. lod. 1/3 1/6 2/- 3/- 3/9 4/9 each. 
 
 SABLE-HAIR BRUSHES, 
 
 IN ALBATA FERRULES. FLAT. RED OR BROWN HAIR. 
 
 No. 123456789 IO II 12 
 
 8d. 9d. iod. 1 /- 1/2 1/3 1/8 2/- 2/9 4/- 5 /- 6/- each. 
 
 IMITATION SABLE BRUSHES, 
 
 IN METAL FERRULES. FLAT. 
 
 No. i 23456789 IO II 12 
 
 2d, 2±d 3d. 34d. 344, 4d. 54, 6d. 7d, 9a. iod. I /■ each. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON, 
 
 OVAL AND . OBLONG CHINA 
 
 Size 
 
 3 inch, Oval or oblong . each 
 
 4 *•> >> 
 
 5 »f >> L 5> 
 
 6 „ ,, ,, ,, 
 
 7 „ 
 
 C 
 
 ° 5 9 9 9 99 99 
 
 9 „ 
 
 IO ,, II «N « 41 
 
 s. d. 
 
 0 5 
 
 0 0 
 0 7* 
 
 
 0 9 
 
 1 O 
 
 
 1 3 
 1 6 
 
 
 1 9 
 
 v j 
 
 BASIN SLANT. 
 
 3/- and 3/6 each. 
 
 |pl pB^R 
 
 INDIAN INK SLABS. 
 
 OOO 
 
 Small Size 
 Middle „ . 
 
 Large ,, 
 
 Extra Large Size 
 
 4 
 
 4f 
 
 6i 
 
 2§ 
 
 3 
 
 4i 
 
 s. d. 
 
 ° I 
 
 o 6 
 
 0 8 
 
 1 6 
 
 SQUARE DIVIDED TILES. 
 
 3 
 
 DIVIDED 
 SLANT TILES. 
 
 clip 
 
 f! . . ft 
 
 3 division, 
 
 4 „ 
 
 5 „ 
 
 6 „ 
 
 12 „ 
 
 13 
 
 3 
 
 4 
 6 
 
 12 
 
 deep 
 
 Divisions 
 2 . 
 
 3 
 
 4 • 
 6 
 
 9 • 
 
 12 
 
 s. d, 
 
 O 5 
 o 8 
 
 0 IO 
 
 1 o 
 
 1 6 
 
 2 o 
 
 CABINET NESTS 
 
 Size 
 2f in. 
 
 2f „ 
 3 >> 
 
 3i » 
 
 Wells 
 
 WELL SLABS, 
 
 Six 
 
 Saucers 
 s. d. 
 i 6 
 
 1 9 
 
 2 o 
 
 2 6 
 
 each 
 
 In Leather 
 Case 
 s. d. 
 
 2 6 
 
 3 o 
 3 6 
 
 4 o 
 
 as above 
 
 Pencil Rests , 3^. each. Tinting Saucers , various sizes , 8^. afo. 
 
 Every description of Porcelain Goods required in Painting, in variety. 
 
BRODIE & MIDDLETON, 79, LONG ACRE, LONDON 1 . 
 
 AND 
 
 COPPER PLATE 
 
 MATERIALS. 
 
 £ 
 
 s. 
 
 d. 
 
 Burnishers, finest Steel 
 
 
 . . from 
 
 0 
 
 I 
 
 O 
 
 Blotting Paper 
 
 
 . per quire 
 
 0 
 
 2 
 
 O 
 
 Bordering or Banking Wax 
 
 
 per stick 
 
 0 
 
 I 
 
 O 
 
 Copper Plates .... 
 
 
 from 
 
 0 
 
 O 
 
 9 
 
 Boxes for ditto .... 
 
 
 . . . 
 
 0 
 
 2 
 
 0 
 
 Charcoal (Vine and Willow) . 
 
 
 per dozen sticks 
 
 0 
 
 O 
 
 6 
 
 Dabbers, Silk .... 
 
 
 each 
 
 0 
 
 I 
 
 6 
 
 Do. Leather .... 
 
 
 * 99 
 
 0 
 
 I 
 
 6 
 
 Etching Needles .... 
 
 
 • % 99 
 
 0 
 
 O 
 
 6 
 
 Do. fixed in handles . 
 
 
 . from 
 
 0 
 
 O 
 
 9 
 
 Do. double ends .... 
 
 
 • * 99 
 
 0 
 
 I 
 
 0 
 
 Etching Ground 
 
 
 per ball 
 
 0 
 
 l 
 
 0 
 
 Do. do. Liquid . 
 
 
 . per bottle 
 
 0 
 
 I 
 
 0 
 
 Gravers and Handles . 
 
 
 . from 
 
 0 
 
 I 
 
 0 
 
 Handvices, with handles . 
 
 
 . . each 
 
 0 
 
 3 
 
 6 
 
 Imitation India Paper . 
 
 
 . per sheet 
 
 0 
 
 0 
 
 8 
 
 Printing Presses,* with Blanket and Cloth 
 
 
 . . each 
 
 2 
 
 2 
 
 0 
 
 Do. large size, do, do. 
 
 
 • 99 
 
 4 
 
 4 
 
 0 
 
 Porcelain Trays .... 
 
 
 • • „ 
 
 0 
 
 1 
 
 0 
 
 Palette Knives 
 
 
 . from 
 
 0 
 
 0 
 
 6 
 
 Plate Paper, White and Toned . 
 
 
 . per sheet 
 
 0 
 
 0 
 
 6 
 
 Printing Ink .... 
 
 
 . per bottle 
 
 0 
 
 1 
 
 0 
 
 Reducing Oil .... 
 
 
 * 9 9 
 
 0 
 
 0 
 
 6 
 
 Stopping Out Varnish 
 
 
 • 99 
 
 0 
 
 1 
 
 0 
 
 Do. Transparent .... 
 
 
 • 99 
 
 0 
 
 1 
 
 0 
 
 .Scrapers, finest Steel . 
 
 
 from 
 
 0 
 
 2 
 
 6 
 
 Spirit Lamps .... 
 
 
 • • 9 9 
 
 0 
 
 1 
 
 6 
 
 Tracing Paper .... 
 
 
 per sheet, ,, 
 
 0 
 
 0 
 
 3 
 
 ETCHING PENS, i|d. each. Ditto, 12 on Card 
 
 ', and Holder, 1/-, 1 
 
 /3 .&I/ 9 . 
 
 BURNISHERS, 
 
 FOR ILLUMINATING, &c. MOUNTED IN ALBATA. 
 
 AGATE BURNISHERS of either the above forms, 1/6 each.