In the Study aid Practice of 
 
 MECHANICAL SCIENCES 
 
 Calculated for the Imfirovenimt of Genius 
 
 Illustrated 'with C 0 1' PER-PLATE. 
 
 JRWTFdJ FOR TIIF f.d 17 THOR ,■ 
 
 AND SOLD BYCx.UOBINSON.DONDON. 
 
 AND 
 
 M. SWINNEY, BIUMIN GUAM . 
 
PREFACE. 
 
 I T is needlefs to apologize for fending forth 
 this produthion, as it is calculated to 
 improve the riling genius, and to render the 
 ftudy and practice of the polite arts eafy and 
 agreeable to thofe who wifh to tread the pleafing 
 paths of fcience. 
 
 We need no greater Simulation to the fludy 
 of the arts than a due contemplation of their 
 fignificancy, to mankind, and a reflexion on 
 the eflimation in which they have been held by 
 the wiled men, and in the greateft nations upon 
 earth. To trace their beginning among men, 
 we fhould find them coeval with man himfelf. 
 The remembrance of the molt extraordinary 
 events, as well as the learning of the firft men, 
 was prelerved by means of the fine arts. Re- 
 calling to memory the great actions of their an- 
 ceftors, they were the noblefl fpurto their pof- 
 terity to imitate their virtues, fo beneficial to 
 fociety, and all great minds have ever been 
 molt fenfible to impreffions of this kind. It 
 is not eafy to imagine a higher merit, than 
 that of infpiring thofe who were the mofl ca- 
 pable in exerting themfelves in the fervice of 
 human nature, with a love of glorv and im- 
 mortality. It is no wonder then, if the arts 
 were held in diflinguifhed honour by the 
 greatefl kings, and the mofl powerful com- 
 A monwealths. 
 
vi 
 
 PREFACE. 
 
 mon wealths, and that mankind confidered and 
 honou-red artifls as the common benefa&ors to 
 human fociety ; and, in truth, a higher anti- 
 quity, or a more noble origin, than that of 
 the polite arts, cannot poffibly be conceived. 
 
 We fhall begin with Drawing, and range 
 the treatifes on Defigning, PerfpeCtive, Co- 
 lours, Painting, Enamelling, Japanning, Lac- 
 quering, Staining, Engraving, Calling, Bronz- 
 ing. Gilding, Silvering, &c. See. in regular fuc- 
 ceffion, under the refpeCive heads, iiluilrating 
 and explaining the moll material fubjeCts 
 with elegant engraved defigns. 
 
 Thofe mentioned above are the principal 
 topics by whiclvthis work is intended to pro- 
 mote the improvement of the more curious 
 kinds of manufactures: but, befides thofe ar- 
 ticles, there is a number of others, of con- 
 fiderable moment, touched upon in this vo- 
 lume ; lome in a more copious, and others 
 only in a brief manner, according to the im- 
 portance of the matter, or the room given for I 
 an advantageous enlargement. 
 
 The judgment or Ik ill of the author, in the j 
 defign, or execution of this performance, he 
 candidly delires to fubmit to the public, and 
 hopes that the iyllem of infir uCtion here laid 
 down, will furnifh fuch ideas, as, with the 
 allillance of pra&ice, will readily enable thofe 1 
 who wifh to attain a thorough knowledge of 
 the arts, to reach the fummit of their de- j 
 fires, which is his foie aim in publilhing this 
 compendium. 
 
 T H E 
 
THE 
 
 ARTIST’s ASSISTANT. 
 
 PRELIMINARY / 5 DRAWING. 
 
 T HE firft and indifpenfible requifite towards 
 forming a painter is Genius, for the abfence 
 of which divine gift no human acquirements 
 can compenfate ; as, without that fpark of aetherial 
 flame, ftudy would be mifapplied, and labour thrown 
 away. Painting bears a very near refemblance to 
 her After Poetry, and the Painter, like the Bard, 
 muft be born one. A pifture, as well as a poem, 
 ; would afford little pleafure, though formed accord- 
 ; ing to the ftrifteft rules, and worked up with the molt 
 | indefatigable attention, were genius wanting to com- 
 : plete the delign ^ a defign, which may be faid to be 
 [like the celebrated ftatue, fafhioned by Prometheus, 
 lovely but lifelefs, unlels genius (like the fire which. 
 
 ' he is fabled to have ftolen from Heaven) darts its in- 
 vigorating ray, and gives a foul to the finifhed piece. 
 
 But, though genius is abfolutely neceffary, ftnce 
 •nothing can be well done without it, it will not, 
 (alone, do all things, but muft be affifted by rules,. 
 
 , r-efle&ion, and affiduity. The memory may be, not 
 improperly, called the repofitory where genius 
 treafures up the ideas which pafs before it in con- 
 |tinual iucceffion : from this repofitory the artilb 
 felefts luch materials as the occafion demands, di- 
 rected by his judgment. 
 
 A 2 Abo. 
 
8 THE ARTIST’S ASSISTANT. 
 
 • Above all, nature is the grand objeff of his me- 
 ditation, and ought never to be out of his fight ; na- 
 ture is the only fouree of beauty, for nothing can 
 be pieafing that is not natural. The defigner who 
 overfteps the modefly of nature may court applaufe 
 from the ignorant and vulgar, but mull not expeft 
 the approbation of the difcerning and polite. 
 
 Defign comprehends invention and difpofition; 
 invention furnifhes the fubjeft, and difpofition 
 places that fubjeft in the moll proper fituation for 
 exhibition ; nature fupplies the objects ; art con- 
 trails, diverlifies, and groups them. But, as every 
 painter may not have time or opportunity to view 
 nature in all her various lights, he will do well to 
 contemplate the works of thofe great mailers who 
 knew how to make a judicious choice of fubjefts, 
 and to execute them with talle and effe£l. On thefe 
 he may rely, almoll as confidently as on nature her- 
 felf, and will find them of the utmoll ufe to aflilt 
 his invention. Genius need not difdain to call to 
 its aid the produftions of kindred genius; and (as 
 a wit hath remarked) the young painter who fhould 
 negletit the lludy of the moll eminent profelfors of 
 that fcience, on pretence of fetting up for an ori- j 
 ginal, would be elleemed really an original. 
 
 An author, whofe title to genius is indifputable, 
 will not write the worfe for having learned his j 
 grammar, and for being acquainted with what other 
 writers have faid upon the fubjefl which he pur- ; 
 pofes to illuftrate. An intimate knowledge of the 
 beauties of the antients will be of no finall advan- 
 tage ; for they made nature their peculiar lludy, and 
 tranfmitted to us examples in fculpture, which have 
 triumphed equally over the rage of time and Bar- 
 barians ; examples which have ever been confider- 
 ed as forming a perfeft Rule of Beauty. 
 
 A clofe 
 
THE ARTIST'S ASSISTANT. 9 
 A clofe and fervile imitation, however, is not 
 what we would wifh to recommend; a man may 
 find his account in attending to the manner, and 
 floring up the obfervations of a well-bred and in- 
 telligent acquaintance, without ridiculoufly affect- 
 ing his gait, or copying his phrafeology. 
 
 There are not wanting feme who attribute the 
 decline of painting to a dearth of genius, whereas 
 it feems to fpring from a very different caufe ; the 
 truth is, few parents are judges of the real bent of 
 their children’s inclination, (another word for ge- 
 nius) and, fewer ftill give themfelves the trouble of 
 feeking for it, confidering what line of life accords 
 mo ft with their own wifhes, or convenience. But 
 of thofe few who really dtfeover in what fcience 
 nature intended their little ones to excel, how rarely 
 do we meet with one who takes the right method 
 to infure fuccefs, by directing their ftudies in the 
 proper channel 1 
 
 For though one fnould be apt to fmile at the ab- 
 furdity of thofe parents, or guardians, who, find- 
 ing a boy poffeffed of a genius for painting, fhould, 
 by way of initiating him in that delightful art, grave- 
 ly recommend to him the ftudy 01 the clafucs , 
 fince it feems full as reafonable to expect him to 
 become a poet, from contemplating the works of 
 Guido, Titian, and Raphael, as to become a painter 
 from turning over the leaves of Homer, Hoiacc, 
 and Ovid. Yet can any thing be more common than 
 to fee a lad condemned to undergo a courfe of Latin 
 and Greek, let the profefiion for which he is dc- 
 figned be whatever it may ? But life, methinks, is 
 too fhort to admit of fix or feven years (and thoie 
 the moft important ones) being trifled away in 
 learning what, perhaps, will prove of very little 
 fervice to him in the lituation which he is to be 
 
 hereafter 
 
io THE ARTIST’s ASSISTANT. 
 
 hereafter placed: however, if words inftead of 
 things mutt be the objeft of his ftudy, it is, cer- 
 tainly, of as much importance that he fhould be 
 able to clothe his thoughts in the habit of his own 
 country as in that of any other ; a living language 
 is, at lead, of as much ufe as a dead one ; and 
 it has been but too often remaked, that many an 
 artift, who could exprefs his ideas with uncom- 
 mon delicacy and perfpicuity on canvafs, has fo 
 ill fucceeded, when attempting to defcribe them on 
 paper, as to incur no fmall (hare of ridicule, from 
 the coarfenefs and obfcurity of his diaion. 
 
 I he lubjeas firfb propoled to the pupil’s attention 
 will be found to influence his future praaice more 
 than may be eafily imagined. Fird inpreffions fink 
 deep and lad long; and ill habits, acquired in the 
 early part of life will fometimes adhere too clofely 
 to be entirely removed by the dronged exertions of 
 maturer judgment; it will be, therefore, neceffary 
 to be careful that the works of none but eminent 
 matters be put into his hands. Every figure, nay 
 every flroke, given him as a pattern, fhouTd be maf- 
 teny, that lie may be familiarized to beauty, take 
 and fymmetry. 
 
 Experience has evinced, that more real improve- 
 ment will accrue to the learner from being ufed to 
 copy things m relief than from copying drawings; 
 he will, by this method, become acquainted with 
 the principles of light and fhade, and the nature of 
 tne clear obfcure; by the magic force of which, 
 the paintings of Parrhafius were termed realities; 
 and the fingers of Apelles’ famed Alexander (in 
 the character ol Jupiter the Thunderer) feemed to 
 fhoot forward, while the lightning appeared to flaflr 
 from them. 
 
 But, 
 
the ARTIST’S ASSISTANT, it 
 
 But, above all, the young ftudent muft apply his 
 talk with pleafure, as well as with perfeverance ; 
 for improvement cannot reafonably he expcfted, if 
 the mind (inftead of being fired with emulation) 
 gloomily contemplates the employment as a penance ; 
 nor mult the patient artift be too eafily fatisfied 
 with his own performance ; he muft review it and 
 retouch it. again and again ; he muft fearch for 
 its blemifhes with the molt rigid ferutiny, till, by 
 repeated efforts, he brings it as near to peife£tion 
 as poflible. In a word, diligence, in the beginning 
 of any fludy, will render the progrefs of it eafy, 
 and the end delightful. 
 
 Drawing has been, by fome people, efteemed as 
 an ornamental fuperfluity in education ; but it is, 
 in reality, a moft ufeful accomplifhment ; at the 
 fame time fo elegant and agreeable an amufement 
 for leifure hours, that every negleflor of it has felt 
 and confeffed its lofs. This is become fo univer- 
 fally known, that nothing is thought more neceffary 
 to complete the education of youth than inftru&ions 
 for drawing, efpecially if their inclination or ge- 
 nius leads that way. For, exclufive of its great 
 ufe to painters, engravers, architefts, engineers, 
 gardeners, cabinet-makers, carvers, embroiderers, 
 ftatuaries, modellers, chafers, tapeftry-weavers, and 
 a number of artifts and mechanics concerned in 
 defigning, how very agreeable and entertaining muft 
 it be ; or what can be more ufeful than for any one 
 to be able to fketch or draw a fine view from a 
 building, or any uncommon romantic produftion of 
 nature ? Nothing is more properly calculated for 
 the man of common bufinefs or the gentleman. 
 In painting it is the foie bafis on which excellence 
 is eredled ; and it is, in reality, the foundation of 
 the polite arts. 
 
 The 
 
12 THE ARTIST’S ASSISTANT. 
 
 The materials neceflary for drawing are, black 
 lead pencils, camel hair pencils, a rule and ccm- 
 pafles, crow quill pens, red, <Jvhite, and black chalk, 
 crayons and Indian ink. 
 
 T1 he black leaci pencil fhould not be held fo near 
 the point as a pen in writing; the ufe of it being 
 for the fketch or firft outline of the piece, which 
 fliould be drawn with freedom, as any wrong ftroke 
 or line may with eafe be erafed, by rubbing the 
 v/ork gently with a crumb of ftale bread. In or- 
 der to acquire a knowledge of the face, begin with 
 drawing the features feparate, placing the copy at 
 Inch a diftance as the eye may meafure both it. and 
 the drawing without moving the head. Sketch in 
 the firft outline very light ; and in rubbing out, 
 leave faint traces of the firft {ketch ; by proceeding 
 in this manner, without /the aftifiance of rule or 
 compafles, the outline fhould be brought to an ap- 
 proved exa&nefs ; and in placing the features, a 
 perfect oval fhould be formed, through which a 
 perpendicular line is drawn in the middle ; and 
 acrofs the centre of this, a diameter line from one 
 iide of the oval to the other. On thefe all the fea- 
 tures of the face are to be drawn, according to the 
 following rules for drawing a head. 
 
 The perpendicular muft be divided into four 
 equal parts; one from the crown of the head to 
 the top of the forehead ; two from the top of the 
 forehead to the eye-brows ; three from the eye- 
 brows to the bottom of the hofe ; four from thence 
 to the bottom of the chin. 
 
 The diameter line divide into five parts; the ' 
 breadth of the face being fuppofed the length of 
 five eyes ; this is to he undcrftood in a full front 
 face only, and thefe proportions are rather incon- 
 l'tant in different men, as to length and fhao'e; but 
 
 in 
 
THE ARTIST’S ASSISTANT. 13 
 in a well proportioned face are nearly right, and 
 fhould he flri&ly obferved. 
 
 When the face turns to either fide, then the dif- 
 tances are to be lclTened on that fide from you, more 
 or lefs, in proportion to its turning. Moft artifts 
 begin the drawing with the nofc, that being the 
 centre; and then proceed to the other features; 
 obferving that the top of the ear is to rife parallel 
 to the eye-brows ; the eye to be placed fo as to 
 leave exaftly the length of one cyk betwixt them ; 
 the noftrils fhould not projeft farther than the 
 corner of the eye ; and the middle of the mouth 
 fhould be on the perpendicular line. In order to 
 undcrfland better the different turnings of the face, 
 it may be very advantageous to procure a piece of 
 wood, made in the fhape and fize of an egg ; draw 
 a line down the middle as before dire&ed ; divide 
 this in two equal parts, and draw another acrofs the 
 centre : let the features be made as accurate as pof- 
 fible from the foregoing dire&ions. By turning this 
 oval, a great variety of faces will appear, according 
 as it is inclined or burned ; but care muff be taken 
 to obferve in what manner the nofe proje&s be- 
 yond the round of the oval. A perfeft knowledge 
 of this may enable the ftudent to form an idea of 
 the face better than merely copying prints or pic- 
 tures without it: but after this acquifition, let the 
 bell drawings'or piftures be ftudied that can be pro- 
 cured; previous to which, thofe paflions, in man- 
 ner of Le •‘Brun, may merit imitation. The po- 
 fitions and aftionsof the hands arefo various, noper- 
 feft rule or method can be given for drawing them. 
 
 Time and pains fhould be employed in bellowing 
 care on thofe members, for it is very neceffary 
 
 not 
 
*4 THE ARTIST’s ASSISTANT.' 
 
 not only to avoid all lamenefs and imperfection, 
 but alfo to make them appear with life and fpirit ; 
 the attainment of which muft be acquired by appli- 
 cauon and praftice ; carefully imitating fuch pof- 
 tures, both in hands and feet, as can be procured in 
 good prints or drawings. Lines and meafures, and 
 iuch mechanical rules, are not only perplexing, 
 hut rejeCted in the prance of the beft mafters. The 
 p rape reft method is to lightly fketch the whole 
 fhape of the hand or foot with itspofition or aftion • 
 and examine carefully that it is con-eft, rubbing out 
 and altering till it is fo ; when the bending of the 
 Knuckles, the veins, joints, and tendons may be 
 drawn with much eafe, after the fhape and propor- 
 tion is made perfeft in fize and attitude. 
 
 , Aft ^ r a P ro P er ftu dy of the legs, arms, hands, 
 met, &c. and the ftudent has reafon to deem him- 
 felf fufficiently praftifed in drawing features, the 
 human figure entire fhould be his next attempt • to 
 meafure which, according to a leffon from Treflhoy 
 The Aritients have commonly allowed eight heads* 
 “ though feme of them have but feven ; but we 
 “ ordinarily divide the figures into ten faces; that 
 
 ** 1S to froni the crown of the head to the foie 
 of the foot, in the following manner: 
 
 “ From the crown of the head to the forehead is 
 (t the third part of a face. 
 
 “ The face at the root of the Ioweft hai-s 
 
 “ ' vhld * are u P on ^e forehead, and ends at the 
 ** bottom of the chin. 
 
 “ The face is divided into three proportional 
 parts: the firft contains the forehead, the fecond 
 tiie nofe, and the third the mouth and chin. 
 
 “ From 
 
THE ARTISTS ASSISTANT. i 5 
 
 (i From the chin to the pit, betwixt the collar 
 <£ bones, arc two lengths of a nofe. 
 
 “ From the pit betwixt the collar bones to the 
 “ bottom of the breaft, one face. 
 
 “ From the bottom of the breaft to the navel, one 
 (ace. 
 
 “ From the navel to the genitors, one face. 
 
 * ! From the genitors to the upper part of the 
 ,{ knees, two faces. 
 
 “ The knee contains half a face. 
 
 From the lower part of the knee to the ancle, 
 ** two faces. 
 
 “ From the ancle to the foie of the foot, half a 
 <c face. 
 
 “ A man, when his arms are ftretched out, i?, 
 “ from the longeft finger of his right hand to the 
 longeft of his left, as broad as he is long. 
 
 “ From one fide of the breaft to the other, two 
 ts faces. 
 
 “ The bone of the arm, called humerus, is the 
 length of two faces, from the fhoulder to the elbow. 
 “ From the end of the elbow to the root of the lit- 
 <c tie finger, the bone called cubitus, with part of 
 the hand, contains two faces. 
 
 From the box of the Ihoulder-blade to the pit 
 <c betwixt the collar-bones, one face. 
 
 “ If you would be fatisfied in the meafures of 
 ft breadth, from the extremity of one finger to the 
 “ other, fo that this breadth fhould be equal to the 
 * £ length of the body, you muft obferve that the 
 “ boxes of the elbows with the humerus, and of 
 tl the humerus with the Ihoulder-blade, bear the pro- 
 ** portion of half a face when the arms are ftretch- 
 ed out, 
 
 <‘The 
 
i 6 THE ARTIST’S ASSISTANT. 
 
 “ The foie of the foot is the fixth part of a figure. 
 
 “ The hand is the length of the face. 
 
 “ The thumb contains a nofe. 
 
 “ The infide of the arm, from the place where 
 “ the mufcle difappears, which makes the bread, 
 “ called the pe&oral mufcle, to the middle of the 
 “ arm, four nofes. 
 
 “ From the middle of the arm to the beginning 
 “ of the hand, five nofes. 
 
 “ The longed toe is a nofe long. 
 
 “ To the utmod parts of the teats and the pit be- 
 “ twixt the collar-bones of a woman are an equi- 
 “ lateral triangle. 
 
 “ For the breadth of the limbs no precife meafure 
 “ can be given ; becaufe the meafures themfelves are 
 “ changeable, according to the quality of the perfons, 
 
 and according to the movement of the mufcles.” 
 
 In drawing a figure there fliould be a flight fketch 
 made of the whole, not beginning with the head, 
 and finifhingit, then proceeding to the other parts, 
 a method cudomary to many; in confequence of 
 which, the head is often difproportioned, or fome 
 part voidot drawing. Sketch in the whole outline 
 of the figure lightly, and meafure with the eye, or 
 draw the pencil or finger over any way to determine 
 exa&nefs without the rule or compaffes. In begin- 
 ning the (ketch the head is the fird objett, then the 
 fhoulders in exaft breadth, the trunk of the body 
 next, obferving with accuracy the breadth of the 
 waid ; next the legs, and ladly the arms and hands. 
 
 The principal difficulty is overcome when a per- 
 fect outline is procured; after which the (hadows 
 claim the attention of the dudent. As every ap- 
 pearance of bodies represented, animate or inani- 
 mate, 
 
THE ARTIST’s ASSISTANT. 17 
 
 pnate, in diftance, fhape, fubftance, and diftinc- 
 tion, are perfe&ed by this, let them be firft made 
 broad and mafly, without attending to the many 
 f little diftra&ed parts which fall under a fecond con- 
 fidcration. Thus far is neceffary to obferve in co- 
 pying prints or drawings : but in drawing from a 
 plaifter figure, the eye will difcover “ that fide light- 
 eft that the light falls upon.” Moft well fet 
 figures have a broad mafs of light, which fhould be 
 well attended to before the fmaller parts are di- 
 vided. The outline fhould be exceedingly faint in 
 fuch parts as receive the light. The rifing of a 
 mufcle may, by its appearance, prove deceiving, and 
 feem darker than it really is ; but by caftin^ he 
 eye to the other darker fhadows, a true degree of 
 its teint may be afcertained, and fometimes t-it light 
 may catch on the proje&ion of a bone near the 
 mafs -of a fhadow, which muft be fcumbled very 
 tenderly, or it will have a harfh unpleafing effeft. 
 •This may alfo be regulated by comparing it with, 
 the ftronger lights. Obferving this rule with care 
 and exaftnefs, is the only true means of preferving 
 I the confiftency of the whole together. 
 
 There is no branch of drawing or painting re- 
 quires tafte in the execution more than the drapery; 
 to manage the folds in fuch a manner as (hall give 
 grace and dignity to the figure ; to drefs it without 
 fafhion, prejudice or caprice, fo as the imitation 
 may be taken for reality, and bear the teft of ages, 
 requires the fulleft exertion of true genius. Many 
 ; artifts firft draw the naked figure and cloath it after- 
 | wards ; forming the drapery to the fhape and pro- 
 portion of the limbs, eafy and flowing, not fitting 
 I too clofe, but feeming to have a free motion j mak- 
 C ing 
 
18 THE ARTIST’S ASSISTANT, 
 
 ing fird the great folds, and then properly dividing 
 them by ftrokes that do not crofs, nor are yet too 
 parallel. But fomc ufeful remarks from a work 
 lately publifhed, include every other neceffary ob- 
 fervation concerning the human body : 
 
 44 Some artids rejeCt the ufe of drawings or prints 
 44 for the lludents imitation : it is, fay they, a fer- 
 44 vile method of proceeding, becaufe it cramps the 
 44 ideas ; and hence genius differs too great a con- 
 44 finement. Notwith {landing this, the ufual prac- 
 44 tice is to copy after prints and drawings at firft, 
 44 and I imagine experience has determined the ad- 
 44 vantages accruing from this method. To fet the 
 ‘ £ drawings (in particular) of the moft eminent art- 
 44 ids before a young beginner, at his fird commence- 
 44 ment, mud be highly beneficial, as it mod undoubt- 
 44 edly will prevent rudenefs and inaccuracy, againd 
 44 which the mod exaft cannot be too much guard- 
 44 ed. How much more then ought the young du- 
 44 dent to obferve this caution ? Some geniufes re- 
 <{ quire redriction, and when this happens to be the 
 46 cafe, the placing of accurate works before them 
 44 mud hold them in fubje&ion, from which alone 
 44 corre&nefs is to be expe&ed. Exa£I copies are 
 4£ abfolutely to be required at fird. This will im- 
 4C perceptibly produce a habit of correftnefs, till by 
 44 degrees the dudent will make himfelf mader of 
 44 thofe grand effcntials to perfection, truth, bold- 
 4£ nefs, and freedom. Truth will be acquired by 
 <£ this accudomed correftnefs, boldnefs and free- 
 4£ dom will follow after as the certain confequence, 
 44 and on thofe the excellence of the performance 
 44 mud depend : copying the drawings of good 
 
 44 maders has alfo another confiderable advantage, 
 
 teaching 
 
THE ARTIST'S ASSISTANT. 19 
 
 “ teaching a good method of execution, by which 
 « many laborious and fruitlefs efforts will be pre- 
 “ vented.” 
 
 *3X4^) x<o x< o x<ox€» )x <«>> x <» )XC " ix< » >x <« 
 
 Of DESIGNING. 
 
 TTESIGN is ufed in painting, for the firft idea 
 ^ of a large work, drawn roughly, and in little, 
 with an intention to be executed and finifhed in 
 large. 
 
 It is the fimple contour, or out-lines of the figures 
 intended to be reprefented, or the lines that termi- 
 nate and circumfcribe them : fuch defign is fome- 
 times drawn in crayons, or ink, without any fha- 
 dows at all ; fometimes it is hatched; that is, the 
 fhadows are expreffed by fenfible out-lines, ufually 
 drawn acrofs each other with the pen, crayon, or 
 graver. Sometimes, again, the fhadows are done 
 with the crayon rubbed lo that, there does not ap- 
 pear any lines ; at other times the grains or ftrokes 
 of the crayon appear, as not being rubbed; fome- 
 times the defign is wafhed ; that is, the fhadows aie 
 done with a pencil in Indian ink, or fome other li- 
 quor ; and fometimes the defign is coloured ; that is, 
 colours are laid on much like thofe intended for the 
 ground work. 
 
 The effential requifites of a defign are correftnefs, 
 good taffe, elegance, charafter, diverfity, expreflion, 
 and perfpeftive. Correttnefs depends on the juff- 
 nefs of the proportion, and knowledge of anato- 
 my. Taffe is a certain manner of correftnefs pecu- 
 liar to one’s felf, derived either from nature, maf- 
 C 3 ters. 
 
ao THE ARTIST’S ASSISTANT. 
 
 ters, or ftudies, or all of them united. Elegancy 
 gives a delicacy that not only ftrikes perfons of 
 judgment, but communicates an agreeablenefs that 
 pleafes univerfally. The charafter is what is pecu- 
 liar to each thing, wherein there mull be diverfity, 
 infomuch that every thing has its peculiar charafter 
 to diftinguifh it. The expreffion is the reprefentation 
 of an objeft, according to the circumftances it is 
 fuppofea to be in. Perfpeftive is the reprefentation 
 of the parts of a painting, or a figure, according to 
 the fituation they are in with regard to the point of 
 fight. 
 
 The defign or draught, is a part of the greateft 
 import and extent in painting. It is acquired chief* 
 -ty genius and application, rules being of lefs 
 avail here than in any other branches of the art, as 
 colouring, &c. The principal rules that regard de- 
 fign are, that novices accuftom themfelves to copy 
 good originals at firft fight; not to ufe fquares in 
 drawing, left they flint and confine their judgment ; 
 to defign well from life, before they praftife per- 
 fpeftive; to learn to adjuft the fize of their figures 
 to the vifual angle, and the diftance of the eye from 
 the model or objeft ; to mark out all the parts of 
 their defign before they begin to fhade ; to make 
 their contours in great pieces, without taking no- 
 tice of the little mufcles, and other breaks; to make 
 themfelves mailers of the rules of perfpeftive ; to 
 obferve the perpendicular, parallel, and diftance of 
 every ftroke ; to compare and oppofe the parts that 
 meet and traverfe the perpendicular, fo as to form a 
 kind of fquare in the mind, which is the great and 
 almoft the only rule of defigning juftly ; to have a 
 regard not only to the model, but to the parts al- 
 ready 
 
- 2-1 
 
 THE ARTIST’S ASSISTANT. 
 
 ready defigned, there being no fuch thing as defign- 
 ing with drift judnefs, but by comparing and pro- 
 portioning every part to the fird. All the other 
 rules relate to perfpeftive. 
 
 Of the EXPRESSION of the PASSIONS. 
 
 HAT language, which, above all others, a painter 
 
 fhould carefully endeavour to learri, and from 
 -nature herfelf, is the language of the paffions. With- 
 out it the fined work mud appear lifelefs and inani- 
 mate. It is not enough for a painter to be able to 
 delineate the mod exquifite forms, give them the mod 
 graceful attitudes, and compofe them well together : 
 it is not enough to drefs them out with propriety and 
 in the mod beautiful colours. It is not enough, in 
 .fine, by the powerful magic of light and fhade to 
 make the canvafs vanifh. No, he mud like wife 
 know how to cloath his figures with grief, with joy, 
 with fear, with anger; he mud, in feme fort, write 
 on their faces, what they think, and what they feel ; 
 he mud give them life and fpeech. It, is indeed, in 
 this branch that painting truly fears, and, in a man- 
 ner, rifes fuperior to herfelf ; it is in this branch fhe 
 makes the fpeftator apprehend much more than 
 what fhe expredes. 
 
 The means, employed in her imitations by paint- 
 ing, are the circumfpeftion of terms, the chiarofcura, 
 and colours ; all which appear folely calculated to 
 drike the vifual faculty. Notwithdanding which, fhe 
 contrives to reprefent hard and foft, rough and finooth 
 furfaces, which are objefts of touch ; and this 
 
 by 
 
22 
 
 THE ARTIST’S ASSISTANT. 
 
 by means of certain tints, and a certain chiarofcura, 
 which lias a different look in marble, in the bark 
 of trees, in downy and delicate fubftances. Nay, 
 ' fire Contrives to exprefs found and motion by means 
 of light and {hade, and certain particular configu- 
 rations. In fome landfcape’s of Diderich’s, we al- 
 mofl hear the water murmur, and fee it tremble 
 along the (ides of the river, and of the boats upon 
 it. In the battles of Burgognone we are really apt 
 to fancy, that the trumpet founds ; and we fee the 
 liorfe, who has thrown his rider, fcamper along the 
 plain. But, what is (fill more wonderful, painting, in 
 virtue of her various colours, and certain particular 
 geftures, expreffes even the fentiments and moff hid- 
 den affeftions of the foul, and renders her vifible, 
 fo as to make the eve not only touch and hear, but 
 even kindle into paffion and reafon. 
 
 Many have written, and, amongfl the reft, the 
 famous le Brun, on the various changes, that, ac- 
 cording to various paffions, happen in the mufcles 
 of the face, which is, as it were, the dumb tongue 
 of the foul. They obferve, for example, that in 
 .fits of anger, the face reddens, the mufcles of the lips 
 puff out, the eyes fparkle ; and that, on the contrary, 
 in fits of melancholy, the eves grow motionlefs and 
 dead, the face pale, and the lips fink in. It may be of 
 fervice to a painter to read thefe and fuch other re- 
 marks ; but it will be of infinitely more fervice to ft udy 
 them in nature itfelf, from which they have been 
 borrowed, and which exhibits them in that lively 
 manner, which neither tongue nor pen can exprefs. 
 
 But, if a painter is to have immediate recourfe to 
 nature in any thing, it is particularly in treating 
 thofc very minute and almoft imperceptible differ- 
 ences, 
 
TIIE ARTIST’S ASSISTANT. 23 
 
 cnees, by which, however, things very different 
 from each other are often expreffed. This is par- 
 ticularly the cafe with regard to the paffions of 
 laughing and crying, as in thefe, however contra- 
 ry, the mufcles of the face operate nearly in the fame 
 manner. * 
 
 According to Lionardo de Vinci, the bed maffers 
 that a painter can have recourfe to in this branch, 
 are thofe dumb men who have found out the me- 
 thod of exprefling their fentiments by the motion 
 of their hands, eyes, eye-brows, and, in fhort, 
 every other part of the body. This advice, no 
 no doubt, is very good, but then fuch geftures muff 
 be imitated with great fobriety and modciation, lea.it 
 they fhould appear too ftrong and exaggerated, and 
 the piece fhould fhew nothing but pantomimes, 
 when fpeaking figures, alone, are to be exhibited ; 
 and fo become theatrical and fecond-hand ; or, at 
 lead, look like the copy of a theatrical and fecond- 
 hand nature. 
 
 * As the famous Pietro de Cortona was one day fimPmng the 
 face of a crying child, in a reprefentation of the Iron age, with 
 which he was adorning the floor, called the Hot-bath, in tne royal 
 palace of Pitti, Ferdinand II. who happened to be looking over 
 him for his amufement, could not forbear expreffing his approba- 
 tion, by crying out, Oh, how well that child cries ! To whom the 
 able artifl faid, Has your Majefty a mind to fee how eafy it is to make 
 children laugh? Behold, I will prove it in an inftant; and taking 
 up his pencil, by giving the contour of the mouth a concave turn 
 downwards, inftead of the convex upwards, which it before had, 
 and with little or no alteration in any other part of the face, he 
 made the child, who, a little before, feemed ready to burft its 
 heart with crying, appear in equal danger of burfling its fidcs with 
 immoderate laughter ; and then, by reftoring the altered features to 
 their former pofition, he foon fet the child a crying again. Lefturcs 
 of Philip Baldiuucci, in the academy of la Crufca il Luftrato, See. 
 
 We 
 
34 THE ARTIST’S ASSISTANT. 
 
 We are told ftrange things of the antient painters 
 cf Greece in regard to expreffion ; efpecialy of Ari- 
 ftides, who, in a pifture of his reprefenting a woman 
 wounded to death at a fiege, with a child crawling 
 to her breaft, makes her appear afraid, lead; the child, 
 when (he was dead, fhould, for want of milk, fuck 
 her blood. A Medea murdering her children, by 
 Timomachus, was likewife much cried up, as the in- 
 genious artift contrived to exprefs, at once, in her 
 countenance, both the fury that hurried her on to 
 the commiilion of fo great a crime, and. the tender- 
 nefs of a mother that feemed to withhold her from it. 
 Rubens attemtped to exprefs fuch a double effeft in 
 the face of Mary of Medicis, ftill in pain from her paft 
 labour, and, at the fame time, full of joy at the birth 
 of a Dauphin. And in the countenance of Sanfta 
 Polonia, painted by Tiepolo, for St. Anthony’s 
 church at Padua, one may, I think, clearly read a mix- 
 fcture pain from the wound given her by the execu- 
 tioner, and of pleafure from the profpeft of paradife 
 opened to her by it. 
 
 hew, to fay the truth, are the examples of ftrong 
 expreffion afforded by the Venetian, Flemifh, or 
 Lombard fchools. Deprived of that great happinefs, 
 the happinefs of being able to contemplate at leifure, 
 tne works of the antients, the pureft fources of per- 
 feftion in point of defign, expreffion and chara&er; 
 and having nothing but nature conftantly before their 
 eves, they made ftrength of colouring, blooming com- 
 plexions, and the grand effefts of the chiarofcura 
 their principal ffudy ; they aimed more at charming 
 the fenfes than at captivating the underftanding. 
 
 The \ enetians, in particular, fee m to have placed 
 their whole glory- i-n fetting off their- pieces-with all 
 
 that 
 
THE ARTIST’S ASSISTANT. 25 
 
 that rich variety of perfonages and drefs, which their 
 capital is continually receiving by means of its ex- 
 tenfive commerce, and which attra&s fo much the 
 eyes of allthofe who vifit it. I doubt much, if, in all 
 the piflures of Paolo Veronefe, there is to be found 
 [ a bold and judicious expreflion, or one of thofe at- 
 titudes, which, as Petrarch expreffes it, fpeak with- 
 out words ; unlefs, perhaps, it be that remarkable 
 one in his Marriage-feaft-at-Cana-of-Galilee, and 
 which I do not remember to have feen taken notice 
 of before. At one end of the table, and dire&ly 
 oppofite to the bridegroom, whofe eyes are fixed 
 upon her, there appears a woman in red, holding up 
 to him the fkirt of her garment, as much as to fay, 
 
 I fuppofe, that the wine miraculoufly produced was 
 exaftly of the colour with the fluff on her back. 
 And, in faft, it is red wine we fee in the cup and 
 pitchers. But all this while the faces and attitudes 
 of moft of the company betray not the leaft fign 
 of wonder at fo extraordinary a miracle. They all, 
 in a manner, appear intent upon nothing but eat- 
 ing, drinking, and making merry. Such, in gene- 
 ral is the flile of the Venetian fchool. The Floren- 
 tine, over which Michael Angelo prefided, above 
 all things curious of defign, was moft minutely and 
 fcrupuloufly exaft in point of anatomy. On this 
 Fhe fet her heart, and took fmgular pleafure in dis- 
 playing it. Not only elegance of form, and noble- 
 nefs of invention, but like wife ftrength of expref- 
 fion, triumph in the Roman fchool, nurfed, as it 
 were, amongft the works of the Greeks, and in 
 the bofom of a city, which had once been the fe- 
 minary of learning and politenefs. Here it was, that 
 Domenichino and Pouflin, both great maftersof ex- 
 D preflion. 
 
26 THE ARTIST’S ASSISTANT. 
 
 preflion, refined themfelves, as appears more particu- 
 larly by the St. Jerome of the one, and the death 
 of Germanicus, or the {laughter of the Innocents, 
 by the other. Here it was that arofe Raphael, the 
 fovereign mafter of them all. One would imagine, 
 that, piftures w'hich are generally confidered as the 
 books of the ignorant, and of the ignorant only, he 
 had undertaken to make the inftru&ors even of the 
 learned. One would imagine, that he intended, in 
 fome meafure, to juftify Quintilian, who affirms, 
 that painting has more power over us than all the 
 arts of rhetorick. There is not, indeed, a fingle pic- 
 ture of Raphael's, from the ftudy of which, thofe 
 who are curious in point of expreflion, may not 
 reap great benefit ; particularly his martyrdom of 
 Saint Felicitas; his Magdalen in the houfe of the 
 Pharifee ; his Transfiguration ; his Jofeph explain- 
 ^ ing to Pharaoh his dream, a piece fo highly rated 
 by Pouffim. His fchool of Athens, in Vatican, is, 
 to all intents and purpofes, a fchool of expreflion. 
 Among the many miracles of art, with which this 
 piece abounds, I fhall fingle out that of the four 
 boys attending on a Mathematician, who Hooping 
 to the ground, his compafles in his hand, is giving 
 them the demonftration of a theorem. One of the 
 boys, recollefled within himfelf, keeps back, with 
 all the appearance of profound attention to the rea- 
 foning of the mafter ; another by the brifknefs of 
 his attitude difcovers a greater cjuicknefs of appre- 
 henfion ; while the third, who has already feized 
 the conclufion, is endeavouring to beat it into the 
 fourth, who, Handing motionlefs, with open arms, 
 a flaring countenance, and an unfpeakable air of ftu- 
 pidity in his Looks, will never, perhaps, be able to 
 
 make 
 
THE ARTIST’S ASSISTANT. 27 
 
 make any thing of the matter. And it is probably, 
 from this very groupe, that Albani, who ftudied 
 Raphael fo clofely, drew the following precept of 
 his; “ That it behoves a painter to exprefs more cir- 
 cumflances than one by every attitude ; and fo to 
 employ his figures, that, by barely feeing what 
 they are actually about, one may be able to guefs, 
 both what they have been already doing, and are 
 next going to do.” This I know to be a difficult 
 precept ; but I know too, that it is only by a due 
 obfervance of it, the eye and the mind can be made 
 to hang in fufpence on a painted piece of canvas. 
 It is expreffion, that a painter, ambitious to foar in 
 his profeffion, muft, above all things, labour to per- 
 fect himfelf in. It is the laft goal of his art, as So- 
 crates proves to Parrhafius. It is in expreffion that 
 dumb poetry confifls, and what the prince of our 
 poets calls a vifible language. 
 
 PERSPECTIVE. 
 
 PERSPECTIVE is the art of delineating vifible 
 objefts on a plain furface, fuch as they appear at a 
 given diflance or height, upon a tranfparent plane, 
 placed perpendicular to the horizon, between the eye 
 and the objeft. 
 
 There are three forts of perfpeftive, viz. linear, 
 asrial, and fpecular perfpe&ive. 
 
 Linear perfpe&ive (to which mofl properly belongs 
 our definition, and which is a branch of the mathema- 
 tics) regards the pofition, magnitude, form, &c. of 
 1 Da the 
 
z8 THE ARTIST’S ASSISTANT. 
 
 the feveral lines or contours of objefts, and exprefs 
 their diminution. 
 
 ./trial perfpeftive (which makes part of the art of 
 painting) regards the colour, luftre, ftrenglh, bold- 
 nefs, &c. of dillantobjefts, confidered as feen through 
 a column of air, and expreffes the diminutions therof. 
 
 Specular p,arfpeftive reprefents the objefts in coni- 
 cal, fpherical, or other mirrours, ereft and clear ; 
 whereas on lawn, and other planes, they appear con- 
 fufed and irregular. 
 
 Thefe three forts of perfpeftive have each its par- 
 ticular doftrine ; but before we proceed on the ex- 
 planation of the doftrine, we mull; teach our pupils 
 what are planes in perfpeftive; of which there are 
 five forts, viz. perfpeftive, geometrical, horizontal, 
 vertical, and objeftive plane. 
 
 Perfpeftive plane is a plain pellucid furface, ordi- 
 narily perpendicular to the horizon, and placed be- 
 tween the fpeftator’s eye and the objeft he views ; 
 through which the optick rays, emitted from the fe- 
 veral points of the objefts, are fuppofedto pafs to the 
 eye, and in their paflage to leave marks that reprefent 
 them on the faid plane. 
 
 A geometrical plane, is a plane parallel to the ho- 
 rizon, whereon the objeft to be delineated is fuppofed 
 to be placed : This plane is ufually at right angles 
 with the perfpeftive plane. — A horizontal plane is a 
 plane palling through the fpeftator’s eye, parallel to 
 the horizon, cutting the perfpeftive plane, when that 
 as perpendicular to the geometrical one, at right 
 angles. — A vertical plane, is a plane palling through 
 the fpeftator’s eye, perpendicular to the geometrical 
 one; and ufually parallel to the perfpeftive plane. 
 An objeftive plane, is any plane lituate in the hori- 
 zontal 
 
THE ARTIST’S ASSISTANT. 29 
 
 zontal plane, whole reprefentation is required in 
 perfpe&ive. 
 
 There are likewife feveral different lines in per- 
 fpeftive, viz. terreftrial line, geometrical line, line 
 of the front, vertical line, vifual line, line of ftation, 
 objeftive line, and line of diftance. — Geometrical 
 line, in perfpeftive, is a right line drawn in any man- 
 ner on the geometrical plane. — A terreftrial line, or 
 fundamental line, is a right line, wherein the geome- 
 trical plane, and that of thepi&ure, or draught inter- 
 led! one another. Such is the line formed by the in- 
 terfeclion of the geometrical plane, and the perfpec- 
 tive plane. — A line of the front, is any right line, 
 parallel to the terreftrial line. — A vertical line, is 
 the common feclion of the vertical, and of the draught. 
 
 A vifual line, is the line, or ray, imagined to pafs 
 from the objeft to the eye. — An objedfive line, is any 
 line drawn on the geometrical plane, whofe reprefent- 
 ation is fought for in draughts or pidlures. — A line of 
 ftation, according to lome writers, is the common fec- 
 tion of the geometrical and vertical planes. Others 
 mean by it the perpendicular height of the eye above 
 the geometrical plane, whofe reprefentation is fought 
 for in draughts or pidlures. — A line of diftance, is a 
 right line drawn from the eye to the principal point : 
 this, as it is perpendicular to the perpendiculars of 
 the plane, or table, can only be the diftance of the 
 eye from the table. — The point of the diftance, in 
 perfpedtive, is a point in the horizontal line, at fuch 
 diftance from the principal point, as is that of the , 
 eye from the fame. 
 
 There are other points befidcs this point of dif- 
 tance in perfpedlive, viz. the point of fight, the third 
 point, the objective point, the accidental point, and 
 s the 
 
3 o THE ARTIST’S ASSISTANT. 
 
 the vifual point; which term point, is ufed for va- 
 rious parts, or places, with regard to the perfpe&ive 
 plane. — The point of fight, or of the eye, is a point 
 on the plane, marked out by a right line drawn from 
 the eye, perpendicular to the plane : This is alfo 
 called the principal point. This point is in the in- 
 terfecfion of the horizontal and vertical planes. 
 Some authors call it the principal point; and give 
 the name point of fight, or vifion, to the point wherein 
 the eye is a&ually placed, and where all the rays 
 terminate. — The third point, is apoint taken at dif- 
 cretion in the line of diftance, wherein all the diago- 
 nals drawn from the divifions of the geometrical plane, 
 whole reprefentation is required on the perfpeftive 
 plane. — An accidental poi nt, is a point in the horizon- 
 tal lines, where lines parallel to one another, though 
 not perpendicular to the pifture, or repefentation 
 meet. — A vifual point, is a point in the horizontal 
 line, wherein all the ocular rays unite. Thus a per- 
 fon Handing in a flrait long gallery, and looking for- 
 wards, the fide, the floor, and ceiling feem to meet, 
 and touch one another in a point, or common centre. 
 
 Ihefe things previoufly confidered, I’llpafs to the 
 Explanation of the different forts of perfpe£tive. 
 
 3 . F rom a point in a given line A B y to raife a perpendicular . 
 See Jig . II. 
 
 Draw with the ruler the given line A B ; then fet 
 one foot of your compaffcs in B, and extending 
 them to rather more than half the length of the 
 line A B, fweep the arch c d ; and with the fame 
 extent of compaffes'fet one point in c, and fweep 
 the arch e f; then, without altering the compalfes, 
 
 fet 
 
THE ARTIST’S ASSISTANT. 31 
 
 fet one foot in g, and defcribe the arch h i ; next 
 rule through the points c g, to interfeft the arch h i 
 ink, and draw the line from k to B, which is the 
 perpendicular required. 
 
 2. Another way. See fig. III. 
 
 From the point A take the equal diftances A B 
 and A C on each fide of it, then ftretch the com- 
 paffes to any diftance greater than A B or A C, and 
 with one foot of them in B fweep the arch de; 
 then, with the fame extent of compaffes, fet one 
 point in C, fweep the arch f g ; and thefe two arches 
 will interfeft each other in the point h, from which 
 a line drawn to the point A is the perpendicular 
 required. 
 
 3. To draw one line parallel (or equi-diflant ) to another 
 given line A B. See fig. IV . 
 
 Extend your compaffes to the diftance of the pa- 
 rallel you require ; then with one foot in any point 
 of the given line, as in c, defcribe the arch d e. 
 Again, without altering the compaffes, fix one foot 
 in any other point, as in f, and fweep the arch g h ; 
 then rule the line I K, touching the outward parts 
 of the two arches, and that will be the parallel to 
 the given line. 
 
 4. To bifcH or divide a given line A B, into two equal 
 parts. See fig. V. 
 
 Take with your compaffes any diftance greater than 
 half the given line ; then with one foot of them in 
 
 B, fweep 
 
32 THE ARTIST'S ASSISTANT. 
 
 B, fweep the arch c c; and with the fame difiance, 
 fettingone foot in A, fweep the arch d d; and thefe 
 arches will interfeft each other in the points gh; 
 which joined by a perpendicular, will interfett A 3 
 in the middle point i. 
 
 5 . Upon the end A of a given line, A B, to raife a per- 
 
 pendicular. See jig. VI. 
 
 Place one foot of the compafies in A, and ex- 
 tend them to any point c without the given line ; 
 then fet one foot of them in c and turn the circle 
 d e and A, and through d c draw the diameter dee, 
 meeting the circle in e; join A e, and that right 
 line is the perpendicular required. 
 
 6 . To turn the circle through any three given points not in a 
 
 right line . See fig. VII. 
 
 Fix three points at any difiance you think proper, 
 as at A B and C, and join them by the right lines 
 A B and B C ; then by fig. V. bifedfc the line A B 
 with the line d e ; which done bifeft the line B C 
 with the line f e ; and from the center e, where 
 thefe lines meet, extend your compalfes to A, and 
 deferibe the circle A B C G. 
 
 7. To dravj an oval . See fig. VIII. 
 
 Draw a given line A B, which divide into four 
 equal parts ; fet one foot of the compafies at C, and 
 from that center deferibe a circle ee ; with the fame 
 extent of compafies place one foot in the center D,, 
 and turn the circle ff; then with one foot ftill in 
 
 D, extend 
 
THE ARTIST’S ASSISTANT. 33 
 
 I), extend your compaffes, and turn the arch g g ; 
 and with the fame extent, placing one foot in C, 
 defcribe the arch h h ; join the interfeftions with a 
 perpendicular from i to k ; next, place one foot of 
 the compaffes in i, fweep the arch L L, and with- 
 out altering them, fet one foot in k, and defcribe the 
 arch M M. 
 
 8. Another method for an oval , See Jig. IX. 
 
 Draw a given line A D, and with the compaffes 
 extended, placing one foot in B, with the other 
 turn the circle e e ; then, without altering your 
 compaffes, on the line A D in the fuppofed point C 
 fweep the circle f f, and through the points g g, 
 where the two circles interfett, draw the perpen- 
 dicular h i; then fix your compaffes with one foot 
 in h, and extend them fo as to defcribe the arch, 
 k k to the lower extremities of the circles; then, 
 with the fame extent, with one foot in i, fweep the 
 arch 1 1, to join the upper extremities. 
 
 By thefe examples it will appear, that an oval of 
 any form or fize may be conftru&ed at pleafure, on- 
 ly taking care always to fix the compaffes equi- 
 diftant from the given line A D in the perpendicu- 
 lar h i. 
 
 PRACTICAL EXAMPLES in PERSPECTIVE* 
 
 I . To draw a fq^uar e pavement in perfpedlive* See Jig. X . 
 and XI. 
 
 Suppofe your piece of pavement to confifi; of fix- 
 ty-four pieces of marble, each a foot fquare. Your 
 
 E iirft 
 
34 THE ARTIST’S ASSISTANT. 
 
 fir ft bufmefs is, to draw an ichnographical plan or 
 ground plot of it, which is thus performed. Hav- 
 ing made an exaft fquare of the fize you intend your 
 plan, divide the bafe and horizon into eight equal 
 parts, and from every divifion in the bafe to its 
 oppofite point in the horizon, rule perpendicular 
 lines ; then divide the Tides into the fame number, 
 ruling parallel lines acrofs from point to point; fo 
 will your pavement be divided into fixty-four fquare 
 feet ; becaufc the eight feet in length, multiplied by 
 the fame in breadth give the number of fquare feet 
 or pieces of marble contained in the whole: then 
 rule diagonals from corner to corner; and thus will 
 your ground plot appear as in fig. X. 
 
 Now, to lay this in perfpeftive, draw another 
 fquare to your intended fize, and divide the bafe 
 line A B into eight equal parts, as before; then fix 
 your point of fight C in the middle of the hori- 
 zon D E, and from the fame point rule lines to every 
 divifion in the bafe A B ; after which, rule diago- 
 nal lines from D to B, and from E to A, anfwer- 
 abl$ to thofe in the ground plot, and your fquare 
 will be reduced to the triangle ABC; then from 
 the point F, where the diagonal D B interfefts the 
 line A C, to the oppofite interfeftion G, where the 
 diagonal E A croffes the line C B, rule a parallel 
 line, which is the abridgment of the fquare. 
 
 Then through the points where the diagonals 
 crofs then-efl of the lines which go from the bafe to 
 the point of fight, rule parallel lines, and your 
 fquare pavement will be laid in perfpeftive, as in 
 fig. XI. 
 
THE ARTIST’s ASSISTANT. 35 
 
 2. To find the height and proportion of , any cl] celt, as they 
 appear above the horizon , on a fuppofed plane. See 
 fig. XII. 
 
 Firft, rule your horizontal line N O, and fix 
 your point of fight, as at M ; then mark the place 
 of your neareft pillar, by making a dot for the 
 bafe or bottom, as at A ; and another for the fum- 
 mit or top, as at B : rule a line from A to the point 
 of fight M, and another from B to M, and thefe 
 two lines will give the height of any number of 
 pillars. As for example ; fuppofe you would have 
 a pillar at C, fix your dot for the bafe, and rule 
 from thence a parallel line to meet the diagonal A M 
 at D ; then rule the perpendicular D E to the di- 
 agonal B M ; which perpendicular is the height of 
 your figure required at C. Or, if you would place 
 pillars at F and I, obferve the fame method, ruling 
 the paiallels F G and I K, and the perpendiculars 
 G H and K L will give their heights at the diftances 
 required. 
 
 To find the diameter or thicknefs of pillars at any 
 particular diftances, you are alfo to be guided by 
 that neareft the bafe. For inftance ; fuppofe your 
 neareft pillar A B to be ten feet high and one foot 
 in diameter : divide it from top to bottom into ten 
 equal parts, and fet off one of them upon the bale 
 of tne piliar ; then rule a line from the point of 
 fight M to the diameter P, and you will have the 
 thicknefs of - all your pillars on their refpeftive pa- 
 rallels or bafes, 
 
 Ha 
 
 3 . The 
 
*5 THE ARTIST’S ASSISTANT- 
 
 3. The fame rule exemplified in objefts below the horizon* 
 See fig. XIII. 
 
 If you would know the heights of a number of 
 figures below the horizon, rule your horizontal 
 line Q, R, and fix your point of fight, as at P ; then 
 place your nearefl figure, or mark the dots for the 
 head and feet, by the points A and B, which an- 
 fwers the fame purpofe ; and rule from thefe aots 
 to the point of fight the lines A P and BP; and if 
 you would find the height of a figure to be dia'svn 
 at c, rule from thence the parallel c d to the di- 
 agonal B P, and the perpendicular de will give the 
 height required. The fame directions will fhew 
 the height of a figure at any other diftance you 
 have a mind to place it, as at f, i, and m, by ruling 
 the parallels f g, i k, and m n; and from each of 
 thefe their refpeftive perpendiculars g h, k 1, and 
 no; which perpendiculars will fhew the heights o^. 
 the figures at f, i, and m. 
 
 4, To draw a dir eft view. See fig. XIV. 
 
 To illuftrate this example, fuppofe you were to 
 draw the infide of a church, as reprefented in this 
 figure : firfl take your Ration at the point A, in the 
 center of the bafe line B C, from which you have 
 a front view of the whole body of the chuich, 
 with all the pillars, &c. on each fide ; then fix your 
 Iiorizon at any height you think proper as at D E ; 
 hifeft it by the perpendicular E A ; and where thefe 
 two lines interfeft, is the point of fight F. (This 
 perpendicular will pafs through the center of all 
 
THE ARTIST’S ASSISTANT. s » 
 
 the arches in the dome or cupola: which centers 
 may be found by any three given points, as in fig. 
 VII.) Next divide your bafe line into any given 
 number of feet ; and the vifual lines ruled from 
 thefe divifions to the point of fight, will reduce all 
 your objefts to their juft proportion, by fetting off 
 their height upon a perpendicular raifed at their re? 
 fpeftive difiances. The bafe, in the example here 
 given, is divided into twelve equal parts of five 
 feet each ; from which (fuppofmg your front co- 
 lumn to be thirty-five feet high) take feven divi- 
 fions from the bafe line of your drawing, and fet 
 them off upon the perpendicular G H ; then (fup- 
 pofmg this column to be five feet thick at the bale) 
 fet off one of thofe divifions upon the parallel I K, 
 which is the breadth required. So that, by pro- 
 portioning this fcale to any diftance by the fore- 
 going dire&ions, you may not only find the dimen- 
 fions of all your columns, but alfo of every diftinffc 
 part of them, as well as of all the doors, windows, 
 and other objefts that occur. For inftance ; having 
 found the height and breadth of your nearefl co- 
 lumn G, draw from the top and bottom of the faid 
 column to the point of fight the lines H F and K F ; 
 after which, rule the line I F from the bafe of the 
 column to the point of fight, and you have the 
 height and breadth of all the reft; of the columns, 
 as has been already fhewn in fig. XII. 
 
 By ruling lines from the points a, b, c, d, 8 cc. to 
 the point of fight, you will fee that all the fummits 
 and bafes of your columns, doors, windows, &c. 
 mult tend immediately to that point; and by lines 
 drawn from the points 1, 2, 3, 4, &c. on each fide, 
 to the correfpondent points on the oppofite fide, may 
 
 be 
 
THE ARTIST’S ASSISTANT, 
 be Teen all the parts of your building lying upon 
 the fame parallel. 
 
 5. To draw an ollique view. See Jig. XV. 
 
 Tirft, draw your horizontal line AB; then, if 
 your favourite objeft be on the right hand, as at C, 
 place yourfelf on the left hand upon the bafe line, 
 as at D ; then from that Ration ereft a pependicular 
 I) E, which will pafs through the horizon at the 
 point of fight F ; to which rule the diagonals G F 
 and H F, which will fhew the roof and bafe of your 
 principal building C, and will alfo, as before direft- 
 ed, ferve as a ftandard for all the reft. 
 
 Obferve alfo, either in direft or oblique views, 
 whether the profpeft before you makes a curve ; for 
 If it does, you mud be careful to make the fame 
 curve in your drawing. 
 
 6. To draw a perJbeSlive view , wherein are accidental 
 points. See Jig. XVI. 
 
 Rule your horizontal line a h, and on one part of 
 it fix your point of fight, as at c ', from which rule 
 the diagonals c d and c e on the one fide, and c f and 
 and c q on the other ; which will fhew the roofs and 
 bafes of all the houfes in the ftreet direftly facing 
 you (luppofing yourfelf placed at A in the center of 
 the bafe line). Then fix your accidental points g 
 and h upon the horizontal line, and rule from them 
 to the angles i k and 1 m (where the ftreets on each 
 fide take a different direftion, towards the acci- 
 dental points g and h) and the lines g i and g k give 
 the roofs and bafes of all the buildings on one fide, 
 asl h and m h do on the other. 
 
 Accidental 
 
TIIE ARTIST’S ASSISTANT. S9 
 
 Accidental points feldom intervene where the dis- 
 tance is frn all, as in noblemen’s fekts, groves, canals, 
 &c. which may be drawn by the ftri& rules of per- 
 ipeftive ; but where the profpeft is extenfive and 
 varied, including mountains, bridges, cattles, rivers, 
 precipices, woods, cities, &c. it will require fuch an 
 infinite number of accidental points, that it will be 
 better to do them as nature fhall dictate, and your 
 ripened judgment approve. 
 
 7- To find the center for the roof o f a houfic , in an oblique 
 view. See plate IV. 
 
 Suppofe from the point of fight A, the vifual lines 
 B A and A C be drawn, B C being one perpendicu- 
 lar given, and D E the other, rule the diagonals 
 from D to C, and from E to B, and the perpendicu- 
 lar F G, railed through the point of their interfec- 
 tion, will fhew the true center of the roof, as will 
 appear by ruling the lines G E and G C. 
 
 for want of being acquainted with this neceffary 
 rule, many, who have been well verfed in other parts 
 of perfpeftive, have fpoiled the look of their picture, 
 by drawing the roofs of their houfes out of their 
 true perpendicular. 
 
 Perlpeftive is either employed in reprefenting the 
 ichnograpliies, and ground-plots of objefts as projec- 
 tive planes ; or in Iconographies, and reprefentations 
 of the bodies themfelves. 
 
 Ichnography, in perfpeftive, is the view of any 
 thing cut off by a plain parallel to the horizon, julfc 
 at the bafe or bottom of it ; fo that ichnography is 
 the fame with what is otherwife called the plan, 
 geometrical plan, or ground-plot of any thing. 
 
 Scenography, 
 
40 THE ARTIST’S ASSISTANT. 
 
 Scenography, in perfpe&ive, is a reprefentation of 
 a body on a perfpe&ive plane ; or a defcription there- 
 of in all its dimenfions, fuch as it appeal's to the eye. 
 The ichnography of a building, &c. reprefents the 
 plan, or ground-work of the building. The ortho- 
 graphy the front, or one of the fides ; and the fceno- 
 graphy the whole building, front, fides, height and 
 all, raifed on the geometrical plan. 
 
 Projeflion, in perfpeftive, denotes the appearance 
 or reprefentation of anobjeft on the perfpeftive plane. 
 The projeftion, e, g r, of a point, is a point through 
 which the optick ray pafles from the objeftive point 
 through the plane to the eye ; or it is the point where- 
 in the plane cuts the optick ray. And hence is 
 eafily conceived what is meant by the projeftion of 
 a line, a plane, or a folid. 
 
 The projeftion of the fphere in plane, is a repre- 
 fentation of feveral points or places of the furface of 
 the fphere, and of the cirles delcribed thereon, or of 
 any affigned parts thereof, fuch as they appear to the 
 eye lituatc at any given diftance, upon a tranfparent 
 plane placed between the eye and the fphere. The 
 principal ufe of the projection of the fphere is in the 
 co-nfiiruCtionof planifphcres,and particularly maps and 
 charts, which are laid to be of this or that projeftion, 
 according to the leveral fuuationsof the eye, and the 
 perfpeCtive plane with regard to the meridians, paral- 
 lels, and other points and places to be reprefented. 
 I he projection of the fphere isufually divided into 
 orthographic and ftereographic. 
 
 Orthographic projection, is that wherein the fuper- 
 fifces of the fphere is drawn on a plane, cutting it 
 in the middle; the eye being placed at an infinite 
 diiiance vertically to one of the hemifpheres. The 
 
 laws 
 
 
THE ARTIST’S ASSISTANT. 41 
 
 laws of this fort of projeaion are thefe : 1. The rays 
 by which the eye at an infinite diftance perceives 
 any objea, are parallel. 2. A right line perpendicu- 
 lar to the plane of the projeaion, is projeaed into a 
 point, where that right line cuts the plane of the 
 projeaion. 3. A right line not perpendicular, but 
 either parallel or oblique to the plane of the projec- 
 tion, is projeaed into a right line, and is always 
 comprehended between the extreme perpendiculais. 
 
 4. The projeaion of the right line is the gieateft, 
 when that line is parallel to the plane of the pro- 
 jeaion. 5. Hence it is evident, that a line parallel 
 to the plane of the projeaion, is projeaed into a 
 right line equal to itfelf ; but if it be oblique to the 
 plane of the projeaion, it is projeaed into one 
 which is lefs. 6. A plane furface, at right angles to 
 the plane of the projeaion, is projeaed into that 
 right line, in which it cuts the plane of the projec- 
 tion. Hence it is evident, that a circle handing at 
 right angles to the plane of the projeaion which 
 paffes through its center, is projeaed into that 
 diameter, in which it cuts the plane of the piojec- 
 tion. 7. A circle parallel to the plane of the pro- 
 jeaion, is projeaed into a circle equal to itfelf; and 
 a circle oblique to the plane of the projeaion, is 
 projeaed into an ellipfis. 
 
 Stereographic projeaion, is that wherein the iui- 
 face and circles of the fphere are drawn upon the 
 plane of a great circle, the eye being in the pole of 
 that circle. As to the properties of this fort of pro- 
 jeaion : 1. In this projection a right circle is pro- 
 jected into a line of half tangents. 2. The lepie- 
 fentation of a right circle perpendicularly oppofed 
 to the eye, will be a circle in the plane of the pro- 
 F jeaion. 
 
42 THE ARTIST'S ASSISTANT. 
 
 joftion. 3. The leprefentation of a circle placed 
 obliquely to the eye, will be a circle in the plane 
 ot projeftion. 4. If a great circle is to be projected 
 on the plane of anothq^ great circle, its center will 
 lie in the line of meafures, diftant from the center 
 or the primitive by the tangent of its elevation 
 above the plane of the primitive. ; 5. If a lelfer cir- 
 cle, whofe poles lie in the plane of the projeTion, 
 were to be projeaed, the center of its reprefenta- 
 tion would lie in the line of meafures, diftant from 
 tne center of the primitive, by the fccant of the 
 leffer circles diftance from its pole, and its femi- 
 diameteror radius be equal to the tanjfcit of that 
 diftance. 6. If a lelfer circle were to befrojeaed, 
 whofe poles lie not in the plane of the prcyVaion, its 
 lameter in the projeaion, if it falls on each fide 
 o the pole of the primitive, will be equal to 
 tne fum of the half tangents of its greateft and 
 neareft diftance from the pole of the primitive, fet 
 each way from the center of the primitive in the 
 line of meafures. 7. If the leffer. circle to be pro- 
 jeaed, falls entirely on one fide of the pole of pro- 
 jeaion, and does not encompafs it, then will all its 
 diameter be equal to the difference of the half tan- 
 gents of its greateft and neareft diftance from the 
 pole of the primitive, fet off from the center of the 
 pi irnitive one, and the fame way in the line of 
 meafures. 8. In the ftereographic projeaion, the 
 angles made by the circles of the furface of the 
 fphcie, arc equal to the angles made by their re- 
 preientation m the plane of their projeaion. 
 
 Of 
 
Pe'r/jbec&velVafcX 3 
 
 PA 
 

^hcr/ fjec'/tiv .Pla-tvTDt . 
 
THE ARTIST’S ASSISTANT. 43 
 
 Of COLOURS. 
 
 The method of preparing the variola kinds ufed in painting. 
 
 T T will now be proper to explain in an eafy man- 
 ner, the method, of preparing the various bodies 
 employed hy painters, for producing the difference of 
 light and fhade ; which may be termed either pig- 
 ments or fluids, as they are folid or aqueous; and 
 are diftinguifhed in their feveral kinds according to 
 the manner of working them ; as oil-colours, water- 
 colours, enamel-colours, &c. but their variety are 
 too numerous to be in general ufe : moft painters 
 therefore feleft a fet out of them, and become very 
 unjuftly prejudiced againft thofe they rejeft. It is 
 no little impediment to their improvement in the 
 profeffion, that they are not more extenfxvely ac- 
 quainted with all the ingredients fit for their pur- 
 pofes. 
 
 Thofe colours which become tranfparent in oil, 
 fuch as~dake, Pruflian blue, and brown pink, are 
 frequently ufed without the admixture of white, 
 or any other opake pigment; by which means the 
 teint of the ground on which they are laid retains, 
 in fome degree, its force ; and the real colour, pro- 
 duced in painting, is the combined effeft of both. 
 This is called glazing ; and the pigments endued 
 with the property of becoming tranfparent in oil, 
 are called glazing colours. 
 
 As colours are obtained from various fubftances, 
 tire means of preparing them are confcqucntly vari- 
 F 2 ous ; 
 
44 THE ARTIST'S ASSISTANT. 
 
 ous ; fome being of a fimple nature, and requiring 
 only to be purified and reduced to a proper con- 
 fidence or texture ; and others being compounds of 
 different bodies, to be formed only by complex pro- 
 ceffes. It is therefore very difficult to give fuch ge- 
 neral dire&ions, for the making every fort of c 6 - 
 lour as may be intelligible to all ; the utenfils to be 
 employed, as well as the methods to be purfued, be- 
 ing fuch as belong to different arts and trades. 
 
 Where, nevertheiefs, fimple means, and the ufe 
 of fuch utenfils as are generally known, may be fuffi- 
 cient to perform what is wanting, it is belt to avoid 
 all technical terms, and more complex methods of 
 operation, adopting fuch a mode of inftru&ion as 
 maybe univerfally intelligible We now proceed 
 to the nature and preparation of the different co- 
 lours, as they follow in their claffes. 
 
 Class, I. * O/ RED COLOURS. 
 
 Ve rmillion, is one of the molt ufeful colours 
 in every kind of painting; except enamel or on glafs; 
 as it is of a moderate price, fpends to great advan- 
 tage in any kind of work, and Hands or holds its 
 
 colour 
 
 * Class 
 
 Scarlet , or tending to the orange. 
 Vermillion. 
 
 Native cinnabar. 
 
 Red lead. 
 
 Scarlet oker. 
 
 Common Indian red. 
 Spanith brown. 
 
 Terra difienna burnt, 
 
 I. RED. 
 
 Crimfon, Or tending to the purple. 
 
 Carmine. 
 
 Lake. 
 
 Rofe pink. 
 
 Red oker. 
 
 Venetian red. 
 
THE ARTIST's ASSISTANT. 45 
 colour extremely well. It may be prepared in gteat 
 perfection by the following procefs. 
 
 « Take of quick filver eighteen pounds, of flowers 
 »« JO f fulphur fix pounds: melt the fulphur in an 
 “ earthen pot ; and pour in the quick filver gradual- 
 « ly, being alfo gently warmed 5 and fin tLem well 
 tt together, with the fmall end of a tobacco-pipe. 
 
 “ But, if from the effervefcence, on adding the latter 
 ii quantities of the quickfilver, they take fiie, extm- 
 “ guifh it by throwing a wet cloth (which fhould be 
 a had ready) over the veffel. When the mafs is cold, 
 
 « powder it, fo that the feveral parts may be well 
 a mixed together. But it is not neceffary to 1 educe 
 cc it, by nicer levigation, to an impalpable flate. 
 
 44 Having then prepared an oblong glafs body, or 
 « fublimer, by coating it well with fire -lute over 
 44 the whole furface of the glafs, and working 
 44 a proper rim ®f the fame round it, by which it 
 u may be hung in the furnace in fuch a manner that 
 C£ one half of it may be expofed to the fire, fix it in 
 o a proper furnace, and let the powdered mals be 
 44 put into it, fo as to nearly fill the part that is 
 4£ within the furnace ; a piece of broken tile being 
 44 laid over the mouth of the glafs. Sublime then 
 44 the contents, with as ftrong a heat as may be ufed 
 44 without blowing the fumes of the vermillion out 
 44 of the mouth of the fublimer. When the fublima- 
 44 tion is over, which may be perceived by the 
 44 abatement of the heat towards the top of the body, 
 44 difeontinue the fire ; and, after the body is cold, 
 44 take it out of the furnace, and break it: collect 
 44 then together all the parts of the fublimed cake, 
 44 feparating carefully from them any drofis that may 
 44 have been left at the bottom of the body, as alfo 
 
 any 
 
46 TIIE ARTIST’S ASSISTANT. 
 
 2ny Iightei fubftance that may havd formed in the 
 “ neck, and appears to be diffimilar to the reft. Le- 
 vi gate the more perfeft part ; and, when reduced 
 “ to fine powder, it will be Vermillion proper for 
 “ ufe : but on the perfedtnefs of the levigation, de- 
 “ P ends > ^ a great degree, the brightriefs and good- 
 “ nefs of the Vermillion. In order therefore to per- 
 form this, it is neceflary that two or three mills 
 oi different clofcnefs fhould be employed, and 
 the laft fhould be of fteel, and fet as finely as 
 “ poflible.” 
 
 It is common, perhaps general, for dealers to fo- 
 phifticate Vermillion with red lead. But to detea 
 with certainty the fraud, both with refpeft to the ge- 
 neial faff, and the proportion, ufe the following 
 means : 
 
 Take a fmall, but known quantity of vcrmil- 
 xion fufpeeted to be adulterated, and put it into a 
 crucible ; having firft mixed with it about the fame 
 “ quantity, in bulk, of charcoal duft : put the cruci- 
 ble into a common fire, having firft covered it with 
 a leffer crucible inverted into it ; and give a heat 
 fufneient to fufe lead; when the crucible being 
 taken out of the fire, fhould be well flraken, by 
 “ linking it againft the ground. If the fufpefted 
 “ adulteration has been praflifed, the lead will be 
 found reduced to its metalline ftate, in the bottom 
 of the crucible ; and, being weighed, and com- 
 paied with the quantity of cinnabar that was put 
 tl “ lto l ^ e crucible, the proportion of the adultera- 
 t; tion may be thence certainly known. But, if no 
 k ‘ lead be found in the crucible, it may be fafely in- 
 feu ed, that no red lead had been commixt with 
 the Vermillion.” 
 
 NAT IV E 
 
THE ARTIST’S ASSISTANT. 47 
 
 NATIVE CINNABAR. 
 
 It is found naturally formed in the earth, though 
 feldom fo pure as to be lit for the ufes of painting, 
 at lead without being purified by fublimation. The 
 midaken notion that it would Hand better than Ver- 
 million, becaufe it was a natural production, has 
 made it to be coveted by painters who are curious 
 in colours. It is, however, not worth their while 
 to be felicitous about it, as it never excelled the bed 
 Vermillion in brightnefs ; and what is generally fold 
 for it is a pigment compounded of quickdlver and 
 lulphur. 
 
 RED LEAD, or MINU M. 
 
 The goodnefs of red lead may be feen by its bright- 
 nefs, and a mixture of any kind will make it of a 
 dull appearance. It is on this account not fo liable 
 to be fophidicated as white lead or Vermillion. It is 
 lead calcined, till it acquires a proper degree of co- 
 lour, by expofing it with a large furface to the fire. 
 
 SCARLET O k'E R, 
 
 Is an ochrous, earthy, or rather irony fubdance, 
 and is the bafis of green vitriol, feparated from the 
 acid of the: vitriol by calcination. It is a kind of 
 orange fcarlet colour, and rivals any of the native 
 okers, from its certainty of danding, and extreme 
 drength and warmth, either as a ground, or in the 
 fhade of carnations. It is ufeful as a colour in any 
 kind of painting; the manner of its preparation is 
 as follows. 
 
 “ Take 
 
3 THE ARTIST’S ASSISTANT. 
 
 “ Take of green vitriol or copperas, any quantity; 
 and being put into a crucible, of which it will fill 
 two thirds, fet it on a common fire to boil (taking 
 care that it do not boil over) till the matter be near- 
 ly dry; when it will be greatly diminifhed in 
 quantity, l'ill then the crucible to the fame 
 height again, and repeat the boiling and replenifh- 
 ing, till the crucible be filled with dry matter, 
 lake it then from this fire, and put it into a wind- 
 furnace ; or, if the quantity be final], it may be con- 
 tinued in the fame fire, the coals being heaped up 
 round it. Let the contents be calcined there till 
 they become of a red colour when cold; which 
 muft be examined by taking a little of the matter 
 out oi the middle, and fuffering it to cool ; for fo 
 long as it remains hot, the red colour will not ap- 
 pear, though it be fumciently calcined. When 
 duly calcined, take the oker out of the crucible 
 while hot, and put it into water, in which the parts 
 of the broken crucible may be be foaked likewiie 
 to obtain more eafily what fhall adhere to them ; 
 and ftir the oker well about in the water, that all 
 the remaining vitriol may be melted out of it. Let 
 it then let tie, and when the water appears clear, 
 pour it off, and add a frefin quantity ; taking out all 
 the broken pieces of the crucible; and proceed as 
 before ; repeating leveral times this treatment with 
 frefh quantities of water. Then purify the oker 
 horn any remaining foulnefs by waffling over; 
 and having brought it to a proper ftate of drynefs, 
 by draining off the fluid by a filter, in which the 
 paper mull be covered with a linen cloth, lay it to 
 dry on boards.” 
 
 COMMON 
 
 l 
 
THE ARTIST’S ASSISTANT. 
 
 49 
 
 COMMON INDIAN RED, 
 
 Is fubffituted in place of the real kind brought 
 from the Eaft-Indies : ferving equally well for com- 
 mon purpofes, giving a teint verging to fcarlet, 
 (varying from the true Indian red, which is great- 
 ly inclined to the purple) and on account of its 
 warm, though not bright colour, it is much ufed, 
 as well in finer as coarfer paintings in oil. It is af- 
 forded cheap and may be thus managed. 
 
 li Take of the caput mortuum, or oker, left in 
 “ the iron pots after the diftillation of aquafortis 
 “ from nitre and vitriol, two parts, and of the ca- 
 “ put mortuum or colcothar, left in the long necks 
 “ after the diftillation of oil of vitriol, one part ; 
 “ break the lumps found among them, and put them 
 “ into tubs with a good quantity of water ; and hav- 
 “ ing let them (land for a day or two, frequent- 
 “ ly {lining them well about, lade off as much wa- 
 “ ter as can be got clear from them ; and add a frefih 
 “ quantity, repeating the fame treatment till all the 
 11 falts be wafiied out, and the water come off nearly 
 “ infipid. The red powder which remains muff 
 “ then be wafhed over, and, being freed from the 
 (l water, laid out to dry. 
 
 “ When this is defigned for nicer purpofes, it 
 c< fhould be wafhed over again in bafons, the grofs 
 <c manner of lading it out of one tub into another 
 <£ not fitting it always completely to fuch ends.” 
 
 VENETIAN RED. 
 
 Ufeful to houfe-painters in imitating mahogany — 
 and is a native red oker inclining to fcarlet, and 
 G eafily 
 
THE ARTIST'S ASSISTANT. 
 
 eafily prepared by mixing it with the colcothar or 
 caput mortuum, taken out of the aquafortis pots 
 and w a fired over. It requires no other preparation 
 for ufe than to be well ground with oil, uniefs when 
 it is ufed in miniature painting — when it fhould be 
 wafhed over with the utmofl care. 
 
 SPANISH B R O W N, 
 
 Refembles the V enetian red very much in colour, 
 but is fouler : it is a native pigment and uled much 
 in the fame date nature produces it ; being dug up 
 in feveral parts of England. No other preparation 
 is needful than freeing it well from ftones and filth, 
 and grinding it with oil to render it fit for colour- 
 men, in the preparation of cloths for pictures, and 
 other coarfe work. 
 
 Calcined or burnt TERRA di SIENNA, 
 
 Is originally yellow ; but when moderately cal- 
 cined becomes an orange red, though not very 
 bright. It is a native oker, brought hither from 
 Italy in the date in which it is naturally found. It 
 is calcined by putting lumps of it either in a cruci- 
 ble, or naked in a common fire, and continuing it 
 there till the colour be changed from yellow to red. 
 It is exceedingly ufeful in oil-painting, and admits 
 of no adulteration it may be diltinguifhed from, 
 other ochrous earths by its femi-tranfparency. 
 
 CARMINE, 
 
 Is a bright crimfon colour, of great advantage in 
 painting, as well m water as varnifh : the prepara- 
 tion 
 
THE ARTIST’S ASSISTANT. 5 i 
 
 ta’on of it is kept a fccret by thofe who prepare it in 
 perfection; and the iuperiority of the French car- 
 mine fhews that the proper method is wanting 
 in England — though fome wrongly attribute the 
 excellence to qualities in the air and water of 
 France. There are feveral recipes for this colour, 
 but rather than infert. imperfeCt inftruCtions for 
 an article of great confequence, we choofe to be 
 lilent. 
 
 LAKE. 
 
 The befh of what is commonly fold is made from 
 the colour extracted from fcarlet rags, and depofitcd 
 on the cuttle-bone, which may’ be done in the fol- 
 lowing manner : 
 
 take a pound of the belt pearl-afhes, and, hav- 
 “ ing dilfolved them in two quarts of water, purify 
 “ them by filtering through paper. Add then to 
 “ tbis folution two more quarts of water, and having 
 put in a pound of fcarlet fhreds, procured of the 
 taylors (which muff be entirely clean) boil them 
 £ ' a pewter boiler, till the fhreds appear to have 
 wholly’ loft their fcarlet colour. Take them out 
 “ ol the folution and prefs them well; dipping 
 4- them after in water and preffing them again, 
 that all tnc fluid they had imbibed may be got 
 5 ‘ from them, in order to be put back to the reft. 
 
 lake then another pound of the fcarlet fhreds, 
 “ an d repeat the like treatment of them in the fame 
 i ' folution; as alio a third and fourth pound. While 
 this is doing dilfolve a pound and half of cuttle- 
 ftfh-bone in a pound of ftrong aquafortis in a 
 “ gl*ds receiver; adding more of the bone, if it ap- 
 
5 2 
 
 THE ARTIST’s ASSISTANT, 
 
 “ pear to produce any ebullition in the aquafortis r 
 “ and, having drained ofF this folution through 
 flannel, pour it into the other by degrees ; obferv- 
 “ ing whether it produce any effervefcence on put- 
 <£ ting in the lafh quantity : which if it do in any 
 “ great degree, more of the cuttle-fifh-bone mud be 
 <£ diflolved in aquafortis ; and the folution very gra- 
 t£ dually added till no ebullition appear to be railed 
 “ by it in the mixture. If this be properly ma~ 
 
 “ naged, the fluid will foon become clear and co- 
 “ lourlefs, and the tinging particles extrafted from 
 <£ the fhreds, together with the cuttle-fifh-bone, 
 
 ££ will fubfide to the bottom and form a crimfon 
 “fediment; which is the lake. The water mud 
 <£ then be poured off ; and two gallons of hard 
 ££ fpring water mrid be put to the lake, and well 
 “ dirred about to mix them. This being likewife 
 <£ poured off, after the lake has again fettled to the 
 <£ bottom, mud be replaced by another two gal- 
 C£ Ions; and the fame method mud be repeated four 
 “ or five times. But if hard water cannot be pro- 
 <£ cured, or the lake appear too purple, half an 
 Ci ounce of alum fhould be added to each quantity 
 <£ of water before it be ufed. When the lake is thus 
 ££ fufficiently freed from the falts, it mud have the 
 ££ water drained from it in a filter covered with a 
 * ii linen cloth, which has been fo worn as to have no 
 <£ nap or down remaining on its furface. After the 
 <£ lake has been drained to a proper drynefs, it mud 
 <£ be dropped on clean boards, by means of a proper 
 * £ funnel: through which, the drops being differed 
 “ to pafs, and red on the board at proper didances,' 
 t£ they will become fmall cones or pyramids ; in 
 ££ which form the lake mud be lulfcrcd to dry, and 
 ii the preparation is then completed,” 
 
 ROSE 
 
THE ARTIST’S ASSISTANT. 5$ 
 
 ROSE PINK. 
 
 The bafis of this pigment is principally chalk ; 
 and the tinging fubftance extrafted from brafil, or 
 Campeachy wood. It will not (land with oil or wa- 
 ter, and is feldom employed but for the coarfe work 
 of houfe painters, or for paper hanging, unlefs fe- 
 cured from fiving with varnifh, when, if good, it 
 may be fubftituted for lake. It is prepared as 
 follows : 
 
 u Take brafil wood fix pounds, or three pounds of 
 cc brafil and three of peachy wood. Boil them an 
 <£ hour with three gallons of water, in which a. 
 <! quarter of a pound of alum is difToived. Purify 
 “ then the fluid by Braining through flannel ; and 
 “ put back the wood into the boiler with the fame 
 « quantity of alum, and proceed as before ; repeat- 
 « ing this a third time. Mix then the three quan- 
 «« tities of tinfturc together; and evaporate them. 
 li till only two quarts of fluid remain : which eva- 
 “ poration muft be performed fir ft in the pewter 
 “ boiler, and afterwards in a Balneo Marias. Pre- 
 <£ pare in the mean time eight pounds of chalk by 
 <£ wafhing over ; a pound of alum being put into 
 <£ the water ufed for that purpofe, which, after the 
 ‘ £ chalk is wafhed, muft be poured off and fupplied 
 4£ by a frefh quantity, till the chalk be freed fiom 
 <£ the fait formed by the alum ; after which it muft 
 ££ be dried to the confiftence of ftiff clay. Ihe 
 “ chalk and tin&ure as above prepared, muft be 
 ‘ £ then well mixed together by grinding; and af- 
 <£ terwards laid out to dry where neither the fun or 
 “ cold air can reach it: though, if it can be con- 
 (i veniently done, a gentle heat may be ufed. 
 
64 THE ARTIST’S ASSISTANT. 
 
 RED OKER, 
 
 Is a native earth, brought chiefly from Oxford- 
 fhire, and burnt afterwards (by thofe who pre- 
 pare it) in large ovens, till by calcination it becomes 
 red. It is very ufeful as well in the more delicate 
 as coarfer paintings in oil, for it Hands infalliby. 
 For nicer purpofes it fhould be wafhed over; but for 
 others it may be ufed in the Hate in which it is found 
 in the fhops. 
 
 Class II. * Of BLUE COLOURS. 
 
 Ultramarine is a bright blue colour, of the high- 
 eft value in every kind of painting; being ecjually 
 ferviceable in all, even in enamel. It has a tranf- 
 parent effeft in oil, and in fome degree in water, 
 and will ft and without the leaft hazard of Hying. By 
 reafon or its high price, Pruflian blue has been 
 much introduced, to the prejudice of painting in ge- 
 neral ; as the fkies of landfkapes and many other 
 parts of modern pictures, fhew the lofs of ultra- 
 marine, by their changing from a warm or clear 
 blue, to a faint green or olive teint. The methods 
 have been continually varied by ihafe who have at- 
 tempted 
 
 * Class II. B L U E. 
 
 Ultramarine. Indigo. 
 
 Ultramarine allies. Smalt. 
 
 PruHian blue. Bice. 
 
 V eraiier. Litmus, or latmus, 
 
 - cndrc blue, or Sanders blue. 
 
THE ARTIST’S ASSISTANT. 55 
 
 tempted to prepare this pigment. The following is 
 the belt of the more modern. 
 
 “ Take the lapis lazuli, and break it into very 
 £: fmall pieces, or rather a grofs powder ; put it into 
 ££ a crucible, and cover it fecurely, to prevent the 
 £: coals from falling amongft it. Calcine it then 
 “ with a ftrong fire, for an hour, if there be any 
 £; large quantity, or lefs time in proportion ; and 
 ££ quench it, when taken out of the fire, in vinegar, 
 
 {£ lfirring them well together; and fuffer it to re- 
 “ main in that flate for a day or two. Pour off 
 £; then the vinegar, except what may be neceffary 
 “ for moiflening the calcined lapis lazuli in grind- 
 “ ing ; which operation it muff then undergo, in 
 ££ a mortar of flint or glafs, till reduced to the great- 
 “ eft degree of finenefs thofe means may effeft. 
 ££ But, if it appear yet too hard to be eafily ground, 
 ££ give it another fhort calcination, and quench it a 
 £1 fecond time in vinegar. The vinegar muft then be 
 ££ wafhed off from' the powder, by the putting to it 
 <£ feveral fucceffive quantities of clean water ; each 
 ££ of which muft be poured off when the lapis lazuli 
 £: has been well ftirred about in them, and is again 
 “ fettled to the bottom. It muft then be ground on 
 £i a porphyry Gone, with a mullar, till it be perfeft- 
 ££ lv impalpable, and then dried : in which ftate it is 
 ££ duly prepared to mix with the following cement. 
 “ Take of Burgundy pitch nine ounces — of white 
 ££ refin, and Venice turpentine, fix ounces — of vir- 
 ££ gin wax one ounce and half — and of linfeed oil 
 ££ one ounce and a quarter ; mix them together by 
 ££ melting in a pipkin over the fire ; and fuffer them 
 “ to boil till they acquire fo ftiff a confidence, that 
 “ being dropt into water while of this boiling heat, 
 
 “ they 
 
$6 THE ARTIST’S ASSISTANT. 
 
 “ they will not fpread on the furface of it'* but form 
 “ a roundifh mafs or lump. The cement being thus 
 “ formed, may be poured out of the pipkin in the 
 “ water, and made into cakes or rolls for ufe. Of 
 “ this cement, take an equal weight with that of the 
 “ calcined lapis lazuli and melt it in a glazed earthen 
 “ pipkin ; but notfo as to render it too fluid. Then 
 “ add to it the calcined matter by very flow degrees ; 
 “ ftirring them together with an ivory fpatula, till 
 “ the whole appear perfeftly mixed. Being thus 
 <{ mixed, heat the compofltion to afomething greater 
 “ degree, and call it into a large bafon full of cold 
 “ water. When it has cooled to a confidence to 
 “ hear fuch treatment, knead it well like the dough 
 of bread, with the hands rubbed over with linfeed 
 li oil} till all the parts be thoroughly incorporated 
 il with each other, dhen make the mafs into a cake, 
 £ ‘ which may be either kept till fome other conveni- 
 <£ ent time in cold water, or immediately proceeded 
 with in the following manner : put the cake into 
 u an earthen difh or bafon, the bottom of which 
 “ fhould be rubbed with linfeed oil, and pour on it 
 “ water of the warmth of blood. Let it dand a 
 “ quarter of an hour ; and, as the water foftens the 
 <£ cake, it will let loofe the fined part of the cal- 
 (i cined matter, which, on gently dirring the water, 
 “ but without breaking the cake, or feparating it into 
 “ lefler parts, will be fufpended in the water, and 
 “ mud be poured off with it into another veffel. 
 * £ The quantity of water mud be then renewed, 
 
 “ and the fame operation repeated a fecond or third 
 *’ time : and, as the mafs appears flack, in affording 
 <£ the colour, it mud be moved and dirred, in the 
 “ manner of kneading, with the ivory fpatula, but 
 
 “ not 
 
THE ARTIST’S ASSISTANT. 57 
 
 * ( not broken into fragments or fmall parts ; and 
 “ when fo much of the colour is extracted, as to 
 “ render it neceflary for the obtaining more, the 
 “ heat of the water mult be increafed to the greateft 
 “ degree. The quantities of the calcined matter 
 “ (which is now the ultramarine) that were firft 
 “ wafhed off, and appear of the fame degree of deep- 
 “ nefs and brightnefs, may be put together ; and the 
 “ fame of thofe of the fecond degree ; the laft wafh- 
 “ ings making a third. The water being then pouv- 
 “ ed off from each of thefe parcels, but on a lixivium 
 “ formed of two ounces of fait of tartar, or pearl- 
 “ afhes, diffolved in a pint of water, and filtered 
 “ through paper after the folution is cold. This 
 “ lixivium muff be put on boiling hot, and the ul- 
 “ tramarine ftirred well about in it ; and then the 
 “ mixture fet to cool. The powder being fublided, 
 “ the clear lixivium muft be poured off, and clean 
 “ water put in its place ; which muft be l'epeated 
 “ till the whole of the falts of the lixivium are 
 wafhed away. The ultramarine muft afterwards 
 “be dried; and will be then duly prepared for 
 “ ufe.” 
 
 Ultramarine is fubjeft to be adulterated, on ac- 
 count of its great price — this is frequently done by 
 a precipitation of copper, made by alkaline fait, 
 and is very injurious ; becaufe the magiftery of cop- 
 per (if the ultramarine fophifticated with it be 
 ufed in painting, either with oil or water) will 
 change its hue and turn black. And, in enamel 
 painting, as foon as fluxed it will become a green, 
 and confequently make the effeft of the ultrama- 
 rine vary from what is intended. This fraud may 
 be eaflly dete&ed by pouring fome diluted fpirit 
 H of 
 
s 8 TIIE ARTIST’S ASSISTANT. 
 
 of nitre on a fmall quantity; which, if there be 
 any copper, will loon dilfolve, and form a greenilh 
 blue folution. 
 
 ULTRAMARINE ASHES. 
 
 After the ultramarine has been extratted from the 
 lapis lazuli, the refiduum or remains from this 
 pigment. And when the operation of extra&ing 
 the colour has not fucceeded well, a confiderable 
 fhare of the ultramarine is left behind with the re- 
 crement, and greatly enhances the worth of the 
 afhes ; for of courfe the value of the latter is infe- 
 rior to the former, but it is Hill fubjeff to adultera- 
 tion, which may be difcovered by putting fotne of 
 it into a fmall quantity of fpirit of nitre, and if there 
 be any copper in it, it will be tinged green. It is 
 prepared as follows: 
 
 “ Take the cement of the ultramarine, which re- 
 “ mains after the colour is extra&ed, and mix it 
 “ with four times its weight of linfeed oil. Let the 
 11 mixture be fet in a glazed pipkin over the fire, 
 c; and when it is thus boiled a fhort time, put it into 
 « a glafs velTel fufficiently large to contain it, of a 
 “ cylindrical figure : of which velTel the diameter 
 “ muft be fmall in proportion to the length. But 
 “ care muft be taken, that the matter when put into 
 t: this glafs be cool enough not to endanger the 
 breaking it. This glafs muft then be put into a 
 balneum marias, which muft be made as hot as 
 “ poffible without boiling, and kept there till the 
 c: colour appears to be all iubfided to the bottom. 
 “ The oil muft then be poured off, till the colour 
 “ appears to rife with it ; and the remainder, with 
 : . the 
 
THE ARTIST’S ASSISTANT. 59 
 
 <{ the colour in it, muft be put into another glafs of 
 “ the fame kind with as much frefh oil as will rife 
 “ live or fix inches above the colour. This glafs 
 “ muft be treated in the fame manner as the firft: 
 “ obferving when the colour has fubfided, the oil 
 “ muft be poured off, and a frefh quantity put in its 
 “ place. This having been likewife poured off, the 
 “ colour muft then be well wafhed, to free it from 
 the remaining oil, firft in boiling water, and af- 
 “ terwards in fome of the lixivium abovementioned, 
 “ made boiling hot alfo. As much of the lixivium 
 being poured off, when the colour has fubfided, as 
 <c can be feparated from it that way, the colour muft 
 <! be thoroughly freed from the remainder by fre- 
 “ quent ablutions with clean water: after which 
 “ the water muft be taken off by the means above 
 direfted for the ultramarine, till the matter be of 
 “ a proper degree of moifture for grinding. It muft 
 “ then be thoroughly well ground on a porphyry, 
 “ and waftied over ; that all the harder and infuf- 
 “ ficiently calcined parts may be reduced to an im- 
 t! palpable powder ; in order to which, the remain- 
 “ ing groffer parts, after the finer have been feparated 
 “ by the walhing over, muft be again ground till 
 “ the whole beperfeftly fine. The fame means muft 
 be afterwards ufed to bring the afhes to a dry pow- 
 ii der that were before direfted for the ultramarine.” 
 
 PRUSSIAN BLUE, 
 
 Is the earth of alum, combined with the fixed 
 fulphur of animal or vegetable coal; and may be 
 made from almoft any animal fubftance; but it is 
 generally made of the coal of blood only. It is 
 H 2 ufeful 
 
60 THE ARTIST’s ASSISTANT. 
 
 ufeful in all kinds of painting, fave enamel ; and 
 prepared to different degrees of brightnefs and 
 flrength. The common kind found in the fhops, 
 and fold at very low prices, can be little depend- 
 ed upon in paintings of confequence ; therefore it 
 fhould be prepared perfeft, and in the true man- 
 ner: and then, confidering the high price of ul- 
 tramarine and the foulnefs of the indigo, it mav be 
 deemed an acquifition to the art of painting. 
 
 “ Take of blood any quantity ; and evaporate it 
 “ to perfeft drynefs. Of this dry blood, powdered, 
 u take fix pounds, and of the belt pearl-afhes two 
 “pounds: mix them well together in a glafs or 
 “ ftone mortar ; and then put the mixt matter into 
 “ large crucibles or earthen pots ; and calcine it in 
 “ a furnace ; the top of the crucible or pot being 
 “ covered with a tile, or other fuch convenient 
 “ thing, but not luted. The calcination fhould be 
 “ continued, fo long as any flame appears to iffue 
 “ from the matter; or rather till the flame become 
 “ Render and blue ; for if the fire be very ftrong, a 
 “ fmall flame would arife for a very long time, and 
 “ a great part of the tinging matter would be difli- 
 “ pated and loft. When the matter has been fuf- 
 “ ficiently calcined, take the veffels which contain 
 u it out of the fire ; and, as quickly as poflible, 
 “ throw it into two or three gallons of water ; and, 
 tc as it foaks there, break it with a wooden fpatula, 
 “ that no lumps may remain. Put it then in a pro- 
 “ per tin veffel, and boil it for the fpace of three 
 “ quarters of an hour or more. Filter it while hot 
 “ through paper in tin cullenders, and pafs fome 
 water through the filter when it is run dry, to 
 “ wafh out the remainder of the lixivium of the 
 “ blood and pearl-alhes ; the earth remaining in the 
 
 o filter 
 
 
THE ARTIST’S ASSISTANT. 61 
 
 <l filter may be then thrown away. In the mean 
 “ time, diffolve of clean alum four pounds, and of 
 “ green vitriol or copperas two pounds, in three gal- 
 “ Ions of water. Add this folution gradually to the 
 “ filtered lixivium, fo long as any cffervefcence 
 “ appear to arife on the mixture ; but, when no 
 “ ebullition or ferment follows the admixture, ceafe 
 “ to put in more. Let the mixture then (land at 
 “ reft, and a green powder will be precipitated: 
 <£ from which, when it has thoroughly fubfided, the 
 C£ clear part of the fluid mult be poured off, and 
 “ frefh water put in its place, and ftirred well about 
 “ with the green powder ; and, after a proper time 
 “ of fettling, this water muft be poured off like the 
 “ firft. Take then of fpirit of fait double the 
 weight of the green vitriol which was contained 
 ££ in the quantity of folution of vitriol and alum, 
 “ added to the lixivium, which will foon turn the 
 <£ green matter to a blue colour ; and, after fome 
 ££ time, add a proper quantity of water, and wafh 
 4£ the colour in the fame manner, as has been di- 
 ££ rcfled for lake, &c. and, when properly wafhed, 
 ££ proceed in the fame manner to dry it in lumps of 
 <£ convenient fize.” 
 
 The brightnefs, deepnefs, and coolnefs of Pruflian 
 blue, are proofs of its goodnefs — for with thefe qua- 
 lities it may be depended upon in (landing well. 
 Sophiftication, or any thing amifs in the proceis, 
 may be feen by its being more foul and purple. 
 
 V E R D I T E R, 
 
 Is formed by adding a due proportion of chalk t<? 
 a folution of copper, made by refiners in precipi- 
 tating the filver from the aquafortis, in the opera- 
 
 ration 
 
62 THE ARTIST’S ASSISTANT. 
 
 ration called parting. Verditer is to be had at a 
 cheap rate from the refiners, who are at no expence 
 in making it, but that of the chalk and labour. The 
 manner in which it may be belt done by them is as 
 follows : 
 
 4: Take any quantity of chalk, and having ren- 
 <! dered it fufficiently fine by wafhing over carefully, 
 add it gradually to the folution of copper, fo long 
 “ as any change appears to be produced by it from the 
 ebullition excited ; or the due proportion may be 
 perceived by the fluid lofing its green tinge and 
 14 becoming colourlefs. Let it then ftand at reft 
 4; till the fediment be fubfided, and pour off the 
 4i clear part of the fluid from the powder ; adding 
 4; in its place clean water, which muff be feveral 
 “ times renewed till the falts be entirely wafhed 
 t£ cut. The fediment, which is the verditer, muff 
 (i be afterwards freed from the fluid by filtering 
 through paper covered with a cloth, and laid out 
 4i in lumps of a middling fize to dry.” 
 
 Thofe who defire to make verditer themfelves, 
 may prepare the folution of copper, by adding cop- 
 per filings gradually to aquafortis of any kind, or 
 putting plates of copper in it ; and then proceeding 
 as is above dire&ed for the refiners folution. 
 
 BLEU de CENDRES; or SANDERS BLUE. 
 
 If enquiry is made at the colour fhops for this 
 article, nothing is to be found under the name but 
 common verditer, or a fpecies of it where the pre- 
 cipitation of the copper appears to be made in part 
 ■upon ftarch as well as chalk. It maybe prepared as 
 follows : 
 
 “ Take 
 
TIIE ARTIST’S ASSISTANT. 63 
 
 i: Take of the refiners folution of copper made in 
 <£ the precipitation of filver from the fpirit of nitre ; 
 
 or diflblve copper in fpirit of nitre or aquafortis, 
 “ by throwing in filings or putting in flips of copper 
 “ gradually, till all eff'ervefcence ceafe. Add to it of 
 * { llarch finely powdered, the proportion of one 
 “ fifth or fix th of the weight of the copper diffolved. 
 <s Make then a folution of pearl afhes, and filter it ; 
 “ and put gradually, to the folution of copper, as 
 much as will precipitate the whole of the copper ; 
 “ which may be known by the fluid’s becoming 
 “ clear and colourlefs, though before highly tinged 
 “ with green. Wadi the powder, which will be 
 « precipitated, in the manner direfted for lake, &c. 
 “ and, when it is fo well drained of water by means 
 « of a filter, as to be of a proper confidence, grind 
 ti the whole well together, and lay it out to dry.” 
 
 INDIGO. 
 
 This was formerly almoft the only blue colour ufed 
 in painting. It is made in the Spanifh Weft-Indies, 
 by means of putrefaftion from certain plants, and a 
 coagulation by the air. It cannot (as far as is hither- 
 to known) be prepared in thefe colder climates, on 
 account of the tender nature of the plants which pro- 
 duce it. The indigo brought from the French, of 
 our own plantations, is foul, and greatly inferior in 
 brightnefs to that formerly imported hither from 
 the Spaniards, it being equal to the pruflian blue 
 for fome purpofes ; and there is no other prepar- 
 ation neceflary to ufing it in painting, except a per- 
 fect levigation. 
 
 SMALT, 
 
64 THE ARTIST’s ASSISTANT, 
 
 SMALT. 
 
 Smalt is made from glafs ground to a powder, and 
 coloured with zaffer ; or prepared from fluxing to 
 the proportion of glafs, one feventhpart of zaffer, or 
 more or lefs according to the degree of deepnefs re- 
 quired. It will not work with either brufh or pen- 
 cil, but by firewing it upon any ground of oil-paint 
 while wet, it makes a bright blue fhining furface, 
 proper for large fun-dials, and other fuch appli- 
 cations. In enamel-painting, and in painting on 
 glafs, it is of great ufe. 
 
 BICE. 
 
 At prefent feveral compofitions of indigo and ver- 
 diter with chalk, and other cheap fubllances, are 
 fold in this name ; but the true kind is fmalt, redu- 
 ced to a fine powder by levigation. From its unfuit- 
 able texture, it is now greatly difufed, or it makes a 
 light warm blue colour, and was formerly ufed in 
 oil, but more frequently in water-colours. 
 
 LITMUS or LATMUS. 
 
 Water painting is the only kind in which this can 
 be ufed, and as it is brought from Holland at a very 
 cheap rate, it were almoft needlefs to give the pre- 
 paration. But if any are defirous, for curiofity, to 
 know the procefs, it is formed from archal, a fpecies 
 ofmofs, brought from the Canary and Caps de Verd 
 Iflands, and prepared as follows. “ Add quick lime 
 “ and putrified urine, or fpirit of urine dillilled from 
 
 lime 
 
THE ARTIST’S ASSISTANT. 6 5 
 
 “ lime, to the archal, previoufly bruifed by grinding. 
 “ This mixture muft be fufFered to ftand till it ac- 
 “ quire a very blue colour. Af'tdr which the fluid 
 " muft be fuffered to evaporate, and the remain- 
 “ ing mafs, when it is of the confidence of a pafte, 
 <! muft be laid on boards to dry in fquare lumps.” 
 
 If it is ufed in miniature paintings, care muft be 
 taken of the approach of acid, for that changes it in- 
 ftantly from blue to red ; though it will ftand if no 
 fuch accident intervene. 
 
 Class III.* Of YELLOW COLOURS. 
 
 King’s yellow, when prepared well (which muft 
 be done by mixing fulphur and arfenic by fublima- 
 tion) is an extremely bright colour, and a true yel- 
 low ; but when mixed with white lead, and feverai 
 other pigments, its colour flies or changes : this de- 
 feft, joined to its naufeous fmell, and the notion of 
 its being a ftrong poifon, renders it unpleafing, and 
 caufes it to be rejefted by many. Neverthelefs, it 
 may be ufed on many occafions, with great advan- 
 tage, not only as a yellow, but by mixing it with 
 blue pigments, and forming a green. King’s yellow 
 is prepared as follows : 
 
 * Class III. 
 
 YELLOW. 
 
 King’s yellow. 
 Naples yellow. 
 Yellow oker. 
 Dutch pink. 
 Englilh pink. 
 Light pink. 
 Gamboge. 
 Maflicot. 
 
 Common orpiment. 
 Gall Hones. 
 
 Terra di Sienna unburnt, 
 Turpeth mineral. 
 Yellow berry wafh. 
 Turmeric wafh. 
 Zedoary wafh. 
 
 Tinfture of faffron. 
 
 I 
 
 “ Take 
 
66 THE ARTIST'S A S S I S T A N T. 
 
 “ Take of arfenic powdered, and flowers of ful- 
 “ phur, in the proportion of twenty of the firft to 
 “ one of the feco'nd: and having put them into a 
 “ fublimer, fublime them in a fand heat. The ope- 
 ‘‘ ration being over, the king’s yellow will be found 
 C; in the upper part of the glafs ; which muff be 
 <£ carefully feparated from any caput mortuum, or 
 “ foul parts that may be found in the glafs with it. 
 “ It muff be afterwards reduced to an equal powder 
 “ by levigation.” 
 
 NAPLES YELLOW. 
 
 The neighbourhood of Naples is faid to produce 
 this pigment naturally : of the truth of this we are 
 dubious, but certain that it is brought from abroad. 
 It is a yellow rather inclining to the orange ; feldom 
 ufed but in oil painting, where it is generally found 
 to Hand well. It is brighter than other yellows at 
 prefent in ufe, except the king’s yellow ; but if it 
 touch iron along with the leaf! watry moillure, 
 it will be changed by it, for which reafon care fhould 
 be taken to employ an ivory fpatula, inftead of a 
 pallet knife, during the grinding of it with oil, 
 which is the only preparation praftifed on it, as it 
 does not well bear levigation with water. 
 
 YELLOW O K E R. 
 
 The fubflance of this is a mineral earth, found 
 in different places, of various degrees of purity.- 
 There is no other preparation neceffary but levi- 
 gation, - and freeing it properly from dirt and other 
 matter. It is a valuable colour ; being a true yel- 
 low 
 
THE ARTIST’S ASSISTANT. 67 
 
 low that will not fly in the leaft, and its texture 
 fuits it for all kinds of painting. Notwithftanding 
 its utility it ought to be of low price. 
 
 DUTCH PINK. 
 
 As this colour will not bear well to be worked in 
 oil, nor can be depended upon with regard to its 
 Handing, it is ufed principally for coarfer purpofes 
 in water ; and is fometimes prepared in the fame 
 manner with (larch and white lead : but the follow- 
 ing preparation is very cheap and eafy, and makes 
 it to perleftion : 
 
 “ Take of French berries one pound, and of tur- 
 {; meric root powdered four ounces ; boil them in a 
 l ’ gallon of water two hours, and then drain off the 
 “ tin&ure through flannel, and boil it again with an 
 “ ounce of alum till it be evaporated to one quart. 
 “ Prepare in the mean time four pounds of chalk, 
 “ by wafhing it over, and afterwards drying it, 
 and mix the chalk with the tinfture, by grinding 
 “ them together; and then lay out the Dutch pink 
 s: thus made to dry on boards.” 
 
 As it fhould be a full gold coloured yellow, and 
 very bright, any adulteration may be difcovered by 
 the eye. 
 
 ENGLISH PINK. 
 
 Prepare this in the fame manner, and with the 
 fame ingredients as the Dutch, only increaflng 
 the quantity of chalk, to render it of an infe- 
 rior quality ; it being the fame, only lighter and 
 
 coarfer. 
 
 12 
 
 LIGHT 
 
68 THE ARTIST’S ASSISTANT. 
 
 LIGHT PINK. 
 
 The only kind fit for ufe in oil painting is prepared 
 in the following manner : 
 
 « Take of French berries one pound, boil them 
 <« with a gallon of water for an hour : and having 
 < £ drained off the fluid, add to it two pounds of 
 « £ pearl afhes, diffolvcd and purified by filtering 
 < £ through paper. Precipitate with alum dilfolved 
 < £ in water, by adding the folution gradually, fo 
 < £ long as any ebullition {ball appear to be raifed in 
 « the mixture. When the fediment has thoroughly 
 « fubfided, pour off the water from it, and wadi it 
 <£ with feveral renewed quantities of water, pro- 
 ceeding as has been before direfted in the cafe of 
 <£ the lake, &c. drain off the remaining fluid in a 
 « £ filter with a paper covered with a linen cloth ; 
 <£ and, laftly, dry it on boards in fmall fquare 
 “ pieces.” 
 
 GAMBOGE. 
 
 No yellow is of greater fervice in water colours ; 
 eafily diffolving to a milky confidence, from the 
 date in which it arrives. It is a gum produced in 
 the Ead Indies, and nothing but the addition of 
 water is wanting to prepare it for ufe. 
 
 MASTICOT. 
 
 As this is not a very bright colour it is little 
 ufed ; or it will dand perfeftly in oil or in water ; it 
 Works with the pencil better than mod other pig* 
 
 mentSj 
 
the ARTIST’S ASSISTANT. 69 
 
 mcnts, and certainly might be 'made very ufeful by 
 putting flake white, or white lead, on an earthen 
 or Hone difh before a ffrong fire ; and continuing it 
 there till the colour be fufficiently yellow. The 
 calcination being finifhed, the parts which are of 
 the defired tcint muff be picked out from the refl and 
 put together. For with the greatefl care, it is diffi- 
 cult to calcine the whole equally. Grinding with, 
 oil is all the further preparation neceffary to the 
 ufing of it. 
 
 COMMON ORPIMENT. 
 
 It is generally difagreeable to meddle with this, 
 on account of its naufeous fmell and poifonous qua- 
 lity; being a fofile body compofed of arfenic and 
 fulphur, with a mixture frequently of lead, and 
 fometimes other metals. In its unrefined Hate it is 
 only ufeful to colour the matted bottoms of chairs, 
 or other coarfe work ; and if purified by fublimation 
 it becomes king’s yellow. 
 
 GALL STONES. 
 
 The real kind are found in the gall bladder or 
 like duffs of beafts ; and require nothing more than 
 rubbing with water (as gamboge) to diffolve them to 
 a dark warm yellow. — But as thefe are not always 
 to be procured, a fiflitious kind, of equal fervice, 
 may be made as follows : 
 
 “ Take a quart of the bile of oxen, as frefh as 
 tl poffible. Put it into a proper pewter veffel, and 
 “ fet it to boil in a balneo marise ; having added to 
 “ it a quarter of an ounce of clear gum arabic. 
 
 “ Evaporate 
 
7 o THE ARTIST’S ASSISTANT. 
 
 “ Evaporate the whole to about an eighth ; and 
 then remove it into a china cup or bafon of pro- 
 per fize, and evaporate it to drynefs ; collc&ing 
 *■' it into a mafs as it becomes of a ftiff confidence.” 
 
 TERRA d't SIENNA dniurnt. 
 
 Mention has been made of this pigment being a 
 native ochrous earth, brought from Italy ; that cal- 
 cination changes it from yellow to red— therefore 
 thofe that choofe to ufe it as a yellow, fhould take 
 care to have it extremely well levigated, and it will 
 ferve as a deeper fhade by many degrees than any 
 of the other okers, and of a luperior brightnefs. 
 
 turpeth mineral. 
 
 This for ufe is much fuch another colour in yel- 
 low as Vermillion in red, and will hand equally 
 well with that. It is a preparation of mercury, 
 by calcining it together with oil of vitriol, and is 
 much brighter than any other yellow ufed in oik 
 except king’s yellow. The preparation: 
 
 « Take of pure quickfilver, and oil of vitriol, 
 « each fix pounds. Put them into a retort ; to 
 which, being placed in a fand bath, fit on a re- 
 “ ceiver ; and diltil them with a ftrong fire, while 
 any fumes appear to rife into the receiver ; urging 
 “ it at laft with as great a heat as the furnace will 
 (i bear. When the retort is again cold, remove it 
 “ out of the fand bath ; and having broken it, take 
 « the white mafs, which will be found at the bot- 
 “ tom of it, and break it to a grofs powder ; and 
 “ having put it in a glafs mortar, pour water on it ; 
 <s which will immediately convert it to a yellow 
 
 “ colour. 
 
THE ARTIST’S ASSISTANT. 
 
 7 * 
 
 4i colour. Let it then be thoroughly ground in this 
 “ mortar, with water, and afterwards wafhed with 
 t£ feveral fucceffive quantities. It mud then be 
 “ thoroughly well levigated on a done, and dried.” 
 
 The YELLOW WASH, from the French berries. 
 
 ££ Take a pound of the French berries, and put to 
 ‘ £ them a gallon of water, with half an ounce of 
 ££ alum : boil them an hour in a pewter veffel, and 
 <£ then filter off the fluid, through paper if it be 
 “ defigned for nicer purpofes, or dannel for more 
 “ ordinary. Put them again into the boiler, and 
 t! evaporate the duid till the colour appear of 
 £; the drength defired ; or part may be taken out 
 
 while lefs drong, and the red evaporated to a pro- 
 “ per body.” 
 
 It may be ufed in water as a wafhing colour, and 
 is applicable to many material purpofes, as it may 
 be made of almod any degree of deepnefs. 
 
 TURMERIC WASH. 
 
 The gum made from the turmeric-root diffolved in 
 water, ferves for the fame purpofes of the yeilow- 
 berry-wafh — but. to procure a bright tinflure, it mud 
 be diffolved in fpirit of wine indead of water, by the 
 following method. 
 
 4 ‘ Take two ounces of proof fpirit, and add to it 
 <s one ounce of water. Being put into a proper 
 “ phial, add two drams of turmeric root in powder. 
 £ - Shake them well together, and then let them dand 
 
 three or four days, repeating the fhaking as often 
 £; as convenient; and a drong tin£lure will be thus 
 £; obtained.” 
 
 TINCTURE 
 
THE ARTIST’S ASSISTANT. 
 
 TINCTURE of SAFFRON. 
 
 It makes a good (hade for gamboge or other light 
 bright yellows : by pouring hot water on the belt 
 Englifh faffron in a proper phial or other veflel ; 
 v/hich fhould be placed for fome time in a heat 
 next to that which would make water boil ; and the 
 tin&ure fhould then be filtered from the dregs 
 through a piece of linen cloth. 
 
 Z E D O A R Y WASH. 
 
 Take an ounce of zedoary-root, and boil it in a 
 quart of water till the water appear fufficiently 
 tinged to a yellow : (train it through linen and it 
 will be a flronger colour than can be made of tur- 
 meric without fpirits of wine, and is valuable for 
 many purpofes in painting with water colours, as 
 flowers, yellow draperies, &c. 
 
 Class IV.* Of GREEN COLOURS. 
 VERDIGRIS E. 
 
 Let the pulp of grapes or any fuch acid remain 
 upon copper; and the ruft formed by its corrofive 
 aftion is verdigrife. It is brought from France and 
 Italy hither, and makes a blue-green colour in paint ; 
 but will not (land in oil. It fhould have a fmall ad- 
 mixture of yellow to render it a true green. 
 
 CHRYSTALS 
 
 * Class IV. GREEN. 
 Verdigrife. Pruilian green. 
 
 Diftilled verdigrife, or chryftals Terra verte. 
 
 of verdigrife. Sap green. 
 
THE ARTIST’S ASSISTANT. 
 
 73 
 
 CHRYSTALS of VERDIGRISE; called 
 
 D ISTILLED VERDIGRISE. 
 
 ££ Take of the bell verdigrife four ounces, and of 
 “ diftill’d vinegar two quarts. The verdigrife being 
 “ well pounded, let them be put into a circulating 
 t£ veffel, that may be formed of a mattrafs (which is a 
 ‘ £ round bodied glafswith a long ftraight neck) and a 
 C£ Florence flafk ; which muft have its neck inverted 
 t£ into the mattrafs, the thick end being broken off. 
 {£ This circulating veffel muft be placed in a gentle 
 t£ fand-heat, or other warm fituation, where it muft 
 <£ continue, being frequently fhaken, till the vinegar 
 “ has diffolved as much as it can of the verdigrife. 
 ££ Remove the verdigrife and vinegar then into a pro- 
 <c per glafs for decanting the fluid, when it fhall be- 
 £! come clear from the fediment : and when it has 
 “ ftood a due time to fettle, let it be carefully poured 
 “ off and evaporated to about half a pint ; which is 
 “ beft done with a fand heat, in a glafs body or cu- 
 “ curbit, having its neck cut off to form a wide mouth. 
 “ It may be fet to fhoot in the fame veffel, or in a 
 ‘ £ glafs receiver with a wide neck ; and when the 
 “ chryftals are formed, they muft be taken out and 
 t£ carefully dried in the flrade. 
 
 “ A frefh proportion of vinegar may be added to 
 <£ the remains of the verdigrife ; and at the fame 
 1£ time the firft quantity left undiffolved ; and the 
 <£ mothers, or fluid remaining after the chryftals 
 “ were formed, may be put into it ; by which means, 
 <£ the other parts of the procefs being repeated, a 
 <£ fecond quantity of the chryftals may be obtained.” 
 
 The chryftals made thus are of a bright green co- 
 lour, and if ufed with varnifh fo as to ftand, have 
 K a fine 
 
74 THE ARTIST’S ASSISTANT, 
 
 a fine effeft : but they will not hold their colour 
 very well in oil, being apt to turn black. 
 
 SAP G R E E N, 
 
 Is made of the juice of buckthorn berries, and is 
 very ufeful in water painting as a walking colour, 
 making a Rrong and pretty deep Rain. It is pre- 
 pared as follows : 
 
 “ Take any quantity of buckthorn berries before 
 “ they be ripe, and prefs out the juice in fucli a 
 prefs as is ufed for making cyder or verjuice ; or 
 t: by any other method. Strain this juice through 
 flannel ; and then let it Rand to fettle ; and when 
 t; it has Rood a proper time, decant off the clearer 
 c: part of the fluid from the fediment. Put this juice 
 into a Rone or earthen veffel ; and evaporate it 
 till it begins to grow of a thick confiftence; then 
 remove it into a pewter veffel, and finifh the 
 evaporation in a balneo marias, collefting the mat- 
 “ ter into one mafs as it acquires a proper con- 
 “ fiRence.” 
 
 PRUSSIAN GREEN. 
 
 dhis colour is much negle&ed, and feems almoR 
 wholly laid afide, or it has nearly all the ufes in its 
 colour, that the Pruflian blue has, onlv not fo 
 bright ; nor will Rand fo well ; yet it might be of 
 advantage in many kinds of painting. To make it, 
 
 “ Proceed in all points, as in the procefs given 
 £> for the Pruflian blue, till the folution of alum 
 and vitriol be mixed with that of the pearl alhes 
 £ - and fulphur of the coal, and the green precipitation 
 s ‘ made. Ihen, inflead of adding the fpirit of fait, 
 omit any further mixture, and go on to wafh the 
 
 (( fediment. 
 
TTH E ARTIST’S ASSISTANT. 75 
 fedimnent, which is the Pruflian green ; and after- 
 “ wardds to dry it, in the fame manner as is directed 
 “ for tithe blue.” 
 
 TERRA VERTE. 
 
 Thbis is fuppofed to be a native earth, brought 
 from aabroad, of a coarfe texture, requires to be 
 well leevigated and wafhed over ; but no other pre- 
 paration is neceflary previous to its ufe. 
 
 Cl/.ass V. * Of PURPLE COLOURS. 
 
 The true INDIAN RED. 
 
 Perrhaps it may be no eafy matter to procure 
 this ccolour true ; for it is a native ochrous earth, 
 very tufeful in oil, in its compounded (late, as well 
 for foirce in its effeft as certainty of Handing. But 
 the Aiflitious kind, now fallacioufly called by its 
 name has no good property as a purple : in fhort, 
 it is varied into a broken orange, and reje&ed by 
 moll colourmen and painters. The true kind needs 
 no otther preparation than grinding or wafhing over. 
 
 ARC LI A L, or ORCHA L. 
 
 TIhis may be made in a very eafy manner by thofe 
 who cannot procure it of the manufacturers ; and 
 is am extreme bright purple fluid, but apt to dry to 
 a l'ceddifh brown, and therefore much difufed at 
 prefent. 
 
 ci Take an ounce of the archal weed or mofs, as 
 it is fold at the dry-falters : and having bruifed it 
 well, put it into a glals phial with half a pint cf 
 K 2 “ weak 
 
 * Class V. P U R P L E. 
 True Indian red. Archal, or orclial. 
 
76 THE ARTIST’s ASSISTANT. 
 
 “ weak f P irit of fal ammoniacus diftilled with lime. 
 “ Stop the phial clofe, and leave the archal to ini 
 “ fufe tllJ a ^ ron g bluifh purple tin&ure be formed.” 
 
 Class VI.* Of BROWN COLOURS. 
 
 BROWN PINK. 
 
 Among the variety of methods for preparing this 
 pigment, the following is one of the belt : 
 
 lake of French berries one pound; of fuftic 
 “ wood m chi P s half a pound, and of pearl allies 
 “ one pound. Boil them in a tin boiler, with a gal- 
 lon and a half of water, for an hour; and then 
 “ Train off the tin&ure through flannel while the 
 <£ is boiling hot. Having prepared, in the 
 “ mean time, a folution of a pound and a half of 
 “ aIum > P ut it gradually to the tinfture, fo long as 
 “ an ebullition fihall appear. Proceed then to waft 
 “ the fediment as in the manner dire&ed for the 
 lakes; and being brought, by filtering through 
 “ paper with a linen cloth, to a proper confiftence, 
 dry it on boards in fquare pieces.” 
 
 Its goodnefs may be judged of by its tranfparency, 
 in every quality but that of Handing ; which can 
 only be known on trial. 
 
 bistre. 
 
 This colour is extremely ferviceable in water, if 
 procured good, which may be done by the following- 
 recipe : 
 
 Take 
 
 * Class VI. BROWN. 
 
 Brown pink. Terra japonica, or japan earth, 
 
 ■^‘ttre. Umbre. 
 
 Brown oker. Afphaltum. 
 
 Cologn, or Collins earth. Spanifhjuice, or extrafl of liquorice. 
 
THE ARTIST’s ASSISTANT. 77 
 
 << Take any quantity of foot of dry wood, but let 
 « it be of beech wherever that can be procured. 
 <t p ut it into water in the proportion of two pounds 
 “ to a gallon 3 and boil them half an hour. Then, 
 cc after the fluid has flood fome little time to fettle, 
 “ but while yet hot, pour off the clearer part from 
 <{ the earthy fediment at the bottom , and if, on 
 (landing longer, it form another earthy fediment, 
 « repeat the fame method : but this fhould be done 
 “ only while the fluid remains hot. Evaporate then 
 “ the fluid to drynefs, and what remains will be good 
 bifire, if the foot was of a proper kind. 
 
 BROWN OKER. 
 
 After procuring this fubflance of fofile earth from 
 the colourmen. which may be done at a veiy low 
 price, care fhould be taken to have it well levigated 
 and wafhed over; when it may be ufed for a foul 
 orange colour, and may be depended on for Hand- 
 ing well. 
 
 CO LOG N, or COLLIN’) EARTH. 
 
 Where the fore ground of a water painting re- 
 quires to be pretty flrong, the Cologn earth may be 
 ufed to advantage. It requires no preparation, fave 
 grinding perfectly fine with water ; it being of a 
 fofile fubflance, and a dark blackifh brown colour. 
 
 TERRA JAPONICA, or JAPAN EARTH. 
 
 & full brown colour is produced from this gummy 
 fubflance, by diffolving it with water; but it will 
 not mix well with oil. It is extrafled from fome 
 kind of vegetable, and its goodnefs may be diffin- 
 guifhed by the clcarnefs of its colour. 
 
 
 UMBRE. 
 
78 THE ARTIST’S ASSISTANT. 
 
 U M B R E. 
 
 It has the quality of the other ochrous earthy Tub- 
 fiances, joined to that of drying better, which occa- 
 fions it to be much ufed in making drying oils, japan-’ 
 rter’s gold fize, and the black oil lacker. In paint- 
 ing feme few ufe it with water; but before it is fit 
 for that purpofe it fhould be burnt, levigated and 
 wallied over. 
 
 A S P H A L T U M. 
 
 There is an additional advantage in this colour, 
 when ufed in lieu of brown pink : It is fecure from 
 flying, and retains in drying a tranfparent brown. 
 If it can be procured pure as it is found in the earth 
 in Afia, it is certainly very ufeful ; but it is a hi-, 
 luminous matter, of a confidence like tar, and lia- 
 ble to be adulterated with turpentine and other cheap 
 balfamic fubltances ; which fraud is not eafv to be 
 detefted, unlefs by the mixture taking off the na- 
 tive tranfparent, and deep brown colour, which 
 the eye may difeover. 
 
 SPANISH JUICE, or EXTRACT^ LIQUORICE. 
 
 The li quorice root is extrafted by a decoftion in 
 water, and then evaporated to a well known coniift- 
 ence. In miniature painting it is at this time much 
 'ufed. It fupplies the place of biftre in a great mea- 
 fure, though it is inferior; but there is no trouble 
 in procuring, nor procefs in preparing the liquorice 
 that is ever wanted in England. 
 
THE ARTIST’S ASSISTANT. 79 
 
 Class VII.* Of WHITE COLOURS. 
 
 White Flake is brought here from Italy; it is 
 ufedMor oil or varnifh painting, where a very clean 
 white is required; and is a kind of cerufs or lead 
 corroded by acid. 
 
 There is a great deal fold at the colour drops ready 
 prepared ; that is, the true kind levigated, mixed 
 with (larch or fome fuch fubftance. But it is bed to 
 procure the white flake in a lump, and then levigate 
 it, and if it is thought proper, add any quantity of 
 (larch in the grinding, that may render it fuitable to 
 work with. 
 
 W HITE I. E A D, 
 
 Is a corrohon by acid from plates cf lead, pre- 
 pared by thofe who are concerned in it at a low 
 price. It is much employed in common purpofes of 
 painting, and may be ufecl in nicer but will require 
 walking over, and then it is inferior to flake white. 
 Notwithftanding its cheapnefs, it is frequently adul- 
 terated by the makers or wholefale dealers, by add- 
 ing chalk or powdered talc, which may be feen by 
 comparing a pure piece with a fufpefted one ; as 
 the fraud will appear by the difference of the weight. 
 But to prove it more exaftly ufe the following 
 means : 
 
 “ Take an ounce of the white lead fufpecled ; 
 “ and mix it well with about half an ounce of 
 “ pearl afhes, or of any fixed alkaline fait, and 
 
 “ about 
 
 * Class VII. WHITE. 
 
 White flake. Pearl white. 
 
 White lead. Troy white. 
 
 Calcined hartfhorn. Egg-fhell white. 
 
80 THE ARTIST’S ASSISTANT. 
 
 “ about a quarter of an ounce of charcoal dull : 
 “ and having put them into a crucible, give them a 
 “ ftrong heat. The lead will by this means be re- 
 “ duced to its metallic Rate : and being weighed, 
 “ will fhew, by what it may fall fhort of the 
 “ weight of an ounce, the proportion of the adul- 
 teration ; about a tenth part being allowed for 
 “ the corroding acid which formed part of the 
 “ white lead.” 
 
 CALCINED, or BURNT HARTSHORN. 
 
 <c lake horn, or bones, and burn them in any 
 Cl common fire till they become a coal, or are cal- 
 “ cined to fome degree of whitenefs. Then, having 
 “ freed them carefully from any coal or filth, reduce 
 “ them to a grofs powder ; and put them upon a 
 “ veffel made in form of a common earthen difh, of 
 ground crucibles and Stourbridge clay, and well 
 “ dried; and procure this to be placed in a tobacco- 
 <£ pipe-maker s or potter’s furnace, during the time 
 “ they keep their pipes or pots in the fire. The 
 *• earth of the horn or bones being thus thorough- 
 “ ly calcined, it muff be very well levigated with 
 tl water ; and it will be yet further improved by 
 “ being carefully walked over.” 
 
 This is a pure white, nor will change by either 
 air or time : for the nicelt purpofes it is much ufed 
 in water painting, and will not turn black in the 
 manner flake white and white lead fometimes will* 
 It is therefore preferred by the more experienced 
 painters. 
 
 PEARL WHITE, 
 
 Is prepared by drying or calcining oylter fhells at 
 a file, and taking that part of the powder that is 
 
 of 
 
THE ARTIST’S ASSISTANT. 81 
 
 of a perfect whitenefs, levigating it well on a (lone, 
 and walking it over. It is ferviceable in miniature 
 painting. 
 
 TROY WHITE, or SPANISH WHITE, 
 
 May be ufed in water colours, from the follow- 
 ing preparation : 
 
 “ Take a pound of chalk, and foak it well in wa- 
 11 ter. Then wa(h over all the fine part ; and having 
 poured off the firft water, add another quantity, in 
 “ which two ounces of allum is dilfolved. Let them 
 “ (land for a day or two, (lining the chalk once in 
 “ fix or eight hours. Wafh then the chalk again 
 “ over, till it be rendeied perfectly fine; and pour 
 “ off as much of the water as can be feparated from 
 “ the chalk by that means, taking off the remainder 
 “ of the diffolved allum, by feveral renewed quan- 
 « tities of fre(h water. After the laft water is pour- 
 ‘ £ ed off, put the chalk into one of the cullender 
 t; filters, with a linen cloth over the paper ; and 
 « when the moifture has been fufficiently drained 
 “ off from it, lay it out in lumps to dry on a proper 
 “ board.” 
 
 EGG-SHELL WHITE, 
 
 Is made of the clear Hi ell when the inner (kin is 
 peeled off, levigated to powder of a proper finenefs, 
 and waflied over. It is ufed by fome in water co- 
 lours, and preferred to flake white. 
 
 Class VIII. Of BLACK COLOURS. 
 
 LAMP BLACK. 
 
 There is no other preparation than procuring it 
 good, from burning oil in a confined place, and col- 
 L leding 
 
82 THE ARTIST’S ASSISTANT. 
 
 lefting the foot. It mixes well either with oil or 
 water, and is clleemed as the principal black .n all 
 nicer kinds of painting. 
 
 IVORY BLACK. 
 
 <£ Take plates, chips, or fhavings of ivory ; and 
 foak them in hot linleed oil ; or, if filings are to 
 “ he more eafily procured, they may be ufed moiften- 
 “ ed with the hot oil. Put them into a velfel which 
 cc bear the fire ; covering them with a fort of 
 “ lid made of clay and fand ; which fhould be dried, 
 t; and the cracks repaired before the velfel be put into 
 4 ' ( he fi re * Procure this velfel to be placed in a to- 
 £ - bacco-pipe-maker’s or potter’s furnace, or any 
 <£ other fuch fire ; and let it remain there during one 
 “ of their heats. When it fhall be taken out, the 
 “ ivory will be burnt properly; and mull be after- 
 “ wards thoroughly well levigated on the Hone with 
 “ water ; or it fhould, indeed, to have it perfeftly 
 “ good, be alfo walhedover.” 
 
 It is not fo much ufed as lamp black, owing, per- 
 haps, to its drying flowly in oil, or to the frequent 
 adulterations with charcoal dull, which renders it 
 of a blue call ; otherwife it is, if genuinely pre- 
 pared from the ivory, a full clear black, and ex- 
 tremely ferviceable. 
 
 I N D I A N . I N K. 
 
 The true Indian ink is imported from China, and 
 is of a confidence, when diffolved with water, ex- 
 tremely well adapted to the pencil. It is much 
 ufed in miniature painting, and drawings o>f fmall 
 kinds. I here is a fort frequently fold for it made as 
 follows ; 
 
 ii Take 
 
TIME ARTIST’S ASSISTANT. 83 
 
 “ Takke of ifmglafs fix ounces; reduce it to a 
 ‘ fize, bby diffolving it over the fire in double its 
 ' weighht of water. Take then of Spanifh liquorice 
 ‘ one oounce : and diffolve it alfo in double its 
 4 weighht of water ; and grind up with it an ounce 
 { of ivoory black, prepared as above direfted in 
 p. 82. . Add this mixture to the fize while hot ; 
 ; and ftitir the whole together till all the ingredients 
 £ be thooroughly incorporated. Then evaporate away 
 ‘ the wvater in a balneo marise, and call the remain- 
 ;£ ing ceompofition into leaded moulds greafed ; or 
 ;i make ; it up in any other form.” 
 
 The preceding are the chief of the fubftances 
 there wvill be occafion to mention in drawing and 
 paintinsg ; but crayon and enamel colours will be 
 treated of in their places. 
 
 Of PAINTING. 
 
 p A I . N 1 I N G is the art of reprefenting on a flat 
 fupierficies, by the du£t of draught, and the de- 
 grees o>f colours, all forts of vifible objefls. 
 
 ihiss definition contains three things, viz. the 
 draughit, the colours, and the compofition ; and 
 though, this lafl part does not appear exprefled in a 
 very c lear manner in this definition, it can, not- 
 withfLamding, be underftood by thefe laft words, 
 vifible objefts, containing the matter of the fubjefts, 
 which the painter propofes to reprefent. 
 
 i he compofition contains two things, viz. the 
 invention and the difpofition. By the invention, a 
 painter muff, find and inloduce into his fubjeft, the 
 L 2 objebls 
 
84 THE ARTIST’S ASSISTANT. 
 
 objedts which he judges moft proper to exprefs and' 
 adorn it. And by the difpofition, he muft place 
 them in a manner, the molt advantageous to draw 
 a grand cffedt from them, and to pleafe the eye in 
 {hewing beautiful parts. 
 
 For the draught. — A painter muft do it corredtly, 
 with a good talle, well diverhfied, fometimes heroic, 
 and fometimes rural, according to the charadier oi 
 the figures he wants to introduce. 
 
 The attitudes are to be natural, expreffive, va- 
 ried in their adiions, and contrafted in their mem- 
 bers : They ought to be fimple or noble, animated 
 or moderated according to the fubjedl of the pidlure, 
 and the difcretion of the painter. i 
 
 Attitude, in painting, is the pofture or geflure 
 of a figure, or the difpofition of its parts, by which 
 we difcover the adtion it is engaged in, and the very 
 fentiment fuppofed to be in the mind of the perlon 
 reprefented. 
 
 The expreffions muft be juft to the fubjedi ; the 
 principal figures having noble and fublime ones, 
 and keeping a medium between the exaggerated and 
 infipid. 
 
 Expreftion in pointing, denotes a natural and 
 lively reprefentation of the fubjedl, or of the feve- 
 ral objedts intended to be fhewn. The term expref- 
 fion is ordinarily confounded with that of paffion ; 
 but they differ in this, that expreftion is a general 
 term, implying a reprefentation of an objedt, agree- 
 able to its nature and charadter, and the ufe or 
 office it is to have in the work ; whereas paffion 
 in painting denotes a motion in the body, accom- 
 panied with certain difpofitions, or airs in the face, 
 which mark an agitation in the foul ; io that every 
 
THE ARTIST’S ASSISTANT. 85 
 paffion is an expreffion, but not every expreffion 
 a paffion. 
 
 The extremities, I mean the head, feet, and hands, 
 mud be worked with more precifion and exa&nefs 
 than all the reft, and mull concur together, to ren- 
 der the aftion of the figures more expreffive. 
 
 The draperies muft be well ordered, the folds or 
 plaits thereof large, in fmall number as much as 
 poffible, and well contrafted ; the fluffs thick or 
 light, See. according to the quality and conveniency 
 of figures. 
 
 Drapery in painting, is the reprefentation of the 
 garments, or cloathing of human figures. 
 
 Animals muft be principally charaflerized by an 
 ingenious and fpecial touch. 
 
 A landfkape ought not to be cut by too many ob- 
 jects ; they fhould be few, but well chofen ; and in 
 cafe a great quantity of objefts be introduced in it, 
 they muft be ingenioufly grouped with lights and 
 ffiadows ; the fight well bound and free ; the trees 
 different in form, colour and touch, as much as 
 prudence and the variety of nature require it. That 
 touch fhould be always light ; the fore parts of the 
 landfkape rich, either by the objefts, or by a greater 
 exaftnefs of work, which render the things true 
 and palpable: the fky is to be light, and no objeft 
 on the ground ought to difpute with its aethereal 
 character, except fmooth waters, and polifhed bo- 
 dies, which are fufceptible of all colours oppofed. 
 to them ; of celeftial, as well as terreftrial ones : 
 the clouds muft be well chofen, well touched, and 
 well placed. 
 
 Group in painting, is anaffemblage or knot of two 
 or more figures of men, beafts, fruits, or the like, 
 
 which 
 
86 THE ARTIST’S ASSISTANT. 
 
 which have fome apparent relation to each other. 
 In a good painting, it is neceffary that all the figures 
 be divided into two or three groops, or feparate col- 
 lections. Such and fetch a thing make a group, with 
 fuch and fuch other of different nature and kind. 
 The antique Laomedon is a fine group, of three beau- 
 tiful figures. 
 
 The perfpeftive muff be regular, and not of fimple 
 pra&ice, very little exaft. 
 
 In the coloris, which includes two things, the local 
 colour, and the clair-obfcure. 
 
 The local colour is nothing elfe but that, which is 
 natural to each objeft, in what place foever it be 
 found. 
 
 The clair-obfcure, is the art of diffributing advan- 
 tageoufly the lights and fhadows, as well on the par- 
 ticular objects, as in the whole of the picture : on the 
 particular objects, to give them a convenient relievo 
 and roundnels : and in the whole of the picture, that 
 the objefts may be feen in it with pleafure ; by giving 
 occafion to the fight to reft itfelf from fpace to fpace, 
 by an ingenious diftribution of grand clairs, and 
 large fhadows, which afford one another mutual fuc- 
 cours, by their oppositions ; fo that the great clairs 
 are refts for the great fhadows; as the great fhadows 
 will be refts for the great clairs. 
 
 In the defcription of colours there muff be an ac- 
 cord, which may produce the fame effett for the eyes, 
 as mufic does for the ears. 
 
 If there be feveral groups of clair-obfcure, in a 
 pifture, one of them muff be more fenfible than the 
 reft, fo that there may be unity of objeft, as in the 
 compofition there is unity of fubjeft. 
 
 As to the pencil, it muff be bold, and light, if pof- 
 fible; but whether it appears fmooth. like that of Cor- 
 
 regio, 
 
THE ARTIST'S ASSISTANT. 87 
 
 regio, or uneven and rough, like that of Rembrar.t, 
 it llrould be always foft. 
 
 As to licences, if one is forced to take any, they 
 muit be imperceptible, judicious, advantageous, and 
 authorifed ; the three fir ft are for the art of the 
 painter, and the laft regards hiftory. 
 
 The invention, which is an eftential part of the 
 art, confifts only in finding the objects which mud 
 enter the pifture, according to the imagination of 
 the painter, falfe or true, fabulous or hiftorical. 
 
 As to the compofition. — Some have confounded 
 the firft part of painting with the genius, others 
 with a fertility of thoughts; and others with the 
 difpofition of objects ; but all thofe things are dif- 
 ferent from one another. I thought that to give a 
 clear idea of the firft part of painting, I fhould 
 call it compofition, and divide it into two, viz. 
 invention and difpofition. The invention finds only 
 the objefls of the painting ; and the difpofition 
 places them. 
 
 The invention is formed by reading in the fubjefts 
 extraftcd from hiftory or the fable. It is a pure 
 effe6l of the imagination in metaphorical fubjefts ; 
 it contributes to the fidelity of the hiftory, as to the 
 clearnefs of the allegories ; and in what manner 
 foever it is ufed, it muft never keep the mind of 
 the fpefilator in lufpence by any obfcurity. 
 
 As to the defign, which I confider as the fecond 
 part of painting. 
 
 The qualities or conditions required in a defign 
 are correftnefs, good tafte, elegance, charafter, dx- 
 verfity, exprefiion, and perfpeftive. 
 
 Correftnefs depends principally on the juftnefs 
 of the proportions, and a knowledge of anatomy* 
 
 Tafte, 
 
83 THE ARTIST’s ASSISTANT. 
 
 Tafle, is an idea or manner of defigning, which 
 arifes either from the complexion and natural dif- 
 pofition, or from education, one’s mailer, lludies, 
 &c. Elegance gives the figure a kind of delicacy, 
 which ftrikes people- of judgment, and a certain 
 a^reeablenefs which pleafes every body. The cha- 
 racter is what is peculiar to each thing, in which 
 there mull be a diverfity ; in as much as every 
 thing has its particular character to diflinguifli it. 
 The cxprellion is, as already obferved, the repre- 
 fentation of an objeft according to its character, 
 and the feveral circumflances it is fuppofed to be in. 
 The perfpeCtive is the reprefentation of the parts of 
 a painting or figure, according to the fituation they 
 are in, with refpeCt to the point of fight. 
 
 The principal rules that regard the defign are ; 
 that novices accuftom themfelves to copy good origi- 
 nals at firft fight ; not to ufe fquares in drawing, for 
 fear of Hinting and confining their judgment ; to 
 flay till they can defign well after the life, before 
 they begin the practice of perfpettive rules : in de- 
 figning after the life, to learn to adjufl the bignefs 
 of their figures to the vifual angle, and the dillance 
 of the eye from the model or objefl ; to mark it at 
 all the parts of their defign, before they begin to 
 fhadow ; to make their contours' in great pieces, 
 without taking notice of the little mufcles and other 
 breaks ; to make themfelves mailers of the rules of 
 perfpective; to obferve every llroke as to its perpen- 
 dicular, parallel, and difcance ; and particularly fo to 
 compare, and oppofe the parts that meet upon, and. 
 traverfe the perpendicular, as to form a kind of 
 fqtxare in the mind ; which is the great, and al- 
 moft the only rule of defigning juflly; to have a 
 
 regard 
 
THE ARTIST’S ASSISTANT. 89 
 
 regard not only to the model, but alfo to the part 
 already deligned ; there being no fuch a thing as de- 
 signing with drid judnefs, but by comparing and 
 [ proportioning every part to the firft, &c. 
 
 As to attitudes. — In them the ponderation and 
 contrail are founded in nature. It performs no ac- 
 tion without Shewing thofe two parts; and was it 
 to fail in it, it would be either deprived of motion, 
 or condrained in its adion. 
 
 As to expreflions. — They are the touch-done of 
 the judgment of the painter: he Shews by the juft- 
 nefs wherewith he dillributes them, his penetra- 
 tion and difcernment. 
 
 As to the extremities, viz. the head, feet and 
 hands, mull be more finished than any other things. 
 
 As to draperies. — It is faid in painting, to throw 
 a drapery, or give a drapery, in dead of cloathing 
 a figure. Draperies arc not to be fet in form, as our 
 cloaths are ; but the plaits mud be found as by 
 chance round the members, that they may make 
 them appear fuch as they are ; and by an induf- 
 trious artifice, contrad them in fliewing them, and 
 carefs them, by their tender finuofities and foftnefs. 
 
 As to the landfkape. — This kind of painting con- 
 tains an abridgment of all the others ; the painter 
 who pradifes it, mud have an univerfal knowledge 
 of the parts of his art, if not in So great a detail as 
 thofe who commonly paint hidory, at lead Specu- 
 latively, and in general. And if he does not finifh 
 all the objeds in particular, which compofe his 
 piece, or accompany his landfkape, he is obliged 
 at lead, to exprefs in a lively manner, the tade and 
 charader thereof ; and to give the much more fpirit 
 to his works, that it is lefs finished. 
 
 M 
 
 Let 
 
90 THE ARTIST’S ASSISTANT. 
 
 Let a landfkape be ever fo well finifhed, if the? 
 companion of the objedts does not render them va- 
 luable, and preferve their characters, if the fites 
 be not well chofen, or are not fupplied by a fine 
 intelligence of the clair-obfcure, if the touches be 
 not judicious, if the places be not animated by 
 figures, animals, or other objeCts, which are moil 
 commonly in motion, and if the truth and variety 
 of nature be not joined to the good tafte of the 
 colour, and to the extraordinary fenfations, the paint- 
 ing will never gain a reputation among connoiffeurs. 
 
 As to perfpedlive. — Some authors have imagined 
 that perfpeClive and painting were the fame thing, 
 becaufe there was no painting without perfpeClive. 
 Though the propofition is falfe, abfolutely fpeaking, 
 fince the body, which cannot be without fhadow, 
 is not, notwithftanding, the fame thing with the 
 fhadow; but however it is true, in that fenfe, 
 that a painter cannot do without perfpeClive, and 
 that he does not draw alike, nor give a ftroke of his 
 pencil, without perfpeClive having fome part in it, 
 at leaft habitually. 
 
 The colouring in its general fenfe, takes in what- 
 ever relates to the nature and union of colours ; 
 their agreement, or antipathy ; how to ufe them to 
 advantage in light and fhadow, fo as to fhew a 
 relievo in the figures, and a finking of the ground ; 
 what relates to the seriel perfpeClive, i. e. the dimi- 
 nution of colours by means of the interpofition of 
 air ; the various accidents and circumftances of the 
 luminary and the medium ; the different lights, both 
 of the bodies illuminating, and illuminated; their 
 reflections, fhadows, different views, with regard 
 either to the pofition of the eye, or the objeft ; 
 
 what 
 
• THE ARTIST’S ASSISTANT. gi 
 
 what produces ftrength, boldnefs, fweetnefs, &c. in 
 paintings well coloured : the various manners of 
 colouring both in figures, landfkapes, &c. 
 
 As to the pencil. — Here the word pencil fignifies 
 only the manner of ufing it in the application of 
 colours ; and when thofe fame colours have not 
 been too much agitated, and as it is faid too much 
 tormented by the motion of a heavy hand; but, on 
 the contrary, the motion appears free, quick, and 
 light, it is faid that the work is of a good pencil. 
 But that free pencil is of but little fignification, un- 
 lefs it be guided by the head, and fhew that the 
 the painter is mailer of his art. In a word, a fine 
 pencil is to painting what mufic is to a fine voice ; 
 fince both are elleemed in proportion of the grand 
 effefl, and harmony which accompany them. 
 
 The next thing our pupil painter is to provide 
 himfelf with, is colours; for which he has in- 
 ftruftions fufficient to guide his choice in a proper 
 feleftion. — His next care is pencils, brufhes, &c. to 
 apply them. 
 
 There are pencils of various kinds, and more of 
 various matters ; the mold ufeful are made of badgers 
 and fquirrels hair, thofe of fwans down, and thofe 
 of boars brillles ; which laid are bound on to a Hick, 
 bigger or lefs, according to the ufes they are dellined 
 for ; and when large are called brufhes. The others 
 are inclofed in the barrel of a quill. 
 
 Befides pencils, we mull have a pallat, which is 
 a little oval table, or piece of wood or ivory, very 
 thin and fmooth ; on and round which the painters 
 place the feveral colours they have occafion for, 
 ready for the pencil. The middle ferves to mix the 
 colours on, and to make the teints required in the 
 M 2 work. 
 
92 THE ARTIST’S ASSISTANT. 
 
 work. It has no handle, but in lieu thereof, a hole 
 atone end, to put the thumb through to hold it. 
 
 With regard to the materials in painting, the 
 matter whereon they are applied, and the manner 
 of applying them, is of various kinds, hence came 
 painting in frefco ; painting in oil ; painting in 
 water colours, or limning ; painting in miniature ; 
 painting in enamel ; and painting on glafs. 
 
 Frefco is a kind of painting performed on a frefh 
 plaifter, or on a wall laid with mortar, not yet dry, 
 and with water colours. 
 
 The colours ufed, are white made of lime flaked 
 long ago, and white marble duft ; oker, both red 
 and yellow, violet red, verditer, lapis lazuli, fmalt, 
 black earth, &c. all which are only ground and 
 worked up with water; and moll of them grow 
 brighter and brighter, as the frefco dries. 
 
 This fort of painting is chiefly performed on 
 walls and vaults, newly plaiftered with lime and 
 fand: but the plaifter is only to be laid in propor- 
 tion as the painting goes on ; no more being to be 
 done at once than the painter can dilpatch in a day, 
 while it is dry. 
 
 Before he begins to paint, a cartoon or defign 
 is ufually made on paper, to be chalked and trans- 
 ferred to the wall, about half an hour after the 
 plaifter is applied. 
 
 Painting in oil is performed on walls, on wood, 
 canvas, ftones, and all forts of metals. 
 
 To paint on a wall. — When well dry, you muft 
 give it two or three wafhes with boiling oil, till the 
 plaifter remains quite greafy and will imbibe no 
 more. Over this are applied deficcative or drying 
 colours, viz. white chalk, red oker, or other chalks 
 
 beaten 
 
THE ARTIST’S ASSISTANT. 93 
 
 beaten pretty ft iff. This layer being well dried, 
 you will fketch and defign your fubjeft ; and at laft 
 paint it over ; mixing a little varnilb with your 
 colours, to fave the varnifhing afterwards. 
 
 Others, to fortify their wall better againft mpif- 
 ture, cover it with a plaifter of lime, marble duft, 
 or a cement made of beaten tiles foaked w'ith lin- 
 feed oil ; and at laft prepare a compofition of Greek 
 pitch, maftich, and thick varnifh, boiled together, 
 which they apply hot over the former plaifter; 
 when dry, the colours are applied as before. ' 
 
 To paint on wood. — They ufually give their 
 ground a layer of white, tempered with fize ; or 
 they apply the oil abovementioned. The reft as in 
 painting on walls. 
 
 To paint on cloth or canvas. — The canvas being 
 ftretched on a frame, you muft give it a layer of 
 fize, or pafte water. When dry you fhall go over 
 with a pumice ftone, to fmooth off the knots. 
 
 When the cloth is dry, a lay of oker muft be laid 
 on, fometimes mixing with it a little white lead to 
 make it dry the fooner. When dry you will go again 
 over it with the pumice ftone, to make it fmooth. 
 
 After this, a fecond layer, compofed of white 
 lead, and a little charcoal black is fometimes added, 
 to render the ground of an afh colour; obferving 
 in each manner to lay on as little colour as poffible. 
 
 As little oil is to be ufed as poffible, if it be de- 
 fired to have the colours keep frefti ; for this reafon 
 lome mix them with oil of afpic, which evaporates 
 immediately, yet ferves to make them manageable 
 with the pencil. 
 
 As to oils, the belt are thofe of walnuts, linfeed, 
 afpic, and turpentine. The deficcative or drying 
 
 oils, 
 
94 THE ARTIS.T’s ASSISTANT. 
 
 oils, are a hut oil boiled with litharge andfandarach ; 
 others with fpirit of wine, madich, and gumlacca. 
 
 The next operation is to draw the dcfign on the 
 canvas ; and afterwards to prime the work, which . 
 is done by laying a lay of white all over it, except 
 on the lines of the draught, which mud be kept 
 vihble. Then if the piiture be a hiftory piece, or 
 a portrait, the painter begins by the face or faces ; 
 which, together with all the other naked parts to be 
 pronounced in the pifture, are called carnations. 
 The carnations are made with white and carmine ; 
 and brown, blue and yellow for the fhadows ; ac- 
 cording to the complexion the painter defigns to 
 give to the figure or figures he is to reprefent. 
 
 The application of colours in painting, is con- 
 fidered either with regard to the kinds of painting, 
 in works of various colours, or in thofe of one 
 fingle colour. 
 
 Firft, in the larger pieces, the colours are rather 
 laid on full, fo as they may be impreffed or incor- 
 porated together, which make them hold the more 
 firmly. 
 
 Or clfe the more agreeable ones, which dry too 
 hard and too hadily, are mixed with a little colour, 
 and the cleared of the oil. But in both cafes, the 
 colours are to be laid on drong at fird ; it being eafy 
 to weaken thofe which are to be thrud back, and to 
 heighten the others ; the touches to be bold, by the 
 conduit of a free and deady pencil ; that the work 
 may appear the mod finifhed at a proper didance, 
 and the figures animated with life and fpirit. 
 
 for glazed colours, care mud be taken, that the 
 under colour be painted drong, and that it be a 
 body colour, and laid fmooth. 
 
 In 
 
THE ARTIST’S ASSISTANT. g5 
 
 In finifhed works, which are to be Viewed near 
 at hand, the procefs is either by applying each co- 
 lour in its place ; preferving their purity, without 
 fretting or tormenting them, but fweetly foftening 
 off the extremities; or. by filling up all the great 
 parts with one hngle colour ; and laying the other 
 colours which are to form the little things upon it, 
 which is the more expeditious way, but more apt 
 to decay. 
 
 For the fecond ; the kinds of piftures in one co- 
 lour are two, viz. camieux, where the degradations 
 of colours of objefts afar off, are ufua-llv managed 
 by lights, or with crayons, and bafs relievo, which 
 is an imitation of fculpture, of whatfoever matter and 
 colour; in both thefe the colours are wrought dry. 
 
 For the oeconomy, and difpenfing of colours in 
 paintings, regard is either to be had, firft, to the 
 qualities of the colours, to appropriate them ac- 
 cording to their value and agreement ; or, fecondly, 
 to their effeft, in the union and ceconomy of the 
 work. 
 
 For the qualities, ‘it muff be obferved, that white 
 reprefents light, and gives the brifknefs and height- 
 ening ; black, on the contrary, like darknefs, ob- 
 fcures and effaces the objefts : again, black fets off 
 the light parts, and by that they ferve each other 
 to loofen the objefts. A proper choice to be made 
 of colours ; and the too much charged manner to 
 be avoided; both in carnations, where red colours 
 are not to be affefled, or rather refembling the 
 flefh when Head from the fkin, how delicate foever, 
 being always of a bloom colour. In the drapery, 
 where the painter has his whole flock of colours to 
 choofe out of to procure a good effeft ; and in the 
 
 landfkape, 
 
9 6 THE ARTIST’S ASSISTANT. 
 
 landfkape, to difpofe thofe colours near one another, 
 which mutually affift and raife each others force 
 and brifknefs; as red and green, yellow and blue. 
 
 To manage them fo, as that they may be accom- 
 modated to the effedls of the great parts of light 
 and colours ; that the ftrong colours lead to the foft 
 ones, and make them more looked at, bringing them 
 forwards, or keeping them back, according to the 
 ntuation and the degree of force required. 
 
 For the effedls of colours, they either regard the 
 union, or the oeconomy with refpeft to the firft, 
 care muff be taken that they be laid fo as to be 
 fweetly united under the brifknefs of fome prin- 
 cipal one ; that they participate of the prevailing 
 light of this piece, and that they partake of each 
 other by the communication of light, and the help 
 of refledHon. 
 
 For the oeconomy in managing their degrees, re- 
 gard is to be had to the contraft, or the oppofition 
 intervening in the union of the colours, that, by a 
 fw.eet interruption, the brifknefs, which otherwife 
 fades and palls, may be raifed ; to the harmony, 
 which makes the variety of colours agree, Apply- 
 ing and fuftaining the weaknefs of fome by the 
 ftrength of others, negledling fome places on pur- 
 pofe to ferve as a bafis or repofe to the fight, and to 
 inhance thofe which are to prevail through the 
 piece : to the degredation, where the better to pro- 
 portion the colours that fall behind, fome of the 
 fame kind are to be preferved in their purity, as a 
 flandard, for thofe carried afar off to be compared 
 by, in order to jufkify the diminution : regard being 
 always had to the quality of the air, which, when 
 loaded with vapours, weakens the colours more 
 / than 
 
THE ARTIST’s ASSISTANT. 97 
 
 than when clear : to the fituation of the colours, 
 where care mud he taken, that the purefl and the 
 flrqngeft be placed before, or in the front of the 
 piece ; and that by their force, the compound ones, 
 which are to appear at a diftance, be kept back, 
 particularly the glazed colours to be ufed in the 
 hrft rank. Laftly, to the exprelhon of the fubjeft, 
 and the nature of the matters, or fluffs, whether 
 finning or dull, opake or tranfparent, polifhed or 
 rough. 
 
 The different colours, which you are to employ 
 in your picture are to be mixed as follows : For a 
 violet colour, take indigo, white lead and lake; 
 mix them all well together ; and the more or lefs of 
 each quantity will make it deeper or lighter. A 
 lead colour is made of white and indigo, well mixed 
 together. A fcarlet of lake, red lead, and a little 
 Vermillion ; though, in fine paintings, I would pre- 
 fer carmine, with a very fmall quantity of ultra- 
 marine, and a flill fmaller one of fine cerufs. A 
 light green of pink and fmalt. A middle and light 
 gicen, of verdigrife and pink ; a deep and fad green, 
 indigo and pink. A purple colour of Spanifh brown, 
 indigo and white well mixed. A murrey colour of 
 white and lake. A flame colour of red lead and 
 mafticot, heightened with white. But thefe gene- 
 ral rules are not to captivate the imagination of : a 
 painter, no more than the following ones ; for a 
 good painter who has a good natural genius for his 
 ait, and takes pleafure in the praftice thereof, makes 
 often new difeoveries to render his draperies more 
 beautiful ; as for carnations they are always made 
 of the fame mixture of colours ; the whole fecret 
 confiding in the judicious application thereof. 
 
 N After 
 
98 THE ARTIST’S ASSISTANT. 
 
 After a painter has transferred his draught on his 
 canvas, and has primed it, he begins his piece, 
 firft, by drawing the eyes or nofe (having while he 
 works, his right hand fupported with a moll flick 
 or flay, made of heavy wood, not fubjefl to bend, 
 about a yard long, having at the end, which leans 
 again ft the picture, a ball of ravelled cotton, with 
 a leather over it, the other end held with the left 
 hand) making the white thereof with white lead, 
 with a little charcoal black. This finifhed, he leaves 
 from the eye (in a face full front) the diflance of an 
 eye, then draws the proportion of the nofe ; after- 
 wards makes the mouth, ears, &c. This done, he 
 lays his carnation or flefh colour over the face, 
 calling in, here and there fome fhadows, which he 
 works in by degrees with the flefh colour; which 
 ■ flefh colour is commonly compounded of white lead, 
 lake and vermillion or carmine, this lafl being belt. 
 There is no fixed rule for heightening or deepening 
 this colour; for it is left to the difcretion and judg- 
 ment of the painter ; who muft confult in this his 
 own imagination, with regard to the age, country'-, 
 &c. of the perfon, whofe face he endeavours to re- 
 p relent. Then he fhadows the face over as he fees 
 caufe, and finifhes the nofe, compafling the tip of 
 it, with fome dark, or light reddifh fhadows j which 
 fhadows, for the face, are commonly compounded 
 of ivory black, white lead, vermillion, lake, fea- 
 ^oal black, &c. The cheeks and lips are fhadowed 
 ^with vermillion or carmine, and lake mixed toge- 
 ther; and the mouth llroke is made with lake only. 
 As to the circles of the eyes; for grey eyes they 
 are made of charcoal black and white lead, height- 
 ened and deepened at pleafure : the black circle of 
 
 > the 
 
THE ARTIST’S ASSISTANT. gg 
 
 the eye is made of umber, feacoal black and a little 
 white mixed together: the round ball in the eye 
 oi lamp black and verdigrife, fince the lamp black 
 will hardly dry without it. The fame colours ufed 
 in painting and fhadowing the face, are ufed in 
 painting the hands, and fhadowing them between 
 the fingers. When a painter wants to make a flefh 
 colour of a fwarthy complexion, he mixes white 
 lead, lake, and yellow oker together, and fhadows 
 it with a mixture of umber and feacoal black. 
 
 For black hairs he ufes lamp black only, and 
 when he will have them brighter, mixes it with a 
 little umber, white and red lead ; putting in more 
 umber if he wants them browner, and more white 
 lead, if whiter ; but if quite dark, he adds a little 
 feacoal black. Yellow hairs are made of a mixture 
 of mafficot, umber, yellow oker, and a little red 
 lead; increafing the quantity of umber and red lead, 
 if they be wanted redder. For white hairs he takes 
 an equal quantity of ivory black, and of umber, 
 viz. half of each, and tempers them well upon his 
 pallat with white lead, taking more or lefs of thofe 
 three colours, according as the hairs are to be height- 
 ened or deepened. 
 
 The teeth are made of white lead, and fhadowed 
 with charcoal black. 
 
 As to the different fluffs the figures are to be 
 cloathed with, it mult be left entirely to the ima- 
 gination and judgment of the painter. 
 
 The feveral colours ufed in painting, are alfo 
 called teints, and femi-teints ; confidering the co- 
 lours as more or lefs high, or bright, or deep, or 
 thin, or weakened and diminifhed, &c. to give 
 the proper relievo, or foftnefs, for diftance, &c. 
 
 N 2 to 
 
300 THE ARTIST’S ASSISTANT. 
 
 to the feveral objefts ; and the ledening and render- 
 ing dim and confufed the appearance of different 
 objefts in a landfkape, fo as they (hall appear there 
 as they would do to an eye placed at that di (l ines 
 from them, is called, in painting, degradation. 
 
 As to painting in water colours, called limning, 
 in contra-diflinflion of painting properly fo called, 
 which is done in oil colours, the ufual colours are 
 proper enough excepting the white, made of lime, 
 which is only ufed in frefco. But the azure, or ul- 
 tramarine, mud always be mixed up with fize, or 
 with gum ; in regard to yolks of eggs, they give blue 
 colours a greenifh tin£lure ; but there are always ap- 
 plied two lays of hot fize, before the colours mixed 
 even with fize, are laid on : the compofitipn made 
 with eggs and the juice of the fig tree, being only 
 ufed for touching up, and finifhing, and to prevent 
 the necedity of having the fire always at hand to 
 keep the fize hot ; yet it is certain, that the fize 
 colours hold the bed, and are accordingly always 
 ufed in cartoons, &c. — This fize is made of fhreds 
 of thin leather, or of parchment. 
 
 To limn on linen, the bed is that which is old, 
 half worn and clofe.— This is damped with white 
 lead, or a fine plaider beaten up with fize ; which, 
 once dry, we mud go over it with a layer of the 
 fame fize. 
 
 The colours are all ground in water, each by it- 
 felf ; and in proportion as they are required in 
 working, are diluted with their fize water. — If the 
 yolks of eggs are defired, they mud be diluted with 
 Water made of equal quantity of common water 
 and vinegar, with the yolk, white, and fliell of an 
 egg, and the end of the little branches of a fig 
 
 tree 
 
THE ARTIST’S ASSISTANT, joi 
 
 tree cut fmall, all well beaten together in an earthen 
 
 pan. 
 
 Painting in miniature is a delicate kind of paint- 
 ing, confiding of little points or dots inftead of 
 lines, ufually done on vellum, with very thin fim- 
 ple water colours. 
 
 The colours for miniature may be mixed up with 
 water of gum-arabic, or gum-tragacanth. 
 
 1 he operation is ufually made on vellum, on which 
 the defign is drawn, with carmine, or feme other 
 colour, which may render the lines difcernable. 
 T-he draught is filled afterwards, with a very thin 
 and fmooth lay of white, yet fome choofe to paint 
 on the naked vellum without any lay ; and in my 
 opinion it contributes much towards incorporating 
 well the colours, that the dots may not appear fo 
 vifible, and fo coarfe, as they do without it. When 
 the lay is dry, the painter fearches with his pencil 
 all the lines of the draught, left fome of them fhould 
 be either much weakened, or entirely obliterated 
 by the lay of white ; then he begins, as in all other 
 paintings, by the face, dipping firft the point of 
 his pencil in water, and rubbing it afterwards on 
 the colour he defigns to employ; when thus rubbed, 
 he makes the point thereof with the tip of his lips, 
 and then applies it on the vellum, repeating the 
 .amc procefs every time he wants colours, and hav- 
 ing different pencils for the different colours. He 
 has alfo before him a fhell with gum water, in cafe 
 he wants to dip his pencil in it, as it often happens. 
 
 Painting in mofaic is an affemblage of little pieces 
 of glafs, marble, fhells, precious ftones, woods, Or 
 the like of various colours cut fquare, and cement- 
 ed on a ground of ftucco, imitating the natural co- 
 lours and degradations of painting. 
 
 DIRECTIONS 
 
joe THE ARTIST’S ASSISTANT. 
 
 DIRECTIONS for colouring of FLOWERS 
 and painting upon SILK. 
 
 T^LOWER-PAINTING with water colours is an 
 "*■ art in which nature affords an infinite variety 
 of unrivalled examples, yet may be eafily imitated; 
 being poffeffed of the colours herein defcribed,* 
 and well attending to the rules laid down. Firft 
 of colours: they are of two forts, tranfparent and 
 body colours ; of all which the preferable hue will 
 determine your choice in purchafing. 
 
 All the teints neceffary for flower-painting are 
 contained in, or may be combined from the above 
 lift; for inftance, fap green will receive various hues 
 by adding Pruflian blue or gumboage, and fo of the 
 reft; and thofe not of themlelves gummy, which 
 fap green, Indian ink, gumboage, and logwood pur- 
 ple 
 
 * Names. 
 
 Tranfparent. 
 
 Ditto , tody colour. 
 
 White. 
 
 Poland ftarch. 
 
 Flake white, or well-walh- 
 ed whiting. 
 
 Black. 
 
 Indian ink. 
 
 Ivory black, which mu(l be 
 mixed firft with brandy. 
 
 Red. 
 
 Carmine. 
 
 Lake, Vermillion and red 
 lead. 
 
 Blue. 
 
 Ultramarine, indigo, and 
 Pruflian blue. 
 
 Verditer and blue bite. 
 
 Green. 
 
 Sapgreen,or gumboage and 
 Pruflian blue, 
 
 Verditer and Dutch pink. 
 
 Yellow. 
 
 Gumboage. 
 
 Naples yellow, Dutch or 
 Englifh pink. 
 
 Orange. 
 
 Carmine and gumboage. 
 
 Vermillion and Dutch pink , 
 
 Brown. 
 
 Biftre or gallftone. 
 
 timbre. 
 
 Purple. 
 
 Carmine and Pruflian blue, 
 
 Lake and verditer, or rofe 
 
 or tinfture of logwood. 
 
 pink and bice. 
 
THE ARTIST’S ASSISTANT. 103 
 
 pie are, mud be mixed with a folution of clear gum- 
 arabic in water, the true ftrength of which you will 
 know by the colour when dry ; if it rubs off with 
 the finger, it is too weak ; and if it cracks or fcales 
 off, it is too ftrong. The colours when firft mixed 
 with gum water will not work fo free, as if dried and 
 ground afirefh with common water. Be careful to 
 fpread each colour fmooth, in order to which, let 
 your pencil be as large as the fubje£t will admit: 
 in tranfparent colours lay on the pale firft, to which 
 give depth by four or five (at mod) gradations; 
 foftening the harfh diftinflions of teints by taking 
 off the edge with a clean pencil dipt in water. 
 With body colours your work will look more pic- 
 turefque by laying on firft the middle teint ; but with 
 thefe, and the tranfparent too, let each colour dry 
 before you apply another. If your colour or pa- 
 per feem greafy, add a drop or two of gall, and 
 it will readily adhere. Clean your pencils always, 
 as they will fpoil by being left in the colour or 
 \vater. 
 
 INSTRUCTIONS for COLOURING. 
 
 COLUMBINE. 
 
 LpHIS flower admits of a great variety and difplay 
 in the drawing ; fome are blue, others purple, 
 others again are ftriped, crimfon on white or ftraw 
 coloured grounds. The green is the common green, 
 begun with fap green, and finifhed with a mixture 
 of gumboage and indigo ; making fome parts with 
 $umboage, a little carmine and green, as fading, 
 
 . which 
 
104 THE ARTIST’S ASSISTANT, 
 which makes a pleafing appearance in pifture though 
 not in nature. 
 
 BALSAM. 
 
 The halfam is varied with white and red ftripes, 
 fometimes all red, to be painted as the other flowers 
 io variegated. The leaves are a pleafant green, 
 and the ftalk of a fine red, and very fmooth and 
 tranfparent. 
 
 SWEET SCENTED PEA. 
 
 This beautiful bloffom is thus variegated; the 
 two outer petals are a purplifh crimfon, the two 
 inner are a deep blue, a little inclining to the pur- 
 ple, the mod inner part is white, juft tinged with 
 purple. The purplifh crimfon to be begun with 
 deep carmine, and finifhed with purple, adding in- 
 digo for the deepeft fhade. The blue which in- 
 clines to purple, begin with Pruflian blue, and as 
 the fhades grow ftronger, adding carmine and in- 
 digo. The leaves, ftalks, and tendrills are a blueifh 
 green. 
 
 JASMINE. 
 
 Our common jafmines are a fnowy white, which, 
 when properly compofed, by throwing the flower 
 artfully on the green leaves, have a very light and 
 pleafing appearance. But the jafmine we have here 
 chofen from nature, is the large Catalonian jafmine, 
 being the moft confpicuous in lhape and varied in 
 colour ; the outlide being a plealant crimfon, in- 
 clining to a purple, and the infide a pure white. 
 The leaves of both are deepifh green. There is 
 alfo a yellow jafmine, with leaves broader and a 
 of a fliining green. 
 
 HYACINTH 
 
THE ARTIST’S ASSISTANT. xo 5 
 
 HYACINTH. 
 
 Hyacinths are blue, or white; others are white, 
 with a faint tinge of crimfort. The blue ones are 
 begun with bice, fhadowing with Pruflian blue, and 
 finifhing with indigo. The light parts may be 
 worked at difcrction, either leaving the paper, by 
 neatly fhading with bice, or by laying it all over 
 and heightening with white. The white hyacinths 
 may be coloured in the fame manner as the white 
 lilv. For thofe with a blufh of crimfon, a faint 
 tinge of carmine mult be tenderly wafhed over, and 
 iinifhing as dire£led for the white ones. If ultra- 
 marine is ufed inftead of bice, it will make the 
 work appear more delicate. The ftalk and leaves 
 are a blueifh green, done with the fame mixture as 
 the lily. 
 
 AURICULA. 
 
 Ibis beautiful flower is by the gardeners’ art fo 
 varied, that a particular defcription of its varieties 
 would be endlefs. A much efteemed fort is to be 
 coloured thus : begin with a pale lay of gumboage, 
 fhadowing it with bifire, leaving a broad fpace 
 round the centre white ; which part is to be fha- 
 dowed with Indian ink, mixed with fap green: 
 then that part which is begun with gumboage is to 
 be variegated with a purplifh red, made by a mix- 
 ture of carmine and Pruflian blue. The hollow in 
 the centre mu ft be a ftrong yellow, fhadowed with 
 gumboage and carmine, mixed together. This done, 
 it is to be neatly dotted with white, moftly on the 
 centre; mixing Indian ink proportionably with the 
 white, as the flower becomes dark. The ftalk and 
 leaves are a greyifh green, to be painted with a mix- 
 O ture 
 
106 THE ARTIST’S ASSISTANT. 
 
 ture of fap green, white and indigo, adding more 
 indigo for the {hades. 
 
 ANEMONE. 
 
 Of thefe flowers, efpecially the double ones, there 
 is fuch a variety, and the colours on them fo diver- 
 flfied, that we can only mention the richeft forts, 
 and leave the praftitioner to the ftudy of nature, 
 that inexhauftible fund of improvement. The large 
 petals are white, ftriped or clouded with carmine. 
 The Imall petals are done with pale draw colour, 
 fhaded with neat lines of carmine, or green, made 
 with indigo and gumboage according to fancy. The 
 ftalk is brown, by a mixture of carmine and fap 
 green, fhaded with indigo and carmine. The leaves 
 fap green, and finifhed with gumboage and indigo. 
 
 DOUBLE JONQUIL. 
 
 Th is flower is a fine yellow ; to be done with 
 gumboage and fhadowed with carmine and gumboage 
 mixed together, and the darkeft parts with biftre 
 and a little carmine. The ftalks and leaves are a 
 blueilh green, made with Pruflian blue and fap green ; 
 adding indigo in the darkeft parts. The upper part 
 of the ftalk is brown. 
 
 TULIP. 
 
 This flower is not at all inferior to the carnation, 
 as to variety, though fomewhat different in difpo- 
 fition of colour, the tulip being generally orna- 
 mented with ftripes of various colours, crimfons 
 and purples, upon either a white, yellow, or ftraw 
 colour ground, are the molt common. For the mix- 
 tures and fhading which colours, any ftudent, by 
 
 recollecting 
 
THE ARTIST’S ASSISTANT. 107 
 
 recolle&ing the preceding dire&ions, will be en- 
 abled properly to colour this flower. The leaves 
 and ftalk may be done in the fame manner of thofe 
 of the carnation. 
 
 ROSE. 
 
 The rofe is, and very ju/lly, the favourite of the 
 painters; feldom left out in any compofition, where 
 it can be admitted. Efteemed for its natural ten- 
 dernefs of colour, and boldnefs of fhape, it furnifhes 
 matter for the moft mafterly pencil. Our common 
 method of colouring this flower, is to begin with 
 a lay of thin carmine; and to fhadow it, by ufing 
 the carmine in degrees thicker, and confequently 
 darker. This manner, by its gay appearance at 
 firft, courts the eye, but is evidently erroneous ; 
 for, notwithftanding the fineft colours we can ufe 
 are but dirt, when compared with the natural gaity 
 of the teints on flowers, yet the colouring the rofe 
 with carmine only, gives it a difagreeable and un- 
 natural glare : to prevent which it is here recom- 
 mended, after the firft or lighteft carmine is laid on, 
 foften it with a faint wafh of Pruflian bluej then 
 proceed with pure carmine ; and to give power to 
 the darkeft parts of the flower and roundnefs to 
 its appearance, add a little indigo. If one is re- 
 prefented fo much blown as to fhew the buttons in 
 the middle, they are firft to be laid with gumboage, 
 and fhadowed with gumboage and carmine mixed 
 together. The ftalks are brownifh, done with fap 
 green, and a little carmine; adding indigo for the 
 fhades, on the dark fide. The upper fides of the 
 leaves arc done with fap green, fhadowed with 
 gumboage and indigo mixed together, to make a 
 O 2 dark 
 
108 THE ARTIST’S ASSISTANT. 
 
 dark green. The backs, or under Tides, are adullifh 
 green made of white, indigo and a little Tap green. 
 It is not pleafing in nature, but to make Tome of 
 the leaves a yellowifh brown, as if withering, gives 
 a natural and pleafant air in painting; which is to 
 be done with a mixture of gumboage, Tap green, 
 and carmine. 
 
 The STRIPED MUNDI-ROSE. 
 
 This fpecies of the rofe is thus variegated; the 
 ground colour is To pale a crimfon as to be almoft 
 white, which is to be begun with a lay of carmine, 
 fo thin as only juft to tinge the paper. The ftriping 
 with carmine, deep according to fancy, even as 
 ftrong as in Tome tulips; finifhing the ftriped part 
 with the fhades ufual for crimfons. The pale part muff 
 be finifhed according to the rules for white flowers ; 
 only adding a little carmine, fo as to make it a faint 
 blufh. For the leaves and ftalk, the direftions given 
 for the foregoing rofe are fufficient. 
 
 RANUNCULA. 
 
 Ranunclas are varioufly coloured ; fome are white, 
 edged or coloured with crimfon ; others draw co- 
 lour, or yellow, ftriped with fcarlet, which may 
 be executed according to the directions given for 
 other flowers of the fame colour, a repetition of the 
 mixture of the colours being needlefs. The leaves 
 are done with fap green, fhadowing with indigo and 
 gumboage; taking the liberty of making fome leaves 
 yellowifh or brown, which makes a pleafing variety 
 in the work. The ftalk is to be made brown, by a 
 mixture of carmine and fap green. 
 
 CARNATION 
 
THE ARTIST’S ASSISTANT. 109 
 
 CARNATION. 
 
 There is fuch an infinite variety of carnations, 
 that a particular defcription of them would be end- 
 lefs, being compofedof the following colours ; white 
 crimfon, fcarlet and purple ; and thofe colours fo 
 diverfified that the ftudent may take the liberty of 
 his fancy, without danger of deviating from what 
 may happen in nature. The cup, leaves and ftalk, 
 are a pale blueifh green, to be done with a mixture 
 of Pruflian blue, fap green, and white, adding in- 
 digo for the darkeft parts. 
 
 MARTAGON. 
 
 Martagons are fome yellow, others a moft rich 
 fcarlet. The yellow ones are done with a pale gum- 
 boage, fhading with biftre, carmine and vellow 
 mixed together, fo as to make a pleafant brown. At 
 the bafe of each petal are neat fpots of ftrong indigo. 
 The ftalks and leaves are a pleafant green ; to be 
 done, with fap green, and a very little Pruflian blue. 
 The bottom of each leaf fwells into a roundifh 
 knob, which is coniiderably paler than the other 
 parts. The fcarlet ones are to be fmoothly laid with 
 red lead, fhading with carmine ; adding indigo for 
 the deepeft {hades. The flyle, filaments and buttons, 
 are orange colour; laid firft with gumboage, and 
 fhadowed with carmine. 
 
 POPPY. 
 
 The inflruftions given for the carnation, are all 
 that are required for this flower; only obferving 
 that it is diverfified by different colours on the edges 
 of the petals, not flripcd or clouded as that flower. 
 
 SUN-FLOWER. 
 
iio THE ARTIST’S ASSISTANT. 
 
 SUN-FLOWER. 
 
 The petals of this noble, though common flower, 
 are a fine yellow, painted in the fame manner as the 
 vellow part of the jonquil. The centre is a flrong 
 rcddifh brown, made with yellow, carmine and in- 
 digo: ufing more carmine and indigo for the deep- 
 eft fh .des. The leaves and (talk are a pleafant 
 green, done with fap green, fhadowed with the fame 
 colour, and deepened with indigo and gumboage. 
 
 LILY. 
 
 Lilies are either white or orange colour. The 
 white ones are done by leaving the paper for the 
 lighteft parts ; and fhadowing with a mixture of 
 Indian ink, indigo, and a very little fap green ; 
 keeping, (as has been before recommended for other 
 flowers) a proper gradation of the fnades. The but- 
 tons arc orange colour, and the ftyle a pale green. 
 The leaves and {talk are a blueifh green, with a 
 mixture of lap green and Pruffian blue, finifhing 
 with Indigo. The orange coloured ones are done 
 in the fame manner as the dire&ion given with the 
 jonquil, fpotting the infide of each petal with in- 
 digo towards its bafe. The buds, while young, are 
 green, turning to the orange as they ripen, which 
 makes a pleating variety in the colouring. 
 
 DOUBLE STOCK. 
 
 Double flocks are a purplifh crimfon, or va- 
 riegated with white and crimfon. Ihe clufter of 
 final! petals in the middle is green, which diffufes 
 itfelf faintly on the larger ones, and affords a pleating 
 tUverlitv. The ftalk and leaves are a whitifn green. 
 
 AFRICAN. 
 
THE ARTIST’S ASSISTANT, m 
 
 AFRICAN. 
 
 Africans are either yellow or orange colour. 
 The yellow ones are to be done according to the di- 
 re&ions for the yellow part of the jonquil, either 
 pale or deeper at difcretion ; and the orange colour 
 ones, as the cup of the jonquil. The flalk and 
 leaves are a pleafant green. 
 
 H O L Y FI O C K. 
 
 Holyhocks vary, from the paled rofe colours to 
 the deepeft crimfon. Some are white, which, in a 
 eompofition, afford an agreeable contrail to the other 
 flowers, by their beautiful flrape; but if represented 
 fingly, it is ealily imagined, any of the other co- 
 lours are the moil interefting ; for which the me- 
 thod laid down for painting the rofe, will anfwer; 
 ufing the fame colours deeper, according to fancy, 
 preferving a proportionable diade of colour, that 
 the deep fhades may not appear too fuddenly dark 
 to drown the effefl of the pale colours. The flalk 
 and leaves are a pale green, to be done with fap 
 green mixed with white, for the pale colours; the 
 fame colour, only lefs white, for the next fhade, 
 and adding a little indigo for the darkelt fhades. 
 
 PASSION FLOWER. 
 
 This dower is, in nature, fo beautifully fingular 
 in its ftrufture, that without the advantage of colour 
 (in which it is alfo delightful) it would engage the 
 attention of every curious obferver of nature. The 
 petals are a greenifh white, to be painted with a 
 mixture of Indian ink and fap green, leaving the 
 paper in the light parts. The threads are fo exaftly 
 
 fet 
 
112 
 
 THE ARTIST’S ASSISTANT. 
 
 fet and coloured, as to form three circles of differ- 
 ent colours, viz. the outer one blue ; fhadowed with 
 Pruffian blue. The next is white ; to be done by- 
 continuing the ftroke with flake white, making the 
 fpace between each thread dark, with the Indian 
 ink and indigo. The inner circle- is a reddifh pur- 
 ple ; done with a mixture of carmine and a little 
 Pruffian blue. The centre of the flower is a pale 
 vellow. The five buttons are yellow in the inflde ; 
 which is the part moftly feen, by their curling back 
 as foon as the flower blows. The other parts, which 
 projeCt from the centre, are a pale green, excepting 
 the three projections for the top, which are purple. 
 The bud is a pale green, with a tinge of red at its 
 end. The leaves are a dark green ; to be done with 
 indigo, gumboage, and a little Indian ink mixed 
 together. The flalk and tendrils are made brown, 
 with fap green and carmine. The religious have 
 named this flower, from a fuppofltion of its parts 
 defcribing the paflion of our Lord. 
 
 HONEY-SUCKLE. 
 
 The outfide of this flower is begun with a lay of 
 carmine mixed with a little lake, adding indigo for 
 the dark fhades. Some flowers, in the fame clufter, 
 are more purple than others, which may be done at 
 diferetion, to make a variety of colour, by adding 
 Pruffian blue to the carmine. The iniides of the 
 petals, which are fhewn by their fplitting and curl- 
 ing back at the ends, are fome white ; others draw 
 colour. The white to be fhadowed with Indian 
 ink, mixed with a very little fap green ; the draw 
 colour with a very pale lay of gumboage, fhadowed 
 with biflre. The Ayle and buttons, feen at the 
 
 ends 
 
THE ARTIST'S ASSISTANT. 113 
 
 ends of the flower, are a faint green. The ftalks 
 are a purplifh brown, with carmine and a little fap 
 green ; the leaves fap green, fhadowed with gum- 
 boage and indigo. 
 
 HEART’ 5 EASE. 
 
 The two upper petals of this flower are a rich, 
 purple ; the other three yellow, or flraw colour, 
 edged and otherwife ftained with purple, or olive 
 colour, with very fine lines of a deep purple ; be- 
 ginning at the bafe, and fprcading delicately over 
 each petal. The ftalk and leaves are a pleafant 
 green. 
 
 CONVOLVULUS. 
 
 Blue is the principal colour of the convolvulus ; 
 but the bafe is ftained with yellow, which gradually 
 becomes white, and fpreads itfelf in rays like a ftar 
 in the centre. The leaves and ftalk are a whitifh 
 green. 
 
 PINK. 
 
 The Angle pink does not admit of fo great a va- 
 riety as the carnation, but it is neverthelefs fo va- 
 riegated as to make it an agreeable flower for fattins, 
 Aiks, &c. The moft common are either white or 
 crimfon, others are ftriped white and red, others 
 are white fpotted with red, others edged with red ; 
 all which may be worked according to the rules for 
 the other flowers fo diverflfled with the fame co- 
 lours. The leaves and ftalk are a blueifti green, 
 only at the joints there is, for the moft part, a yel- 
 lowifh tinge, which is alfo at the bottom of the cup 
 and feales. 
 
 P 
 
 PAINTING 
 
M4 THE ARTIST’S ASSISTANT. 
 
 PAINTING on SILKS, SATTINS, &t. 
 
 JJJAVING with the utmoft circumfpeftion laid 
 down the rules for painting on paper, we now 
 proceed for the amufement and indru&ion of thofe 
 ingenious ladies who delight in the abovementioned 
 branch, with the fame care to give the following ne- 
 ceffary indruttions. 
 
 When the outline is made according to the aytid’s 
 fancy, a wafh of ifmglafs fhould with care be laid 
 on to take away the glare and fleeknefs of the fattin, 
 otherwife the colours will not work freely ; the 
 ifmglafs to be melted in very clear water, over the 
 fire, fo as not to be very glutinous, otherwife it 
 will difcolour the fattin, and confequently fpoil the 
 colours. 
 
 In the foregoing rules we have recommended, 
 for the mod part, the leaving the paper for the light 
 parts of a dower, and working with colours moftly 
 tranfparent ; but here the lights are to be made by 
 a fmall tinflure of the colour of the intended dower, 
 mixt with dake white, fo much as jud to make 
 a degree from the colour of the fattin, if white, 
 or if any other colour, to be mixed proportionablv 
 to the colour of the dower ; for indance, if a blue 
 dower, the bice or verditer, a very fmall quantity 
 of it with the white, udng lefs of it proportionally 
 as the fiiades grow darker, and, in the mod dark, in- 
 digo alone may be ufed, it being by that time opake 
 enough ; but great care mud be ufed not to lay the 
 colours on too thick, otherwife they will crack : 
 a little white fugar-candy will be found very ne- 
 c diary, when mixt with the gum water, as a pre- 
 ventive 
 
THE ARTIST’S ASSISTANT. u 5 
 
 ventive to that inconveniency. If a flower hap- 
 pens to be of fo deep a colour as not to admit of 
 any pure white in the lighted: of the parts, a fort 
 of priming of white fhould be laid on, after which, 
 when dry, begin with the ground colour of the 
 flower, proceeding gradually with the fhades as in 
 the above direttions, which, with lively flowers 
 peculiarly cholen from nature for the purpofe, we 
 hope will be fufficient to initiate our ingenious and 
 fair fludents in this mod delightful amufement. 
 
 
 PAINTING with CRAYONS. 
 
 water colours, or crayons, the grand objeft of 
 his purfuit is ftill the fame : a juft imitation of nature. 
 But each fpecics has its peculiar rules and methods. 
 Painting with crayons requires, in many refpefts, a 
 treatment different from painting in oil colours ; 
 becaufe all colours uled dry are, in their nature, of 
 a much warmer complexion than when wet with 
 oils, or any other binding fluid. Let this be prov- 
 ed by matter of fa£t : — Mr. Cotes painted a portrait 
 of Sir William Chambers, which is in Lord Bef- 
 borough’s colleftion. An ingenious foreigner had 
 difeovered a method of fixing crayon piftures, fo that 
 they would not rub or receive an injury if any ac- 
 cident happened to the glafs. The fociety for the 
 
 mium to any one who fhould difeover fo valuable a 
 fecret, for which premium. he made application. 
 
 the painter works with oil colours. 
 
 encouragement of arts had before offered a pre- 
 
 P 2 
 
 Mr. 
 
3 16 THE ARTIST’S ASSISTANT, 
 
 Mr. Cotes being eminent in his profelfion, was cle- 
 fired to lend a pi&ure for the trial, and give his 
 judgment, which was made on this portrait of Sir 
 William Chambers. The crayons he indeed fo per- 
 fectly fixed as to refill any rub or brufh without the 
 leall injury, which before would have entirely de- 
 faced or fpoiled it: but the pi&ure, which before 
 had a particularly warm, brilliant, and agreeable 
 effe£t, in comparifon became cold and purple ; and 
 though in one fenfe the attempt fucceeded to the de- 
 figned intention of fixing the colours, yet the bind- 
 ing quality of whatever fluid was made ufe of in 
 the procefs, changed the complexion of the colours, 
 rendering the cold teints too predominant. For this 
 reafon, in order to produce a rich pi&ure, a much 
 greater portion of what painters term cooling teints 
 mull be applied in crayon painting, than would be 
 judicious to ufe in oils. Without any danger of a 
 millake, it is to be fuppofed, the not being acquaint- 
 ed with this obfervation is one great caufe why fo 
 many oil painters have no better fuCcefs when they 
 attempt crayon painting. On the contrary, crayon 
 painters, being fo much ufed to thofe teints which 
 are of a cold nature when ufed wet, are apt to in- 
 troduce them too much when they paint with oils, 
 which is feldom productive of a good effeft. 
 
 Another obfervation I would make, which requires 
 particular notice from the lludent who has been 
 converfant with oil painting, prior to his attempts 
 with crayons ; oil painters begin their pictures much 
 lighter and fainter than they intend to finifh them, 
 which prefents the future colouring clear and bril- 
 liant, the light underneath greatly alfilling the tranf- 
 parent glazing and fcumbling colours, which, if they 
 
 were 
 
 % 
 
THE ARTIST’S ASSISTANT. 117 
 
 were laid over any part already too dark, would but 
 increafe its heavy effeft. On the contrary, crayons 
 being made of dry colours, are difficult to procure 
 fufficiently dark, the crayon painter therefore will 
 find an abfolute neceffity to begin his pifture as dark 
 and rich as poffible, except in the ftrongeft lights; 
 for if once the grey and light teints become pre- 
 dominant, it will be next to impoffible for him (in 
 the deep ffiadows efpecially) to reftore depth and 
 brilliancy, having no opportunity of glazing or fcum- 
 bling to give the effeft, as the grey teints being 
 mixtures with whiting underneath, will continually 
 work up and render the attempt abortive. 
 
 I fhall now endeavour to give the fludent fome 
 direttions towards the attainment of excellence in 
 this art. 
 
 The fludent muft provide himfelf with fome ftrong 
 blue paper, the thicker the better, if the grain is 
 not too coarfe and knotty, though it is almofl im- 
 poffible to get any intirely free from knots. The 
 knots fhould be levelled with a penknife or razor, 
 otherwife they will prove exceedingly troublefome. 
 After this is done, the paper muft be palled very 
 fmooth on a linen cloth,* previoufly {trained on a 
 deal frame, the fize according to the artift’s plea- 
 fure : on this the pifture is to be executed; but it 
 is molt eligible not to pafte the paper on till the 
 whole fubjedt is firft dead-coloured. The method of 
 doing this is very eafy, by laying the paper with the 
 
 dead- 
 
 * That fide of the paper fhould be palled which has the ftrokes 
 from the wires mod evident, that the painting may be on the 
 fmootheft fide, otherwife the lines, which thefe wires have left 
 in the paper will prove troublefome and look unpleafant. 
 
n8 THE ARTIST’s ASSISTANT. 
 
 dead-colour on its face, upon a fmooth board or ta- 
 ble, when, by means of a brufh, the backfide of 
 the paper mud be covered with pafle ; the frame, 
 with the drained cloth, muft then be laid on the 
 pafted fide of the paper; after which turn the 
 painted fide uppermoft, and lay a piece of clean 
 paper upon it, to prevent fmearing ; this being done, 
 it may be ftroked gently over with the hand, by 
 which means all the air between the cloth and the 
 paper will be forced out. 
 
 When the pafte is perfectly dry, the ftudent may 
 proceed with the painting. The advantages arifing 
 from palling the paper * in the frame, according to 
 this method, after the pifture is begun, are very 
 great, as the crayons will adhere much better than 
 any other way, which will enable the ftudent to 
 hnifh the picture with a firmer body of colour, and 
 greater luftre. The late Mr. Cotes difcovered this 
 method by accident, and efteemed it a valuable ac- 
 cjuifition ; and, I remember, on a particular occa- 
 fion, he removed a fine crayon picture of Rozalba’s, 
 and placed it on another ftrained cloth, without the 
 leall injury, by foaking the canvas with a wet fponge, 
 
 till 
 
 * Some crayon pictures are painted on vellum ; but the animal 
 falts in the fkin very often caufe them to mildew. It muft be con- 
 ferred the vellum gives the pifture a foft effe.61 ; but its ufe cannot 
 be recommended in our unfavourable climate. Others make ufe 
 of fmalt grounds; Le Tour, lately a painter of note in Paris, often 
 ufed them with great fuccefs. The method to prepare them is to 
 brufh over the paper with gum water, which direftly drew with 
 imalt moderately fine, the fuperfluous part of wdiich fhould be 
 fwept off, with a painter’s brufh, when the gum water is pcrfeftly 
 dry. On this the pifture is to be painted; but we have paper 
 now in England to be procured of fo excellent a texture, as to 
 render this preparation perhaps unneceffary. 
 
THE ARTIST’S ASSI STANT. ng 
 
 till the pafte between the cloth and paper was fuf- 
 ficiently wet to admit of reparation. 
 
 When painters want to make a very correft copy 
 of a picture they generally make ufe of a tiffany, 
 or black gauze, {trained tight on a frame, which 
 they lay flat on the fubjeft to be imitated, and with 
 a piece of fketching chalk, trace all the outlines on 
 the tiffany. They then lay the canvas to be painted 
 on, flat upon the floor, placing the tiffany with 
 the chalked lines upon it, and with an handkerchief 
 brufh the whole over: this prefents the exaft out- 
 lines of the pifture on the canvas. The crayon 
 painter may alfo make . ufe of this method, when 
 the fubjeft of his imitation is in oils, but in copy- 
 ing a crayon pifture, he muff have recourfe to the 
 following method, on account ol the glafs: 
 
 The pifture being placed upon the efel, let the out- 
 lines be drawn on the glafs with a fmall camel’s hair 
 pencil dipped in lake, ground thin with oils, which 
 muff be done with great exaftnefs; after this is ac- 
 complifhed, take a fheet of paper of the fame flze, 
 and place it on the glafs, {broking over all the lines 
 with the hand, by which means the colours will 
 adhere to the paper, which muff be pierced with 
 pin holes pretty clofe to each other. The paper in- 
 tended to be ufed for the painting muff next be laid 
 upon a table and the pierced paper placed upon it ; 
 then with fome fine pounded charcoal, tied up in a 
 piece of lawn, rub over the perforated ftrokes, which 
 will give an exaft outline. Great care muff be 
 taken not to brufh this off till the whole is drawn 
 over with Iketching chalk, which is a compofition 
 made of whiting and tobacco-pipe clay, rolled like 
 crayons, and pointed at each end. 
 
 When 
 
J 
 
 120 THE ARTIST’S ASSISTANT. 
 
 When the ftudent paints immediately from the 
 life, it will be moft prudent to make a correft draw- 
 ing of the outlines on another paper, the fize of the 
 pidture he is going to paint, which he may trace by 
 the preceding method, becaufe erroneous ftrokes of 
 the Iketching chalk (which are not to be avoided 
 without great expertnefs) will prevent the crayons 
 from adhering to the paper, owing to a certain 
 greafy quality in the compofition. 
 
 The ftudent will find the fitting pofture, with the 
 box of crayons on his lap, the moft convenient me- 
 thod for him to paint. The part of the pifture he 
 is immediately painting fhould be rather below his 
 face, for, if it is placed too high, the arm will be 
 fatigued. Let the windows of the room where he 
 paints be darkened at leaft to the height of fix feet 
 from the ground, and the fubjedl to be painted fhould 
 be fituated in fuch a manner, that the light may fall 
 with every advantage on the face ; avoiding too 
 much fhadow, which feldom has a good effeft in 
 portrait painting, efpecially if the face he paints 
 has any degree of delicacy. Before he begins to 
 paint, let him be attentive to his fubjeft, and ap- 
 propriate the adlion or attitude proper to the age of 
 the fubjett : if a child, let it be childifh ; if a young 
 lady, exprefs more vivacity than in the majeftic 
 beauty of a middle aged woman, who alfo fhould 
 not be expreffed with the fame gravity as a perfon 
 far advanced in yeai's. Let the embellifhments of 
 the pifture, and introduction of birds, animals, &c. 
 be regulated by the rules of propriety and con- 
 fiftency. 
 
 The features of the face being carefully drawn 
 with chalk, let the ftudent take a crayon of pure 
 
 carmine, 
 
THE ARTIST’S ASSISTANT. 121 
 
 carmine, and carefully draw the noftril and edge of 
 the nofe, next the fhadow ; then, with the faintefb 
 carmine teint, lay in the fhongeff light upon the 
 nofe and forehead, which mult be executed broad. 
 He is then to proceed gradually with the fecond 
 teinf, and the fucceeding ones, till he arrives at the 
 fhadows, which mull be covered brilliant, enriched 
 with much lake, carmine, a little broken, with 
 brilliant green. This method will, at lirft, offen- 
 lively ftrike the eye, from its crude appearance ; but, 
 in linifhing, it will be a good foundation to pro- 
 duce a pleafmg effeft, colours being much more 
 ealily fullied when too bright, than when the firlt 
 colouring is dull, to raife the picture into a bril- 
 liant Hate. The feveral pearly teints, difcernable in 
 fine complexions, mult be imitated with blue ver- 
 diter and white, which anfwers to the ultramarine 
 teints ufed in oils. But if the parts of the face 
 where thefe teints appear are in fhadow, the crayons 
 compofed of black and white mult be fubllituted in 
 their place. 
 
 Though all the face, when firlt coloured, fhould 
 be laid in as brilliant as polhble, yet each part 
 fhould be kept in its proper tone, by which means 
 the rotundity of the face will be preferved. 
 
 Let the lludent be careful when he begins the 
 eyes to draw them with a crayon inclined to the 
 carmine teint, of whatever colour the iris are of; 
 he mull lay them in brilliant, and, at, fir 11 , not load- 
 ed with colour, but executed lightly : no notice is 
 to be taken of the pupil yet. The lludent mull let 
 the light of the eye incline very much to the blue 
 call, cautioully avoiding a flaring, white appear- 
 ance, (which, when once introduced, is fcldom over- 
 Q come) 
 
122 THE ARTIST’S ASSISTANT. 
 
 come) preferving a broad fhadow thrown on its up- 
 per part, by the eye-lafh. A black and heavy teint 
 is alio to be avoided in the eye-brows ; it is there- 
 fore, bed to execute them like a broad, glowing 
 fhadow at fird, on which, in the finifhing, the hairs 
 of the brow are to be painted, by which method 
 of proceeding, the former teints will fhew them- 
 felves through, and produce the mod pleafmg effeft. 
 
 The dudent fliould begin the lips with pure car- 
 mine and lake, and in the fhadow ufe fome car- 
 mine and black ; the drong Vermillion teints Oiould 
 be laid on afterwards. He mud beware of executing 
 them with did, harfh lines, gently intermixing each 
 with the neighbouring colours, making the fha- 
 dow' beneath broad, and enriched with brilliant 
 crayons. He mud form the corner of the mouth 
 with carmine, brown oker, and greens, varioufly 
 intermixed. If the hair is dark, he fhould pre- 
 ferve much of the lake and deep carmine teints 
 therein; this may be eafily overpowered by the 
 warmer hair teints, which, as obferved in paint- 
 ing the eye-brows, will produce a richer effect when 
 the picture is finiflied; on the contrary, if this 
 method is unknown or negle&ed, a poverty of co- 
 louring will be difcernablc. 
 
 After the dudent has covered over, or as artids 
 term it, has dead-coloured the head, he is to fweeten 
 the whole together by rubbing it over with his 
 finger, beginning at the dronged light upon the 
 forehead, palling his finger very lightly, and unit- 
 ing it with the next teint, which he mud continue 
 till the whole is fweetened together, often wiping 
 his finger on a towel to prevent the colours being 
 lullied. He mud be cautious not to fmooth or 
 
 fweeten 
 
 
1 THE ARTIST’S ASSISTANT. 123 
 
 fweeteien his pi&ure too often, becaufe it will give rife 
 to a thhin and fcanty effe£l, and have more the appear- 
 ance obf a drawing than a folid painting, as nothing 
 hut a bbody of rich colours can conflitute a rich ef 
 feft. To avoid this, (as the fludent finds it ne- 
 ceffaryy to fweeten with the finger) he muffc conti- 
 nually y replenifh the pi£lure with more crayon. 
 
 Whhen the head is brought to fome degree of for- 
 wardnaefs, let the back ground be laid in, which, 
 muft bbe treated in a different manner, covering it as 
 thin asis poffible, and rubbing it into the paper with 
 a leathher flump. Near the face the paper Ihould be 
 almofl l free from colour, for this will do great fervice 
 to thee head, and by its thinnefs, give both a foft 
 and foolid appearance. In the back ground alfo, 
 crayonns which have whiting in their compofition 
 fhouldi be ufed, but feldom or never without cau- 
 tion ; but chiefly fuch as are the moll brilliant and 
 the leeafl adulterated. The ground being painted 
 thin noext the hair, will give the fludent an oppor- 
 tunity r of painting the edges of the hair over in a 
 light a and free manner, when he gives the finifhing 
 touch ees. 
 
 Thee fludent having proceeded thus far, the face, 
 hair, sand back ground being entirely covered, he 
 muft c carefully view the whole at fome diftance, re- 
 markiring in what refpeft it is out of keeping, that 
 is, whhat parts are too light, and what too dark, be- 
 ing pa articular ly attentive to the white or chalky 
 appeanrances, which rnuft be fubdued with lake and 
 carmirine. the above method being properly put 
 into eexecution will produce the appearance of a 
 painfiring principally compofed of three colours, viz. 
 carminne, black, and white, which is the belt pre- 
 Q 2 paration 
 
12 4 THE ARTIST’S ASSISTANT, 
 paration a painter can make for producing a fine 
 crayon pidlure. 
 
 The next Hep is to compleat the back ground 
 and the hair, as the dull, in painting thefe, will 
 fall on the face, and would much injure it, if that 
 was compleated firft. From thence proceed to the 
 forehead, finifhing downward till the whole pic- 
 ture is compleated. 
 
 Back grounds may be of various colours; but it 
 requires great tafte and judgment to fuit them pro- 
 perly to different complexions : in general, a ftrong 
 coloured head fhould have a weak and tender teint- 
 ed ground, and, on the contrary, a delicate com- 
 plexion fhould be oppofed with ftrong and power- 
 ful teints ; by which proper contrail between the 
 figure and the back ground, the pi&ure will receive 
 great force, and ftrike the fpeftator much more 
 than it could poflibly do was this circuniftance of 
 contrail not attended to. 
 
 Young painters often treat the back grounds of 
 piftures as a matter of very little or no confequence, 
 when it is moll certain great part of the beauty and 
 brilliancy of the pitture, efpecially the face, de- 
 pends upon the teints being well fuited, the darks 
 kept in their proper places, and the whole being 
 perfectly in fubordination to the face. Thus a fim- 
 ple back ground requires attention, but the difficulty 
 is Hill greater when a variety of objefts are intro- 
 duced, fuch as hills, trees, buildings, &c. in thefe 
 cafes one rule mull be ftriltly attended to, that each 
 grand objell be difpofed fo as to contrail each other ; 
 this is not meant merely refpefling their forms, but 
 their colour, their light, fhade, &c. For inftance, 
 we will fuppofc the figure receiving the ftrongeft 
 
 light ; 
 
THE ARTIST’S ASSISTANT. m 5 
 
 light ; behind the figure, and very near at hand, 
 are the Items of fome large trees; thefe mull have 
 fhade thrown over them, either from a driving 
 cloud or fome other interpofing circumflance ; be- 
 hind thefe Items of trees, and at a diftance, are feen 
 trees on a rifing ground; thefe fhould receive the 
 light as a contrail to the former, See. If an ar- 
 chitectural back ground be chofen, the fame rule 
 mult be applied ; fuppofe a building at a moderate 
 diftance is placed behind the figure receiving the 
 light, a column, or fome other objeCt in fhadow 
 fhould intervene, to preferve proper decorum in the 
 piece, or what will have the fame effeCt, a fhadow 
 mult be thrown over the lower part of the build- 
 ing, which will give equal fatisfaftion or repofe to 
 the eye. It mull be remembered, the light mult be 
 always placed againftthe dark, and the weak againft 
 the ftrong, in order to produce force and effeCt, and 
 * vice verfa. 
 
 In painting over the forehead the laft time, begin 
 the higheft light with the molt faint vermillion 
 teint, in the fame place where the faint carmine 
 was firft laid, keeping it broad in the fame manner. 
 In the next fhade fucceeding the lighteft, the ftu- 
 dent mull work in fome light blue teints, compofed 
 of verditer and white, intermixing with them fome 
 of the deeper vermillion teints, fweetening them to- 
 gether with great caution, * infenfibly melting them 
 into one another, increaftng the proportion of each 
 colour as his judgment fhall direCt. Some brilliant 
 yellows may alfo be ufed, but fparingly ; and to- 
 wards 
 
 * This direction is for the fnieft complexions, but the fludent 
 THU ft. vary his colouring according to his 1’ubjeft, 
 
i=6 THE ARTIST’S ASSISTANT. 
 
 wards the roots of the hair, ftrong verditer teints, 
 intermixed with greens, will be of fingular lervice. 
 Cooling crayons, compofed of black and white, 
 fhould fucceed thefe, and melt into the hair. Be- 
 neath the eyes, the pleafing pearly teints are to be 
 preferved, compofed of verditer and white, and un- 
 der the nofe, and on the temples, the fame may be 
 ufed; beneath the lips teints of this kind alfo are 
 proper, mixing them with the light greens and fome 
 Vermillion. 
 
 The introdu£bicn of greens and blues into the 
 face, in painting, has often given furprize to thofe 
 who are unacquainted with the art, but there is rea- 
 fon fufficient for their introduftion (though it may 
 appear ftrange at firft) in order to break and correfd 
 the other colours. 
 
 The carmine predominating in the dead colour, 
 is, as has been obferved, the beft preparation for the 
 fucceeding teints; the crudenefs of this prepara- 
 tion muft be corre&ed by varioufly intermixing 
 greens, blues, and yellows ; which of thefe are to 
 be ufed is to be determined by the degree of carmine 
 in the dead colour, and the complexion intended. 
 The blue and yellow are of a nature diametrically 
 oppofite, and ferve to correft the reds, and oppofe 
 one another ; the greens being compounded of both 
 thefe colours, is of peculiar ufe in many cafes where 
 the tranfition is not to be fo violent. 
 
 The ftudent, attentively confidering nature, will 
 difcover a pleafing variety of colours on the fur- 
 face, and difcernible through a clear and tranfpa- 
 rcnt fkm ; this variety will be ftill increafed by the 
 efleft of light and fhade ; he will perceive one part 
 inclining to the vcrxnillion red, another to the car- 
 mine. 
 
THE ARTISTE ASSISTANT. 127 
 
 mine or lake, one to the blue, this to the green, and 
 that to the yellow, &c. In order to produce thefe 
 different effefts he will apply thofe colours to which 
 the teints are mod inclined ; yet in crayon painting 
 it is often heft to compound the mixed colours upon 
 the picture, fuch as blue and yellow inftead of 
 green ; blue and carmine inftead of purple ; red 
 and yellow inftead of orange ; in other circum- 
 fiances the compounds already mixed fhould be 
 ufed : but in this cafe there can be no abfolute rule 
 given, it mud be left to the experience and difere- 
 tion of the painter, though the ftudent may be greatly 
 affifted in the commencement of his ftudies, by an 
 able mailer to direCt and point out the bed method 
 to treat circumftances of this nature, as they oc- 
 cur in praCtice, which may at firft appear obfeure 
 and myfterious, but will foon, to a good capacity, 
 become demonftrably clear upon certain and fure 
 principles ; the circumftances that require different 
 treatment are fo various and fo many, as to render it 
 impolffble here to defeend to every particular. 
 
 In finifhing the cheeks, let the pure lake clear them 
 from any dull contracted from the other crayons ; 
 then, with the lake, may be intermixed the bright 
 Vermillion ; and laft of all (if the fubjeCt fhould 
 require it) a few touches of the orange coloured 
 crayon, but with extreme caution ; after this fweeten 
 that part with the finger as little as poffible, for fear 
 of producing a heavy, difagreeable effeCt on the 
 cheeks : as the beauty of a crayon picture confifts 
 in one colour fliewing itfelf through, or rather be- 
 tween another ; this the ftudent cannot too often re- 
 mark, it being the only method of imitating beau- 
 tiful complexions. 
 
 The 
 
128 THE ARTIST’S ASSISTANT. 
 
 The eye is the moft difficult feature to execute in 
 crayons, as every part mull be expreffed with the 
 utmoft nicety, to appear finifhed ; at the fame time 
 that the painter mud prcferve its breadth and fo- 
 lidity, while he is particularizing the parts. To 
 accomplifh this, it will be a good general rule for 
 the fludent to ufe his crayon, in fweetening, as much, 
 and his linger as little, as poffible. When he wants 
 a point to touch a fmall part with, he may break off 
 a litle of his crayon againd the box, which will 
 produce a corner fit to work with in the minuted 
 parts. If the eye-lafhes are dark, he mud ufe fome 
 of the carmine and brown oker, and the crayon of 
 carmine and black ; and with thefe he may alfo 
 touch the iris of the eye (if brown or hazel) mak- 
 ing a broad fhadow, caufed by the eye-lafh. Red 
 teints of vermillion, carmine, and lake, will exe- 
 cute the corners of the eye properly ; but if the 
 eye-lids are too red, they will have a difagreeable 
 fore appearance. The pupil of the eye mud be 
 made of pure lamp-black ; between this and the 
 lower part of the iris, the light will catch very 
 flrong, but it mud not be made too hidden, but be 
 gently dilfufed round the pupil till it is lod in fhade. 
 When the eye-balls are fufficiently prepared, the 
 fhining fpeck mud be made with a pure white 
 crayon, which fhould be fird broken to a point, 
 and then laid on firm ; but as it is poffible they may 
 be defeftive in neatnefs, they fhould be correfted 
 with a pin, taking olf the redundant parts, by which 
 means they may be formed as neat as can be re- 
 quired. 
 
 The difficulty, w r ith refpeft to the nofe, is to pre- 
 ferve the lines properly determined 3 and at the fame 
 
 time 
 
THE ARTIST’S ASSISTANT. 129 
 
 time fo artfully blended into the cheek, as to ex- 
 press its proje6tion, and yet no real line to be per- 
 ceptible upon a clofe examination ; in fome circum- 
 ftances it fhould be quite blended with the cheek, 
 which appears behind it, and determined entirely 
 with a flight touch of red chalk. The fhadjow caufed 
 by the nofe is generally the darkeft in the w little face, 
 partaking of no refleftion from its furrounding parts. 
 Carmine and brown oker, carmine and black, and 
 fuch brilliant crayons will compofe it belt. 
 
 The ftudent having before prepared the lips with 
 the ftrongeft lake and carmine, &c. muft, with thefjp 
 colours, make them compleatly cOrreft, and, when 
 finifhing, introduce the ftrong vermillions, but with 
 great caution, as they are extremely predominant. 
 This, if properly touched, will give the lips an ap- 
 pearance equal, if not fuperior, to thofe executed in 
 oils, notwithftanding the feeming fuperiority the lat- 
 ter has, by means of glazing, * of which the former 
 is entirely deftitute. 
 
 When the ftudent paints the neck, he fhould 
 avoid expreffing the mufcles too ftrong in the Item, 
 nor fhould the bones appear too evident on the cheft, 
 as both have an unpleafing effeft, denoting a violent 
 agitation of the body, a circumftance feldom ne- 
 ceffary to exprefs in portrait painting. The moil 
 necdffary part to be exprefled, and which fhould 
 over be obferved (even in the molt delicate fubje£ts) 
 is a ftrong marking juft above the place where the 
 collar bones unite, and if the head is much thrown 
 
 * The method with which painters in oils exprefs tranfparency 
 in the lips is, by painting them firft with light vermillion teints, 
 and, when dry, touching them over with pure lake, 
 
 R 
 
 over 
 
, 3 o THE ARTIST’S ASSISTANT. 
 
 over the fhoulders, fome notice fhould be taken of 
 the large mufcle that rifes from behind the ear, and 
 is inferted into the pit between the collar bones. 
 Ail inferior mufcles fhould be, in general, quite 
 avoided. The ftudent will find this caution ne- 
 ceflary, as mod fubjetds, efpecially thin perfons, 
 have the mufcles of the neck much more evident 
 than would be judicious to imitate. As few necks 
 are too long, it may be neceffary to give fome addi- 
 tion to the Item, a fault on the other fide being 
 quite unpardonable, nothing being more ungraceful 
 than a fhort neck. In colouring the neck, let the 
 fludent preferve the flem of a pearly hue, and the 
 light not fo drong as on the cheft. If any part of 
 the bread appears, it’s tranfparency mud alfo be ex- 
 prelfed by pearly teints, but the upper part of the 
 cheft fhould be coloured with beautiful vermillions, 
 delicately blended with the other. 
 
 Of the MATERIALS. 
 
 T H E perfe&ion of the crayons confids, in a great 
 meafure, in their foftnefs, for it is impodible to 
 execute a brilliant pifture with them if they are 
 otherwife, on which account great care Ihould be 
 obferved in the preparing them, to prevent their 
 being hard. — In all compofitions, flake white, and 
 white lead fhould be wholly reje&ed, becaufe the 
 flighted touch with either of thefe will unavoidably 
 turn black. 
 
 The ufual objc&ion to crayon paintings is, that 
 they are fubje£t to change, but whenever this happens 
 
 it 
 
THE ARTIST’S ASSISTANT. 131 
 
 it is entirely owing to an injudicious ufe of the above- 
 mentioned whites, which will ftand only in oils. To 
 obviate the bad effe£ls arifing from the ufe of fuch 
 crayons, let the ftudent make ufe of common whit- 
 ing prepared in the following manner: 
 
 Take a large velfel of water, put the whiting into 
 it, and mix them well together let this Hand about 
 half a minute, then pour off the top into another 
 veffel, and throw the gritty fediment away ; let what 
 is prepared reft about a minute, and then pour It 
 off as before, which will purify the whiting and 
 render it free from all dirt and grittinefs. — When 
 this is done, let the whiting fettle, and then pour 
 the water from it ; after which, lay it on the chalk 
 to dry, and keep it for ufe, either for white crayons, 
 or the purpofeof preparing teints with other colours, 
 for with this, all other teints may be fafely prepared. 
 
 The ftudent muft be provided with a large, flexible 
 pallet-knife, a large ftone and muller to levigate the 
 colours, two or three large pieces of chalk to ab- 
 forb the moifture from the colours after they are le- 
 vigated, a piece of flat glafs to prevent the moifture 
 from being abforbed too much, till the colours are 
 rolled into form, and veffels for water, fpirits, &c* 
 as ncceffity and convenience fhall direft. 
 
 RED’ S'. 
 
 CARMINE and LAKE. 
 
 It is rather difficult to procure either good car- 
 mine or good lake. Good carmine is inclined to the 
 vermillion teint, and fhould be an impalpable pow- 
 der, and good lake to the carmine teint. The car- 
 mine crayons aie prepared in the following manner : 
 R 2 As 
 
THE ARTIST’S ASSISTANT. 
 
 As their texture is inclinable to hardnefs, inftead 
 of grinding and rolling them, take a fufficient quan- 
 tity of carmine, lay it upon the grinding-ftone, mix 
 it with a levigating knife with fpirits of wine, till 
 it becomes fmooth and even ; yet the lcfs frifclion 
 produced by the knife the better. The chalk-flone 
 being ready, lay the colour upon it to abforb the 
 fpirit, but be careful that it is laid on in a proper 
 ihape for painting. 
 
 The fimple colour being prepared, the next ftep 
 is to compofe the different teints by a mixture with 
 whiting ; the proportion to be obferved confiding of 
 twenty gradations to one, which may be clearly un- 
 derflood by the following dirc&ions. Take fome of 
 the fimple colour, and levigate it with fpirits of 
 wine, adding about one part of wafhed whiting t<? 
 three parts of carmine, of which, when properly in- 
 corporated, make two parcels. The next gradation 
 fhould be compofed of equal quantities of carmine 
 and whiting, of which four crayons may be made. 
 The third compofition fhould have one fourth car- 
 mine, and three fourths whiting, of this make fix 
 crayons, which will be a good proportion with the 
 reft, ft he laft teint fhould be made of whiting, very 
 faintly tinged with carmine, of which make about 
 eight crayons, which will compleat the abovemen- 
 tioned proportion. 
 
 N. B. Though thefe teints made with whiting 
 tnay be rolled, yet the pure carmine will not bear 
 it, but muft be left on the chalk-flone till perfectly 
 dry. 
 
 lake 
 
 Is a colour very apt to be hard ; to prevent which 
 the ftudcnt muft obferve the following particulars ; 
 
 Take 
 
THE ARTIST’S ASSISTANT. 133 
 
 Take about half the quantity of lake intended for 
 the crayons, and grind it very fine with fpirits of 
 wine; let it dry and then pulverize it, which is 
 eafily done if the lake is good ; then take the other 
 half, and grind it with fpirits, after which mix it 
 with the pulverized lake, and lay it out direftly in 
 crayons on the chalk. The colour will not bear 
 rolling. The fimple colour being thus prepared, 
 proceed with the compound crayons, as direcled be- 
 fore., and in the fame degrees of gradation as the 
 carmine teints. 
 
 VERMILLION, or NATIVE CINNABAR. 
 
 The befl is inclined to the carmine teint. To 
 prepare this colour mix it on the flone with foft 
 ■water, or fpirits, after which it may be rolled into 
 crayons. 
 
 BLUES. 
 
 PRUSSIAN BLUE 
 
 Is a colour very apt to bind, and is rendered foft 
 with more difficulty than carmine and lake. The 
 lame method of preparation is to be followed with, 
 this as directed with refpedt to lake, only it is ne- 
 celfary to grind a larger quantity of the pure colour, 
 as it is chiefly ufed for painting draperies. 
 
 BLUE VERDITER 
 
 Is a colour iraturally gritty, and therefore it is 
 neceffary to wafh it well. Its particles are fo coarfe 
 as to require fome binding matter to unite them, 
 otherwise the crayons will never adhere together. 
 I o accomplifh this, take, a quantity fufficient to form 
 
 two 
 
i 3 4 THE ARTIST’S ASSISTANT. 
 
 two or three crayons, to which add a piece of flack- 
 ed plaifter of Paris about the flze of a pea ; mix 
 thefe well together, and form the crayons upon the 
 chalk. This blue is extremely brilliant, and will 
 be of great ufe in heightening draperies, &c. 
 
 GREENS. 
 
 Brilliant greens are produced with great dif- 
 ficulty, which may be procured of thofe who make 
 it their bufinefs to prepare them, yet the following 
 compofitions will be found ufeful : Take yellow 
 oker, and after grinding it with fpirits, mix it with 
 the powder of Pruflian blue, then temper it with a 
 knife, and lay the crayons on the chalk, without 
 rolling them : Befides this ufe king’s yellow, mixed 
 with Pruflian blue, brown oker and Pruflian blue.* 
 The crayons made of thefe laft may be rolled. 
 
 YELL O W S. 
 
 KING’; YELLOW 
 
 Is the moll ufeful and the mod brilliant, levi- 
 gated with fpirits of wine, and compofe the differ- 
 ent teints as before dire&ed. Yellow oker and Na- 
 ples yellow ground with fpirits will make ufeful 
 crayons. 
 
 ORANGE 
 
 Is produced with king’s-yellow and vermillion 
 ground together with fpirits, and the teints formed 
 as in other cafes, but no great quantity of them is 
 required. 
 
 1 BROWNS. 
 
 * Roman oker and Pruflian blue mixed in different proportions 
 will be ufeful. 
 
THE ARTIST’S ASSISTANT. 135 
 
 BROWNS. 
 
 CUL LENS-EARTH 
 
 Is a fine dark brown. After fix or eight of the 
 fimple crayons are prepared, feveral rich compound 
 teints may be produced from it, by a mixture with 
 carmine in various degrees ; black, carmine, and 
 this colour, mixed together, make ufeful teints for 
 painting hair ; feveral gradations may be produced 
 from each of thefe by a mixture with whiting. 
 
 UMBER 
 
 May be treated in juft the fame manner, only it is 
 neceffary to levigate it with fpirits of wine. 
 
 PURPLES. 
 
 Prussian blue ground with fpirits, and mixed 
 with pulverized lake, will produce a good purple. 
 Carmine thus mixed with Pruffian blue will produce 
 a purple fomething different from the former. Va- 
 rious teints may be made from either of thefe com- 
 pounds by a mixture with whiting. 
 
 BLACK. 
 
 LAMP-BLACK, 
 
 Is the only full black that can be ufed with fafety, 
 as all others are fubjeft to mildew. 
 
 Cinnabar mixed with carmine. — This is a compo- 
 fition of great ufe, and teints made from this with 
 whiting will be found very ferviceable. 
 
 Carmine and black is another good compound, of 
 which five or fix gradations fhould be made, fome 
 partaking more of the black, and others having .the 
 carmine moft predominant, befides feveral teints by 
 a mixture with whiting. 
 
 Cinnabar 
 
136 THE ARTIST’S ASSISTANT. 
 
 Cinnabar and black is alfo a very ufeful compound, 
 from which feveral different teints fhould be made. 
 
 Pruflian blue and black is another good compound, 
 and will be found of lingular fervice in painting 
 draperies. 
 
 It is impoffible to lay down rules for forming 
 every teint neceffary in compofing a fet of crayons, 
 there being many accidental compofitions, entirely 
 dependent on fancy and opinion. The ftudent fhould 
 make it a rule to fave the leavings of his colours, 
 for of thefe he may form various teints, which will 
 occafionally be ufeful. 
 
 Of ROLLING the CRAYONS and 
 DISPOSING them for PAINTING. 
 
 Hp H E different compofitions of colours muft be 
 ■*" cut into a proper magnitude after they are 
 prepared, in order to be rolled into paftils for the 
 convenience of ufing them. Each crayon fhould be 
 formed in the left hand with the ball of the right, 
 firft formed cylindrically, and then tapered at each 
 end. If the compofttion is too dry, dip the finger 
 in water ; if too wet the compofition muft be laid 
 upon the chalk again to abforb more of the mbif- 
 tu'r'e. The crayons fhould be roiled as quick as pof- 
 fible ; and when finifhed, muft be laid upon the 
 chalk again, to abforb all remaining moifture. After 
 the gradation of teints from one colour are formed, 
 the chalk and the grinding-ftone fhould be well 
 fcraped and cleanfed with water before it is ufed 
 for another colour. 
 
 When 
 
THE ARTIST’S ASSISTANT. 137 
 
 When the fet of crayons is compleated according 
 to the rules prefcribed, they fhould be arranged in 
 claffes for the convenience of painting with them. 
 Some thin drawers, divided into a number of par- 
 titions, is the moll; convenient method of difpofing 
 them properly. The crayons fhould be depofited 
 according to the feveral gradations of light. The 
 bottom of the partitions mult be covered with bran, 
 as a bed for the colours, becaufe it not only preferves 
 them clean, but prevents their breaking. 
 
 The box made ufe of when the fludent paints, 
 fhould be about a foot fquare, with nine partitions. 
 In the upper corner, on the left hand (fuppofmg the 
 box to be in the lap when he paints) let him place 
 the black and grey crayons, thofe being the moftfel- 
 dom ufed ; in the fecond partition, the blues ; in the 
 third, the greens and browns ; in the fift partition 
 on the left hand of the fecond row, the carmines, 
 lakes, vermillions, and all deep reds ; the yellows 
 and orange in the middle, and the pearly teints 
 next; and as thefe lad are of a very delicate nature, 
 they mull be kept very clean, that the gradations of 
 colour may be eafily diftinguifhed : In the lowed; 
 row, let the firft partition contain a piece of fine 
 linen rag to wipe the crayons with while they are 
 ufing; the fecond, all the pure lake and Vermil- 
 lion teints ; and the other partition may contain 
 thofe teints, which, from their complex nature, 
 cannot be clafled with any of the former. 
 
 s 
 
 For 
 
138 THE ARTIST’S ASSISTANT. 
 
 For ENAMEL GROUNDS. 
 
 r J~ , HE matter of the enamel mud be firft finely le- 
 vigated and fearced : and the body to be enamel- 
 led fhould be made perfedly clean. The enamel 
 mud be then laid on as even as poflible by a brufh or 
 pencil, being firft tempered with oil of fpike ; and 
 the diftance of time betwixt the laying on the 
 ground and burning the piece fhould not be too 
 great; becaufe the oil will exhale, and leave the 
 matter of the enamel a dry incohering powder ; 
 which will be liable to be rubbed or fhaken off by 
 the leaft violence. This is the common method ; 
 but there is a much better way of managing this 
 part of the work by means of a fearce ; in which 
 the enamel is fpread with very little trouble, and 
 the greateft part of the oil of fpike faved. The 
 method of performing this is, to rub the furface to 
 be enamelled over with oil of fpike ; and then, 
 being laid on a fheet of paper, or piece of leather, 
 to fave that part of the enamel which does not fall 
 on a ptoper objeff, to fearce the matter upon the 
 oiled furface till it lie of a proper thicknels. But 
 great care muft be taken in this method of proceed- 
 ing, not to fhake or move too forcibly the pieces of 
 work thus covered with the powdered enamel. 
 
 It is ufual to add oil of turpentine to the oils of 
 fpike or lavender, in order to make them go fur- 
 ther, and fave the expence attending the free ufe of 
 them ; and others add alfo a little olive or linfeed 
 oil, or fome, in the place of them, crude turpen- 
 tine, The ufe of the fpirit of turpentine is very 
 allowable ; for it is the lame for this purpofe as the 
 
 oils 
 
THE ARTIST’s ASSISTANT. 139 
 
 oils of fpike or lavender, except that it wants the 
 glutinous quality which makes them ferviceable in 
 fpreading the enamel. But with refpeft to the ufe 
 of the oils of olive and linfeed, or any other fub- 
 ftantial oil, it is very detrimental : tending to re- 
 duce the metalline calxes ; and leaving a fmall pro- 
 portion of black coal or afhes, which mull necelfa- 
 rily injure the white colour of the ground. 
 
 When plates, as in the cafe of pi&ures, dial- 
 plates, &c. are to be enamelled, they fhould always 
 be made convex on the outfide, and concave within ; 
 and all pieces of enamel, formed of metal, where the 
 figure does not admit of their being thick and folid, 
 fhould be of the fame kind or form. Otherwife 
 they will be very apt to warp in the heat, and can- 
 not be brought flraight, after they are taken out of 
 the fire, without cracking the enamel. For this 
 reafon, likewife, it is proper to enamel the work all 
 over, as well on the wrong as right Tides, to pre- 
 vent the heat from calcining the metal ; which 
 would both contribute to its warping, and weaken 
 the texture of it. 
 
 The enamel being laid on the body to be enamel- 
 led, when the fixt muffle is ufed, the piece muff be 
 gently lifted on to the falfe bottom; and put in 
 that (late into the muffle fixt in a furnace, by thru fl- 
 ing the falfe bottom into it as far as it will go. But 
 it is bed to defer this till the fire be perfe&ly in or- 
 der, which may be known by putting a bit of tile 
 or china with fome enamel on it of the fame tone 
 with that uled as a proof ; and another proof of the 
 fame kind may be alfo put along with the work into 
 the muffle ; which, being taken out, may fliew how 
 the operation proceeds. 
 
 S * 
 
 Pit-coal 
 
i 4 o THE ARTIST'S ASSISTANT. 
 
 Pit-coal may be ufed in the furnace, where enamel 
 is burnt with the fixt muffle, or in coffins ; which 
 is indeed one principal conveniency attending the 
 ■ufe of them; as it faves a confiderable expence of 
 charcoal. But where the open muffle is ufed, char- 
 coal alone fhould be employed ; as the fumes of mi- 
 neral coal are very detrimental to fome colours, and 
 deflrubtive of the grounds, if whitened by arfenic, 
 as the common white glafs. 
 
 The colours being prepared, they mull be reduced 
 to powder by due levigation, and waffling over, 
 where they are required to be extremely fine, and 
 there is no unvitrified fait in the mixture. They 
 mull then be tempered on a china or Dutch tile 
 with oil of fpike or lavender, to which mofl artifls 
 add likewife oil of turpentine ; and fome (but I 
 think erroneoufly, as I have before mentioned) a 
 little linfeed or olive oil, and in this flate they are 
 to be ufed as paint of any other kind. But it fhould 
 be avoided to mix more of the colours with the ef- 
 fential oils than will be immediately ufed ; becaufe 
 they dry away extremely fall, and would not only 
 be waited, but give a cohefion to the particles of the 
 colours, that would make them work lefs freely 
 when again diluted with oil. 
 
 The colours being thus laid on the pieces to be 
 painted, the proceeding mufl be in all refpebls the 
 fame as with the grounds, in whatever manner they 
 are to be burnt, either in the muffles or coffins. 
 But greater nicety mufl be obferved with refpebl to 
 the fire, as the effebls of any error in that point 
 are of much greater confequence in the burning 
 the colours than the grounds ; efpecially if the 
 
 ■white 
 
THE ARTIST’S ASSISTANT. t 4 t 
 white of the grounds be formed from the calx of 
 tin or antimony, and not arfenic. 
 
 Pit-coal, as was above obferved, may be employed 
 for burning as well the colours as the grounds, where 
 the muffle or coffins are ufed ; or any other method 
 purfued that wholly hinders the fmoke and fumes 
 from having any accels to the enamel. 
 
 Of ENAMEL PAINTING. 
 
 "C* N AME L painting differs from all other kinds, 
 in the vehicle employed for the colours (to hold 
 the parts together, and bind them to the ground they 
 are laid upon) ; this is glafs or fome vitreous body, 
 which being mixed with the colours, and fufed, or 
 melted, by means of heat, becomes fluid; and hav- 
 ing incorporated with the colours in that ftate, forms 
 together with them, a hard mafs when grown cold. 
 It anfwers, therefore, the fame end in this, as oil, 
 gum-water, flze, or varnifh, in the other kinds of 
 painting. 
 
 The glafs or vitreous body, applied to this purpofe 
 of mixing with the colours, in order to bind them to 
 the grounds, is called a flux ; and makes one of the 
 principal fubftances ufed in enamel painting. When 
 this flux is eafily fufible, that is to fay, melts with a 
 lefs degree of heat, it is, in the ftile of thofe who work 
 in enamel faid to be foft, and when it is reluftant to 
 melt, and requires a greater degree of heat, it is called 
 hard. Thele terms are as well applied to the matter 
 of the enamel grounds, and all other vitreous fub- 
 ftances concerned, as to the fluxes. It is, in general, a 
 
 perfection 
 
142 THE ARTIST’S ASSISTANT. 
 
 perfe&ion of the flux to be foft, or run eafily into 
 fufion. But the great point, with refpeft to this par- 
 ticular, is, that when feveral mixtures of colours and 
 fluxes are ufed at the fame time, they fhould all cor- 
 refpond to each other in the degree of this quality. 
 Otherwife fome would be rendered too fluid, and 
 perhaps run the matter of the enamel ground into 
 fufion, and mix with it, while others remained folid 
 and infufficiently fufed themfelves. It is always 
 neceffary, likewife, that the enamel of the ground 
 fhould be confiderably harder than the mixtures for 
 the colours; for if they both melt with the fame de- 
 gree of heat, they will neceffarily run together. 
 
 It being requifite that the body painted in enamel 
 fhould undergo a heat fufficient to melt foft glafs, the 
 matter offuch body can only be gold, fllver, copper, 
 porcelean, or china-ware, hard glafs, and earthen- 
 ware. And where the metals are ufed, if the paint- 
 ing be of the nature of a pifture, or demand a vari- 
 ety of colours, it is neceflary that a ground of white, 
 or fome other colour, fhould be laid on the metal ; the 
 body of which ground mud neceffarily be of the fame 
 vitreous nature as the flux, but harder. As nothing 
 elle can endure fo great a heat that is capable of in- 
 corporating with, and binding the matter of the 
 white, or other colour, to the furface of the metal, 
 i he ground, therefore, makes another principal fub- 
 ftance ufed in enamel painting. 
 
 The third fubftance is the colour, which muff 
 likewife be a body capable of fuffering the heat of 
 melted glafs ; and fuch as will either itfelf be con-, 
 verted into glafs, or kindly incorporate with it, in a 
 melted ffate. This, of courfe, confines the matter of 
 fuch colour to metals, earths, or other mineral bodies; 
 
 all 
 
THE ARTIST’S ASSISTANT. 143 
 
 all vegetable and animal fubftances being calcined 
 and analized, with a lefs degree of heat than the low- 
 ed: fufficient to work enamel. 
 
 The fourth kind of fubftance is what I fhall call 
 the fecondary vehicle ; which is, fome fluid body for 
 laying on the ground, and working with the pencil, 
 the flux and colours when mixt together; fince, as 
 they form only a dry powder, they could not be ufed 
 as paint without fome fuch medium. But as this is 
 to ferve only for fpreading and laying on the matter 
 of the enamel, and not, like other vehicles, to aflift 
 in holding the colours together, and binding them 
 to the ground (that being in this kind of painting 
 the office of the flux) it is neceflary, that it fhould be 
 fome fuch fubftance as will evaporate and dry away 
 without leaving any part behind. As it would 
 otherwife be heterogeneous matter, with regard to 
 the enamel ; and confequently injurious to it. Effen- 
 tial oils have been, therefore ufed for this purpofe, 
 as they have the quality of wholly drying away on 
 the firft approach of heat, together with a flight unc- 
 tuolity, which renders them capable of making the 
 matter of the enamel work properly with the pencil. 
 
 The preparation of thefe feveral fubftances have 
 been in a great meafure monopolized by theVentians, 
 except what were prepared at Drefden, fince the 
 eftabliffiment of the china manufactories. The few 
 others who have had any knowledge of this matter, 
 have praCtifed the preparing only fome kinds ; and 
 even at prefent, there are, perhaps, none in this 
 country, who make more than a fmall part of the va- 
 riety neceflary. For though many poffefs the know- 
 ledge of fome particular articles, yet they are ignorant 
 with regard to others, which are again, perhaps 
 
 known 
 
144 THE ARTIST’S ASSISTANT. 
 
 known to thofe who are ignorant of thefe. As there 
 has been hitherto no means afforded to the praCtifers 
 of it. of learning the particulars of this art in a fvffem, 
 and a deeper knowledge of the principles and prac- 
 tice of chemiffry is requifite to the attaining it. with- 
 out being taught, than could well fall to the fhare of 
 painters, or other artifts, I (hall, therefore, be more 
 minute in my inftru&ions for the making the feveral 
 kinds of the grounds, fluxes, and colours ; in order 
 that they who are concerned in, or may be defirons 
 to apply themfelves to the art of painting in enamel, 
 which is now become the bafis of a confiderable 
 manufacture in this country, may furnifh themfelves 
 with whatever is neccffary in its greateft perfection. 
 
 Befides the knowledge of the preparation of the 
 above fubftances, and of that part of the art of ufing 
 them, which belongs to painters in general, there 
 is another requifite. This is the burning, as it is 
 called, the grounds, in order to forming them on the 
 body to be painted, or enamelled ; as alfo the co- 
 lours with the fluxes after they are laid on the 
 grounds. What is meant by burning, is the giving 
 fuch a heat to the matter, when laid on the body to 
 be painted, as will fufe or melt it ; and confequently 
 give to the flux, or vitreous part of the compolition, 
 the proper qualities of a vehicle for binding the 
 colours to the ground, and holding the parts tpgether. 
 As this requires a particular apparatus, I fhall en- 
 deavour to fhew the method of conftrufting it in the 
 moft expeditious and eafy manner ; and give fuch 
 cautions for the conduCt of the operation, both for 
 burning the grounds and painting, as may belt teach 
 thofe, who are lefs experienced in it, to attain to per- 
 fection in this art. It cannot be expefted, neverthe- 
 less? 
 
THE ARTIST’S ASSISTANT. 145 
 
 lefs, confidering the nicety of the fubjetS, fuch direc- 
 tions can be given, as will infure fuccefs in the firft 
 trials, with regard to feveral of the proceffes, or 
 even the general operations ; but whoever will make 
 themfelves mailers of the principles on which they 
 depend, which are all along intimated, will eafily be 
 able to correft their own errors. 
 
 A judgment formed by fomc little experience, is 
 likewife requifite for the preparing well the colours 
 with certainty. For as different parcels of the fame 
 (ubflance vary frequently in their qualities, with 
 regard to the degree or proportion, it is neceffary to 
 make allowance accordingly in the proportion of 
 the quantities in the mixtures. This cannot be done 
 till fome little previous trial be made; and the power 
 of judging of them be gained by an experimental 
 acquaintance with them. But as the materials in ge- 
 neral are very cheap, and the experiments may be 
 made in the fame fire where aflual bufinefs is done ; 
 whoever would excel in the art of preparing and 
 ufing enamels, fhould take a confiderable fcope of 
 experimental enquiry into the effett of all the various 
 proportions and commixtures of the fubftances ufed. 
 
 Of the Sulft antes ufed for forming Fluxes . 
 
 Minum, or red lead, is ufed as a fluxing body, for 
 forming the enamel for grounds ; as alfo in com- 
 pounding fluxes for the colours. It requires no pre- 
 paration for thefe- purpofes ; only it is proper it 
 fhould be pure ; which may be known by the me- 
 thod before given, page 47. This flux renders the 
 enamel foft ; but producing fome proportion of yel- 
 low colour, is not fit for all ufes. 
 
 Fixt alkaline fait of vegetables, is fometime ufed 
 alfo, in forming the mixture for enamel grounds; as 
 T likewife 
 
146 THE ARTIST’S ASSISTANT. 
 
 likewife in fome competitions of flaxes for the 
 colours. It makes a lefs foft enamel than the lead, 
 but is free from yellow, or any other colour ; and 
 therefore proper for fome purpofes. 
 
 Borax is a fait of very peculiar qualities ; amongft 
 which, is that of promoting vitrification, and the 
 fufion of any glafs when vitrified, in a greater degree 
 than any other fubftance known ; on which account 
 it is of the greateft confequence, in forming fluxes 
 for enamel. It requires, neverthelefs, either to be 
 previoufly calcined or brought to a vitreous flate, 
 which it fuffers from the application of moderate 
 heat alone ; and it muft alio be finely powdered 
 before it be mixed with other ingredients in fluxes. 
 Its ufe is not much known in common practice ; 
 though of the greateft confeqUence to the art of 
 enamelling. As not only a fet of fofter colours may 
 be produced by the aid of it, than can be other- 
 wife had *, but the degree of each may be brought 
 to correfpond, by the employing it in different pro- 
 portions, according to the refpe&ive hardnefs of the 
 other ingredients, which differ fo much, as not to 
 be regulated juftly by any other means. 
 
 Common fait may be alfo ufed as a flux in ena- 
 melling, particularly where there is occafion for 
 glazings : as it is not only extremely fluid, and free 
 of tenacity when ufed, but alfo lefs fubjeft to crack 
 than any other vitreous body whatever. But for 
 fluxes for grounds and colours in enamel, it is not 
 frequently neceffary to multiply ingredients, as the 
 above three lubftances may, when properly applied, 
 fufficiently anfwer moft purpofes. The fame reafon- 
 ing extends to nitre and arfenic ; which, though 
 they have the qualities of fluxes, poffefs yet along with 
 
 them 
 
THE ARTIST’S ASSISTANT. i 47 
 
 them fuch others, with refpe£l to their effcfl on fe- 
 veral of the fubftances that compofe the colours, as 
 renders the methods of ufing them difficult and 
 complex. 
 
 Of the fuljlances ufed for forming the lody of enamel , 
 or fluxes. 
 
 White fand is ufed as a body for the fluxes and 
 grounds of enamel : it ffiould be reduced previoufly 
 to an impalpable powder, in order that it may be 
 mixed more intimately with the other ingredients ; 
 which not only accelerates the vitrification, but 
 renders the glafs much more perfett. The kind of 
 fand proper for this purpofe, is that brought from 
 I.ynn, in Norfolk, and called by the name of that 
 place. 
 
 Flints are ufed for the fame purpofe as the white 
 fand ; and it is proper to ufe them, when that can- 
 not be procured of the right kind. They require to 
 be calcined before they are applied to any purpofe 
 of vitrification. This is to be done, by putting them 
 into any fire, and continuing them there till the 
 whole fub fiance become white ; when they muft 
 be taken out ; and, while in their full heat, im- 
 merfed in cold water, and kept there for fome time. 
 By fuch treatment, they will be rendered of a very 
 brittle and calcarious texture, and very eafy to be 
 powdered ; which muft be done to a perfeft degree, 
 for the reafon above given. Where fmall quantities 
 of the matter of any kind of enamel is to be pre- 
 pared, calcined flints are preferable to fand; as they 
 are much more eafily reduced to an impalpable pow- 
 der*, and the trouble of the previous calcination is 
 very little. 
 
 Tz 
 
 There 
 
1 4 8 THE AETIST’s ASSISTANT, 
 
 There is a fort of ft one, Which the French call 
 milon, that forms the upper cruft, and lies round 
 the free-ftone in mod quarries. This ftone will lofe 
 its tenacity in a moderate fire, and, when calcined, 
 runs much fooner into vitrification than either flints 
 or fand. It is therefore, when it can be obtained, a 
 better matter for the body of ’fluxes or foft enamel, 
 than either of the other. It will, with tile Tame 
 proportion of the fluxing ingredients, make a much 
 fofterflux; or, it otherwife admits of the diminu- 
 tion of the proportion of fome of them ; which, 
 for many experimental reafons, is in certain cafes an 
 advantage. 
 
 Of the fuhflances nfed for producing a white colour in enamel , 
 for forming the grounds. 
 
 Putty, or calcined tin, is ufed as a body of colour 
 for the enamel grounds. As tin is very troublefome 
 in calcination, requiring a long continuance of fire, 
 and to be fpread into a very thin furface, it is much 
 the beft way to procure it for the purpofes of enamel- 
 ling ready calcined, of thofe who make it their 
 proper bufinefs to calcine it, for the ufe of' lapida- 
 ries, and other artifls who ufe it. for they have 
 large furnaces, fitly conftru&ed for performing that 
 operation in large quantities, and can consequently 
 afford it much cheaper than it can be prepared in 
 fmall quantities; befides the fparing the trouble. It 
 muft be demanded of them by the name of putty ; 
 and care muft be taken that it be not fophifticated, 
 which it feldom fails to be before it comes out of 
 their hands for common purpofes. The fophiftica- 
 tion, which is generally by chalk, lime, or fome 
 fuch white earth, may be thus diftinguifhed. Put 
 
THE ARTIST’S ASSISTANT. 149 
 
 the putty into a crucible with fome tallow or other 
 greafe; and give it the heat of fufion, or what is 
 fufficient to melt it ; fupplying the greafe in frefh 
 quantities as it burns away, till the calcined tin ap- 
 pears to have regained its metallic flate. Suffer then 
 the remainder of the greafe to burn away, and the 
 chalk or earth, if any were mixed with it, will be 
 found fwimming on the furface of the metal ; to 
 which however the afhes of the greafe mull be fup- 
 pofed to have added fome little quantity. There is, 
 neverthelefs, another body, with which the putty or 
 calx of tin may be adulterated, that will not difco- 
 ver itfelf by this method of redu£lion of the tin. 
 It is white lead, which, in this manner of treatment, 
 would run into fufion, and mix with the tin : and 
 could therefore not be diflinguifhed from it. But it 
 may be eafily rendered perceptible by another man- 
 ner of proceeding *, which is, to take the putty fuf- 
 pe£ted to be adulterated with it, and having put it 
 into a crucible, without any admixture, and invert- 
 ed another crucible over it, as a cover, to give it a 
 moderate heat, carefully avoiding that the fmoke or 
 coal of the fire may have any accefs to it to change 
 its colour. If there be any white lead mixed with 
 the putty, it will fhew itfelf, when removed from 
 the fire, and become cold in a yellow or brown co- 
 lour. If no fuch colour fupervene, but the putty 
 appear equally white as before it was heated, a con- 
 clufion may be fafely made, that it was not adulte- 
 rated by white lead; or that, if fophifticated at all, 
 it mud be by fome white earth, which may be made 
 perceptible by the reduction of tin in the manner 
 before mentioned. 
 
 Ultramarine 
 
150 THE ARTIST’S ASSISTANT. 
 
 Ultramarine (the preparation of which we have 
 before given) is ufed in enamel, where very bright 
 blues of a lighter teint are wanted ; and fometimes 
 indeed, in other cafes, by thofe who do not under- 
 stand the right ufe of zaffer and fmalt. But there 
 are few indances where zaffer, when perfeftly good, 
 fluxed with borax and a little calcined flint, or Ve- 
 netian glafs, to take off the fuhble quality of the 
 borax, will not equally well anfwer with the bell; 
 ultramarine, dhe ultramarine requires no prepara- 
 tion when ufed in enamel painting, pfevioufly to its 
 being mixt with the proper flux, and what relates to 
 its general qualities, and the means of diftinguifhing 
 its goodnefs or genuinenefs, we have, along with its 
 preparation, before taught, p. 54, and the following : 
 Ultramarine afhes are ufed, where light femi-tranf- 
 -parent blues are wanted. But they are fo frequently 
 adulterated with precipitations of copper, which, of 
 coorfe, turn green on fluxing, that it is very neceffary 
 to be cautious, in the ufe of any parcel not previ- 
 oufly tried. 
 
 Zaffer is ufed for producing blue, green, purple, 
 and black colours in enamel. It is an earth, obtain- 
 ed by calcining a kind of done, called cobalt ; and 
 when it is mixed with any kind of vitreous bodies, 
 it vitrifies, at the fame time affuming a ftrong blue 
 colour; but for the moPc part verging to the purple. 
 It is to be had in a date proper for ufe, of thofe co- 
 lourmen who make it their particular budnefs to 
 fupply the glafs-makers with colours. The goodnefs 
 of zaffer can fcarcely be known but by an aftual 
 trial of it ; and comparing the effeft of it with that 
 of feme other known to be good, and ufed in the 
 lame proportion. 
 
 Magneda 
 
THE ARTIST’S ASSISTANT. i 5 , 
 
 Magnefia is an earth, which, when fluxed with 
 any vitreous body, produces a broken crimfon, or 
 foul rofe colour. It is^to be had, prepared fit for 
 ufe, except a more perfeft levigation, from thofe 
 who fell colours to the glafs-makers. It is ufeful not 
 only for fome purpofes as a red, but for the feveral 
 compofitions for black, purple, and fome browns. 
 The goodnefs of the magnefia muff be determined, 
 by the fame means as that of zaflfcr. 
 
 Smalt is, as before mentioned, zaffer vitrified with 
 proper additions; which are generally fixt alkaline 
 falts and fands, or calcined flints, which are fome- 
 times ufed as a blue in enamel. But being hard, it 
 requires, for fuch purpofes, to be ufed with a flux, 
 which increafing the body of glafs in too great a 
 proportion for the tinge, is apt to dilute the colour 
 too much, where great force is wanted ; therefore 
 the ufe of the zaffer itfelf is in moil cafes preferable. 
 There have neverthelefs been, as was above obferved, 
 fome parcels of fmalt, or vitrified calx of cobalt, 
 brought from Saxony, which are of an extreme 
 ftrong body of colour, and will bear any proportion 
 of flux neceffary to render them as foft as my be re- 
 quired, without weakening the colour too much, for 
 any purpofe. Common fmalt, however, ground very 
 fine, and mixt with a fourth part of its weight of 
 borax (which is much the mod powerful and kind- 
 ly flux for zaffer) will run pretty well, and may be 
 ufed where either a full colour is not demanded, 
 or where the work will admit of the colours being 
 laid on thick. The goodnefs of fmalt may be judged 
 of by its bright and deep colour; and the lefs it in- 
 clines to the purple the better. In order to judge 
 of the flrength of the colour, the fmalt fhould be 
 
 reduced 
 
i 5 a- THE ARTIST’S ASSISTANT. 
 
 reduced to a fine powder : for in a gr offer ftate, every 
 degree of finenefs renders it fo different, that a judg- 
 ment cannot be eafily formed of it. Smalt is to be 
 had of all colourmen, and is not fubjett to any adul- 
 terations, which would not be obvious on infpe&ion. 
 
 Gold is ufed in enamel to produce a crimfon or 
 ruby colour ; which, by the miftaken fenfe of the 
 Latin word purpureus, has been called purple by all 
 the Englifh and French writers. It muft be previ- 
 oufly reduced to the ftate of a precipitated powder, 
 by diffolving in aqua regia *, and making a precipi- 
 tation by means of tin, fixt alkaline fait, or fome 
 other metallic, or alkaline body. 
 
 Silver is ufed for producing a yellow colour in 
 enamel. It muft be previoufly reduced to the ftate 
 of a powder ; which may be done either by pre- 
 cipitation from fpirit of nitre, or by calcination 
 with fulphur. The precipitation of filver from fpi- 
 rit of nitre, may be performed by diffolving an ounce 
 of filver, in two or three ounces of fpirit of nitre ; 
 and precipitating and edulcorating it. 
 
 Copper is ufed in enamel painting, for the form- 
 ing, green, blue, and red colours ; but it muft be 
 previoufly either calcined, or reduced to the ftate of 
 a powder by precipitation. 
 
 Iron is ufed to produce on orange red, or foul 
 fcarlet colour in enamel ; as alfo a tranfparent yel- 
 low ; and to aflift, likewrfe, in the formation of 
 greens, and other compound colours. It is prepared 
 many ways, both by corrofion and precipitation ; 
 fome of which indeed make a real difference, but 
 moft of them lead to the fame end. 
 
 Antimony is ufed for producing a yellow colour 
 in enamel, as well as the white before mentioned ; 
 
 and 
 
THE ARTIST’S ASSISTANT. i 53 
 
 and indeed, it is the mod. ufeful, and mod ufed of 
 any fubdance whatever for that purpofe. It is pre- 
 pared only by levigation ; to which its texture, not- 
 withdanding its being a femi-metal, very well fuits. 
 
 Glafs of antimony is alfo ufed fometimes, in enamel 
 painting ; being itfelf a fine tranfparent orange 
 colour. But as it wants body, it has no great effect 
 but in compofitions. 
 
 Orpiment has been alfo ufed in enamel for pro- 
 ducing a yellow colour; but it is very tender with 
 regard to the fire, and requires fo foft a dux, while, 
 at the fame time, antimony, properly managed, will 
 fo well fupply the place of it, that it is rarely ufed. 
 
 Powdered bricks have been alfo ufed for com- 
 pounding yellow colours in enamel ; but as they a£b 
 only in confequence of the oker they contain, they 
 are certainly inferior to the prepared okers we have 
 given. 
 
 The mod aftive dux amongft falts is borax ; which, 
 indeed, pofiedes this power in the greated degree hi- 
 therto known of any fimple whatever. The next is 
 lead ; which vitrifies with a very moderate degree 
 of heat, and afiimilates to glafs with itfelf, not only 
 many kinds of earth, but all metals and femi-metals ; 
 except gold and filver in their entire date. Arfenic 
 is the next powerful dux, only it requires to be 
 fixed, by conjoining it with fome other body al- 
 ready vitrified ; otherwife it fublimes and dies away 
 before it arrives at the vitrefaclive heat. The feve- 
 ral kinds of falts have the next degree of duxing 
 power ; and among them fea fait poffefifes the great- 
 ed. But they are not fudiciently drong themfelves 
 to form an enamel flux foft enough to be ufed in. 
 painting. Though, as they are colourlefs, which 
 U is 
 
154 THE ARTIST’s ASSISTANT. 
 
 is not the cafe of vitrified lead, they are very ne- 
 deffary to be compounded with lead ; or ufed in its 
 place, a {Tided by borax, where abfence of every de- 
 gree of colour is neceflary in the flux. 
 
 PAINTING upon GLASS. 
 
 r jp H E antient manner of painting upon glafs was 
 very fimpie, and confequently very eafy ; it con- 
 flfted in the mere arrangement of pieces of glafs of 
 different colours in fome fort of fymmetry, and 
 conffituted what is now called Mofaic work. 
 
 In procefs of time they came to attempt more re- 
 gular defigns, and alfo to reprefent figures heightened 
 with all their fhades : Yet they proceeded no farther 
 than the contours of the figures in black with water- 
 colours, and hatching the draperies after the fame 
 manner, on glaffes of the colour of the objeft they 
 defigned to paint. For the carnation, they ufed glafs 
 ©f a bright red colour ; and upon this they drew the 
 principal lineaments of the face, &c. with black. 
 
 But in time, the tafle for this fort of painting im- 
 proving confiderably, and the art being found appli- 
 cable to the adorning of churches, &c. they found 
 out means of incorporating the colours in the glafs it- 
 felf, by heating them in the fire to a proper degree ; 
 having firft laid on the colours. 
 
 The colours uled in painting or fbaining of glafs, 
 are very different from thofe ufed in painting either 
 in water or oil colours. 
 
 For black, take feales of iron, one ounce ; fealesof 
 copper, one ounce ; jet, half an ounce ; reduce them. 
 
 to 
 
THE ARTIST’S ASSISTANT. i 55 
 
 to powder, and mix them. For blue, take powder 
 of blue, one pound ; fal nitre, half a pound ; mix 
 them and grind them well together. For carnation, 
 take red chalk, eight ounces ; iron feales and litharge 
 of filver, of each two ounces ; gum arabic, half an 
 ounce ; diffolve in water ; grind all together for half 
 an hour as Itiff as you can ; then put it in a glafs and 
 ftir it well, and let it hand to fettle fourteen days. 
 For green, take red lead, one pound ; feales of copper, 
 one pound; and flint, five pounds; divide them 
 into three parts; and add to them as much fal nitre ; 
 put them into a crucible, and melt them with a ftrong 
 fire ; and when it is cold, powder it, and grind it on 
 a porphyry. For gold colour, take filver, an ounce; 
 antimony half an ounce; melt them in a crucible ; 
 then pound the mafs to powder, and grind it on a 
 copper-plate ; add to it yellow oker, or brick dull 
 calcined again, fifteen ounces; and grind them well 
 together with water. For purple, take minum, one 
 pound; brown flone, one pound; white flint, five 
 pounds ; divide them into three parts, and add to 
 them as much fal nitre as one of thefe parts ; calcine, 
 melt, and grind it as you did the green. For red, 
 take jet, four ounces ; litharge of filver, two ounces ; 
 red chalk, one ounce ; powder them fine, and mix 
 them. For white take jet, two parts ; white flint, 
 ground on a glafs very fine, one part ; mix them. 
 For yellow take Spanifh brown, ten parts; leaf filver, 
 one part; antimony, half a part; put all into a cru- 
 cible, and calcine them well. 
 
 Thofe beautiful works which were made in the 
 glafs-houfes were of two kinds. In fome, the colour 
 was diffufed through the whole fubftance of the 
 glafs. In others, which were the more common, the 
 U 2 colour 
 
i 5 6 THE ARTIST’S ASSISTANT. 
 
 colour was only on one fide, fcarce penetrating with- 
 in the fubdance above one third of a line ; though this 
 was more or lefs according to the nature of the co- 
 lour; the yellow being always found to enter the 
 deeped. Thefe lad, though not fo drong and beautiful 
 as the former were of more advantage to the work- 
 men, by reafon that on the fame glafs, though already 
 coloured, they could fhew other kind of colours, 
 where there was occafion to embroider draperies, 
 enrich them with foliages, or reprefent other orna- 
 ments of gold, filver, &c. 
 
 In order to this, they made ufe of emery, grinding 
 or wearing down the furface of the glafs, till fuch 
 time as they were got through the colour to the clear 
 glafs. This done, they applied the proper colours 
 on the other fide of the glafs. By this means, the 
 new colours were hindered from running and mix- 
 ing with the former, when they expofed the glades 
 to the fire. 
 
 When indeed the ornaments were to appear white, 
 the glafs was only bared of its colour with emery, 
 without tinging the place with any colour at all, 
 and this was the manner by which they wrought 
 their lights and heightenings on all kinds of colour. 
 
 The firft thing to be done, in order to paint, or 
 dain glafs, in the modern way, is to defign, and even 
 colour the whole fubjeft on paper. Then they chufe 
 fuch pieces of glafs as are clear, even, and fmooth, 
 and proper to receive the feveral parts, and proceed 
 to didribute the defign itfelf, or papers it is drawn 
 on, into pieces fuitable to thofeof the glafs ; always 
 taking care that the glades may join in the contours 
 of the figures, andthe foldsof the draperies ; that the 
 carnations, and other finer parts may not be impaired 
 
 b 7 
 
THE ARTIST’S ASSISTANT. t 57 
 
 by the lead with which the pieces are to be joined 
 together. The dillribution being made, they mark 
 all the glades as well as papers, that they may be 
 known again: which done, applying every part of 
 the defign upon the glafs intended for it, they copy 
 or transfer, the defign upon this glafs with the black 
 colour diluted in gum water, by tracing and follow- 
 ing all the lines and ftrokes as they appear through 
 the glafs, with the point of a pencil. 
 
 When thefe ftrokes are well dried, which will 
 happen in about two clays, the work being only in 
 black and white, they give a flight wafh over with 
 urine, gum arabic, and a little black : and repeat it 
 feveral times, according as the fhades are defired to 
 be heightened, with this precaution, never to apply 
 a new walh till the former is fufficiently dried. 
 
 This done, the lights and rifings are given by 
 rubbing off the colour in the refpeftive places with 
 a wooden point, or the handle of a pencil. 
 
 As to the other colours abovementioned, they are 
 ufed with gum water, much as in painting in mi- 
 niature ; taking care to apply them lightly for fear 
 of effacing the outlines of the defign ; or even, for 
 the greater fecurity, to apply them on the other 
 fide ; efpecially yellow, which is very pernicous to 
 the other colours, by blending therewith. And 
 here too, as in pieces of black and white, particu- 
 lar regard mull: always be had not to lay colour on 
 colour, or lay on a new lay, till fuch time as the 
 former are well dried. 
 
 It may be added, that the yellow is the only co- 
 lour that penetrates through the glafs, and incorpo- 
 rates therewith by the fire ; the reft, and particu- 
 larly the blue, which is very difficult to ufe, re- 
 maining 
 
158 THE ARTIST’s ASSISTANT.' 
 
 mainingon the futface, or at lead entering verv lit- 
 tle. When the painting of all the pieces is finilhed, 
 they are carried to the furnace, or oven, to anneal, 
 or bake the colours. 
 
 The furnace here ufed is fmall, built of brick, 
 from eighteen to thirty inches fquare ; at fix inches 
 from the bottom is an aperture to putin the fuel, and 
 maintain the fire. Over this aperture is a grate, 
 made of three-fquare bars of iron, which traverfe 
 the furnace, and divide it into two parts. Two 
 inches above this partition, is another little aper- 
 ture, through which they take out pieces to exa- 
 mine how the coftion goes forward. On the grate 
 is placed a fquare earthen pan, fix or feven inches 
 deep ; and five or fix inches lefs everyway than the 
 perimeter or the furnace. On the one fide hereof is 
 a little aperture, through which to make trials, 
 placed direftly oppofite to that of the furnaces def- 
 tined for the fame end. In this pan are the pieces 
 of glafs to be placed in the following manner: Firft, 
 the bottom of the pan is covered with three ftrata, 
 or layers, of quick lime pulverized ; thofe flrata 
 being feparated by two others of old broken glafs, 
 the defign whereof is to fecure the painted glafs 
 from the too intenfe heat of the fire. This done, 
 the glaffes are laid horizontally on the lafl or upper- 
 moft layer of lime. 
 
 The firfh row of glafs they cover over with a 
 layer of the fame powder, an inch deep ; and over 
 this they lay another range of glaffes, and thus al- 
 ternately till the pan is quite full; taking care that 
 the whole heap always end with a layer of the lime 
 powder. 
 
 The 
 
THE ARTIST’S ASSISTANT. 159 
 
 The pan being thus prepared, they cover up the 
 furnace with tiles, on a fquare table of earthenware, 
 clofely luted all round; only leaving five little aper- 
 tures, one at each corner, and another in the mid- 
 dle, to ferve as chimnies. Things thus difpofed, 
 there remains nothing but to give the fire to the 
 work. The fire for the firfl two hours muff be very 
 moderate, and mufl be increafed in proportion as 
 the co&ion advances, for the fpaceof tenor twelve 
 hours ; in which time it is ufually compleated. At 
 laft the fire, which at firft was charcoal, is to be 
 of dry wood, fo that the flame covers the whole pan, 
 and e.v.en iffues out at the chimneys. 
 
 During the laft hours, they make effays, from 
 time to time, by taking out pieces laid for the pur- 
 purpofe, through the little aperture of the furnace 
 and pan, to fee whether the yellow be perfeft, and 
 the other colours in good order. When the an- 
 nealing is thought fufficient, they proceed with great 
 hafle to extinguifh the fire, which otherwife would 
 foon burn the colours, and break the glades. 
 
 Of JAPANNING. 
 
 japanning is to be here underflood the art of 
 covering bodies by grounds of opake colours 
 invarnifh; which maybe either afterwards deco- 
 rated by paintings or gilding, or left in a plain, 
 date. This is not at prefent praftifed fo frequently 
 on chairs, tables and other furniture of houfes, ex- 
 cept tea waiters, as formerly. But the introduction of 
 it for ornamenting coaches, fnuff-boxes and fkreens, 
 
 in 
 
160 THE ARTIST’S ASSISTANT. 
 
 in which there is a rivalfhip betwixt ourfclves and 
 the French, renders the cultivation and propaga- 
 tion of this art of great importance to commerce. I 
 fhall therefore be more explicit in fhewing the me- 
 thods both now and formerly in ufe ; with the ap- 
 plication of each to the feveral purpofes to which 
 they are bell adapted; and point out, at the fame 
 time, feveral very material improvements, that are 
 at prefent enjoyed only by particular perfons ; or 
 not at all hitherto brought into practice. 
 
 The fubRances which admit of being japanned are 
 almoft every kind that are dry and rigid, and not too 
 flexible; as wood, metals, leather, and paper pre- 
 pared. 
 
 Wood and metals do not require any other prepa- 
 ration, but to have their furfaces perfeftly even 
 and clean. But leather fhould be fecurely Brain- 
 ed either on frames, or on boards ; as its bend- 
 ing, or forming folds, would otherwife crack and 
 force off the coats of varnifh. Paper alfo fhould 
 be treated in the fame manner, and'have a previous 
 ftrong coat of fome kind of lize ; but -it is rarely 
 made the fubjett of japanning till it is converted in- 
 to papier mache, or wrought by other means, into 
 fuch form, that its original Bate, particularly with 
 refpefl; to flexibility, is loff. 
 
 One principal variation in the manner of japan- 
 ning is, the ufing or omitting any priming or under 
 coat on the work to be japanned. In the older prac- 
 tice, fuch priming was always ufed ; and is at pre- 
 fent retained in the French manner of japanning 
 coaches and fnuff boxes of the papier mache. But 
 in the Birmingham manufacture, it has been always 
 rejected. The advantage of ufing fuch priming or 
 
 under 
 
THE ARTIST’S ASSISTANT. i6t 
 
 under coat is, that it makes a faving in the quantity 
 of varnifh ufed ; becaufe the matter of which the 
 priming is compofed fills up the inequalities of the 
 body to be varnifhed, and makes it eafy, by means of 
 rubbing and water-polifhing, to gain an even furface 
 for the varnifh. This was therefore fuch a conveni- 
 ence in the cafe of wood, as the giving a hardnefs 
 and firmncfs to the ground was alfo in the cafe of 
 leather, that it became an eflablifhed method ; and 
 is therefore retained, even in the infiance of the 
 papier mache, by the French, who applied the 
 received method of japanning to that kind of work 
 on its introduftion. There is, neverthelefs, this in- 
 convenience always attending the ufe of an under 
 coat of fize, that the japan coats of varnifh and co- 
 lour will fee conflantly liable to be cracked and 
 peeled off, by any violence, and will not endure 
 near fo long as the bodies japanned in the fame 
 manner, but without any fuch priming. This may 
 be eafily obferved in comparing the wear of the 
 Paris and Birmingham fnuff-boxes ; which latter, 
 when good of their kind, never peel or crack, or 
 fuffer any damage, unlefs by great violence, and 
 fuch a continued rubbing, as waftes away the fub- 
 flance of the varnifh ; while the japan coats of 
 the Parifian boxes crack and fly off in flakes, when- 
 ever any knock or fall, particularly near the 
 edges, expofes them to be injured. But the Bir- 
 mingham manufacturers, who originally praftifedthe 
 japanning only on metals, to which the reafon 
 above given for the ufe of priming did not extend, 
 and who took up this art of themfelves as an in- 
 yention, of courfe omitted at firft the ufe of any 
 fuch under coat ; and not finding it more neccffary 
 
 X in 
 
i6s THE ARTIST’S ASSISTANT. 
 
 in the inftance of papier mache, than on metal?, 
 continue Hill to rejeft it. On which account the 
 boxes of their manufafture are, with regard to the 
 wear, much better than the French. 
 
 The laying on the colours with varnifh inftead of 
 gum water, is alfo another variation from the me- 
 thod of japanning formerly pra&ifed. But the much 
 greater ftrength of the work, where they are laid 
 on in varnifh or oil, has occafioned this way to be 
 exploded, with the greateft reafon in all regular 
 manufa&ures. However, they who may pradlife ja- 
 panning on cabinets, or other fuch pieces, as are not 
 expofed to much wear or violence, for their amufe- 
 ment only, and confequently may not find it worth 
 their while to encumber themfeives with the prepa- 
 rations neceflary for the other methods, may paint 
 with water colours on an under coat laid on the wood, 
 or other fubflance, of which the piece to be japanned 
 is formed ; and then finifh with the proper coats of 
 varnifh, according to the methods below taught. II 
 the colours are tempered with the ftrongeft ifinglafs 
 fize and honey, inftead of gum water, and laid on 
 very flat and even, the work will not be much in- 
 ferior in appearance to that done by the other me- 
 thod ; and will laft as long as the common old japan 
 work, except the beft kinds of the true japan. 
 
 It is pra&ifed likewife, in imitation of what is 
 fometimes done in the Indian work, to paint with 
 water colours on grounds of gold ; in which cafe 
 the ifinglafs fize, with fugar-candy or honey, as 
 above direfted, is the beft vehicle. 
 
 Imitations are alfo made of japan work, by colour* 
 ing prints, gluing them to woodwork, and then giv- 
 ing them a fhining appearance, by the ufe of forne 
 while varnifh. 
 
 Of 
 
THE ARTIST’S ASSISTANT. 1.63 
 
 Of japan grounds. — The proper japan grounds 
 are either fuch as are formed by the varnifh and co- 
 lour, where the whole is to remain of one fimple 
 colour ; or by the varnifh either coloured, or with- 
 out colour, on which fome painting, or other deco- 
 ration, is afterwards to be laid. It is neceffary, 
 however, before I proceed to fpeak of the particular 
 grounds, to fhew the manner of laying on the priming 
 or under coat, where any fuch is ufed. 
 
 This priming is of the fame nature with that 
 called clear coating (or vulgarly clear coaling) prac- 
 tifed erroneoufly by the houfe-painters ; and con- 
 fifts only in laying on, and drying in the moft even 
 manner, a compofition of fize and whiting. The com- 
 mon fize has been generally ufed for thispurppfe; 
 but where the work is of a nicer kind, it is better 
 to employ the glovers or the parchment fize ; and if 
 a third of ifinglafs be added, it will be ftill better; 
 and if not laid on too thick, much lefs liable to peel 
 and crack. The work fhould be prepared for this 
 priming, by being well fmoothed with the fifh-fkin, or 
 glafs-fhaver ; and being made thoroughly clean, 
 fhould be brufhed over once or twice with hot fize, 
 diluted with two thirds of water, if it be of the 
 common flrength. The priming fhould then be laid 
 on with a brufh as even as polfible, and fhould 
 be formed of a fize, whofe confluence is betwixt 
 the common kind and glue, mixt with as much 
 whiting as will give it a fufficient body of colour to 
 hide the furface of whatever it is laid upon, but not 
 more. 
 
 If the furface be very even, on which the priming 
 is ufed, two coats of it laid on in this manner, will 
 be lutHcient ; but if, on trial with a fine wet rag, 
 X 2 it 
 
i6 4 THE ARTIST’S ASSISTANT. 
 
 it will not receive a proper water polifh, on account 
 of any inequalities, not fufficiently filled up and co- 
 vered, two or more coats mud be given if; and 
 whether a greater or lefs number be ufed, the work 
 fhould be fmoothed, after the laft coat but one is 
 dry, by rubbing it with Dutch rufhes. When the 
 laft coat is dry, the water polifh fhould be given, by 
 palling over every part of it with a fine rag gently 
 moiftened, till the whole appear perfe&ly plain 
 and even. The priming will then be corhpleated, 
 and the work ready to receive the painting, or co- 
 loured varnifh ; the reft of the proceedings are the 
 fame in this cafe as where no priming is ufed. 
 
 Of common grounds of varnifh, which are to be 
 painted upon.— Where wood or leather is to be ja- 
 panned, and no priming is ufed, thebeft preparation 
 is to lay two or three coats of coarfe varnifh com- 
 pofed in the following manner. 
 
 « Take of re&ified fpirit of wine one pint, and of 
 it coarfe feed-lac and refineach two ounces. Diffolve 
 a the feed-lac and refm in the fpirit; and then drain 
 “ off the varnifh.” 
 
 This varnifh as well as all others formed of fpirit 
 of wine, mud be laid on in a warm place ; and, if it 
 
 can be conveniently managed, the piece of work to 
 be varnifhed, fhould be made warm likewife, and for 
 the fame reafon, all dampnefs fhould be avoided ; for 
 either cold or moifture chill this kind of varnifh, 
 and prevent its taking proper hold of the fubftance 
 on which it is laid. 
 
 When the work is fo prepared, or by the priming 
 with the compofition of fize and whiting above de- 
 fcribed, the proper japan ground mud be laid on; 
 which is much the bed formed of fhcll-lac varnifh, 
 
 and 
 
THE ARTIST’S ASSISTANT. 165 
 
 and the colour defired ; if white be not in queftion, 
 which demandsa peculiar treatment, as I fhall below 
 explain ; or great brightnefs be not required, when 
 alfo other means mult be purfued. 
 
 The colours ufed with the fhell-lac varnifh may 
 be any pigments whatever, which give the teint of 
 the ground defired, and they may be mixt together 
 to form browns or any compound colours ; but, with 
 refpeft to fuch as require peculiar methods for the 
 producing them of the firft degree of brightnefs, I 
 fhall particularize them below. 
 
 The colours for grounds may otherwife be mixed 
 with the white varnifhes formed in oil of turpentine ; 
 but thefe varnifhes have no advantages over the 
 fhell-lac but in their whitenefs, which preferves the 
 brightnefs of the colours, and they are at the fame 
 time greatly inferior in hardnefs to it. 
 
 As metals never require to be under coated with 
 whiting, they may be treated in the fame manner as 
 wood or leather, when the undercoat is omitted, ex- 
 cept in the inibances particularly fpoken of below. 
 
 Of white japan grounds. — The forming a ground 
 perfeftly white, and of the firft degree of hardnefs, 
 remains hitherto a defideratum, or matter fought for 
 in the art of japanning. As there are no fubftances 
 which can be diffolved, fo as to form a very hard 
 varnifh, but what have too much colour not to de- 
 prave the whitenefs when laid on of a due thicknefs 
 over the work, except fome very late difcoveries not 
 hitherto brought into praftice. 
 
 The neareft approach, however, to a perfefb white 
 varnifh, by means already known to the public, is 
 made by the following compofition ; 
 
 « Take 
 
i66 THE ARTIST’S ASSISTANT. 
 
 Take flake white, or white lead, wafhed over 
 “ and ground up with a fixth of its weight of ftarch, 
 
 <£ and then dried ; and temper it properly for fpread- j 
 “ ing, with maflic varnifh, or compound them with 
 <£ gum animi..” Lay thefe on the body to be japan- 
 ned, prepared either with or without the under coat 
 of whiting, in the manner as above ordered ; and 
 then varnifh over it with five or fix coats of the fol- 
 lowing varnifh : 
 
 “ Provide any quantity of the bed; feed-lac, and 
 <£ pick out of >‘t all the cleared: and whiteft grains ; re- 
 * l ferving the more coloured and fouler parts for the 
 <£ coarfer varnifhes, fuch as that abovementioned for 
 * £ priming or preparing wood or leather. Take of 
 <£ this picked feed-lac, two ounces, and of gum animi, 
 
 11 three ounces ; and diffolve them, being previously 
 t£ reduced to a grofs powder, in about a quart of fpirit 
 w of wine ; and ftrain off the clear varnifh.” 
 
 The feed-lac will yet give a flight tinge to this com- 
 pofition, but cannot be omitted, where the varnifh is 
 wanted to be hard ; though, where a fofter will an- 
 swer the end, the proportion may be diminifhed ; 
 and a little crude turpentine added to the gum animi, 
 to take off the brittlencfs. 
 
 A very good varnifh, free entirely from all brittle- 
 nefs, may be formed, by diffolving as much gum 
 animi, as the oil will take, in old nut or poppy oil ; 
 which muft be made to boil gently, when the gum 
 is put into it. The ground of white colour itfelf 
 may be laid on in this varnifh, and then a coat or 
 two of it may be put over the ground ; but it muft 
 be well diluted with oil of turpentine when it is 
 ufed. This, though free from brittlenefs, is, never- 
 thelefs, liable to fuffer, by being indented or bruifed 
 
 by 
 
THE ARTIST’S ASSISTANT. 167 
 
 by any flight ftrokes; and it will not well bear any 
 polifh, but may be brought to a very fmooth furface 
 without, if it be judicioufly managed in the laying it 
 on. It is likewife fomewhat tedious in drying, and 
 will require fome time where feveral coats are laid 
 on, as the laft ought not to contain much oil of tur- 
 pentine. It muff be obferved likewife, that the gum 
 refln, fuch as the animi, copal, &c. can never be dif- 
 folved in fubftantial oils, by the medium of heat, 
 without a conflderable change in the colour of the 
 oils, by the degree of heat neceflary to produce the 
 folution. A method of difiolving gum copal in oil 
 of turpentine is, however, now difcovered by a gen- 
 tleman of great abilities in chemiftry ; and he has 
 alfo obtained a method of diffolving amber in the 
 fame menfhruum, fo that we may hope foon to fee the 
 art of japanning carried to a confummate degree of 
 perfeftion ; when the public are putin poffeflion of 
 thefe moll; important inventions, or the fruits of 
 them. 
 
 Of blue japan grounds. — Blue japan grounds may 
 be formed of bright Pruflian blue, or of verditer 
 glazed over by Pruflian blue, or of fmalt. The co- 
 lour may be beft mixed with {hell-lac varnifh, and 
 brought to a polifhing ftate by five or fix coats of 
 varnifh of feed-lac. But the varnifh, neverthelefs, 
 will fomewhat injure the colour, by giving to a 
 true blue a call of green ; and fouling, in fome de- 
 gree, a warm blue, by the yellow it contains. Where, 
 therefore, a bright blue is required, and a lefs de- 
 gree of hardnefs can be difpenfed with, the method 
 before directed, in the cafe of white grounds, mull 
 be purfued. 
 
 Of 
 
i63 THE AR.TI ST’s ASSISTANT. 
 
 Of red japan grounds. — For a fcarlet japan ground, 
 \ T ermillion may be ufed. But the Vermillion alone 
 has a glaring effeft, that renders it much lefs beau- 
 ful than the crimfon produced by glazing it over 
 with carmine or fine lajte ; or even with rofe pink, 
 which has a very good effeft ufed for this purpole. 
 For a very bright crimfon, neverthelefs, infhead of 
 glazing with carmine, the Indian lake, known in 
 Ihops by the name of fafflower, fhould be ufed, dif- 
 folved in the fpirit of which the varnifh is com- 
 pounded (which it readily admits of when good). 
 But in this cafe, inftead of glazing with the {hell- 
 lac varnifh, the upper or polifhing coats need only 
 be ufed ; as they will equally receive and convey 
 the tinge of the Indian lake, which maybe aftually 
 diffolved by fpirit of wine ; and this will be found a 
 much cheaper method than ufing carmine. If, not- 
 withftanding, the higheft degree of brightnefs be 
 required, the white varnifhes muft be ufed. 
 
 It is at prefent, however, very difficult to obtain 
 this kind of lake. For it does not appear that more 
 than one confiderable quantity was ever brought 
 over, and put into the hands of colourmen ; and 
 this being now expended, they have not the means 
 of a frefh fupply. It, however, may be eafily had 
 from the fame place whence the former quantity was 
 procured, by any perfons who go thither in the Ealt 
 India company’s ffiips. 
 
 Of yellow japan grounds. — For bright yellow 
 grounds, king’s yellow, or turpeth mineral, fhould be 
 employed, either alone or mixed with fine Dutch 
 pink. The effedt may be {till more heightened, by 
 diflfolving powdered turmeric root in the fpirit or 
 wine, of which the upper or polifhing coat is made ; 
 
 which 
 
THE ARTIST’S ASSISTANT. 169 
 
 which fpirit of wine muft be {trained from off the 
 dregs, before the feed-lac be added to it, to form the 
 varnifh. 
 
 The feed-lac varnifh is not equally injurious here, 
 and with greens, as in the cafe of other colours ; be- 
 caufe, being only tinged with a reddifh yellow, it is lit- 
 tle more than an addition to the force of the colours. 
 
 Yellow grounds may be like wife formed of the 
 Dutch pink only ; which, when good, will not be 
 wanting in brightnefs, though extremely cheap. 
 
 Of green japan grounds — Green grounds may be 
 produced by mixing king’s yellow and bright Pruffian. 
 blue ; or rather, turpeth mineral and Pruffian blue. 
 A cheap, but fouler kind, may be had from verdi- 
 grife, with ali'ttle of the abovementioned yellows, or 
 Dutch pink. But where a very bright green is 
 wanted, the chryflals of verdigrife (called diftilled 
 verdigrife) fhould be employed ; and, to heighten 
 the effeft, they Ihould be laid on a ground of leaf 
 gold, which renders the colour extremely brilliant 
 and pleaftng. 
 
 They may any of them be ufed fuccefsfully with, 
 good feed-lac varnifh, for the reafon before given ; 
 but will be ftill brighter with the white varnifh. 
 
 Of orange-coloured japan grounds. — Orange-co- 
 loured japan ground's maybe formed, by mixing ver- 
 znillion, or red lead, with king’s yellow, or Dutch 
 pink; or red orpiment, will make a brighter orangs 
 ground than can be produced by any mixture. 
 
 Of purple japan grounds.— -Purple japan grounds 
 may be produced by the mixture of lake, and Pruffian 
 blue; or a fouler kind, by Vermillion and Pruffian 
 blue. They may be treated as the *eft, with refpeft 
 to - the varnifh. 
 
 Y 
 
 Of 
 
tyo THE ARTIST’S ASSISTANT. 
 
 Of black japan grounds, to be produced without 
 beat. — Black grounds may be formed by either ivory 
 black, or lamp black ; but the former is preferable, 
 where it is perfeftly good. 
 
 Thefe maybe always laid on with the fhell-lac var- 
 nifh ; and have their upper or polifhing coats of 
 common feed-lac varnifh ; as the tinge or foulnefs of 
 the varnifh can be here no injury. 
 
 Of common black japan grounds on iron or cop- 
 per, produced by means of heat. — For forming the 
 common black japan grounds by means of heat, the 
 piece of work to be japanned muff be painted over 
 with drying oil ; and when it is of a moderate dry- 
 nefs, mull be put into a Hove of fuch degree of 
 heat, as will change the oil black, without burning 
 it, fo as to deftroy or weaken its tenacity. The Rove 
 fhould not be too hot when the work is put into it, 
 nor the heat increafed too fall; either of which er- 
 rors would make it blifler : but the flower the heat 
 is augmented, and the longer it is continued, pro- 
 vided it be retrained within the due degree, the 
 harder will be the coat of japan. This kind of var- 
 nifh requires no polifh, having received, when pro- 
 perly managed, a fufficient one from the heat. 
 
 Of the fine tortoife fhell japan ground, produced 
 by means of heat. — The beft kind of tortoife fhell 
 ground produced by heat is not lefs valuable for its 
 great hardnefs, and enduring to be made hotter than 
 boiling water without damage, than for its beautiful 
 appearance. It is to be made by means of a varnifh 
 prepared in the following manner: 
 
 “ Take of good linfeed oil one gallon, and of utn- 
 <s bre half a pound. Boil them together till the 
 “ oil becomes very brown and thick ; Itrain it then 
 
 “ through 
 
THE ARTIST’S ASSISTANT. 171 
 
 « through a coarfe cloth, and fet it again to boil ; 
 
 ■« in which date it mud be continued till it acquires 
 “ a pitchy confidence, when it will be fit for ufe.’' 
 Having prepared thus the varnifh, clean well the 
 iron or copper-plate, or rather piece which is to be 
 japanned; and then lay vermillion tempered with 
 fhell lac varnifh, or with drying oil, diluted with 
 oil of turpentine, very thinly, on the places intend- 
 ed to imitate the more tranfparent parts of the tor- 
 toife fhell. When the vermillion is dry, brufh over 
 the whole with the black varnifh, tempered to a 
 due confidence with oil of turpentine ; and when 
 it is fet and firm, put the work into a dove, where 
 it may undergo a very drong heat, and it mud be 
 continued a confidcrable time, if even three weeks 
 or a month, it will be the better. 
 
 This was given, among other recipes by Kunckel, 
 hut appears to have been negletted till it was re- 
 vived with great fuccefs in the Birmingham manu- 
 fa&ures, where it was net only the ground of fnuff- 
 boxes, drefling-boxes, and other fuch like leffer 
 pieces, but of thofe beautiful tea-waiters, which 
 have been fo judly efieemed and admired in feveral 
 parts of Europe where they have been fent. This 
 ground may be decorated with painting and gilding, 
 in the fame manner as any other varnifhed furface, 
 which had bed be done after the ground has been 
 duly hardened by the hot dove ; but it is well to 
 give a fecond annealing with a more gentle heat af- 
 ter it is finifhed. 
 
 Of painting japan work. — Japan work ought pro- 
 perly to be painted with colours in varnifh. Butin 
 order for the greater difpatch. and in fome very nice 
 works in final!, for the freer ufe of the pencil, 
 Y 2 the 
 
372 THE ARTIST’s ASSISTANT. 
 
 the colours are now moll frequently tempered in 
 oil; which fhould previoufly have a fourth part 
 of its weight of gum animi difleftved in it; or in 
 default of that, of the gums fanderac ormaftic, as I 
 have likewife before intimated. When the oil is 
 thus ufedj it fhould be well diluted with fpirit of 
 tui pontine, that the colours may be laid more even- 
 ly and thin : by which means, fewer of the poliilr- 
 ing or upper Coats of varnifh become neceffary. 
 
 In fome inftances, water colours, as I before 
 mentioned, are laid on grounds of gold, m the 
 manner of other paintings ; and are beft, when fo 
 11 fed, in their proper appearance, without any var- 
 nifh over them. They are alfo fometimes fo managed, 
 as to have the effeft of emboffed work. The colours 
 employed in this way, for painting, are (as I before 
 intimated) beft prepared by means of ifinglafs fize, 
 correfted with honey, or fugar-candy. The body 
 on which the emboffed work is raifed, need not, 
 however, be tinged with the exterior colour, but 
 may be beft formed of very ftrong gum water, thick- 
 ened to a proper conliftence by bole armoniac and 
 whiting in equal parts ; which being laid on in the 
 proper figure, and repaired when dry, may be then 
 painted with the proper colours tempered in the 
 ifinglafs fize, or in the general manner with fhell- 
 lac varnifh. 
 
 Of varnifhing japan work. — The laft, and finifh- 
 mg part of japanning, lies in the laying on and po- 
 dfhing the outer coats of varnifh ; which are ne« 
 ceflary, as well in the pieces that have only one 
 fimple ground of colour, as with thofe that are 
 painted. This is, in general, beft done with common 
 Iced-lac varnifh ; except in the inftances, and on 
 
 thofe 
 
T HE A II XIST’s A S SI S T A N T. 
 
 *73 
 
 thofe occafions, where I have already Ihcwn other 
 methods to be more expedient. The fame reafons.- 
 which decide as to the fitnefs or impropriety of the 
 varriifhes, >vith refpe£l to the colours of the ground, 
 hold equally, well with regard to thofe of the painting. 
 For where brightnqfs is the moft material point, and 
 a tinge of yellow will injure it, feed-lac zkiuft give 
 way to the whiter gums. But where hardnels, and a 
 greater tenacity, are moft effe.ntifd, it mud be ad- 
 hered to ; and where both are fo neceffaty, that it 
 is proper one fhould give way to the other, in a 
 certain degree reciprocally, a mixt varnifh mull be 
 adopted. 
 
 This mixed varnifh, as I before obferved, fhould 
 be made of the picked feed-lac. The common feed- 
 lac varnifh, which is the molt ufcful preparation of 
 the kind hitherto invented, may be thus made; 
 
 “ Take of feed-lac three ounces, and put it into wa- 
 “ ter to free it from the flicks and filth that frequently 
 il are intei mixed with it ; and which mufl be done 
 “ by ftirring it about, and then pouring off the water 
 “ and adding frefh quantities, in order to repeat tlvs 
 <£ operations till it be free from all impurities, as it 
 e; very effedlually may be by this means. Dry it then 
 and powder it grofsiy ; put it, with a pint of ree- 
 54 tided fpirit of wine, into a bottle, of which it will 
 ct not fill above two thirds. Shake the mixture well 
 “ together, and place the bottle in a gentle heat, till 
 the feed appears to be diffolved ; the fhaking being 
 “ in the mean time repeated as often as may be con- 
 venient ; and then pour off all which can be ob- 
 a tained clear by that method, and flrain the remain- 
 “ der through a coarfe cloth. The varnifh thus 
 “ prepared mufl be kept for ufe in a bottle well 
 ffopt.” 
 
 When 
 
i 7 4 THE ARTIST'S ASSISTANT. 
 
 When the (pint of wine is very ftrong, it will 
 <3iftblve a greater proportion of the feed-lac ; but this 
 will fat urate the common, which is feldom of a 
 ftrength fufficient for making varnifhes in perfec- 
 tion. As the chilling, which is" the moft incon- 
 venient accident attending thofe of this kind, is 
 prevented, or produced more frequently, according 
 to the ftrength of the fpirit, I will take this oportu- 
 nity of {hewing a method by which weaker rectified 
 fpirits may, with great eafe, at any time, be freed 
 from the phlegm, and rendered of the firlt degree of 
 ftrength. 
 
 44 Take a pint of the common re&ified fpirit of 
 44 wine ; and put it into a bottle, of which it will not 
 4 ‘ fill above three parts. Add to it half an ounce of 
 * l pearl-afhes, fait of tartar, or any other alkaline 
 44 fait, heated red hot, and powdered, as well as it 
 44 can be without much lofs of its heat. Shake the 
 44 mixture frequently for the fpaee of half an hour ; 
 44 before which time, a great part of the phlegm will 
 44 be feparated from the fpirit ; and will appear, to- 
 44 gether with the undiffolved part of the falls, in the 
 44 bottom of the bottle. Let the fpirit then be pour- 
 44 ed off, or freed from the phlegm and falts by 
 44 means of atritorium, or feparating funnel ; and let 
 44 half an ounce of the pearl-afhes, heated and pow- 
 44 dered as before, he -added to if, and the fame treat- 
 44 ment repeated. This may he done a third time, if 
 44 the quantity of phlegm feparated by the addition of 
 44 the pearl-afhes appear conftderable. An ounce of 
 44 alum reduced to powder and made hot, but not 
 44 burnt, rauft then he put into the fpirit, and fuffered 
 44 to remain fome hours ; the bottle being frequently 
 44 fhaken. After which, the fpirit being poured oft, 
 *■ it will be fit for ufe. 
 
 The. 
 
THE ARTIST'S ASSISTANT. 175 
 
 The addition of the the alum is neceffary, to neu- 
 tralize the remains of the alkaline falts, or pearl- 
 afhes *, which would otherwife greatly deprave the 
 Spirit, with refpeft to varnifhes and lacquers, where 
 vegetable colours are concerned, and muit conse- 
 quently render another distillation neceffary. 
 
 The manner of ufing the feed-lac, or white var- 
 nifhes, is the fame; except with regard to the Sub- 
 stance ufed in polifhing, which, where a purewhitc, 
 or great clearnefs of other colours, is in queftion, 
 Should be itfelf white; whereas the browner forts of 
 polifhing dult, as being cheaper, and doing their 
 bufinefs with greater difpatch, may be ufed in other 
 cafes. The pieces, or work, to be varnifhed fhould 
 be placed near a fire, or in a room where there is a 
 Rove, and made perfectly dry ; and then the varnnii 
 may be rubbed over them by the proper brufhes 
 made for that purpofe, beginning in the middle, and 
 paffing the brufh to one end ; and then, with another 
 Stroke from the middle, palling it to the other. But 
 no part fhould be eroded or twice paded over, in 
 forming one coat, where it can podibly be avoided. 
 When one coat is dry, another mail be laid over it; 
 and this mud: be continued at leafl five or fix times, 
 or more, if on trial, there be not a fufficient thicknefs 
 of varnifh to bear the polifh, without laying bare tne 
 painting, or the ground colour underneath. 
 
 When a fufficient number of coats is thus laid on, 
 the work is fit to be polifhed; which mull be done, 
 in common cafes, by rubbing it v/ith a rag dipped in 
 tripoli (commonly called rotten done) finely powder- 
 ed. But towards the end of the rubbing, a little 
 oil of any kind fhould be ufed along with the pow- 
 der ; and when the work appears fufficiently bright 
 and gloffy, it fhould be well rubbed with the oil 
 
 alone. 
 
$ 2 ? 
 
 176 THE ARTIST’s ASSISTANT. 
 
 alone, to clean it from the powder, and give it a fiill 
 blighter luftre. 
 
 In the cafe of white grounds, inftead of the tripod, 
 fine putty or whiting muft be ufed ; both which 
 fiiould be wa &ed over, to. prevent the danger of 
 damaging the work from any fand or other gritty 
 matter, that may happen to be commixt with them. 
 
 It is a great improvement of all kinds of japan 
 work, to harden the varnifh by means of heat ; which, 
 in every degree that can be applied fhort of what 
 would burn or calcine the matter, tends to give it a 
 more firm and ftrong texture. Where metals form 
 the body, therefore, a very hot ftove may be ufed,- 
 and the pieces of work may be continued in it a con- 
 fi derablc time • efpccially if the heat be gradually 
 mcreafed. But where wood is in queftion. heat muft 
 be fparingly ufed, as it would othenvife warp or 
 ihnnk the body, fo as to injure the general figure. 
 
 ^ Siding japan work. — The various methods of 
 gilding, winch are applicable to the Ornamenting 
 ]jpan work, being exceedingly prolix and uninterest- 
 ing, it is needlels to repeat them here. I fhall, there- 
 101 e. only obferve, that in gilding with gold fize 
 (wriich is almoft the only method now pra&ifed in 
 japan work) where it is defxred to have the gold not 
 ihine, or approach in the leait towards the burnifh- 
 mg ftdte, the hze fhould be ufed either with oil of 
 turpentine only, or with a very little fat oil. But 
 wheie a greater luftre, and appearance of polifh, 
 aie wanting, without the trouble of burnifhing, and 
 the preparation neceffary for it, fat oil alone, or 
 mixed with a little gold fize, fhould be ufed ; and 
 the fame proportionable effedl will be produced 
 if dm a mean proportion of them. 
 
 ' Of 
 
THE ARTIST’S ASSISTANT. 
 
 177 
 
 Of lacquering. 
 
 LACQUERING is the laying either coloured or 
 tranfparent varnifhes on metals, in order to pro- 
 duce the appearance of a different colour in the 
 metal, or to prefcrve it from ruft and the injuries 
 of the weather. 
 
 Lacquering is therefore much of the fame nature 
 with japanning, both with regard to the principles 
 and pradice ; except that no opake colours, but tranf- 
 parent tinges alone, are to be employed. 
 
 The occafions on which lacquering is now in ge- 
 neral ufed arc three ; where brafs is to be made to 
 have the appearance of being gilt; where tin is 
 wanted to have the refemblance of yellow metals ; 
 and where brafs or copper locks, nails, or other fuck 
 matters, are to be defended from the corrofion of the 
 an 01 moiftme. There was, indeed, formerly ano- 
 ther very frequent application of lacquering, which, 
 was colouring frames of piftures, &c. previoufly 
 filvered, in order to give them the effett of gilding; 
 but this is now moflly difufed. Thefe various in- 
 tentions of lacquering require different compofitions 
 lor the effeftuating each kind; and as there is a 
 multiplicity of ingredients which may be conducive 
 to each purpofe, a proportionable number of recipes 
 have been devifed, and introduced into praftice ; 
 efpecially for the lacquering brafs work to imitate 
 gilding; which is a confiderabie objeft in this kind 
 of art ; and has been improved to the greatefl de- 
 gree of perfeftion. 1 fhall, however, only give one 
 or two recipes for each, as they are all which are 
 ncceffary ; the others being either made too cora- 
 
 pi ex 
 
1 7 B THE ARTIST’S ASSISTANT. 
 
 plex by ingredients not eflential to the intention, or 
 too coflly by the ufe of fuch as are expenfive ; or 
 inferior in goodnefs, from the improper choice or 
 proportion of the component fubllances. 
 
 The principal body or matter of all good lacquers 
 ufed at prefent is feed-lac ; but, for coarfer ufes, 
 refln, or turpentine, is added, in order to make 
 the lacquer cheaper than if the feed-lac, which is a 
 much dearer article, be ufed alone. Spirit of wine 
 is alfo confequently the fluid or menftruum of which 
 lacquers is formed ; as the ethereal oils will not dif- 
 folve the feed-lac, and it is proper that the fpirit 
 fhould be highly reftified for this purpofe. As it is 
 feldom prafticable, neverthelefs, to procure fuch 
 fpirits from the fhops, it will be found very advan- 
 tageous to ufe the method above given for de- 
 phlegmating it by alkaline falts ; but the ufe of the 
 alum, direfted in that procefs, muft not be forgotten 
 on this occafion ; as the effect of the alkaline fait 
 would otherwife be the turning the mete! of a pur- 
 plifh inllead of a golden colour, by laying on the 
 lacquer. 
 
 The following are excellent compofitions for brafs 
 work which is to refemble gilding : 
 
 44 Take of turmeric ground, as it may be had at 
 44 the dry-falters, one ounce, and of faffron and Spa- 
 44 nilh annatto each two drams. Put them into a 
 44 proper bottle, with a pint of highly rectified fpirit 
 44 of wine ; and place them in a moderate heat, if 
 44 convenient, often fhaking them for feveral days. 
 44 A very ftrong yellow tin&ure will then be obtain- 
 44 ed, which muft be ftrained off from the dregs 
 44 through a coarfe linen cloth ; and then, being put 
 44 back into the bottle, three ounces of good feed- 
 
 44 lac, 
 
THE ARTIST'S ASSISTANT. i 79 
 
 (l lac, powdered grofsly, muft be added, and the 
 “ mixture placed again in a moderate heat, and 
 ** fhaken, till the feed-lac be diffolved ; or at lead: 
 <s &ch part of it as may. The lacquer mud then 
 “ be drained as before, and will be fit for ufe ; but 
 muft be kept in a bottle carefully flopped.” 
 
 Where it is defired to have the lacquer warmer or 
 redder than this compofition may prove, the pro- 
 portion of the annattomuft be increafed; and where 
 it is wanted cooler, or nearer a true yellow, it muft 
 be diminifhed. 
 
 The above, properly managed, is an extremely 
 good lacquer, and of moderate price ; but the fol- 
 lowing, which is cheaper, and may be made where 
 the Spanifh annatto cannot be procured good, is not 
 greatly inferior to it : 
 
 “ Take of turmeric root ground one ounce, of 
 the belt dragon’s blood half a dram. Put them 
 v * to a pint of fpirit of wine, and proceed as with, 
 the above.” 1 
 
 By diminifhing the proportion of the dragon’s 
 blood, the varnifh may be rende v ?d of » redder, or 
 truer yellow cafl. 
 
 Saffron is fometimes ufed ’.o form the body of co- 
 lour in this kind of lacquer, inftead of the turme- 
 ric ; but though it makes a warmer yellow, yet the 
 dearnefs of it, and the advantage which turmeric 
 has in forming a much ftronger tinge in fpirit of 
 wine, not only than the faffrpn, but than any other 
 vegetable matter hitherto knjpwn, gives it the pre- 
 ference. 1 hough being a trim yellow, and con- 
 fequently not fufficientjy warm to overcome the 
 grccnifh call of brafs, it requires the addition of 
 fome orange-coloured tinge to make a perfeft lac* 
 ■cjiuer for this purpofe. 
 
 Zq 
 
 Alloes 
 
i8o THE ARTIST’S ASSISTANT. 
 
 Aloes and gamboge are alio fometimes ufe.d ira 
 lacquers, for brafs; but the aloes is not neceffary 
 where turmeric or faffron are ufed ; and the gam- 
 boge, though a very ftrong milky yellow in watery 
 affords only a very weak tinge in fpirit of. wine. 
 
 The varnilh for tin may be made as follows: — 
 
 Take of turmeric root one ounce, of dragon’s 
 <£ blood two drams, and of fpirit . of wine one pint. 
 ii Proceed as in the former.” 
 
 This may, like the former, have the red or yellow 
 rendered more prevalent, by the incre^ifing or -di mi- 
 ni firing the proportion of . the dragon’s blood. Where 
 a coarfor, or cheaper kind is wanted, the quantity of 
 feed-lac may be abated ; and the deficiency thence 
 arifing fupplied by the fame proportion of refin. 
 
 The lacquer for locks, nails, See. where little or no 
 colour is defired, may either be feed-lac varnilh 
 alone, as prepared above, or with a little dragon’s 
 blood ; or a compound varnilh of equal parts of teed- 
 lac and refin, with or without the dragon’s blood. 
 
 7 be tnanner of laying on the lacquer is as follows : ■ 
 
 Fit'll let the piectu of work to be lacquered be 
 made thoroughly cleap ; which, if they be new 
 founded, muft be done by means of aquafortis. Be- 
 ing ready, they mult be heated by a fmall charcoal 
 fire, in a proper yeffel, or any way that may be molt 
 convenient ; the degree muft not be greater than 
 will admit of their being taken hold of without burn- 
 ing the hand. The lacquer mult then be laid on by j 
 a proper brufh in the manner of other varnilhes ; and 
 the pieces immediately fet again in the fame warm 
 fituation. After the lacquer is thoroughly dry and j 
 .firm the fame operation muft be renewed again lor four 
 
 or 
 
THE ARTIST’S ASSISTANT. iSi 
 
 or five times, or till the work appear of the colour 
 and brightnefs intended. For’, very fine work,' Tome 
 ufe a lefs proportion of feed-lac, which occafions the 
 lacquer to lie evener bn the metal ; but, in this cafe, 
 a greater number of coats are required, which mul- 
 tiplies the proportion of labour ,; though, where the 
 price of the work will allow for fuch additional 
 trouble, it will be the more pe-rfett for it. 
 
 The lacquering, tin may be performed in the fame 
 manner, as is here directed for, brafs, but being for 
 coarfer purpofes, lefs nicety is obfei'vcd ; and fewer 
 coats ^01 perhaps one only) are made to fufnee, as the 
 lacquer .is compounded very, red, that the tinge may 
 have the ftronger, efteft. - 
 
 Locks, nails, &c. \yhere lacquer is only ufed in a 
 defenlitive view,. to. keep them, from corroding, and 
 not lor the improvement of the :colour. may be treat- 
 ed in the fame manner; but one or two coats are 
 generally thought fufficient. Though, where any re- 
 gard is had to the wear, the. coats of lacquer or var- 
 nifh fhould always be of a due thicknefs, vyhen they 
 aie to be expolcd to the a’ir; otherwife, the firfl moilt 
 weather makes them chill, and look grey and mifty, 
 in fuch a manner, that they are rather injurious than 
 beneficial to the work they are laid upon. 
 
 lhe lacquering pifture frames, &c. where the 
 ground is leaf lilver, may be performed in the fame 
 manner as hereafter direfted in the cafe of gilding 
 leather; the circumftances being nearly the fame, 
 except with relation to the texture of the fubjeft ; to 
 fuit which the different manner of treatment may be 
 ealily adapted. But the lacquer, as was before ob- 
 ferved, may be the fame. 
 
 Of 
 
i 8 2 THE. ARTIST’s ASSISTANT, 
 
 Of STAINING. 
 
 Of Jl dining <t vood jdlovj. 
 
 ■TP A K E any white wood, andbrufh it over feveral 
 times with the tinfture of turmeric root, made 
 &y putting an ounce of the turmeric ground to pow- 
 der, to a pint of fp i r it ; and, after they have Rood' 
 feme days, (training off the tintture. If the yellow 
 colour he defired to have a redder cad, a little dra- 
 gon’s blood muff be added, in the proportion that 
 will produce the teint required. 
 
 A cheaper, but Ieaft -ftrong and bright yellow, may 
 he given to wood, by rubbing it over feveral times 
 with the tinfture of the French berries, prepared as 
 Sri p. 71. and made boiling hot. After the wood is 
 again dry, it fhOuld be brufhed over with a weak 
 alum water, ufed cold. 
 
 Leflcr pieces of wood, in (lead of being brufhed 
 over with them, may be foaked in the decoftions or 
 tinftures. 
 
 Wood may be alfo flairied yellow by means of aqua* 
 fortis ; which will fometimes produce a very beauti- 
 ful yellow colour ; but at other times a browner. 
 The wood fhould be warm, when the aquafortis is 
 laid on ; and be held to the fire immediately after- 
 wards ; and care muff be taken, that either the aqua- 
 fortis be not too ftrong, or that it be fparingly ufed ; 
 otherwife a brown, fometimes even a blackifh colour 
 may be the refult. 
 
 In order to render any of thefe ftains more beauti- 
 ful and durable, the wood fhould be brufhed after it 
 is coloured, and then varnifhed by the feed-lac var- 
 nifh ; or, when defired to be very ftrong, and to take 
 
 a high 
 
THE ARTIST’S ASSISTANT. 183 
 
 a high polifh, with three or four coats of ftiell-Uc 
 varnifh. 
 
 Of Raining wood red — For a bright red (lain for 
 wood, make a Rrong infufion of brafil in Rale urine, 
 or water impregnated with pearl afhes, in the pro- 
 portion of an ounce to a gallon ; to a gallon of either 
 oi which, the proportion of brafil wood mull be a 
 pound, which being put to them, they mull Rand 
 together two or three days, often ftirring the mix- 
 ture. With this infufion Rrained, and made boiling 
 hot, brufh over the wood to be Rained, till it appears 
 ftrongly coloured ; then, while yet wet, brufh it over 
 with alum water, made in the proportion of two 
 ounces of alum to a quart of water. 
 
 For a Iefs bright red, dilfolve an ounce of dragon’s 
 blood in a pint of fpirit of wine, and brufh over 
 the wood with the tin&ure, till the Rain appears to 
 be as Rrong as is defined. But this is, in fa£l, rather 
 lacquering than Raining. 
 
 her a pink or rofe red, add to a gallon of the above 
 infufion of brafil wood two additional ounces of the 
 pearl afhes, and ufe it as was befoie direfted ; but it is 
 necelfary, in this cafe, to brufh the wood over often 
 with alum water. By increafing the proportion of 
 pearl afhes, the red may be rendered yet paler ; but 
 it is proper, when more than this quantity is added, 
 to make the alum water Rronger. 
 
 Fhele reds, when it is neceffary, may be varnifh- 
 ed as the yellows. 
 
 Of Raining wood blue. — Wood may be Rained 
 blue, by means either of copper or indigo ; but 
 the firR will afford a brighter colour, and is more 
 generally prafticable than the latter ; becaufe the in- 
 digo can be ufed only in that Rate to which it is 
 
 brought 
 
i$i THE ARTIST’S ASSISTANT. 
 
 brought by the manner of preparation ufed by the 
 dyers, of whom indeed it muft be had, as it can- 
 not be properly fo prepared but in large quantities, 
 and with a particular apparatus. The method of 
 Raining blue with the copper is as follows : 
 
 ££ Take a folution of copper, made according to 
 t£ the direftions in p. 63 ; and brufh it, while hot, 
 £; fcveral times over the wood. Then make a folu- 
 £: tion of pearl afhes, in the proportion of two ounces 
 to a pint of water, and brufh it hot over the wood 
 c: Rained with the folution of copper, till it be of a 
 ££ perfectly blue colour.” 
 
 Wood flained green as above by verdigrife, may 
 likewife be made blue, by ufing the folution of the 
 pearl allies in the fame manner. 
 
 When indigo is ufed for Raining wood blue, it 
 muft be managed thus : 
 
 ££ Take indigo prepared with foap lees, as when 
 tc ufed by the dyers, and brufh the wood with it 
 t£ boiling hot. Prepare then a folution of white tar- 
 “ tar, or cream of tartar, which is to be made, by 
 “ boiling three ounces of the tartar, or cream, in a 
 t; quart of water; and with this folution, ufed co- 
 £S pioufly, brufh over- the wood before themoiRure 
 <£ of the tinfture of indigo be quite dried out of it.” 
 Thefe blues may be rufhed and varnifhed as the 
 reds, where there is occafion. 
 
 Of Raining wood of mahogany colour. — Maho- 
 gany colour is the moft ufeful of any Rain for wood 
 (efpecially fince finecring with different colours is 
 out of fafhion) as it is much praftifed at prefent for 
 chairs and other furniture, made in imitation of ma- 
 hogany ; which, when well managed, may be brought 
 to have a very near rcfcmblance. 
 
 This 
 
THE ARTIST’S ASSISTANT. iS 5 
 
 This {lain may be of different hues, as the natural 
 wood varies greatly, being of all the intermediate 
 teints betwixt the red brown and purple brown, ac- 
 cording to the age, or fometimes the original nature 
 of different pieces. 
 
 For the light red brown, ufe a decoftion of mad- 
 der and fuflic wood, ground in water ; the pro- 
 portion may be half a poundof madder, and aquarter 
 of a pound of fuflic, to a gallon ; or in default of fuf- 
 tic an ounce of the yellow berries maybe ufed. This 
 muft be brufhed over the wood to be flained, while 
 boiling hot, till the due colour be obtained; and, if 
 the wood be kindly grained, it will have greatly the 
 appearance of new mahogany. 
 
 d he fame effefl nearly may be produced by the 
 tincture of dragon's blood and turmeric root, in 
 fpiri t of wine ; by increafing or diminifhing the pro- 
 portion of each of which ingredients, the brown 
 flain may be varied to a more red or yellow caft at 
 pleafure. This fucceeds better upon wood, which, 
 has alieady fome tinge of brown, than upon whiter. 
 
 for the dark mahogany, take the infufion of mad- 
 der made as above, except the exchanging the fuflic 
 for two ounces of logwood ; and when the wood to 
 be flained has been feveral times brufhed over, and 
 is again dry, it mufl be flightly brufhed over with 
 water in which pearl afhes have been diffolved, in the 
 proportion of about a quarter of an ounce to a quart. 
 
 Any flains of the intermediate colours may be 
 made, by mixing thefe ingredients, or varying the 
 proportion of them. 
 
 Where thefe flains are ufed for better kind of 
 work, the wood fhould be afterwards varnifhed 
 with three or four coats of feed-lac varnifh j but for 
 A a coarf© 
 
186 THE ARTIST'S ASSISTANT. 
 
 coarfe work, the varnifh of relin and feed-lac may 
 be employed, or they may be only well rubbed over 
 with drying oil. 
 
 Of flaming wood green. — Diffolve verdigrife in 
 vinegar, or chryflals of verdigrife in water; and 
 with the hot folution, brufh over the wood till it be 
 duly ftained. This may be rufhed and varnifhed 
 as above. 
 
 Of ftaining wood purple. — Brufh the wood to be 
 ftained feveral times with a fbrong decoftion of log- 
 wood and brafil, made in the proportion of one 
 pound of the logwood, and a quarter of a pound of 
 the brafil, to a gallon of water, and boiled for an 
 hour or more. When the wood has been brufhed 
 over till there be a fufficient body of colour, let it 
 dry, and then be {lightly palled over by a folution 
 of one dram of pearl afhes in a quart of water. This 
 folution mufl be carefully ufed, as it will gradually 
 change the colour from a brown red, which it will 
 be originally found to be, to a dark blue purple; 
 and therefore its effect mull be reflrained to the due 
 point for producing the colour defired. This may 
 be varnifhed as the reft. 
 
 Of ftaining wood black. — Brufh the wood feveral 
 times with the hot decottion of logwood made as 
 above, but without the brafil. Then, having pre- 
 pared an infufion of galls, by putting a quarter of a 
 pound of powdered galls to two quarts of water ? 
 and fetting them in the fun-fhine, or any other gen- 
 tle heat, for three or four days, brufh the wood 
 three or four times over with it ; and then pafs over 
 it again, while yet wet, with a folution of green vi- 
 triol in water, in the proportion of two ounces to a 
 quart. 
 
 The 
 
THE ARTIST’S ASSISTANT. 187 
 
 The above is the cheapeft method ; but a very fine 
 black may be produced, by brufhing the wood feve- 
 ral times over with a folution of copper in aquafor- 
 tis; and afterwards with the decoftion of logwood, 
 which mult be repeated till the colour be of fuffi- 
 cient force ; and the greennefs produced by the fo- 
 lution of the copper, wholly overcome. Thefe 
 blacks may be varnifhed as the other colours. 
 
 Where the ftains are defired to be very ftrong, as 
 m the cafe of wood intended to be ufed for fineering, 
 it is in general neceflary they fhould be foaked, 
 and not brufhed ; to render which the more prafti- 
 cable, the wood may be previoufly flit, or fawed into 
 pieces of a proper thicknefs for inlaying. 
 
 It is to be underftood alfo, that when the wood is 
 above ordered to be brufhed feveral times over with 
 the tinging fubftances, it fhould be buffered to dry 
 betwixt each time. 
 
 Of ftaining ivory, bone, or horn, yellow. — Boil 
 them firfl; in a folution of alum, in the proportion 
 of one pound to two quarts of water ; and then 
 prepare a tinfture of the French berries, by boiling 
 half a pound of the berries, pounded, in a gallon 
 of water, with a quarter of a pound of pearl allies. 
 After this tinfture has boiled about an hour, put the 
 ivory, &c. previoufly boiled in the alum water, into 
 it, and let them remain there half an hour. 
 
 If turmeric root be ufed, inftead of the French 
 berries, a brighter yellow may be obtained; but the 
 ivoiy, &c. mull in that cafe be again dipt in alum 
 water, after it is taken out of the tintture, other- 
 wife an orange colour, not a yellow, %vill be pro- 
 duced, from the effect of the pearl afhes on the 
 turmeric. 
 
 A a 2 
 
 Of 
 
j 88 THE ARTIST’S ASSISTANT. 
 
 Of Raining ivory, bone, and horn, green. — They 
 jnuR be boiled in a folution of verdigrife in vi- 
 negar, or of copper in aquafortis, prepared as above 
 direfted (a veffel of glafs or earthenware being 
 employed for this purpofe) till they be of the co- 
 lour defired. 
 
 Of Raining ivory, bone, and horn, red. — Take 
 Rrong lime water, prepared as for other purpofes, 
 and the rafpings of brafil wood, in the proportion 
 of half a pound to a gallon. Let them boil for an 
 hour, and then put in the ivory, &c. prepared by 
 boiling in alum water in the manner above direfted 
 for the yellow; and continue it there till it be fuf- 
 ficiently coloured. If it be too crimfon, or verge 
 toward the purple, it may be rendered more fcarlet, 
 by dipping again in the alum water. 
 
 Of Raining ivory, bone, and horn, blue. — Stain 
 the ivory, &c. firR green, according to the manner 
 above dire&ed ; and then dip it in a folution of 
 pearl afhes made Rrong and boiling hot; but it muR 
 not be continued longer, nor dipt oftener, than is 
 neceffary to convert the green to blue. 
 
 The ivory, &c. may otherwife be boiled in the 
 tin&ure of indigo, prepared as by the dyers, and af- 
 terwards in the folution of tartar, made as is di- 
 refted for the Raining wood. 
 
 Of Raining ivory, bone, and horn, purple. — Treat 
 them in the fame manner as was direfted for red, ex- 
 cept that logwood muR be fubRituted in the place 
 of brafil wood, and the ufe of the alum water muft 
 be omitted wholly. 
 
 If a redder purple be wanted, a mixture of the 
 logwood and brafil muR be employed, inftead of the 
 logwood alone. The proportion may be equal parts ; 
 
 or 
 
THE ARTIST’S ASSISTANT. 189 
 
 or any lefs proportion of the brafil, according to the 
 colour defired. 
 
 Of ftaining horn to imitate tortoife-fhell. — The 
 horn to be ftained mud be firft preffed into proper 
 plates, or fcales, or other flat form. The following 
 mixture muft then be prepared : 
 
 “ Take of quick lime two parts, and of litharge 
 t{ one, and temper them to the confidence of a foft 
 “ pafte with foap lye.” 
 
 Put this palle over all the parts of the horn, except 
 fuch as are proper to be left tranfparent, in order to 
 the greater refemblance of the tortoife-fhell. The 
 horn muft then remain thus covered with the pafte. 
 till it be thoroughly dry ; when the pafte being 
 brufhed off, the horn will be found partly opake, and 
 partly tranfparent, in the manner of tortoife-fhell v 
 and when put over a foil, of the kind of latten call- 
 ed afiidue, will be fcarcely diftinguifhable from it. 
 It requires fome degree of fancy and judgment, to 
 difpofe of the pafte in fuch a manner, as to form a 
 variety of tranfparent parts of different magnitude 
 and figure, to look like the effeft of nature ; and it 
 will be an improvement to add femi-tranfparent 
 parts. This may be done by mixing whiting with 
 lome of the pafte to weaken its operation in particu- 
 lar places, by which fpots of a reddifh brown will 
 be produced ; that if properly interfperfed, efpecially 
 on the edges of the dark parts, will greatly increafe 
 as well the beauty of the work, as its fimilitude with 
 the real tortoife-fhell. 
 
 To ftain ivory, bone, and horn, black. — Proceed 
 in the fame manner as is above direfted for wood. 
 
 Of ftaining paper, or parchment, yellow. — Paper 
 may be ftained yellow by the tinflure of French 
 
 berries, 
 
1 90 THE ARTIST’S ASSISTANT. 
 
 berries, prepared as in p. 67. but a much more beau- 
 tiful colour may be obtained by ufing the tinfture of 
 turmeric formed by infufingan ounce or more of the 
 root, powdered, in a pint of fpirit of wine. This 
 may be made to give any teint of yellow, from the 
 lighted draw to the full colour, called French yel- 
 low ; and will be equal in brightnefs even to the 
 bed dyed filks. If yellow be wanted of a warmer 
 or redder cad, annatto, or dragon’s blood, mud be 
 added to the tinfture. 
 
 The bed manner of ufing thefe, and the following 
 tinctures, is to fpread them even on the paper or 
 parchment, by means of a broad brufh, in the man- 
 ner of varnifhing. 
 
 Of darning paper, or parchment, red. — Paper or 
 parchment may be dained red, by treating it in the 
 fame manner as is directed for wood, p. 182, or by 
 red ink. It may alfo be dained of a fcarlet hue by 
 the tin ft ure of dragon’s blood in fpirit of wine ; but 
 this will not be bright. 
 
 A very fine crimfon dain may be given to paper, 
 by a tinfture of Indian lake ; which may be, by in- 
 tufing the lake fome days in fpirit of wine ; and 
 then pouring off the tinfture from the dregs. 
 
 Of daining paper, or parchment, green. — Paper, or 
 parchment, may be dained green, by the folution of 
 ver dig rife in vinegar; or by the chrydals of verdi- 
 grife diffolved in water. As alfo by the folution of 
 copper in aquafortis made by adding filings of cop- 
 per gradually to the aquafortis till no ebullition en- 
 lues ; or fpirit of fait may be ufed in the place of the 
 aquafortis. 
 
 Of daining paper, or parchment, blue.— A blue 
 colour may be given to paper, or parchment, by 
 
THE ARTIST’s ASSISTANT, igi 
 
 Raining it green by any of the abovementioned me- 
 thods ; and treating it afterwards as is diredted for 
 Raining wood blue, by the fame means ; or by indigo 
 in the manner there explained likewife. 
 
 Of ftaining paper, or parchment, orange. —Stain 
 the paper, or parchment, firft of a full yellow, by 
 means of the tin&ure of turmeric, as above fiire&ed. 
 Then brufh it over with a folution of fixt alkaline 
 fait, made by diffolving half an ounce of pearl aftres, 
 or fait of tartar, in a quart of water, and filtering the 
 folution. 
 
 Of ftaining paper, or parchment, purple. — Paper, 
 or parchment, may be Rained purple by archal ; or 
 by the tinfture of logwood, according to the method 
 above direfted for Raining wood. The juice of ripe 
 privet berries exprefied will likewife give a purple 
 dye to paper or parchment. 
 
 Of Raining alabaRer, marble, and other Rones, of 
 various colours. — AlabaRer, marble, and other Rones 
 may be Rained of a yellow, red, green, blue, purple, 
 black, or any of the compound colours, by the means 
 given for ftaining wood. But it is better, when a 
 llrong tinge is wanted, to pour the tindlure, if made 
 in water, boiling hot on the alabaRer, &c. fpreading 
 it equally on every part, than to brufh it over only ; 
 though that may be fuflicient where a flighter dye 
 will fuffice. When tinctures in fpirit of wine are 
 ufed, they muR not be heated; as the fpirit would 
 evaporate, and leave the tinging gums in an undif- 
 folved Rate. 
 
 Where Rones are not perfedlly white, but partake 
 of brownnefs, or greynefs, the colour produced by 
 the tinges will be proportionably wanting in bright- 
 nefs, Becaule the natural colour of the ftone is not 
 
 hid 
 
192 THE ARTIST’s ASSISTANT. 
 
 hid or covered by thefe tinges, but combines with 
 them; and, for the fame reafon, if the Hones be of 
 any of the pure colours, the refult will be a com- 
 pound of fuch colour and that of the tinge. 
 
 Of ETCHING and ENGRAVING. 
 
 T^TCHING is a method of working on copper, 
 wherein the lines or ftrokes, inffead of being 
 cut with a graver, are eaten with aquafortis. 
 
 This art being executed with greater eafe and 
 freedom than engraving, reprefents curious fubjefts 
 better, and more agreeable to nature, as landfikapes, 
 ruins, and fmall, faint, or remote objefts, build- 
 ings, &c. 
 
 The principal materials for this art are the plate, 
 hard and foft gound, (the fir ft for winter, and the 
 other for fummer) a dabber, turpentine varnifh, lamp 
 black, foft wax, and aquafortis. 
 
 The tools are, an oil rubber, a burnifher, aferaper, 
 a hand vice, etching boards, etching needles, an oil 
 Hone, and a parallel ruler. 
 
 Direttions for laying the ground. — Having pro- 
 vided yourfelf with a plate of the fize of the print, 
 or drawing you intend to copy, rub it well with an 
 oil rubber, made of fwan-fkin flannel, till' all the 
 marks of the charcoal ufed in polifhing it, entirely 
 difappear ; then, wiping off the dirty oil with a linen 
 rag, dip your finger in Tome clean oil, and touch 
 it over every part of the plate ; after which, with 
 your burnifher polifh the plate, till you can fee your 
 face in it ; and in cafe any fund holes, or flaws ap- 
 pear, 
 
THE ARTISTE ASSISTANT. 193 
 
 pear, the fcraper will affift you in taking them out. 
 The marks left by the fcraper are to be taken out with 
 the burnifhers, till nothing appear. Having fixed 
 your hand-vice at one end of the plate, with a rag 
 and whiting clear the plate carefully from greafe ; 
 then heat it over a charcoal fire, or lighted paper, 
 till it will melt the ground, which is to be laid on 
 thinly, and dabbed all over with the dabber, till it is 
 perfe&Iy fmooth and even ; then warm the plate 
 again, and, holding it up with the ground down- 
 wards, fmoke it all over with a large candle, taking 
 care that the fnuff of it do not touch the ground, and 
 waving the candle continually over every part, fo 
 that the ground may not be burnt by heating it more 
 in one place than another. If the plate be large, 
 you may bind four penny candles together. 
 
 Dircftions for tracing. — The firft thing to be done 
 (while the plate is cooling, and the ground laid on) 
 is to rub the back of your print or drawing all over 
 with a bit of rag or cotton, dipt in the fcrapings of 
 red chalk, and {hake off the loofe duff, or wipe it off 
 gently with a clean rag. Place the red fide upon 
 the plate, making it faff at each corner with a little 
 bit of foft wax. Lay your etching board under your 
 hand, to prevent bruifing the ground ; then, with a 
 blunt etching needle, trace lightly the out-lines and 
 breadths of the fhadows, till the marks of them ap- 
 pear upon the ground, which you muff take care not 
 to penetrate by tracing too hard. 
 
 As great nicety is required in this part of your 
 work, it will be neceffary now and then to lift up one 
 corner of your original, and examine whether every 
 part be traced before you take it off, as it will be 
 extremely difficult to lay it down again in its former 
 pofition, 
 
 B b 
 
 Direftion$ 
 
194 THE ARTIST’S ASSISTANT. 
 
 Directions for etching — Having carefully traced 
 your original, take it off, and lay a filk or linen 
 handkerchief next the plate, and over that your etch- 
 ing board ; then proceed to the etching; for which 
 obferve the following directions, which are adapted 
 to every particular branch ; as landfkapes, {hipping, 
 portraits, hidory, architecture, &c. 
 
 Diltances in landfkapes, or the faint parts of any 
 other piCture, are the firft to be done ; and thefe are 
 to be worked clofer, and with a fharper pointed 
 needle ; the darker parts mult be etched wider, 
 and with a blunter needle ; but, to prevent mi {takes, 
 the needles may be marked according to their different 
 degrees, and the ufes for which they are intended. 
 As for the very fainted parts of all, they are to be 
 left for the graver, or dry needle ; of which hereafter. 
 
 In building, and all architecture in general, ule a 
 parallel ruler, till frequent praCtice enables you to do 
 them well enough without. 
 
 The needles may, when necelfary, be whetted up- 
 on your oil-hone, keeping them turning in your hand, 
 fo as to whet them equally all round. The oil-hone 
 will be farther ufeful in whetting the feraper, which 
 is to be rubbed flat upon the done, and witfi a deady 
 hand, keeping oil condantly upon the done. 
 
 Of biting, or eating in the work with aquafortis. — 
 Fird examine your work carefully, to fee that no- 
 thing be omitted ; and if any fcratches appear upon 
 the ground, or miflakes be committed in the etching, 
 they are to be dopped out, which is done by cover- 
 ing them with a mixture of lamp black and varnifh, 
 laid on thinly with a hair pencil, which, when dry, 
 will refid the aquafortis. But it will be bed to dop 
 out thefe, as they occur to you in the courfe of your 
 
 work 
 
THE ARTIST’S ASSISTANT. 195 
 
 work, for by this means they will be lefs liable to 
 efcape your notice ; and when the varnifh is dry, 
 you may etch over it again, if required. 
 
 The next thing is, to inclofe the work with a rim, 
 or border of foft green, or other coloured wax, about 
 half an inch high, bending the wax in the form of a 
 fpout at one corner, to pour off the aquafortis ; and 
 that it may not run out at any other part, take care 
 to lay your wax fo clofe to the plate, that no vacan- 
 cies be left. 
 
 Your aquafortis muftbe fingle, and if too ffrong, as 
 will be feen in the biting, take it offand mix it with 
 a little water, fhaking them together in a bottle; and 
 when, by often ufing, it becomes too weak, it may 
 be ftrengthened by mixing it in a bottle with a little 
 double aquafortis. The bottle which contains the 
 aquafortis fhould have a large mouth, and a glafs 
 hopple. 
 
 Let the aquafortis lie on the plate a fhort time, 
 wiping off the bubbles as they rife, with a feather, 
 which may remain upon the plate while it is biting; 
 after which, take it off, and wafh the plate with 
 water; then let it dry, and by feraping off part of 
 the ground from the fainted part of the work, try if 
 it be bit enough ; and if not, hop out the part you 
 have tried with the lamp black and varnifh ; and 
 when that is dry, pour on the aquafortis again. 
 
 When the faint parts of your work are bit enough, 
 flop them out, and proceed to bite the ftronger parts, 
 flopping them out as occafton requires, till the whole 
 work is fufhciently bit ; then warm the plate, and 
 take off the foft wax : after which, heat the plate 
 till the ground melts, pour on a little oil, and wipe 
 the whole off with a rag. When the ground is taken 
 B b 2 off, 
 
ig6 THE ARTIST’S ASSISTANT. 
 
 off, rub the work well with the oil- rubber, and wipe, 
 the plate clean ; then proceed to finilli it with the 
 graver, according to the following direftions : 
 
 Of engraving — The tools neceffary for engraving 
 are, the oil-rubber, burnifher, fcraper, oil-ftones, 
 needles, and ruler, already mentioned to be ufed in 
 etching ; alfo gravers, compaffes, and a fand bag. 
 
 Gravers are of two forts, fquare and lozenge : 
 three of each fort fhould be provided. The firfl is 
 ufed in cutting the broader ftrokes, the other for the 
 fainter and more delicate. No graver fhould exceed 
 the length of five inches and a half, the handle in- 
 cluded, excepting for ftraight lines. 
 
 The fand bag, or cufhion, is ufed to lay the plate 
 on, for the conveniency of turning it about. The 
 oil-ftone, mull be of the Turkey fort. 
 
 Of whetting and tempering the graver. — As great 
 pains are required to whet the graver nicely, particu- 
 larly the belly of it, care mull be taken to lay the 
 two angles of the graver, which are to be held next 
 the plate, flat upon the ftone, and rub them fteadily 
 till they are polifhed like a mirror, and till the belly 
 xifes gradually above the plate, fo as that, when you 
 lay the graver flat upon it, you mayjuft perceive the 
 light under the point ; otherwife it will dig into the 
 copper, and it will be impoflible to keep a point, or 
 execute the work with freedom. In order to this, 
 keep your right arm clofe to your fide, and place 
 the fore-finger of your left hand upon that part of the 
 graver which lies uppermoft on the ftone. When 
 this is done, in order to whet the face, place the flat 
 part of the handle in the hollow of your hand, with 
 the belly of the graver upwards, upon a moderate 
 flope, and rub the extremity, or face upon the ftone, 
 
 till 
 
+ HE ARTIST’S ASSISTANT. ig 7 
 
 till it has an exceeding (harp point, which you may 
 try upon your thumb nail. The oil-ftone, while in 
 ufe, mull never be kept without oil. 
 
 When the graver is too hard, as is ufually the 
 cafe when firft bought, and may be known by the 
 frequent breaking of the point, the method of tem- 
 pering the Reel is as follows : 
 
 Heat a poker red hot, and hold a graver upon it 
 within half an inch of the point, waving it to and 
 fro till the Reel changes to a light Rraw colour ; 
 then put the point into oil to cool ; or, hold the 
 graverclofe to the flame of a candle, till it be of the 
 fame colour, and cool it in the tallow ; but be care- 
 ful either way not to hold it too long, for then it will 
 be top foft; and in this cafe the point, which will 
 then turn blue, muR be broken off, and whetted 
 afrefh, and tempered again, if required. But be 
 not too haRy in tempering; for fometimes a little 
 whetting will bring it to a good condition. 
 
 Of holding the graver,- — Cut off that part of the 
 handle which is upon the fame line with the belly, 
 or fharp edge of the graver, making that fide flat, 
 that it may be no obRru&ion. 
 
 Hold the handle in the hollow of your hand ; and 
 extending your fore-finger towards the point, let it 
 reft upon the back of the graver, that you may 
 guide it flat, and parallel with the plate. 
 
 Take care that your fingers do not interpofe be- 
 tween the plate and the graver ; for they will pre- 
 vent you from carrying the graver level with the 
 plate, and from cutting your Rrokes fo clean as they 
 ought to be. 
 
 Directions for engraving. — Let the table or board 
 you work at be firm and fteady ; upon which place 
 
 your 
 
rg8 THE ARTIST’S ASSISTANT. 
 
 vour fand bag with the plate upon it; and, holding 
 the graver as above dire£ted, proceed to bufinefs 
 in the following manner : 
 
 For ftraight ftrokes, hold your plate firm upon the 
 fand bag with your left hand, moving your right 
 hand forwards; leaning lighter where the ftroke 
 fbould be fine, and harder where you would have 
 it broader. 
 
 For circular or crooked ftrokes, hold the graver 
 i'tedfaft, moving your hand or the plate, as you fee 
 convenient. 
 
 Learn to carry your hand with fuch a flight, that 
 you may end your ftroke as finely as you began it; 
 and if you have occafion to make one part deeper 
 or blacker than another, do it by degrees ; and that 
 you may do it with greater exaftnefs, take care that 
 your ftrokes be not too clofc, nor too wide. 
 
 In the courfe of your work, fcrape off the barb or 
 roughnefs which arifes, with the belly of your graver ; 
 but be careful in doing this, not to fcratch the plate : 
 and that you may fee your work properly as you go 
 on, rub it with the oil rubber, and wipe the plate 
 clean, which will take off the glare of the copper, 
 and fhew what you have done to the beft advantage. 
 
 Any miftakes or fcratches in the plate may b® 
 rubbed out with the burnifher, and the part levelled 
 with the fcraper, polifhing it again afterwards lightly 
 with the burnifher. 
 
 Having thus attained the ufe of the graver, accord- 
 ing to the foregoing rules, you will be able to finifh. 
 the piece you had etched, by graving up the feve- 
 ral parts to the colour of the original ; beginning, 
 as in the etching, with the fainter parts, and ad- 
 vancing gradually with the ftronger, till the whole 
 is complcated. 
 
 The 
 
THE ARTIST’S ASSISTANT. 199 
 
 The dry needle (fo called becaufe not ufed till the 
 ground is taken off the plate) is principally employ- 
 ed in the extreme light parts of water, fky, drapery, 
 architecture, &c.. 
 
 For your li 1 It practice, copy fuch prints as are 
 openly fhaded, the more finifhed ones being too 
 difficult, till you have gained farther experience. 
 
 Great choice of prints of every kind, fit for young 
 beginners, may be had where this book is publifhed. 
 
 N. B. To prevent any obltruCtion from too great a 
 degree of light; we fhould recommend the ufe of a 
 fafh, made of tranfparent or fan paper, palled on a 
 frame, and placed Hoping, at a convenient diftance 
 between your work and the light. This will not 
 only preferve the fight, but, when the fun fhines, 
 cannot poffibly be difpenfed with. 
 
 Of MEZZOTIN TO-SCRAPING. 
 
 IIIS art, which is of late date, is recommend- 
 
 ed to the praCtice of the ingenious reader, for 
 the amazing eafe with which it is executed, efpe- 
 cially by thofe who have any notion of drawing. 
 
 Mezzotinto prints are thofe which have no etch- 
 ing or ftrokes of the graver, but whofe lights and 
 fhades are blended together, and appear like a draw- 
 ing of Indian ink. 
 
 The tools ufed in this art are, the copper plate, 
 oil-ltone, grounding-tools, feraper, burnifher, and 
 needles. 
 
 Directions for laying the mezzotinto ground. — 
 Mark off upon the bottom of the plate the diftance 
 
 you 
 
soo THE, ARTIST’s ASSISTANT. 
 
 you intend to leave for the writing, coat of arms, 
 &c. then, laying your plate with a piece of fwanfkin 
 flannel under it, upon your table, hold the ground- 
 ing-tool in your hand perpendicularly, lean upon it 
 moderately hard, continually rocking your hand in 
 a right line from end to end, till you have wholly 
 covered the plate in one dire&ion ; next, crofs the 
 fhrokes from fide to fide, afterwards from corner to 
 corner, working the tool each time all over the 
 plate, in every direftion, almoft like the points 
 of a compafs ; taking all pofhble care not to let the 
 tool cut (in one direction) twice in a place. This 
 done, the plate will be full, or, in other words, all 
 over rough alike, and would, if it were printed, 
 appear completely black. 
 
 Having laid the ground, take the ferapings of black 
 chalk, and, with a piece of rag, rub it over the plate ; 
 or you may, with two or three candles, fmoke it as 
 before dire fted for etching. 
 
 Now, take your print, or drawing, and having rub- 
 bed the back with red chalk dull, mixed with white 
 lake, proceed to trace it, as direfted in p. 193. 
 
 Direftions for whetting the grounding-tool. — If a 
 tooth of the tool fhould break, it may be perceived 
 in the working by a particular ffreak or gap, which 
 will appear in the ground in a flraight line ; in which 
 cafe the tool mult be whetted on the back, holding 
 it Hoping, and in a circular manner, like the bottom 
 of the tool. 
 
 Dire&ions for feraping the piHure. — Take a blunt 
 needle and mark the out-lines only, then, with a 
 feraper, lerape off the lights in every part of the plate, 
 as clean and fmooth as poffible, in proportion to the 
 hrength of the lights in your picture, taking care not 
 
 to 
 
201 
 
 THE ARTIST’S ASSISTANT. 
 
 to hurt your out-lines ; and that you may the better 
 fee what you do, with the thumb and fore-finger of 
 the left hand, hold a piece of tranfparent paper, 
 Hoping, juft over your right hand, and you will 
 foon be a judge of the different teints of the work 
 you are doing, fcraping off more or lefs of the 
 ground, as the different ftrengths of light and teints 
 require. 
 
 The ufe of the burnifher is to foften, or rub down, 
 the extremely light parts, after the fcraper is done 
 with, fuchasthe tip of thenofe, forehead, linen, &c. 
 which might otherwife, when proved, appear ra- 
 ther mifty than clear. 
 
 Another method, ufed by mezzotinto-fcrapers, is 
 to etch the out-lines of the original, as alfo of the 
 folds in drapery, marking the breadths of the fha- 
 dows by dots, w’hich, having bit of a proper colour 
 with aquafortis, according to the directions given, 
 p. 195, take off the ground ufed in etching, and 
 having laid the mezzotinto-ground as in p. 199, 
 proceed to fcrape the picture as above. Four or 
 five days before you think the plate will be ready 
 for proving, notice muft be given to the rolling- 
 prefs printer, to wet fome French paper, as no other 
 will do for this work, and as that time is neceffary 
 for it to lie in wet. When the proof is dry, touch, 
 it with white chalk where it fhould be lighter, and 
 with black chalk where it fhould be darker ; and 
 when the print is re-touched, proceed as before for 
 the lights, and for the fhades ufe a fmall grounding- 
 tool, as much as you judge neceffary to bring it to the 
 proper colour ; and when you have done as much as 
 you think expedient, prove it again, and fo proceed 
 to prove and touch till it is entirely to your mind. 
 
 C c When 
 
202 THE ARTIST’S ASSISTANT. 
 
 When the plate tarnifhes in the part where you are 
 at work, a little vinegar and fait, kept by you in a 
 vial, will take it off, wiping it dry with a clean rag. 
 
 Avoid, as much as poffible, over-fcraping any 
 part before the firft proving, as by this caution the 
 work will appear the more elegant. 
 
 ► -«4£«K *r< « 
 
 Of CASTING. 
 
 To prepare clay in fuch a manner as io be jit to make all man* 
 ner of moulds to cajl gold , fiver , and other metals in, 
 
 r ~PAKE as much clay as you will, put it into an 
 X earthen pot that is glazed, and cover and lute 
 it very clofe ; then put it into a potter’s furnace, and 
 let is Hand as long as other earthenware. After it is 
 burned and cold, grind the clay upon a colour done 
 very fine, fift it through a fine hair fieve into clear 
 water, and, after it is fettled, pour off the water and 
 grind the clay once more upon the ftone, as fine as 
 poffible ; then wafh it again in fair water as before, 
 and fet it in the fun, or in a warm place, to dry. 
 
 After this burned and wafhed clay is thoroughly 
 dry, take thereof three pounds, fal-armoniac two 
 pounds, tartar two pounds, and vitriol one pound ; 
 mix them together, and put this mixture into one 
 or two pots ; pour upon it about feven quarts of 
 clean w r ater, and boil this compofition for fome 
 time ; then take this water, whilft it is warm, and 
 mix your burned clay therewith to fuch a confidence 
 that you may form it into balls; lay thefe in a warm 
 place to dry, and, when dry, put them into an earthen- 
 
THE ARTIST’S ASSISTANT. 203 
 
 pot as before, and give them another baking among 
 the earthenware, and, when cold, grind them fine, 
 and that powder will be fit for ufe. 
 
 The clay being thus prepared, take fal-armoniac, 
 put it into a glafs, with water, that holds about two 
 quarts, put fo much of the fal-armoniac to the wa- 
 ter as will diffolve it over a gentle warmth, and let 
 it Hand one or two hours clofed up; then take your 
 powder of clay, temper it with this water to fuch a 
 confidence as to form it into balls, and make what 
 moulds you pleafe thereof. When you caft your me- 
 tal, you muft make your mould red hot, and be alfo 
 very nimble in pouring out your melted metal. 
 
 To make moulds of clay to caft brafs or other 
 metals therein .'—Take good clear clay, fuch as the 
 pewterers ufe; take alfo cloth fhaving, or fine fhort 
 plucked cotton, and fine clear fand, and if the fand 
 is not fine enough, grind it on a colour done ; mix 
 this with the clay to fuch a confidence as is fit to 
 make or form your moulds thereof. Your clay mud 
 not be made foft with water, but with drong beer, 
 and when you caft let your mould be red hot. 
 
 If you would have a fine and fharp caft, fift over 
 your clay fome fine wafhed afhes, before you make 
 the impredion. 
 
 To prepare moulds which need not to be heated, 
 for cafting metal in them : — Take fine fand, fuch as 
 the goldfmiths ufe ; mix it with lamp-black, as much 
 as you think proper ; then temper it with rape or 
 linfeed oil, fit to make your moulds thereof ; what- 
 ever you caft in them, comes not only out neat and 
 fharp, but you have no occafion to heat your mould, 
 -as is required in other cafes : this you muft obferve, 
 that your fand be very dry, before you temper it 
 Avith the oil. 
 
 C c 2 
 
 The 
 
204 THE ARTIST’S ASSISTANT. 
 
 The preparation of Mantua earth, for moulds:— • 
 Take Mantua earth one part, and one part of charcoal 
 duffc of burnt birch, and one part of fait ; then mix 
 with it an equal quantity of tartar; boil up the mix- 
 ture together in a copper pan, and let it feeth three 
 times ; with this water, which keeps always good, 
 moiften and temper your earth, fo as to form it into 
 balls between your hands, and when you would 
 make your mould, roll your earth with a roller, till 
 it is fmooth and pliable, then you may form it into 
 what fafhion you pleafe. In this mould you may 
 call before it is dried; and when you have caft, 
 take off the earth which is dried through the heat 
 of the metal, grind the fame again, and temper it 
 as you did at firft to ufe it again. 
 
 A particular fort of mould, in which one may 
 caft exceedingly fine:— Take horfe mufcles, or for 
 want of them oyfter fhells, let them be calcined in 
 a potter’s furnace, then pulverize and temper them 
 with urine ; of this make your moulds, and you 
 will caft very fine and (harp. 
 
 To imprefs bafs relievo or medals, in imitation of 
 ivory. — Take of prepared clay one pound, fine plaifter 
 of Paris eight ounces, white ftarch eight ounces, mix 
 thefe together, and beat up the mixture with the 
 white of fix or eight eggs, put to it three ounces of 
 clear gum arabic, ftir it well together to a pafte, 
 and put fo much of the dry mixture to it, till you 
 knead it like dough ; then prefs it into a mould with 
 the palm of your hand, and let it dry in the fun, ob- 
 ferving to lay the pafte fide on a fmooth board, and it 
 will be clear and hard, like ivory. You may im- 
 prefs all manner of medals and curiofities, and make 
 them of what colour you pleafe. 
 
 To 
 
THE ARTIST’S ASSISTANT. 205 
 
 To imprcfs medals and other things in bafs relievo, 
 on paper: — Take the {havings of fuperfine white 
 paper, and Reep them in fair .water for fix or eight 
 days, then put them into a clean earthen pot with 
 water, and boil them for two or three hours ; this done, 
 take them out of the pot, with as little moifture as pof- 
 fible, and ftamp them in a ilone mortar very fmall 
 and line ; then put them into a clean linen bag, and 
 hang that in a veffel with clean water, changing the 
 water once or twice a week : when you have oc- 
 cafion toufe it, take as much as you want out of the 
 bag, fqueezing the water from it, and put it on the 
 mould, prefilng it down gently with a fpunge, which 
 will foak up the water, and make the imprefliort 
 more perfeft ; this being done, fet the mould to dry, 
 in the fun, or in a warm room, and when dry, the 
 impreffion will come off fair and as fharp as if caff 
 in fine plaifter of Paris. 
 
 To caff vegetables in moulds, peculiarly prepared 
 for filver : — lake fine and clear clay, or fpalter, that 
 is dry, and pound it fine in a mortar ; then take 
 a copper or iron pan, put in your clay, and give it a 
 brilk fire, and after you have heated it thoroughly, 
 take it off and let it cool ; then take one part of this 
 clay, one part alumen plumofum, grind them to- 
 gether and caff the mixture in little teints, which put 
 into a fire to neal ; beat it very fine, and when you 
 would form your plant, take one part of this powder 
 and one part of alumen plumofum, grind them to- 
 gether, and add as much of the clay powder as the 
 mixed matter doth contain, and mix and grind them 
 all together. Then take fome potter’s clay, to make 
 a coffin round your plant, fpread it in what manner 
 you think proper, and after the coffin is dry, anoint 
 
 the 
 
2 ofi THE ARTIST’S ASSISTANT, 
 
 the irifide thereof, as alfo the plant, with good brandy ; 
 dull the before prepared clay and the plant gently, 
 through a fine cambrick, and when you have covered 
 It all over as thick as it will bear, ftrike the railed 
 coffin a little with your hand or hammer, and the 
 duff will fettle clofer to the plant and make the ftlver, 
 caft in, come out the ffiarper. 
 
 After the powder is well fettled, and your coffin 
 clofed, cover it fine with dead charcoal, and then 
 lay fome live ones over them ; let the fire gradually 
 defeend to the coffin, and heat it by degrees to a 
 flrong glue, then let it cool of itfelf with the fire ; 
 take afterward fine clay, fine fand, and fome. wool 
 ^hearings; mix this together, beat and knead it well 
 into one another; then temper it with glue, and fill 
 your coffin with it all over the plant, leaving an 
 opening at the (talk for the inlet ; then put it again 
 into the fire and make it red hot, and with a pair of 
 bellows, firft clofed, draw out the affies from the 
 inlet, and it will be ready for calling. 
 
 Then take oil of tartar, which is made of pound- 
 ed fait of tartar, and ferape a little fal-armoniac into 
 it, to give it the fubftance of a thin palle, which is 
 a good flux for filver ; fling fome of this upon your 
 filver when in fufion, and it will call fine and fharp. 
 
 After it is call, anoint the filver plant with oil of 
 tartar, lay it on live coals, anneal it, and then boil it 
 in tartar, to which you add a little fait, and this 
 will give it a fine bright pearl colour. 
 
 A curious method to caft all forts of tilings in 
 gold, filver, or other metals : — Firft pound plaifter 
 of Paris, or alabafter, to a fine powder, fift it through 
 a cambrick, or very fine hair iievc, and put it into 
 an iron pan, over a clear coal fire ; ftir it about until 
 
 it 
 
THE ARTIST’S ASSISTANT. 207 
 
 It begins to boil and bubble up like water ; keep it 
 ftirring, recruit your fire and continue this until you 
 find it fo thick as not to be able to draw'it along 
 with your flick; then pour it into a bowl and let it 
 cool. Take alfo brick dull finely powdered and 
 fifted. 
 
 The miners find fometimes a matter in the iron 
 mines, which they call liver ore ; take this and 
 wafh it from the coarfer fand, and, when dry, put it 
 into an earthen pot, cover it, fet it to neal thoroughly, 
 and, when cold, pound and fift it ; when it is rightly 
 burnt, it will be of a copper colour : put all thefe 
 powders into feveral different boxes, and preferve 
 them from dull and foil, for proper ule. 
 
 To call vegetables and infefts : — Four parts of the 
 above plaifter of Paris, two parts brick drift, and 
 two parts liver ore ; mix them well together, and 
 fift them through a fine hair fieve, and, when you 
 are ready to form your moulds, pour clean water to 
 them, llir them well together to the thicknefs of a 
 thin pafle ; but you mud be pretty nimble with this 
 work, elfe it will harden under your hands and be 
 of no ufe. 
 
 The mould yod°prepare thus ' Take the plant 
 
 you defign to caftyand fpread the leaves and ftalks fo 
 as not to touch one another ; then make a coffin, 
 either of lead or clay, put your plant in it, fo as not 
 to touch the coffin ; at the bottom you may lay a 
 piece of paper to keep the fluff from flicking to the 
 board, but let your fluff be neither too thick nor 
 too thin, for if it is of a right confidence it will 
 force itfelf clofe to the plants and come out fharp ; 
 let the ftalks be carefully kept up for the inlet ; 
 and, when you pour this fluff upon your plants, do 
 
 it 
 
2o8 THE ARTIST’S ASSISTANT. 
 
 it gently, and feparate thofe leaves which might lie 
 clofe to one another with a needle, pouring all the 
 while, to make the mould the ftronger. After this 
 is hardened, put it in a dry place, and keep it until 
 you have fome more ready to call, but you mull fe- 
 cure it from froft. 
 
 If you would caff infe£ls, or any fmall animal, or 
 reptile, put' them, in what pofition you will, upon 
 a little board, brown paper, or pafteboard, which 
 firft mud be anointed with oil, in order to make the 
 plaifter fluff come off the eafier ; about your infe£t 
 make a little coffin, and if you can raife the infe£l, 
 fo as to be freed from the board or paper, it will be 
 the better, which you may do by tying it with two 
 or three hairs, faftening them at the top of the coffin, 
 and by this means it will hang in the middle thereof ; 
 when this is ready, pour, as before dire£led, your 
 plaifter gently upon it, and after the mould is a lit- 
 tle dry, it will be fit for ufe. 
 
 If you lay your infeft, or other creature, upon 
 the paper, you muff make a wall about and caff your 
 plaifter upon it ; let it Hand a little, and, when dry, 
 take off your wall, and cut the plaifter round about 
 the infefct, and, taking the i^ou^d,- off the paper, 
 there will be an opening at the bottom of the mould 
 where the infe& lies; turn this mould, and anoint 
 it about the opening and the part on the infedl with 
 oil ; then, calling fome frefh plaifter upon that 
 plate, your mould will take afunder, and be very 
 convenient to draw out the afhes of the infett, after 
 it has been burned as is here directed. 
 
 Put your mould upon fome warm wood afhes, 
 then cover it with fmall coal, over the fmalll coal 
 lay charcoal, and then fling fome lighted fmall coal 
 
 over 
 
THE ARTIST'S ASSISTANT. 209 
 
 over them to kindle the others, fo that the heat may- 
 be gentlv conveyed to the mould ; and after it has 
 glowed fome time, and you think the infeft, or plant, 
 is confumedto allies, let it cool of itfelf with the fire 
 about it, to hinder the air coming to it. When 
 your mould is cold, open the hole for the inlet, and 
 either with your breath, or with a little hand fpout 
 that is moifl, draw out the afhes, and your mould 
 is ready. 
 
 You may alfo burn thofe moulds inamuffle, ifyou 
 clofe the muffle to prevent the air coming in, and lay 
 the coals on and glow it as has been direfted. After 
 you have taken out the mould, put the fame in warm 
 fand, and having your filver, or other metal ready 
 melted, pour it in quick ; but if you calf filver, fling 
 into the flux a little fal-armoniac and borax, mixed 
 together; after it is call, let the mould cool a little, 
 then quench it in water, and the plaifter will fall off 
 of itfelf, brufh the filver clean, and anneal and boil 
 it as has been already direfled. 
 
 To call vegetables orinfetts in another manner : — ■ 
 die your plant, fprig, or infefl, with a fine thread to 
 a little flick, dip either of them into brandy, and let 
 it dry a little, then temper your plaifter of Paris, pre- 
 pared as before direfted, with water of fal-armoniac, 
 pretty thin, and dip your plant, or infefl in it all over ; 
 then put the little flick in the hole againfla wall, or 
 any thing elfe, let it hang free, and in the drying 
 you may difplay the leaves of the plant, or legs of the 
 infeft, as you would have them ; and when you have 
 done this, hang it in the coffin, the little flick may 
 reft on each end of the coffin ; then, pouring your 
 plaifter over, you will have an exaft mould; then 
 proceed as dire£led before. 
 
 D d 
 
 If 
 
210 THE ARTIST’S ASSISTANT. 
 
 If ycm would have a fmall infe£l to Hand upon a 
 leaf, then dip the ends of its legs in turpentine, and 
 put it on the plant before you dip it; if it is a fpider 
 or grafshopper, or any other infe£l which you think 
 will be too ftrong for the turpentine, kill it fitft in 
 Vinegar, and after that put its legs in the turpentine, 
 and fix it to the leaf of the plant. 
 
 To call figures or medals in brimftone : — Melt in a 
 glazed pipkin, half a pound of brimftone over a gentle 
 fire, with this mix half a pound of fine Vermillion, 
 and when you have cleared the top, take it off the 
 fire, flir it well together, and it will diffolve like oil ; 
 then caft it into the mould, after being firft anointed 
 with oil, let it cool, and take it out ; but in cafe your 
 figure fhould change to a yellowifh colour, you mud 
 only wipe it over with aquafortis, and it will look 
 like the fineft coral. 
 
 How to form and caft all manner of fmall 'birds, 
 frogs, fifh, &c. — Take an earthen, iron, or tin ring, 
 which is high and wide enough to hold the animal 
 you defign to caft, and fet a ring upon a clean board, 
 or pafteboard ; then lay the animal upon it, and caft 
 the fine mixture of plaifter pretty thick over it, the 
 reft of the vacancy you may fill up with a coarfer 
 plaifter, even to the brim. When this is done, and 
 pretty well dried, turn your ring, and putting a little 
 fhort ftick clofe to the body of the animal, caft a 
 cruft on that fide, to cover that part which lay clofe 
 to the board, and when dry, burn it, and go about 
 the calling as direfted ; after you have burned or 
 glowed it thoroughly, you mull dry the afhes out of 
 the hole which is made by the little ftick, and this 
 you may ufe for your inlet. 
 
 
 How 
 
THE ARTIST’S ASSISTANT. sA 
 
 How to call fmall fhot Melt your lead in a ladle, 
 then pour it gently in a continual ftream into a pan 
 or pail of water, on the furface whereof fwims oil of 
 a finger thick, and you will have a good round fmall 
 fhot. 
 
 - Of calling in plaifter If you will make a mould 
 to call an image, or animal in, take clean potter’s 
 clay, make thereof a coffin round about the image, 
 which you lay long ways on a hoard, and anoint ft 
 over with oil ; then take fine plaifter of Paris, mix 
 it with water, and pour it all over the image, fo that 
 it may cover it every way ; then give it a ftronger 
 coat with a coarfer fort, and when the plaifter is dry, 
 take off the coffin, and cut that fide which is call 
 fomething flat, making fome notches or marks upon 
 it ; then turn it, and make a coffin about it again, 
 and' call that fide of the image, after you have 
 anointed it with fome oil all' over, fo that the whole 
 may be entirely inclofed. 
 
 After the plaifter has been a day or two upon the 
 image it will be cjuite dry ; then, with a wooden mal- 
 let, beat cautioufly againft the plaifter, till a piece 
 thereoi loofens, which being taken off, the reft will 
 come off eafy ; and after you have difmantled the 
 whole, anoint the infide thereof with linfeed oil, 
 with a fine hair pencil hrufh, and let it dry in ; 
 this do twice, and afer they have lain two or three 
 days, cut in an inlet, where you think it moft con- 
 venient, and when you will call with plaifter of 
 Paris, before you do it anoint the infide of the mould, 
 md alter you have put all the pieces in their plaices, 
 and tied them together, call your plaifter, and let it 
 ftand half a day; take the pieces, one after another, 
 carefully off, in order to- keep the image intire : ; 
 
 D d 2 but 
 
212 THE ARTIST’S ASSISTANT. 
 
 but if you will call wax in that mould, put only the 
 mould, for half an hour before, in water, and the wax 
 will not flick to it. Ifyou will have the image hol- 
 low, then mind that the wax be not too hot ; pour it 
 into the mould, and you will eafily fee how thick it 
 Ricks to it. When you think it is thick enough, 
 then turn your mould about, and pour out the wax 
 that is remaining, and after you have, for a little 
 while, laid it in water, take off the pieces of mould- 
 ing, and you will have the image done to perfection. 
 You muft obferve, that before you break the mould 
 from the image on which you formed it, you mufl 
 mark it all over with erodes, circles, or flrokes, by 
 which you may afterwards fix them right and exact- 
 ly together, to caft again. If you will have the wax 
 figures folid, then let the mould, with the images, lie 
 for, half an hour, or more, to cool, in fair water. 
 
 To prepare the wax ' Take one pound of white 
 
 rofin, that is not greafy, two pounds of wax, melt the 
 wax, {train it through a cloth into a glazed pan, and 
 Rir it about till it is cool. 
 
 To caft medals and other things in bafs relievo : — 
 Lay your medal on a clean piece of paper, or a clean 
 board, inclofe it with a wall of clay or wax, then 
 pour the plaifter of Paris half an inch thick upon it ; 
 when it is dry take off the mould, and anoint it with 
 clear fallad oil, two or three times, both within and 
 without. If you will call plaifter of Paris, lay the 
 mould firft, for a quarter of an hour, in clear water; 
 then caft your plaifter as thick as you pleafe. 
 
 You mufl obferve, that whenever you make a 
 mould "of plaifter, let it be for bafs relievo or figures, 
 you muff always anoint it with oil, two or three 
 timeSj which will not only preferve them from the 
 
 damage 
 
THE ARTIST’S A SSISTANT. 213 
 
 damage they otherwife would fuftain from the water, 
 but make the caft pieces come out clear. 
 
 Medals and figures in bafs relievo, how to call 
 them like jafpis : — To do this you mufl have a hand 
 fpout, ora glyfler pipe, at the end whereof, fix a tin, 
 or iron plate, full of round holes, fome larger than 
 others. In this fpout put a pafle, made of fine chalk, 
 of feveral colours ; then force them out, in fmall 
 fhreds of mixed colours, in one piece ; cut them with 
 a fine edged knife in thin round ilices, and put one 
 into your mould, prefling it down gently ; then pour 
 the plaifter of Paris upon it, and when dry, lay it firft 
 over with fifh glue, and after that varnifh it, and it 
 will be of lingular beauty. 
 
 The colours you may hr ft dilute with gum-water, 
 before you mix-the chalk with them. 
 
 Another : — Take the above-mentioned chalk pafte, 
 and after you have mixed therewith a variety of 
 colours, as fmalt, white lead, Vermillion, red lead, 
 maflicot, verdigrife, brown red, &c. and formed each 
 colour feparate into little cakes, then, with a rolling- 
 pin, fpread them like pye-crufl, and when you have 
 as many colours as you think proper, lay one leaf 
 upon another, roll them together from one end to the 
 other, and, with a knife, cut dices as thin as a wafer ; 
 take thefe and cover your mould with them, prefs it 
 dole down with your thumb, and pour the plaifter of 
 Paris over it ; when dry, do it over with fifh glue, and 
 then varnifh it, or give it a polifh with a dog’s tooth. 
 
 To caft dfh, reptiles, fruit, or any kind of things, 
 in a pewter plate, or difh : — Take a pewter plate or 
 dilh, garniflr the fame with cither dfh, reptiles, fruits, 
 plants, &c. difpofc them in proper order, as your 
 fancy direfls you ; fmall animals, or leaves of plants 
 
 fallen 
 
si 4 THE ARTIST’S A S 1ST A NT. 
 
 fa-iten to the difh with a little turpentine, and when 
 every thing .is’in order, wall it round ; then pour 
 yeur/pti sifter of Paris over it ; ftrike upon the table 
 lbs ; diifh funds on, in order to make the calling fix 
 the clofer about the things ; after the plaifler is dry, 
 make the mould for the back part of the difli ; glow 
 it, in order to burn the things to allies, and having 
 cleared your mould, fix them together for calling, 
 then tie them round with wires, and make them red 
 hot; call your pewter, and in order not to make the 
 difh too heavy, convey fome little openings from the 
 back part of the mould to the body, or hollow, of the 
 animals, Hopping the outfide clofe up again till your 
 calling is over ; and when you think the pewter 
 Efficiently fixed, then open thefe conveyances and 
 pour out the pewter which may remain in the ingot 
 melted'. 
 
 If you would call it in filver, then model your 
 leaves, animals, &c. each feparate and hollow, that 
 they may be afterwards foldered on. 
 
 To call figures in imitation of ivory : — Take 
 ifinglafs and flr.ong brandy, make it into a palle, 
 with the powder of very fine grounded egg fhells. 
 You may give it what colour you pleale, but call it 
 warm into your mould, having oiled it all over ; 
 leave the figure in the mould till cold, then fet them 
 in the air to dry, and you will have them refemble 
 ivory. 
 
 Another : — Take a fufficient quantity of egg fhells, 
 .put them into an earthen velfel, lute it well, and let 
 them be put into a potter's furnace, and they wili 
 burn to a white calx; if, after the lirfl burning, they 
 are not white enough, burn them a fecond time ; 
 then, with parchmcnt-gluc, mix it into a mafs fit to be 
 i,;....: call 
 
THE ARTIST’S ASSISTANT. 
 
 call in moulds, wherein let them dry ; if you will 
 - have your figures of different colours, you mull co- 
 lour your glue, for red, with brazil ; for green, with 
 verdigrife, &c. 
 
 Another mixture to caff figures in bafs relievo: — 
 Take flower of chalk, finely ground, mix it with 
 clear glue well together, pour if. into your mould, 
 prefs it with the palm of your hand, and it will 
 come out very fine : you may do this in what colour 
 you pleafe. 
 
 To caff with marble colours in plaifler: — Take 
 feveral colours, as vermillion, Dutch pink, yellow 
 oker, fmalt, &c. temper them with water, and mix 
 every one apart with plaifler ; then take what co- 
 lour you pleafe, and firft fprinkle your mould, 
 which is beft of brimftone, with one or more of 
 them, with a little pencil or feather; then pour a 
 colour different from what you fprinkled into the 
 mould, and after it is hardened, give it a glofs with 
 wax or varnifh, as pleafes you beft. 
 
 A fand, in which one may caft things to the 
 greateft nicety, whether flat or in bafs relievo 
 lake Fuller’s earth, put it in a reverberatory fur- 
 nace, fo long till it is red hot ; then take fal-armo- 
 niac about one pound, diffolve it in two quarts of 
 water; with this water moiften the burnt earth, 
 and, when cool, put it into the furnace, in a red 
 hot pan ; after it has glown there, take it out again ; 
 when the heat is a little over, fprinkle it with the 
 above water again, till it is quenched; then give it 
 another fire, and repeat this five or fix times, the 
 more the better it w ill receive the metal £ then grind 
 it to a very fine powder, put it into the frame, which 
 may be either of brafs^ iron, or wood, but firft 
 
 moiften 
 
2 1 6 THE ARTIST’S ASSISTANT. 
 
 moiffen it a little with the aforefaid water ; then, 
 make your imprelTion near the ingot, and having 
 dried it before the fire, while it is hot, cad your 
 metal ; the mould or imprelTion will be better the 
 fecond than the firft time of ufingif, but every time 
 you ufe it, make it firff red hot. 
 
 To make horn foft : — Take one pound of wood 
 afhes, two pounds of quick lime, one quart of wa- 
 ter ; let it boil together to one third; then dip a 
 feather into it, and if, in drawing it out, the plume 
 comes off, it is boiled enough, if not, let it boil 
 Longer; when it is fettled, filter it through a cloth ; 
 then put in fhavings or filings of horn ; let them 
 foak therein three days, and anointing your hands 
 fird with oil, work the horn fhavings into a maf's, 
 and print, mould, or form it into what fhape you 
 pleafe. 
 
 To caff horn into moulds : — Take horn fhavings, 
 as many as you will, and lay them in a new earthen 
 pot ; take two parts of wood allies, and the third 
 part of lime, pour clear lee upon it, fo as to cover 
 it all over, boil it well, ftir it with an iron ladle, 
 till it has the confidence of pafte ; if you will have 
 it of a red colour, then take red lead or Vermillion, 
 as much as you think proper, and temper it with 
 the pade ; then cad it into a mould, and let it dry ; 
 and you may fmooth it with a knife, and it will be 
 of one folid piece ; you may, in this manner, bring 
 horn to what colour you will have it. 
 
 To cad wood in moulds, as fine as ivory, o: a fra- 
 grant fmell, and in feveral colours : — Take fine faw- 
 dud of lime tree wood, put it into a clean pan, tie it 
 clofe up with paper, and let it dry by a gentle heat ; 
 then beat it in a ftone mortar to. a very fine powder, 
 
 fift 
 
THE ARTIST’S ASSISTANT. 21; 
 
 fift it through cambrick, and lay it, if you do not 
 ufe it prefently, in a dry place, to keep it from dud. 
 Ihen take one pound of fine parchment glue, the 
 fined gum-dragant and gum-arabick, of each four 
 ounces ; let it boil in clean clear pump water, and 
 filter it through a clean rag ; then put into it of the 
 faid powder of wood, as much as will make it of the 
 lubftance of a thick pafte, and fet it in a glazed pan in 
 a hot fand, dir it well together, and let the red; of 
 the moifture evaporate till it be fit for calling. Then 
 pour or mix your colours with the pafte, and put in 
 oil of cloves, of rofes, or the like, to give it a feent ; 
 you may mix it, if you will, with a little beaten 
 amber ; for a red colour ufe brafil ink. Your mould 
 will be better of pewter, or brafs, than of plaifter 
 of Paris; anoint it over with oil of almonds, and 
 put your pafte into it ; let it Hand three or four days 
 to dry and harden, then take off your mould, and it 
 will be as hard as ivory ; you may cut, turn, carve, 
 and plane it like other wood ; it will be of a fweet 
 Icent ; you may, if your mould will allow it, ufe fe- 
 veral colours in one piece, leaving only in fomepart 
 the natural colour of the wood, in order to convince 
 the beholder what it is. It is a fine and curious ex* 
 periment. 
 
 Of the mixture for calling mirrors, and other 
 things for opticks : — We find the method for pre- 
 paring thefe mixtures preferibed by feveral authors* 
 but after different ways ; wherefore I lhall fet down 
 only a few, which, for the generality, are bell ap- 
 proved of ; and firft, 
 
 Take three pounds of the bell refined pewter, 
 and one pound of refined copper; firft melt the cop- 
 E c per, 
 
21 8 THE ARTIST’S ASSISTANT. 
 
 per, and then add the pewter to it ; when both are 
 infufion, pour it out, and, when cold, beat it to pow- 
 der; then take twelve ounces of red tartar, a little 
 calcined tartar, three ounces of faltpetre, one ounce 
 and a half of alum, and four ounces of arfenic ; 
 mix and flir this together, and, after it has done 
 evaporating, pour out the metal into your mould ; 
 let it cool, and, when polilhed, you will have a fine 
 mirror. 
 
 This is the compofition which is commonly called 
 the Heel mixture. 
 
 Some artiflswill have the arfenic omitted, becaufe 
 it is apt to turn the mirror into a deadifh blue co- 
 lour, and requires new polifhing every time one 
 wants to ufe it, and they think that copper and pewter 
 are fufficient to anfwer that purpofe. 
 
 Another : — Take an earthen pan that is not glazed, 
 and has flood the fire ; put into it two pounds of tar- 
 tar, alfo the fame weight of cryflalline arfenic, and 
 melt it on a coal fire. When this mixture begins to 
 fmoak, add to it fifty pounds of old copper, and put 
 it into fufion for fix or feven hours, fo that it may be 
 well cleanfed ; then add to it fifty pounds of pewter, 
 and let them melt together ; after this, take up fome 
 of the mixture with an iron, to fee whether. it is too 
 hard and brittle ; if fo, then add a little more tin ; and 
 when you have the right temper, fling four ounces 
 of borax over it, and let it Hand in the furnace un- 
 til it is diffolved, then pour it into your mould and 
 let it cool ; when it is cold, rub it firfl with brim* 
 flone and then with emery ; and after the furface is 
 made fmooth and even, polifh it with tripoli or tin 
 afhes, and give it the finifhing flroke with lamp- 
 black; or, take copper one part, pewter three parts, 
 
 and 
 
THE ARTIST’S ASSISTANT, mg 
 
 ■and a very little arfenic or tartar ; when thefe arc put 
 intofufion let them incorporate. 
 
 Some take of copper three parts, of pewter one 
 part, and a little filver, antimony, and white flint. 
 
 Others do it with one part of lead, and two parts 
 of filver. 
 
 After the metal is formed and call, it is requifite 
 to have it fmooth and well polifhed ; the firfl is done 
 with emery, then with powder of brimftone or tin 
 afhes, or elfe with tripoli ; thepolifhing is done with, 
 pulverifed chimney foot of wood fires, and the afhes 
 of willow or cedar, which will give it a fine luflre. 
 The emery is ground to a fine duff, and moiftened 
 with water; or, fteel mixtures are alfo made out of 
 one pound of pewter, and one third of copper ; when 
 thefe are melted, add two ounces of tartar, and one 
 ounce of orpiment, and when evaporated, pour the 
 mixture out into the mould. The calling of a flat 
 mirror, or looking glafs, is done upon a flat board, 
 which mufl be made dry and warm, and covered with, 
 rofin or pitch ; by this means the mirror is fixed to 
 the board ; when cold, rub it with fand and water, 
 then with emery, or flower of brimftone, and at laft 
 polifh it with tin afhes. 
 
 Another fort of fteel mixture for mirrors -Take 
 good new copper, of that fort which is ufed for cop- 
 per wire, eight parts; fine Englifh pewter one part ; 
 bifinuth five parts ; put it together into a crucible and 
 melt it. 'I hen greafe the mould all over with tallow, 
 in order to call: your metal into it ; when it is in 
 fufion, dip a hot iron into it; what flicks to it let 
 cool. If the colour is inclining to white it is right ; 
 but if to red, you mull add fome more pewter, until 
 it lias its right colour. Obierve that whatever 
 Ec 2 you 
 
220 THE ARTIST’s ASSISTANT. 
 
 you put to the melted metal, muft firft be made hot. 
 After this manner you may form and cad whatever 
 you pleafe ; or melt one pound of copper, fling into 
 it eight ounces of fpelter, and when the fpelter is in 
 flame, ftir it with a flick or iron rod, well together ; 
 then add five or fix ounees of fine pewter to it ; pour 
 it into your moulds, fmooth and polifh it as has been j 
 diretted above, and you will have a fine and bright 
 mirror. 
 
 To caft iron : — Take clean filings of iron, wafli 
 them in lee, and then water ; mix them with as much 
 powder of fulphur, put the mixture into a crucible, j 
 and give it a ftrong fire until it is in fufion ; if you 
 manage it right, it will caft clean and fmooth. 
 
 To caft fteel : — Take of the beft and fineft fteal, 
 about one pound ; break it into bits, put it in a good I 
 ftrong crucible, and anneal it to a bright red colour. 
 Then add fixteen or twenty-four ounces of good com- 
 mon fteel, and anneal it thoroughly ; add then eight 
 or ten ounces of arfenic glafs, give it a violent fire, 
 and it will melt and flux ; with this compofition you 
 may caft what you pleafe. 
 
 The arfenic glafs is prepared in the following 
 manner. 
 
 <c Take one pound of white arfenic, two pounds of 
 tc good faltpetre ; put it into a new pot that is not 
 “ glazed, with a cover that has a little round hole in 
 “ the middle; lute it well all round, then let it dry, 
 tc and when dry put the pot in a reverberatory fire 
 <£ for three hours, and there will evaporate out of 
 “ the hole of the cover a red poifonous fume ; which 
 C£ you muft take care of, and keep at fome diftance 
 <c from it. The fecond hour, move the fire nearer 
 ce the pot, and when the fumes ceafe, clofc the hole 
 
 “ with 
 
22 t 
 
 THE ARTIST’S ASSISTANT. 
 
 <{ with fome clay; at the third hour' put the coals 
 
 dole to the pot, and give it a thorough heat, then 
 “ let it cool of itfelf, and at the opening of the pot 
 “ you will find a white, fometimes a greenifh white 
 £; ftonc, which put up in a dry warm place free from 
 t£ the air, to prevent its melting ; of this you are to 
 <£ take five ounces, and of borax three ounces ; grind 
 “ it well together, and let it melt in a large crucible 
 “ until it is fluid ; pour this into a refining cup, and 
 ,£ you will have a fine tranfparent matter ; what is 
 “ notufed, you may preferve from, the air to keep it 
 t£ from diffolving.” 
 
 To call iron as white as filver : — Take tartar, oil, 
 and faltpetre, and mix it into a pafte ; then put iron 
 or fteel filings into a crucible, fet it on a charcoal 
 fire, fling the mixture upon it, and it will dilfolve 
 and come out like filver. 
 
 To call; plaifter of Paris on copper-plates : — Firfl; 
 rub the colour, either red, broWn, or black, into the 
 graving, and wipe the plate clean ; then mix as 
 much plaifter as you think you fhall have occafion 
 for, with frefh water, to the confiftence of a thin 
 pafte, and, having put a border round the plate, of 
 four fquare pieces of reglet, pour the plaifter upon 
 it, and move it, fo that it may run even all over the 
 plate ; let it ftand for an hour, Or longer, according 
 to the dimenfions of the plate, and, when you find 
 it dry, and turned hard, take off the reglets, and 
 then the plaifter, and you will have a fine impreflion 
 of the copper graving. You muft obferve, not to 
 mix more at a time than you have occafion lor, or 
 elfe it will grow hard before you can ufe it. 
 
 A mixture which may be ufed for making im- 
 prelfions of any kind, and which will grow as hard 
 
 as 
 
222 
 
 THE ARTIST'S ASSISTANT. 
 
 as Tone : — Take clean and fine lifted afhes, and fine 
 plaifter of Paris, of each an equal quantity, and tem- 
 per the mixture with gum water, or with fize of 
 parchment ; knead it well together, andprefs it down 
 into your mould ; but do not prepare more than 
 what you ufe prefently, elfe it will harden under 
 your hands. You may give it what colour you 
 pleafe ; in mixing it for black, take lamp-black; 
 for red, Vermillion; for white, flake white; for 
 green, verdigrife ; for yellow* Dutch pink, &c. 
 
 You may, inftead of gum or fize, ufe the whites 
 of eggs, which is more binding. 
 
 To imprefs figures in imitation of porcelain : — 
 calcined and fine pulverized egg-fhells, worked 
 with gum-arabic and the white of eggs into a dough, 
 then preffed into a mould, and dried in the fun, will 
 come out fharp, and look fine. 
 
 
 Of BRONZING. 
 
 I^RONZIXG is colouring, by metaline powders, 
 plaifter, or other bulls and figures, in order to 
 make them appear as if call of copper or other 
 metals. 
 
 This is fometim.es done by means of cement, and 
 fometimes without, in the inllanceof plaifter figures ; 
 but the bronzing is more durable and fccure when a 
 cement is ufed. 
 
 Gold powders, and aurum raofaicum, are fre- 
 quently employed for this purpofe ; but the proper 
 bronzing ought to be of a deeper and redder colour, 
 more rcfcmbling copper ; which effeft may be pro- 
 duced 
 
THE ARTIST'S ASSISTANT. 223 
 
 duced by grinding a very fmall quantity of red lead 
 with thefe powders; or the proper powder of cop- 
 per may be ufed ; and may be prepared as follows ; 
 
 “ Take filings of copper, or flips of copper-plates ; 
 {S which diffolve in any kind of aquafortis, and put 
 “ into a glafs receiver, or other proper formed veffel. 
 “ When the aquafortis is fa tu rated with the copper, 
 <l take out the flips of the plates ; or, if filings were 
 il ufed, pour off the folution from what remains un- 
 “•diffolvcd ; and put into it fmall bars of iron, which 
 will precipitate the copper from the aquafortis in 
 “ a powder of the proper appearance and colour of 
 * l copper. Pour off the water then from the powder, 
 u and wafh it clean from the falts, by feveral fuc- 
 <e ceffive quantities of frefli water.” 
 
 The true gold powder may be well and eafily 
 made by the following method : 
 
 { : Take any quantity of leaf gold; and grind it 
 “ with virgin honey, on a flone, till the texture of 
 u the leaves be perfe&ly broken, and their parts di- 
 cc vided to the minuteft degree. Then take the rhix- 
 <c ture of gold and honey from off the ftone, and put 
 “ it into a china or other fuch bafon, with water; 
 C£ then ftir it well about, that the honey may be melt- 
 Ci ed, and the gold by that means freed from it. Let 
 “ the bafon afterwards Hand at reft, till the gold be 
 “ fubfuied; and when it is fo, pour off the water 
 <e from it, adding frefh quantities till the honey be en- 
 <c tirely wafhed away; after which, the gold may be 
 i( put on paper, and dried for ufe.” 
 
 The aurum mofaicum, which ii tin coloured, and 
 rendered of a flaky or pulverine texture, by a chemi- 
 cal procefs, fo as greatly t o refemble gold powder, is 
 prepared in the following manner; 
 
 < { Take 
 
224 THE ARTIST’S ASSISTANT. 
 
 “ Take of tin one pound, of flowers of fulphur fe- 
 “ ven ounces, and of fal ammoniacus and purified 
 “ quick-filver, each half a pound. Melt the tin and 
 “ add the quickfilver to it in that ftate ; and when 
 “ the mixture is become cold, powder it, ‘and grind 
 “ it with the fal ammoniacus and fulphur, till the 
 “ whole be thoroughly commixt. Calcine them then 
 “ in a mattrafs, and the other ingredients fubliming, 
 “ the tin will be converted into the aurum mofaicum ; 
 “ and will be found in the bottom of the glafs like 
 “ a mafs of bright flaky gold powder; but if any 
 black or difcoloured parts appear in it, they mull 
 “ be carefully picked or cut out.” 
 
 Where the appearance of brafs is defigned, the 
 gold powders, or the aurum mofaicum, may be 
 mixed with a little of the powder called argentum 
 mufivum ; the preparation of which is treated of 
 under the article filvering. 
 
 Where the appearance of filver is wanted, the 
 argentum mufivum is the bell and cheapeft method ; 
 particularly as it will hold its colour much longer 
 than the true filver ufed either in leaf or powder. 
 
 Where no cement is ufed in bronzing, the pow- 
 der mud be rubbed on the fubjeCt intended to be 
 bronzed, by means of a piece of foft leather, or 
 fine linen rag, till the whole furface be coloured. 
 
 The former method of ufing cement in bronzing 
 was, to mix the powders with flrong gum water, or 
 ifinglafs fize ; and then, with a brufh, or pencil, to 
 to lay them on the fubjeCt. But at prefent fome ufe 
 the japanners gold fize ; and proceed in all refpefts 
 in the fame manner as in gilding, with the powders 
 in other cafes ; for which ample directions will be 
 given. 
 
 This 
 
THE ARTIST’S ASSISTANT. 225 
 
 This is the bed method hitherto pra&ife-d ; for 
 the japanners gold fize binds the powders to the 
 ground, without the lead hazard of peeling or falling 
 off, which is liable to happen when the gum water, 
 glovers, or ifinglafs fizes are ufed; though, notwith- 
 ffanding the authority of the old pradtice for the 
 contrary, even thefe cements will much better fecure 
 them, when they are laid on the ground, and the 
 powders rubbed over them, than when both arc mixed 
 together, and the effect, particularly of the aurum 
 molaicum, will be much better in this way than the 
 other. The gold fize fhould be buffered, in this cafe, 
 to approach much nearer to drynefs than is proper 
 in the cafe of gilding with leaf gold, as the powders 
 would otherwife be rubbed again!! it in the laying 
 them on. 
 
 The fictitious filver powder, called the argentum 
 muiivum, may, as abovementioned, be applied in the 
 manner of bronze, by thofe whofc caprice difpofes 
 them to filver figures or buffs ; but it is the only 
 fort of filver powder that fhould be ufed in this way, 
 for the reafon above given; and all fuch kind of fe- 
 vering is much better omitted ; for the whitenefs 
 itfelf of plaiffer in figures or buffs, and much more a 
 fhining whitenefs, is injurious to their right effeft, 
 by its eluding the judgment of the eye, with refpett 
 to the proper form and proportion of the parts, from 
 the falfe and pointed reflections of the lights, and 
 the too faint force of the fhades. To remove which 
 inconvenience it is probable was the firff inducement 
 to bronzing. 
 
226 THE ARTIST’S ASSISTANT. 
 
 The METHOD cf preparing and, mcuUing 
 PAPIER MAC HE. 
 
 fpHE papier mache is paper reduced to the con- 
 fiflence of a pulp by boiling and beating, till it 
 be of fuch confiflence, that, being cad in a moift 
 ftate, in proper moulds, it will receive the form or 
 impreffion of the figure of the mould ; and, being 
 previoufly commixt with fome gummous, or other 
 adhefive body, will acquire a confiderable tenacity 
 and hardnefs, fo as to retain the figure, and anfwer 
 the end of wood turned, or carved, or plaifler call 
 into the fame form. 
 
 The paper ufed for making papier mache may be 
 of any kind, according to the nicety required in 
 the work to which it is applied. For very coarfc 
 purpofes common brown may be employed, and, for 
 the moft nice, writing paper is belt. It is not very 
 material whether the paper be clean or foul, or whe- 
 ther it be written or printed upon, or blank, ex- 
 cept where it might be intended to be only moulded, 
 and not coloured, or varnifhed afterwards, which 
 is feldom the cafe. 
 
 The gum, or adhefive body, ufed for giving due 
 texture to the papier mache, may be gum-arabic, 
 glue, or ifinglafs ; but, for ordinary purpofes, gum- 
 arabic, or glue, are ufed, ifinglafs being too dear; 
 and, indeed, gum-arabic has an advantage over 
 either of the others, of not fhrinking near fo much 
 in drying. 
 
 The preparation of the papier mache may be as 
 follows : — u Take any quantity of paper, and boil it 
 
 in 
 
THE ARTIST’S ASSISTANT. 227 
 
 e< in water, ftirring it about with a wooden fpatula, 
 
 “ till it become of a pally l'ubftance, and appears to 
 (l have loll its cohefion ; pour off then the water 
 “ from it, and beat it in a mortar, or fuch kind of 
 <! machine as will have the fame effe£l, till it be per- 
 ■“ feftly foft and yielding pulp. Prepare, in the mean 
 “ time, a llrong gum water, by didolving gum-arabic 
 “ in water ; and, having preffed the greateft part of 
 “ the water out of the pulp, add the gum water to it, 
 in fuch proportion, that they produce together the 
 confidence of a thick fluid. Put them then into a 
 proper veflel, and boil them flowly, till they form 
 “ a palle of the right confidence for cafting,” The 
 papier mache will then be ready prepared for work- 
 ing with the proper moulds ; but the lliffnefs of the 
 palle may be varied according to the nature of 
 the work. That intended forpieces where the figure 
 is Ample, and has no fharp or embodied work, re- 
 quiring to be differ, while emboded work, or other, 
 fuch as has relieved parts, fliould be thinner. The 
 ufing glue or fize, indead of gum-arabic, makes a 
 faving, and will anfwer extremely well in the cafe 
 of boxes, or any other pieces of a Ample or flat form ; 
 becaufe the flirinking may be allowed for in the 
 figure of the moulds ; but for emboded work, or de- 
 figns, where feveral parts mull be joined together, 
 the ufe of gum-arathc will be found more expedient ; 
 as the relative proportions will be much better 
 preferved. 
 
 I he moulds, in which the papier mache is cad, may 
 be either of plaillerof Paris or wood. For embofl'ed 
 work, or deiigns of a more complex kind, plaider 
 is pieferable; but for boxes, cups, or Ampler forms, 
 the moulds may be bed of wood, as fuch will lad 
 F f 2 ' ' for 
 
228 THE ARTIST’S ASSISTANT. 
 
 for a long time, and not require renewing fo often, 
 from the unavoidable wear, or the injury of a flight 
 accidental violence, as thofe made of plaifter. But 
 in the choice of moulds, and fubjedls to which they 
 are applied, regard fhould be had to the figure, with 
 refpedl to its roundnefs, or projetting parts; for, em- 
 boffed work, or frames of any kind, where there are 
 a variety of angles on one fide, and a flat plainnefs on 
 the other, are moll expediently managed in plaifter; 
 and, where there are nice joints, as in the cafe of 
 boxes, or where the figure muff be preferved on 
 both fides, wood is- much more proper. The plaifter 
 moulds, for calling the papier mache, mull be made 
 in the fame manner as thofe for calling in plaifter; 
 fee p. 2ii ; but it is peculiarly neceffary in calling 
 the papier mache, to greafe the moulds extremely 
 well ; otherwife there will be a eohefion betwixt 
 the matter call and the moulds, that will be deftruc- 
 tive to both. Where any fubjeft is of conliderable 
 extenfion, and one fide of it a blank reverfe, as in 
 the cafe of bafs-reliefs, and other ornaments of that 
 nature, it is ufual to lay flips of whole ftrong paper 
 over the papier mache ; luch paper being firti well 
 moiftened with gum water, or ftrong fize, which is 
 rather better in this cafe. This not only makes a 
 faving, but is really an advantage to the work, as it 
 adds greatly to the llrength and tenacity, and more 
 efpecially preferves it, during the time of its drying, 
 from the injuries of a flighter violence. To anfwer 
 this end more efledlually, the paper itfelf applied to 
 this purpofe fhould, however, be very Itrong ; and, 
 where the nature of the fubjedl admits of it, laid on 
 feveral times. 
 
 The 
 
THE ARTIST’S ASSISTANT. 
 
 229 
 
 The wooden moulds, which are the moft proper 
 fort for forming boxes, cups, or flat pieces of any 
 kind, where there is no emboffed w'ork, muft be 
 made in two parts; or, more explicitly, there muft 
 be a convex part, and a concave part: betwixt which 
 a fpace muft be allowed for the figure of the fubject 
 that is to be caft. Thefe may be beft made of box, 
 or other hard wood turned into the proper figure ; 
 and it is expedient to have two or three fmall per- 
 forations, or holes, through the fubftance of the wood 
 of the concave part, near the middle, to let out the 
 fluid, when the papier mache is compreffed, to give it 
 the due form. The hollow, betwixt the covex and 
 concave parts of the mould, may be about the fe- 
 venth or eighth part of an inch thick, in the cafe of 
 fnuff or drelftng boxes, or other pieces of the like 
 magnitude ; but it may be enlarged when greater 
 fubjefts come in qeeftion. The moulds, when firft 
 ul'ed, fhould be well greafed, and placed before a fire, 
 that they may imbibe, as much as poflible, of the 
 greafe, which will render the oiling them afterwards, 
 each time they are employed, more effectual. 
 
 When the moulds are prepared, the furface of the 
 concave or hollow part muft be fpread over with the 
 pafte, as evenly as poflible ; and as nearly as can be 
 judged, of the thicknefs of the hollow betwixt the 
 two parts ; and then the cover or folid part of the 
 mould muft be put over the pafte, and compreffed 
 till it be in its proper place. The calling being thus 
 made, it muft be buffered to remain in the mould, till 
 it gains afufficient ftrength and tenacity of parts, by 
 drying, to be able to maintain its form when taken 
 out ; and then, being freed from both parts of the 
 mould, it muft be dried, and afterwards varnifhed or 
 • painted 
 
2 3 o THE ARTIST'S ASSISTANT. 
 
 painted, according to the pur, pole for which it i$ 
 cfefigned. 
 
 Of the manner of moulding, &c. the whole paper 
 for the forming fnuff-boxes, cups, &c.— The manner 
 Is much the fame as that of the papier mache ; but 
 it can be only applied advantageoufly to the forming 
 a piece, where the furface is flat, and without em- 
 boffed or railed work, and therefore moulds of wood 
 are proper. The paper employed for this purpofe 
 fhould be the ffrongeff brown kind ; the texture 
 fhould be equal ; and, if any lumps or groffer in- 
 equalities are found, they fhould be taken off the 
 paper. Being cut in pieces, of fuch a figure and fize, 
 as may beft fuit the form of the mould, it fhould be 
 then moiftened with gum water, till it be pliable and 
 foft ; but not fo foakcd, or macerated, as to render it 
 too weak and lender to bear adapting to the form of 
 the mould. The flips or pieces fhould be then laid 
 to the convex or folid part of the mould, which 
 fhould be firff well oiled ; each fhould then be 
 brufhed over, after it is laid on, with a palle of a thin 
 confidence, made by boiling Hour and water for a 
 long time, and adding afterwards about two ounces of 
 common fize to a pound of the pafte. Other flips 
 muff be afterwards laid on the firff, in the fame man- 
 ner, for three or four layers, according to the thick- 
 nefs and ftrength required in the work. When 
 there is a due thicknels of the flips laid on, the hol- 
 low mould fhould be put over them, and prefled 
 down, to its proper place, and there continued for 
 tome time ; after which it may be taken off, but the 
 paper muff not be feparated from the convex or folid 
 mould, till it has a fufficient hardnefs to fupport fl- 
 ic If in the form given to it by the mould. Snuff- 
 boxes, 
 
THE ARTIST’s ASSISTANT. 2 3 r 
 
 1)0 xes, and fuch other pieces as have lids, or are to 
 be made in two parts with joints, mull have feparate 
 moulds for the forming the two parts, in the man- 
 ner above direfted for the papier mache ; but cups, 
 faucers, or other fuch pieces, may be formed on fo- 
 lk! or convex moulds only, the exterior furface be- 
 ing rendered even and fmooth by dreffing it with an 
 ivory knife, or other inftrument of the like kind; 
 and a china or other cup already formed may, on 
 Occauon, ferve for the mould. 
 
 The boxes, cups, &c. formed of whole paper, in 
 this manner, ought always to be afterwards coated 
 with a good varnifh, if they be intended to bear any 
 wear, or to contain any fluid; but, if they be in- 
 tended only for the ornaments of chimney-pieces, 
 or other fuch purpofes, they may be painted with 
 fat oil, tempered with oil of turpentine, and mixed 
 \vith any pigment of the colour that is defired to be 
 given them. 
 
 Of the manner of preparing the matter and 
 moulding the light japan ware : — {{ Take faw-dult of 
 “ fir wood, and fift off, by the ufe of two fieves of 
 “ different finenefs, all the mofl grofs part and the 
 “ fmallefl ; melt then equal parts of rofin and tur- 
 “ pentine, with a half part of bees-wax; and put 
 i{ into the melted mixture as much of the faw-dult 
 ‘ 4 as can be added without rendering the mafs of a 
 (l thicker confidence than can bear to be poured. 
 u Stir the faw-dufl: and melted matter together till 
 *’ they be thoroughly mixt, and then caft them after 
 
 in proper moulds. If it be defired to render the 
 e ' matter harder, a little fhell-lac or gum farcocolla 
 “ may be added in powder to the mixture ; but this 
 *' fhould not be done before the faw-dufl be well 
 
 “ united 
 
232 THE ARTIST’s ASSISTANT. 
 
 « united with the other ingredients, and the matter 
 t: fhould be kept no longer on the fire afterwards 
 t£ than may be necefl'ary for melting and mixing the 
 fhell-Iac, or gum farcocolla with the reft. The whole 
 « of this mixture ihould be ufed at one time, for it 
 t; casmot be brought to a proper ftate for calling by 
 “ being re-heated, without damaging it by burning.” 
 
 The cups, boxes, or other veffels formed of this 
 matter, ought to be call in double moulds, like the 
 papier mache ; which may be made of wood turned, 
 or of lead, pewter, or other metals ; but care fhould 
 be always taken to greafe the moulds very carefully ; 
 or, othetwife, this matter, being: very adhelive, will 
 glue the parts together, fo that they cannot be fepa- 
 rated without difficulty. The cups formed of this 
 matter may be made thin, as it is very tenacious, 
 and they will be extremely light. 
 
 This compofr ion is not fuperior to the papier 
 mache, or the whole paper, for making fnuff-’boxcs, 
 or other fuch pieces as are not to contain fluids; but 
 for cups, laucers, and fuch veffels as are required to 
 bear moifturc, it is far preferable ; and, when var- 
 nifhed, in a proper manner, is more elegant than 
 china, with the advantage from its lightnels, of not 
 heating fo as to burn the lips, as veffels of a heavier 
 matter are fubjett to do. 
 
 The manner of painting, gilding, and varni fhing 
 the fnuff-boxes, ojr other fuch pieces, formed of the 
 papier mache, the whole paper, or faw-duft, may 
 be the fame as in other japanned work ; for which 
 direftions have been given under the treatife of ja- 
 panning. When the painting, varnifhing, gilding, 
 &c. is performed, it is proper, in all cafes, where 
 great fitmnefs and hardnefs of the varnifh is re- 
 quired, 
 
THE ARTIST'S ASSISTANT. 2 33 
 
 quired, to bake the pieces in a proper ftove ; be- 
 ginning with a gentle heat, and increaftng the de- 
 gree to the greateft that can be given, without chang- 
 ing the colour of the varnifh, or the painting, by- 
 burning them ; but this is more particularly requi- 
 site in the cafe of cups andfaucers made of the whole 
 paper, or faw-duft, which are to bear hot water ; for 
 there baking them for a confiderable time, in a ftrong 
 heat, renders the varnifh proof againft any injury 
 that could be done to it, even by boiling water. 
 
 The true japan black lacquer, (which is now fre- 
 quently brought from China) has been, fometimes, 
 ufed for the varnifhing fnuff-boxes, cups, and all 
 fuch pieces, made of the paper, or faw-duft ; but 
 this lacquer, being the concreted juice of the toxico- 
 dendron tree, its poifonous qualities are almoft con- 
 flantly fatal to thofe who work with it for any length 
 of time, and, fometimes, even on very flight inter- 
 meddling with it : fuch a momentous inconvenience, 
 together with the tedioufnefsof difpatching the work, 
 on account of its great tardinefs in drying, being 
 extremely good reafons againft its ufe, it is more ad- 
 vifable to employ the common kinds of varnifh, 
 which, when managed judicioufly, may be rendered 
 nearly both as beautiful and durable, without either 
 the danger or the difficulty attending the other. 
 
 When the true japan varnifh is, however, ufed, 
 all heat muft be avoided ; for, contrary to the na- 
 ture of moft other fubftances of the fame kind, this 
 dries beft when moft expofed to moifture, and can, 
 indeed, only be brought to a proper ftate of hard- 
 nefs, by keeping it in fome place which is either na- 
 turally damp, or made fo artificially. 
 
 Gg 
 
 Of 
 
THE ARTIST’S ASSISTANT, 
 
 913.4 
 
 Of GILDING. 
 
 'THE principal kinds of gilding are thofe called 
 oil gilding, burnifh gilding, and japanner’s gild- 
 ing, or gilding with gold fize ; thefe may be promif- 
 cuoufly ufed on grounds either of wood, metal, or 
 any other firm and rigid body ; but paper and lea- 
 ther require a treatment, in fome cafes, peculiar 
 to themfelves. 
 
 The fir it attention, in mofl kinds of gilding, is 
 the choice of leaf gold, which fhould be pure, and 
 of the colour accommodated to the purpofe, or tafte, 
 of the work. Purity is requifite in all cafes, for if 
 the gold be allayed with filver, it will be of too 
 pale and green a hue for any application ; and, if it. 
 Contain much copper, it will, in time, turn to a 
 Itronger green : the belt method, however, of judg - 
 ing of the colour of leaf gold, with nicety, is by 
 keeping a fpecimen of fuch as is perfeft, with which 
 any frefh parcel may be compared. 
 
 There is, befides the true leaf gold, another kind 
 in ufe, called Dutch gold, which is copper gilt, 
 and beaten into leaves like the genuine ; it is much 
 cheaper, and has, when good, greatly the effect of 
 the true, at the time of its being laid on the ground; 
 but, with any accefs of moifture, it lofes its colour, 
 and turns green in fpots, and, indeed, in all cafes, 
 its beauty is foon impaired, unlefs well fecured with 
 lacquer or varnifh. 
 
 Of the indruments that are commonly ufed in 
 gliding The fir ft neceffary inflrument is a cufhion, 
 for receiving the leaves of gold from the paper, in 
 
 order 
 
THE ARTIST’S ASSISTANT. 235 
 
 order to its being cut into proper fize and figures, 
 for covering the places to be gilt. This cufhion 
 fhould be made of leather, and fattened to a fquare 
 board, which fhould have a handle ; it may be of 
 any fize from fourteen to ten inches fquare, and 
 fhould be fluffed, between the leather and board, 
 with fine tow or wool, but in fuch a manner that 
 the furface may be perfeftly flat and even. 
 
 A proper knife is the next, and an equally requi- 
 iite inftrument, as it is neceffary, in all cafes, to cut 
 or divide the gold into parts, correfpondent to thofe 
 which are to be covered; this knife may be the 
 fame, in .all refpefts, as thofe ufed in painting, called 
 pallet knives ; the blade of which may be five or fix 
 inches long, and fomewhat more than half an inch 
 in breadth, with an handle proportionable. 
 
 A fquirrei’s tail is likewife generally provided, 
 for taking up whole leaves, and for compreffing the 
 gold to the furface where it i$ laid, and giving it the 
 pofition required ; it is ufed alfo, by fome, for tak- 
 ing up the parts of leaves, but this is better done by 
 means of a ball of cotton wool, which will both 
 anfwer this end and that of compreffing the gold, in 
 a. more eafy and effeftual manner. This fquirrel’s 
 tail is cut fhort, and, fometimes, fpread in the fan. 
 fafhion, by means of a piece of woocl, formed . like 
 a pencil flick, but broad ,at one end, and fplit, to 
 receive the tail ; but it will equally ferve the pur- 
 pofe in its own form, when the hair is cut to a pro- 
 per length. This inftrument is, by fome, called a 
 pallet, but improperly, as the bpar;d for holding the 
 colours, in painting, and which is frequently in ufe 
 ■vyitli this, being called by the fame name, would 
 neceilarily produce a confufion in fpeaking of either. 
 
 G g 2 A brufia 
 
236 THE ARTIST’s ASSISTANT. 
 
 A bruih of very foft hog’s hair, or of the : fitch | 
 kind, made large, is likewife commonly ufedd for 1 
 palling over the work, when it is become dryy, in 
 order to take off the loofe gold. 
 
 Some fine cotton wool is alfo neceffary for ta aking ! 
 up the fmaller parts of the leaves and laying t them 
 on the work; as alfo for comprefling and adjuufting 
 them when laid on ; the cotton fhould be foormed 
 into a ball, by tying it up in a piece of veryy fine 
 linen rag ; for if it be ufed without the rag.g, the 
 fibres adhere to the gold fize, a-nd embarrafsfs the 
 work. 
 
 A fmall ftone and mullar, with a proportionnable 
 pallet knife, are required to grind the mixxtures 
 made of the fat oil, or gold fize, with each o other, 
 and the colours that mav be added to them ; piproper 
 brufhes are alfo wanted for laying on and fpre;eading 
 the fat oil, or fize, on the work ; and fome of ; thefe 
 fhould be fitches of different fizes, in order to o con- 
 vey, and fettle the gold, where the relief of c;carved 
 work forms deep hollows. 
 
 Thefe are all the inftruments that are commmon to 
 all the three principal kinds of gilding. 
 
 Of the manner of oil gilding, and the prepararation 
 of fat oil: — The gilding with oil is the moft ealafyand 
 cheap, as well as moft durable kind, and, thererefore 
 is moftly applied to common purpofes ; it isis per- 
 formed by cementing the gold to the groumnd, by 
 means of fat oil ; the preparation of which is ts there- 
 fore previoufly neceffary to be known, and mmay be 
 much better managed in the following manner, r, than 
 by any method hitherto taught, or commmonlyj 
 pradlifed, 
 
 “ « Take 
 
THE ARTlST’s ASSISTANT. 237 
 
 <£ Take any quantity of linfeed oil. and put it into 
 an earthen, or any other velfel of a broad form, fo 
 *• that the oil may lie in it with a very large furface ; 
 * e but the proportion fhould he fo limited that the oil 
 “ may be about an inch thick in the veffel : the 
 u earthen pans ufed for milk in the forming cream 
 Si lor butter, are very well accommodated to this 
 <c purpofe. Along with the oil as much water fhould 
 alfo be put in the velfel as will rile fix inches,- or 
 t£ more, above the bottom ; place the velfel then, 
 with oil fwimming in the water, in an open place, 
 t: where fun and rain may have accefs to it, but 
 t£ where it may be as free from receiving dull and 
 C£ filth as poffible ; let it (land in this condition, ftir- 
 (i ring the contents on every opportunity, for five or 
 C! fix weeks, or till it appear of the confidence of 
 treacle ; take the oil then from off the water into 
 “ a phial, or bottle of a long form, or what is better, 
 “ into a feparating funnel, fuch as is ufed by the 
 “ c hemifts, and there draw off the remainder of the 
 “ water; place it afterwards, being in the long bottle 
 “ or phial, in fuch heat as will render it perfectly 
 “ fluid, and the foulneffes it may contain, will foon 
 “ fubfide to the bottom, when the clear part mull be 
 “ poured off, and the remainder flrained through a 
 * c flannel, while yet warm, and the whole will then 
 ‘ £ be fit for ufe,” 
 
 It is to be obferved, that this method is only prac- 
 ticable in fummer, the fun not having lufficient 
 power in winter to produce a due change in the oil. 
 
 This method differs from that commonly praftifed 
 in the addition of water, which fuffers the foulnefs 
 to feparate from the oil, and fink to the bottom, 
 where it remains, without being again mixed with 
 
 the 
 
2 3 8 THE ARTIST’S ASSISTANT. 
 
 the oil every time it is ftirred, as is unavoidable 
 where no wafer is ufed ; the water likewife greaatly 
 contributes to bleach the oil and improve it in otther 
 rcfpedls. 
 
 The heft previous preparation of the piece to> be 
 gilded, if it have not already any coat of oil paiint, 
 is to prime it with drying oil, mixed with a liittle 
 yellow oker, to which alfo may be added, a fnmall 
 proportion of vermiilion. But where greater niccety 
 and perfeftion is required in the work, the wvood 
 ihould be fit ft rubbed with fifh fkin, and then with 
 Dutch rufhes. 
 
 This priming being dry, the next part of the opoera- 
 lion is the fizing the work ; which may be cdone 
 either with the fat oil alone (but diluted with dryying 
 oil, if too thick to be worked without) or witbh fat 
 oil and the japanners gold fize, either in equal qquan- 
 tities, or in any left proportion, with refpeft too the 
 goldfize. The difference betwixt the ufe and omi iffion. 
 of the gold fize, in this way of gilding, lies in r two 
 particulars ; the one is, that the fizing dries f fafter 
 according to the proportion of the quantity of)f the 
 gold fize to the fat oil, and is confequently lo nmuch 
 the fooner fit to be gilded; the other is, thatit the 
 gilding is alfo rendered in the fame proportion, 1, lefs 
 fhining, or gloffy, which is efteemed a perfefticion in 
 this kind of gilding; though taking away thee pre- 
 •kidi.ee of fafhion, I fhould think the moft fhkining, 
 the moft beautiful, and of the ftrongeff effeft. 
 
 The fat oil, or the compound of that and the r gold 
 ffze, muft be ground with fome yellow dicer, r, and 
 their, by means of a hrufh laid thinly over the r tvork 
 to be gilt ; but in doing this care muft be taken t topafs 
 the brufh isito all the cuviticsj if the fubjeft be r carv- 
 ed, 
 
THE ARTIST’s ASSISTANT. 2 39 
 
 ed, or have any way projecting parts, for where the 
 fize fails to be laid, the gold will never take till the 
 work be again repaired, by going over the defeftive 
 places with frefh fize, which fhould be avoided as 
 much aspoffible: where great perfection is required, 
 the gold fhould not be laid on the firft fizing, but 
 that being fuffcred to dry, the work fhould be again 
 fized a fecond time; and, fome who are very nice 
 even proceed to a third. 
 
 1 he work being thus fized, mufl be kept till it ap- 
 pear in a condition to receive the gold, which mult 
 be diftinguifhcd by touching with the finger; if it 
 appear then a little adhefive, or clammy, but not id 
 as to be brought off by the finger, it is in a fit con- 
 dition to be gilt ; but if it be fo clammy as to daub, 
 or come off on being touched, it is not fufficiently 
 dry, and muff be kept longer ; or, if there be no clarn- 
 minefs, or fticky quality remaining, it is too dry, and 
 muff be fized over again before it can be gilt. 
 
 When the work is thus ready to receive the gold, 
 the leaves of gold, where the furface is fufficiently 
 large and plain to contain them, may be laid on en- 
 tire, either by means of the fquirrel’s tail, or im- 
 mediately from the paper in which they were ori- 
 ginally put ; being laid on the proper parts of the 
 work, the leaves muff then be fettled to the ground, 
 by comprefiing thofe which appearto want it, gently 
 with the fqirrel s tail, or cotton ball ; and if any part 
 of the gold has flown off, or been difplaced, fo as to 
 leave a naked, or uncovered fpot, a piece of another 
 leaf, of fize and figure correfpondent to fuch fpot, 
 muff be laid upon it ; where the parts are too fmall 
 to admit of the laying on whole leaves, or where 
 vacancies are left after laying on whole leaves 
 
 which 
 
Z40 
 
 THE ARTIST’S ASSISTANT. 
 
 ■which are lefs than require others to cover them ; 
 the leaves which are to be ufed, mull be firft turned 
 from the paper upon the cufhion ; they muft then 
 be cut. into fuch Hivifions, or flips as may be com- 
 modioufly laid out on the parts of the work to be 
 covered ; after which, being feparated, and taken up 
 as they are wanted, by means of the cotton wool, to 
 which, being breathed upon, they will adhere, they 
 muft. be laid in the places they are defigned to cover, 
 and gently prefled with the cotton, till they touch 
 every where, and lie even on the ground. 
 
 Where the work is very hollow, and fmall pieces 
 are wanted to cover parts that lie deep and out of 
 the reach of the fquirrel’s tail, or the cotton, they 
 may be taken up by the point of a fitch pencil, (being 
 firft breathed upon) and by that means conveyed to 
 and fettled in their proper place. Thofe who are ac- 
 cuftomcd to it, ufe the the pencil commodioufly , for 
 a great part of the work, where large parts of the 
 leaves cannot be ufed. 
 
 The whole of the work being thus covered, fhould 
 be fuffered to remain till it be dry, and it may then 
 be brufhed over by a camel's hair pencil, or (oft 
 hog’s hair brufh, to take off from it all loofe parts 
 of the gold. 
 
 If, after the brufhing, any defeftive parts, or va- 
 cancies appear in the gilding, fuch parts muft be 
 again fixed, and treated in the fame manner as the 
 whole was before ; but the japanner’s gold fize alone 
 is much better for this purpofe than either the fat oil 
 alone, or any mixture. 
 
 Of burnifh gilding, with the preparation off the 
 proper fizes, &r. — The gilding with burnifhed gold 
 is Icldom prafided but upon wood, and, at preefent, 
 
 naoftly 
 
THE ARTIST’S ASSISTANT. 241 
 
 moftly in the cafe of carved work, or where carved 
 work is mixed with plain : the chief difference in 
 the manner betwixt this and oil gilding lies in the 
 preparing the work to receive the gold, and in the 
 lubflituting a fize, made of parchment, or the cut- 
 tings of glovers’ leather, in the place of fat oil, as 
 a cement ; the preparation of this oil fhould there- 
 fore be previoufly known, and may be as follows : 
 
 “ Take a pound of cuttings of parchment, or of 
 “ the leather ufed by glovers, and, having added to 
 “ them fix quarts of water, boil them till the quan- 
 “ tity of fluid be reduced to two quarts ; or till, on the 
 “ taking out a little, it will appear like a jelly on 
 “ growing cold ; ftrain it through flannel while hot, 
 “ and it will be then fit for ufe.” 
 
 This fize is employed in burnifh gilding, not only 
 in forming the gold fize, or cement for binding the 
 gold to the ground, but alfo in priming, or previoufly 
 preparing the work. But before we proceed to fhew 
 the manner of ufing it fo, it is neceffary to give the 
 compofitions for the proper cement, or gilding fize 
 employed in this kind of gilding. There are a mul- 
 tiplicity of recipes for this compofition, which are 
 approved of by different perfons ; but, as in general 
 they vary not effentially from each other, I will only 
 give two, which I believe to be each the belt in their 
 kinds. 
 
 “ Take any quantity of bole armoniac, and add 
 “ fome water to it, that it may foak till it grow foft ; 
 *' levigate it then on the ftone, but not with more 
 “ water than will prevent its being of a ftiff con- 
 “ fi Hence, and add to it a little purified fuet, or tal- 
 “ low fcraped, and grind them together. When this 
 “ is wanted for ule, dilute it to the confiftence of 
 H h cream, 
 
242 THE ARTIST’S ASSISTANT. 
 
 « cream, by parchment, or glovers’ fize, mixed with 
 “ double its quantity of water, and made warm. Some 
 “ melt the i'uet, or tallow, and mix it previcufly 
 {< with five, or fix times its weight of chalk before it 
 “ is put to the bole, to facilitate their commixture; 
 
 C£ to which, in this wet date, they are otherwife fome- 
 «« what repugnant : it is alfo fometimes pra&ifed to 
 “ put fope-fuds to the bole, which will contribute to 
 “ its uniting with the tallow.” 
 
 To prepare the wood forburnifh gilding, it fhould 
 firft be well rubbed with fifh fkin, and then with 
 Dutch rufhes ; but this can only be praftiled in the 
 larger and plainer parts of the work, otherwife it 
 may damage the carving, or render it lefs fharp, by 
 wearing off the points ; it mufl then be primed with 
 the glovers’ fize, mixed with as much whiting as will 
 give it a tolerable body of colour; which mixture 
 mufl be made by melting the fize, and firewing the 
 whiting in a powdered flate gradually into it, flirring 
 them well together, that they may be thoroughly 
 incorporated. Of this priming feven or eight coats 
 fhould be given, time being allowed for the diying 
 of each before the other be put on ; and care fhould 
 be taken, in doing this, to work the priming well, 
 with the brufh into all the cavities, or hollows there 
 may be in the carved work : after the lafl coat is 
 laid on, and before it be quite dry, a brufh pencil 
 dipt in water fhould be palled over the whole, to 
 fmooth it and take away any lumps, or inequalities 
 that may have been formed ; and when it is dry, the 
 parts which admit of it fhould be again brufhed over, 
 till they be perfeflly even : the work fhould then be 
 repaired, by freeing all the cavities, and hollow parts 
 from the priming, which may choak them, or injure 
 
 tha 
 
THE ARTIST’S ASSISTANT. 243 
 
 the relief of the carving ; after which, a water polifh 
 fhould be given to the parts defigned to be burnifhed, 
 by rubbing them gently with a fine linen rag, 
 moiflened with water. 
 
 The work being thus prepared, when it.is to be 
 gilt, dilute the composition of bole, &c. with warm 
 fize, mixt with two thirds of water ; and, with a 
 brufh, Spread it over the whole of the work, and 
 then Suffer it to dry, and go over it again with the 
 mixture, in the fame manner, at leaft once more. 
 After the la If coat, rub it, in the parts to be burnifhed, 
 with a foft cloth, till it be perfeftly even. Some 
 add a little vermillion to the gilding fize, and others 
 colour the work, if carved, before it be laid on, 
 with yellow and the glover’s fize, to which a little 
 vermillion or red lead fhould be added. This laft 
 method is to give the appearance of gilding to the 
 deeper and obfcure parts of the carving, where the 
 gold cannot, or iS not thought neceffary, to be laid 
 on ; but this p raft ice is at prefent much difufed, 
 and, inflead of it, fuch parts'of the work are co- 
 loured after the gilding,' which treatment is called 
 
 matting.' • ; 1 - . 
 
 The work being thus prop’erly prepared, Set it in 
 a p6 fit ion almoft perpendicular, but declining, a lit- 
 tle from you, and, having the gilding fize, place all 
 the neceffary inffruments above described ready, as 
 alfo a bafon of clean water ready at band ; wet then 
 fh'eujvpennpft part of the work, by means of a large 
 camel’s llair pencil,' dipped in water, and then lay 
 on the gold upon the part fo w l et," 'in the manner 
 above direfted for gilding in oil, till it be completely 
 covered, or become too dry to take the gold. Pro- 
 •'oed afterwards to wet the next part' of' the work, 
 H h ?. or 
 
244 THE ARTIST’S ASSISTANT, 
 or the fame over again, if neceffary, and gild it as 
 the hrft ; repeating the fame method till the whole 
 be finifhed. Some wet the -work with brandy, or 
 fpirit of wine, inftead of Water; but I do not con- 
 ceive any advantage can arife from it, that may not 
 be equally obtained by a judicious ufe of water. 
 This manner is, moreover, much more trpublefome 
 and difficult, as well as expenfive, for only a fmall 
 part muft be wet at one time, and the gold laid, in- 
 ftantly upon it, or the brandy or fpirits will fly off, 
 and leave the ground too dry to take the gold. 
 
 The work, being thus gone over with the gilding, 
 may be then examined ; and fuch parts as require it 
 [ repaired, by wetting them with the camel’s hair 
 pencil, and covering them with the gold ; but as little 
 as poffible of the perfefit part of the gilding fhould be 
 wet, as the gold is very apt to turn black in this 
 Rate. When the repaired part alfo is dry, the work 
 muft be jnatted, if it require it; that is, the hollow 
 parts muft be covered with a colour the neareft in 
 appearance to gold. For this purpofe fome recom- 
 mend red lead, with a little Vermillion ground up 
 with the white of an egg ; but I think yellow oker, 
 or Dutch pink, with red lead, would better anfwer 
 the end ; or the terra di henna, very flightly burnt, 
 or mixed with a little red lead, would have a much 
 better effeft, and be more durable than any other 
 mixture fo near the colour of gold in fhade. Ifinglafs 
 fize will likewife equally well fupply the place of 
 the whites of eggs in the compohtion of matting. 
 
 The work being thus gilt, it muft remain about 
 twenty-four hours, and then the parts of it that are 
 dehgned to be burnifhed, muft be poliffied with a 
 dog’s tooth, or with the burnifhers of agate or'flint, 
 
 made 
 
THE ARTIST’S ASSISTANT. 245 
 
 tnade for this purpofe ; but it fhould be previoufiy 
 tried, whether it be of the proper temper as to the 
 drynefs ; for though twenty-four hours be the moft 
 general fpace of time in which it becomes fit, yet 
 the difference of fealon, or the degree of wet given 
 to the work, makes the drying irregular, with regard 
 to any fixt period. The way of diffinguifhing t,ba 
 fftnefs of the work to take the burnifh, is to try 
 two or three particular parts, at a diftance from each 
 other ; which, if they take the polifh in a kind 
 manner, the whpLe may be concluded fit ; but if 
 the gold peel off, or be difordered by the rubbing, 
 the work mull be deemed not yet dry epough ; and, 
 if the gold abide well the rubbing, and yet receives 
 the polifh {lowly, it is a proof of its being too dry, 
 which fhould be always prevented by watching the 
 proper time; for the work, when too dry, both re- 
 quires much more labour to burnifh it, and fails at 
 at laft of taking fo fine a polifh. 
 
 Of japanners gilding -The japanners gilding is 
 performed by means of gold powder, or imitations 
 of it, cemented to the ground by a kind of gold 
 fize much of the nature of drying oil, for the mak- 
 ing of which there are various recipes followed by 
 different perfons ; we fhall, however, only give one, 
 which is much approved : 
 
 41 Take of linfeed oil one pound, and of gum 
 44 animi four ounces ; fet the oil to boil in a proper 
 44 veffel, and then add the gum animi gradually in 
 44 powder, ftirring each quantity about in the oil, 
 44 till it appears to be diffqlved ; and then, putting in 
 44 another, till the whole be commixt with the oil, 
 44 let the mixture continue to boil, till, on taking a 
 cs large quantity out, it appear of a thicker confid- 
 ence 
 
246 TIlE ARTIST’S ASSISTANT. 
 
 46 ence lhan tar ; and then {train the whole through 
 a coarle cloth, and keep it for ufe. But when it is 
 “ wanted, it mud be ground with as much verniil- 
 ^ lion as will give it an opake body, and, at the fame 
 “ time, diluted with oil of turpentine, fo as to ren- 
 * c der it of a confidence proper for working freely 
 (i with the pencil.” 
 
 This gold fize may be ufed on metals, wood, or 
 any other ground whatever ; but, before I enter on 
 the particular manner of gilding with it, the prepa- 
 ration of the true and counterfeit gold powders are 
 •neceffary to be fit e w n . 
 
 For the method of making the true gold powder 
 
 ftie‘p a g e 223. 
 
 A gold powder of a more intenfe yellow colour, 
 'brighter than this, may be made by a precipitation 
 from gold, diffolved in aqua regia, by means of 
 either green or Roman vitriol. 
 
 The German gold poivder, which is the kind 
 mod generally ufed, and, where it is well fecured 
 with varnifh, will equally anfwer the end in this 
 kind of gilding with tliegehuino, may he prepared 
 from the fort of leaf gold, called the Dutch gold, 
 exactly in the fame manner as : the true. 
 
 The aurum mofaicum, the preparation of which 
 is given in page 224, may likewife be ufed in this 
 kind of gilding. 
 
 The fal ammoniacus employed in the preparation 
 of the aurum mofaicum ought 1 to be perfectly white 
 ; and very clean ; and care fhould be lakeip that the 
 quickfilver be not fuch as is undulterate with lead ; 
 which may be known by putting a fmall quantity, 
 in a crucible, into the fire, and obferving, when it 
 is taken out, whether it be wholly, fublimcd. away, 
 
 or 
 
THE ARTI ST’s ASSISTANT. 247 
 
 or have left any lead behind it. The calcination 
 may be belt perform ed in a coated glafs body, hung 
 in the naked fire ; aind the body fhould be of a long 
 figure, that the other ingredients may rife fo as to 
 leave the coloured tin clear of them ; the quick- 
 filver, though it be formed into cinnabar along with 
 the fulphur, need not be wafted, but may be re- 
 vived, by diftilling it with the addition of quick 
 lime. 
 
 There are fome other coarfer powders in imita- 
 tion of gold, which are formed of precipitations of 
 copper, but they are feldom ufed now for gilding. 
 
 Befides thefe powders the genuine leaf or Dutch 
 gold may be ufed wit h the japanners gold fize, where 
 a more fhining and glody effed is delired in the gild- 
 ing ; but in that kind of gilding which is intended 
 to be varnifhed over, or to be mixed with other ja- 
 pan work or paintings in varnifh, the powders are 
 mod frequently employed. 
 
 The gilding with japanners gold fize may be prac- 
 tifed on almolt any fubdance whatever, whether 
 wood, metal, leather, or paper ; and there is no fur- 
 ther preparation of the work neceffary to its being 
 gilt, than the having the furface even and perfectly 
 clean. 
 
 The manner of ufing the japanners fize is this ; 
 put then a proper quantity of it, prepared as above 
 direfted, and mixed with a due proportion of oil of 
 turpentine and vermillion into a fmall gallypot, then 
 either fpread it with a brufh over the work, where 
 the whole furface is to be gilt, or draw with it, by 
 means of a pencil, the proper figure defired ; avoid 
 carefully not to let it touch any other parts ; fuffer it 
 afterwards to red till it be fit to receive the gold, 
 
 which 
 
248 THE ARTIST’S ASSISTANT. 
 
 ■which muft be diftinguifhed by the finger, in the 
 fame manner as with the fat oil ; the having a proper 
 clamminefs, or flicking quality, without being fo fluid 
 as to take to the finger, being alike the criterion in 
 both cafes ; being found of a proper drynefs, when 
 the gold powders are to be ufed, a piece of the foft 
 leather, called wafh-leather, wrapt round the fore- 
 finger, muft be dipped in the powder, and then rub- 
 bed very lightly over the fized work ; or, what is 
 much better, the powder may be fpread by a foft 
 camel’s hair brufh : the whole being covered, it 
 muft be left to dry, and the loofe powder may then 
 be cleared away from the gilded part, and colle&ed, 
 by means of a foft camel’s hair brufh. When leaf 
 gold is ufed, the method of fizing muft be the fame 
 as for the powders, but the point of due drynefs is 
 very nice, and delicate in thefe cafes ; for the leaves 
 muft be laid on while the matter is in a due flate, 
 otherwife the whole of what is done muft be fized 
 and gilt over again. 
 
 When more gold fize is mixed up with the oil of 
 turpentine and vermillion, than can be ufed at any 
 one time, it may be kept by immerfing it under water 
 till it be again wanted ; which is indeed a general 
 method of preferving all kind of paint, or otheir fuch 
 compofitions as contain oily fubftances. 
 
 Of gilding paper, and vellum, or parchmemt: — 
 there are a variety of methods ufed for gilding paper, 
 according to the feveral ends it is defigned to anifwer ; 
 but for the moft part, fize, properly fo called, and 
 gum water, are tiled as the cements, and the ponvders 
 are more general, y employed than the leaf gold,. As 
 I have given the preparation of thefe feverall ' fub- 
 ftances before, it is needlefs to repeat them here; 
 
 and 
 
THE ARTIST’S ASSISTANT. 249 
 
 and, I fhall, therefore, only point out thofe circum- 
 flances in the manner of their ufe, which are pecu- 
 liar to the application of them to this purpofe. 
 
 Of the gilding on paper proper to be ufed along 
 with painting in water colours, or frefco. — The gild- 
 ing proper to be ufed with water colours, may be 
 either with the leaf gold, or powder 5 which la ft* 
 when mixed with the proper vehicle, is called fhell 
 gold. 
 
 The leaf gold is neceffary in all cafes, where a 
 metalline and fhining appearance is wanted; and it 
 may be laid on the defigned ground, by means either 
 of gum-water, or ifinglafs fize : the gum-water, or 
 fize, fhould be of the weaker kind, and not laid too 
 freely on the ground, and proper time fhould like- 
 wife be given for it to dry : the judgment on which, 
 muft be formed in this cafe, as in the other kinds o£ 
 gilding, by touching with the finger. The manage- 
 ment of the gold alfo is much the fame in this, as in 
 the former ; and where a polifh appearance is want- 
 ing, the dog’s tooth, or other kind of burnilher may- 
 be ufed. In the gilding larger furfaces, it will be 
 found advantageous to colour the ground with the 
 gall ftone, and where colours are to be laid on the 
 gilding, the brufhing the gold over with the gall of 
 any beaft, will make it take them in a much more 
 kindly manner. 
 
 When the gold powders are ufed along with paint-' 
 ings in water colours, it is previoufly formed into 
 fhell gold, (as it is called, from its being ufually put 
 into mufcle (hells, in the fame manner as the colours.) 
 This fhell gold is prepared by tempering the gold 
 powder with very weak gum-water, to which a little 
 lbap-fuds may be put, to make the gold work more 
 eafily and freely, 
 
 I i 
 
 Of 
 
2 5 o THE ARTIST’S ASSISTANT. 
 
 Of the gilding proper for the coloured paper for 
 binding books, and other fuch purpofes : — This kind 
 of gilding is performed in much the fame manner as 
 that for mixing with paintings in water colours ; ex- 
 cept with regard to the following particulars : Firft, 
 in this cafe, the gilding being intended generally to 
 form fome figure, or defign, the gum-water, or fize, 
 inftead of being laid on with a brufh, or pencil, is 
 moft generally conveyed to the ground, by means of 
 a wooden plate, or print, and moft expediently by an 
 engraved roller, which makes an imprcffion of the 
 figure, or defign intended. Secondly, as the rifing 
 of the gold from the furface of the ground, is no dis- 
 advantage in this kind of gilding, as it is in that 
 mixed with paintings, the gum-water, or fize, may 
 be much ftronger, which will contribute both to bind 
 the gold firmer, and to give a fort of emboffed ap- 
 pearance, that improves the effeft. In this kind of 
 gilding the japanners gold fize may be alfo com- 
 modioufly employed ; for, as the paper muft bemoift- 
 ened before it be printed, there is no inconvenience 
 liable to happen from the running of the gold fize 
 thus ufed: where the emboffed appearance is wanted 
 in the greateft degree, the gold fize fhould indeed al- 
 ways be ufed, and, in this cafe, fhould be thickened 
 with yellow oker, mixed with as much red lead as 
 the proper working of the print will admit. 
 
 The wooden plates, or prints ufed for gilding in 
 this manner, are worked by the hand, and are to be 
 charged with the gum-water, or fize, of whatever 
 kind it be, by letting it gently and evenly down on a 
 cufhion, on which the gum water, or fize has been 
 copioufl.y fpread by means of a proper brufh ; and 
 then preffing it on the paper prepared by moiftening 
 
 with 
 
THE ARTIST’S ASSISTANT. 251 1 
 
 ■with water, and laid horizontally with fome fheets 
 of other paper under if. Where the rolling print is 
 employed, the gum water, or lize mull be laid on it 
 with a proper brufh, immediately out of the pot or 
 velfel which contains it ; but tbo copious a ufe mult 
 be avoided, for fear of fpreading it beyond the lines 
 of the defign or pattern. The fubfequent manage- 
 ment of the gold, whether leaf or powder, mull be 
 the fame as in the foregoing kinds of gilding. 
 
 It rarely jfnfwers to ufe the leaf gold in this kind 
 of painting, nor even the true gold powder; but the 
 German powder, orthatformed of the leaves called 
 Dutch gold, is moftly employed, and anfwers well 
 enough the purpofe. The manufa&ures of the gilt 
 and marbled papers, have not been fo much cultivated 
 in our own country, as it were to be wilhed, lince 
 very great fums have been always annually paid, 
 both to Germany and Genoa, on this account. 
 
 Of gilding proper for letters of gold on paper, and 
 the embellifhments of manufcripts -the moll eafy 
 and neat method of forming letters of gold on paper, 
 and for ornamets of writings, is by the gold armoniac, 
 as it was formerly called, the method of managing 
 which, is as follows : 
 
 “ Take gum ammoniacum and powder it, and 
 tl then diffolve it in water previoully impregnated 
 <{ with a little gum arabic and fome juce of garlic : 
 “ the gum ammoniacum will not diffolve in water, 
 <£ fo as to form a tranfparent fluid, but produces a 
 <£ milky appearance, from whence the mixture is 
 11 called, in medicine, the lac ammoniacum. With 
 <c the lac ammoniacum thus prepared, draw, with a 
 <c pencil, or write with a pen on paper, or vellum, 
 “ the intended figure, or letters for the gilding ; fuf- 
 I i 2 fer 
 
252 THE ARTIST’S ASSISTANT. 
 
 « 4 fer the paper to dry, and then, or any time after- 
 “ wards, breathe on it till it be moiftened, and im- 
 “ mediately lay leaves of gold, or parts of leaves cut 
 tl in the molt advantageous manner to fave the gold, 
 ft over the parts drawn or written upon with the lac 
 <{ ammoniacum, and prefs them _gently to the paper 
 
 with a ball of cotton, or foft leather: when the 
 “ paper becomes dry, which a fhort time, or gentle 
 11 heat will foon effefl, brufh off, with a foft pencil, 
 iC or rub off with a fine linen rag, the redundant gold 
 <c which covered the parts between the lines of the 
 Cl drawing or writing ; and the finelt hair ftrokes 
 
 of the pencil or pen, as well as the broader, will 
 if appear perfeftly gilt.” 
 
 The manner pra&ifed by the profeffed leather 
 gilders, for the making hangings for rooms, fkreens, 
 &c. is not properly gilding, but lacquering, being 
 done by means of leaf filver, coloured by a yellow 
 varnilh, on the fame principle with the lacquered 
 frames of piftures, &c, which were formerly in ufe. 
 It is an important manufaflure, as the leather orna- 
 mented in this manner, not only admits of a great 
 variety of defigns in embolfed work, refembling 
 either gilding or filver, but alfo of the addition of 
 paintings of almofl every fort. 
 
 Of gilding glafs without annealing or burning: — ■ 
 glafs may be gilt, by applying as a cement any gold 
 lize, or other fize, gum water, or varnifh ; and when 
 it is of a proper degree of drynefs, laying on the gold 
 as in other methods of gilding. The work may alfo 
 be polifhed afterwards in the fame manner, if the 
 burnifhed appearance be defired ; but where that is 
 intended, it is proper to add bole armoniac, chalk, or 
 other fych fubltance to the cement* 
 
 When 
 
THE ARTIST’S ASSISTANT. 253 
 
 When drinking glades are to be gilt, without burn- 
 ing, the cement ihould be either Tome gold fize 
 formed of oil, or fome kind of varnifh compounded 
 of the gum refins, that will not didolve in water, but 
 require either fpirit of wine, or oil of turpentine for 
 their folution. At prefent, neverthelefs, this is not 
 only neglefted by thofe who gild drinking glades for 
 fale, but glades gilded with gum arabic, or the fizes 
 which will didolve in water, are impofed upon the 
 public for the German glades, gilt with the annealed 
 gold, and fold at a dear rate under that pretence ; 
 though, after they have been ufed for a very fhort 
 time, the gold peels and rubs od in fpots when the 
 glades are cleaned, and renders them very unfightly. 
 As the glades with gilt edges are at prefent much in 
 fafhion, and the true kind are brought from Germany^ 
 or elfewhere, the incitement of the cultivating this 
 branch of gilding here, would not be an unfit obje£l 
 of the premiums of the worthy fociety for the en- 
 couragement of arts, fince for the doing this work 
 in perfeftion, there is nothing more wanting, than 
 that dexterity of the manoeuvre, which arifes from a 
 little pra&ice in matters of this kind. 
 
 Of SILVERING. 
 
 C ILVERING may be pra£tifed on the fame 
 fubdances, and by the fame methods, either with 
 leaf or powder, we have before pointed out with 
 regard to gilding, variation being made in a few 
 eircumftances below mentioned ; it is nevertheleis 
 hutfeldom ufed, tiotwithdanding the edeft would be 
 
 very 
 
5 5 4 THE ARTIST’S ASSISTANT. 
 
 very beautiful and proper in many cafes, and there 
 is an extreme good reafon for fuch negleft of it. 
 The reafon is, its tarnifhing in a very fhort time, 
 and acquiring frequently, bcfides the general depra- 
 vity of the whitenefs, fuch fpots of various colours, 
 as render it very unfightly-, and this tarnifh and 
 fpecking is not only the conftant refult of time, but 
 will be often produced inftantly by an extraordinary 
 moifture in the air, or dampnefs, as well as bv the 
 fumes and effluvia of many bodies, which may hap- 
 pen to approach it. 
 
 Wherever, therefore, lilvering is admitted, a fiirong 
 varnifh ought to be put over it ; and this, even is not 
 fufficient wholly to fecure it from this deftru&ive 
 confequencc. The varnifh mull be fome of the com - 
 portions of maftic, fanderac, the gums animi or copat, 
 and white refin ; (the particular treatment of which, 
 in the forming varnifhes, will be found in other 
 parts of this work ;) for the other fubftances ufed lor 
 compounding varnifhes are too yellow. Some put a 
 coat of ifinglafs fize over the filver ; but, befides that, 
 the fize itfelf injures the whitenefs in time, by turn- 
 ing yellow, it 1 preferves the filver but in a fmall 
 degree. 
 
 The method of making the filver powders is alfo 
 the fame as thofe of gold, except with regard to one 
 of the German powders, which is correfpondent 
 both in its appearance and ule, abating the difference 
 of colour, to the aurum mofaicum, or mufivum ; 
 whence it has been indeed, though improperly, called 
 the argentum mufivum : the procefs for this being, 
 therefore, different from any before given, it is pro- 
 per to infert it fully, as follows ; 
 
 “ Take 
 
THE ARTIST’S ASSISTANT. 255 
 
 11 Take of very pure tin, one pound, put it into a. 
 “ crucible, and fet it on a fire to melt; when it be- 
 “ gins to run into fufion, add to it an equal propor- 
 “ tion of bifmuth, or tin glafs, andflir the mixture with 
 “ an iron rod, or the fmall end of a tobacco pipe, 
 
 till the whole be entirely melted, and incorpo- 
 “ rated : take the crucible then from the fire, and 
 “ after the melted corripofition is become a little 
 “ cooler, but while it is yet in a fluid ffatc, pour into 
 “ it a pound of qui'ckfilver gradually, ftirring it in 
 “ the mean time, that the mercury may be thoroughly 
 u conjoined with the other ingredients: when the 
 “ whole is thus commixed, pour the mafs out of the 
 “ crucible upon a ftone, where, as it cools, it will 
 “ take the form of an amalgama, or metaline pafte, 
 “ which will be eafily bruifed into a flaky pow'der, 
 il and is then fit for ufe.” 
 
 This powder may be either tempered, in the man- 
 ner of the fhell gold, with gum water; or rubbed 
 over a ground properly fized, according to any of the 
 methods above directed for gold powder, and it will 
 take a very good polifh from the dog’s tooth, or bur- 
 nifh ers, and holds its colour much better with a 
 flight coat of varnifh over it, than any true filver 
 powder, or leaf. 
 
 Ihe fizes for filvering ought to be mixed, as in the 
 cafe of gold, with yellow, or bole armoniac; but 
 with fome white fubftance, whofe effeft may prevent 
 any fmall failures in the covering the ground with 
 the filver being feen, in the fame manner as the yel- 
 low fubflances do the gold. This may be done with 
 flake white, or white lead, when the fizes formed of 
 oil are ufed ; but whiting is the proper matter in the 
 burnifh fize for filvering, or wherever the glover’s. 
 
 or 
 
256 THE ARTIST’S ASSISTANT. 
 
 or parchment fize is ufed. Some recommend tobacco- 
 pipe clay in the place of whiting, and add a little 
 lamp black, to give a filver-like greyifhnefs to the 
 compolition. 
 
 Of the NATURE and COMPOSITION 
 of GLASS. 
 
 UpHE materials employed to give a body to glafs 
 are, fand, flints, talc, fpar, and fome other ftony 
 and terrene fofliles. 
 
 Sand is, at prefent, almoft the only kind of fub- 
 fiance which is ufed in this intention in the Bri- 
 tifh manufaftories of glafs, and with great reafon, 
 as it extremely well anfwers the purpofe ; and does 
 not demand the previous preparation of calcination 
 that is neceffary with refpeft to flints and other 
 Hones ; and as it can be with certainty procured, in 
 any quantity demanded. The kind of fand molt fit 
 for making the white tranfparent kinds of glafs, is 
 that brought from Lynn in Norfolk, by the name of 
 which place it is diftinguifhed : and there is alfo 
 another kind of this, but inferior, brought from 
 Mardftone, in Kent ; it is white and fhining, and, 
 examined by means of a microfcope, appears to be 
 fmall fragments of rock chryftal, from which it does 
 not feem, by any experiments, to differ in its qua- 
 lities ; and the glafs formed of it may, therefore, 
 properly be confidered as made of chryftal. The 
 introduftion of it into the manufaflories of glafs in 
 this country has almoft wholly fuperfeded that of 
 Hints, from which it no way differs in this appli- 
 cation. 
 
THE ARTIST’S ASSISTANT. 257 
 
 cation, but in the being fomewhat flower in vitrify- 
 ing, which makes it require, in proportion, a 
 greater ftrength of flux and fire; but to compenfate 
 for this difadvantage, it is clearer in its own colour, 
 and much freer from heterogeneous tinging bodies, 
 which injure the colour of the glafs, and frequently 
 give embarraffments where flints are ufed; the fand 
 requires no previous preparation for common and 
 groffer purpofes, efpecially where nitre is ufed, 
 which burns out the fulphureous matter from any 
 filth of the nature of animal and vegetable fubflances, 
 and confequently calcines them to an earth no way 
 injurious to tne glafs; but for nicer purpofes, and 
 where no nitre is ufed, it is proper to purify, or 
 cleanfe the fand by wafhing, which may be thusdone ; 
 pour water upon it, and having ftirred them well 
 about, incline the veflel immediately in fuch a man- 
 ner, that the water may run off, and carry with it the 
 filth that will float in it; by repeating which a few 
 times, the fand will be freed from all the hetero- 
 geneous matter that is lighter than itfelf. For coarfe 
 glafs other kinds of fand, of a fofter texture, are ufed; 
 as, befides the advantage of being cheaper, they are 
 more eafily vitriable than flints, and confequently 
 make a faving in the fluxing bodies, which are to be 
 added to them. 
 
 Flints are the next important article in the fub- 
 fiances which are ufed for forming the body of glafs; 
 and weie indeed the only kind employed in larger 
 woii^s, where any better forts of glafs were manufac- 
 tured, before the ufe of the white fand excluded 
 them in all places where it is to be conveniently ob- 
 tained. Since, for the reafons above given, it is a 
 more eligible material, unlefs for experiments, or 
 & k \vhere 
 
258 THE ARTIST’S ASSISTANT. 
 
 ■where very fmall quantities are required; in which 
 cafe the calcined flints being more eafily reduced to 
 an impalpable powder, may poflibly be more com- 
 modioufly employed than the fand. Flints yet, how- 
 ever, continue to be ufed wherever the proper fand 
 cannot be procured at a reafonable charge, as the foie 
 ingredient for forming the body of the better kinds 
 of glafs ; fmee they are, in molt places where they 
 are naturally found, to be had in extreme great quan- 
 tities ; and the expence of calcining them does not 
 enhance their whole coft to a degree beyond what 
 the current price of glafs bears. 
 
 The goodnefs of flints, with refpett to this ufe of 
 them, muft be diftinguifhed by their clear tranfparent 
 black colour, and all fuch as are marbled with brown 
 or yellowifh colour fhould be rejected, for fear of 
 iron, which frequently lurks in them under that 
 appearance, and is very injurious to the colour of 
 glafs if it getadmifiion into it ; fuch fhould, therefore, 
 be carefully picked out when found in parcels of the 
 clearer fort ; but if the greater part of any parcel ap- 
 pear fo marked, it fhould not be ufed till trial be 
 made in a fmall quantity, whether the difcolouring 
 be owing to any fubftance detrimential to the colour 
 of glafs or not. It is always neceffary that flints 
 fhould undergo a calcination before they be ufed in 
 the compofition of glafs ; as well becaufe they are not 
 qtherwife to be reduced to a texture, which will ad- 
 mit of their being powdered, in order to their due 
 commixture with the other ingredients ; as becaufe 
 they are not fufceptible of vitrification till a proper 
 change be produced in them by calcination ; this 
 calcination muft by performed by putting them into 
 a furnace of a moderate heat, being firlt dipped in 
 
 \vater 3 
 
THE ARTIST'S ASSISTANT. 259 
 
 water, and continuing them there till they become 
 Entirely white, even to the moft interiorpart ; which 
 will require a greater or lefs time, according to their 
 magnitude, and the degree of the heat of the furnace : 
 when they are thus rendered white, they muft be 
 taken out of the fire, and inflantly immerfed in cold 
 water, where they muft remain till they be again 
 cold ; and then they will be found, if duly calcined, 
 to be cracked and fhivered into flaky pieces, and to 
 become fo fwiftly brittle as to be eafily reducible to 
 powder; fome part will, neverthelefs, be always 
 found infufficiently calcined, which may be diftin- 
 guifhed by their harder and more obdurate confid- 
 ence ; and they muft be carefully feparated, in order 
 to be recalcined, as they will otherwife greatly re- 
 tard and impede the powdering of the duly calcined 
 parts ; thofe which are properly calcined, muft then 
 be levigated, by means of mills, or other implements, 
 accordingly as the quantity or opportunity may make 
 it expedient; and they will then be fit for ufing in 
 the compofitions for glafs. 
 
 laic of various fpecies has been likewife ufed in 
 the fame intention as fand and flints, but feldom in 
 rarge v/orks ; it fometimes requires a calcination, in 
 order to its due preparation for entering into the 
 compofition of glafs ; but neither fo great a heat, nor 
 tne quenching in cold water, are neceflfary for bring- 
 ing it to a proper texture to bear powdering. Some 
 forts of talc are much more quickly verifiable than 
 ethers, and fufing eafily with either fait of tartar, or 
 lead, may therefore be ufed in default of flint, or 
 fand fufficiently white ; but with refped to larger 
 numuattures, the ufe of flints is more eligable, as 
 K- k 3 they 
 
s6o THE ARTIST’S ASSISTANT. 
 
 they are to be procured in great quantities with 
 more certainty ; and will, in general, require much 
 lefs flux and fire to bring them to a due ftate of 
 vitrification. 
 
 Several other, both earthy and ftony foibles, have 
 been likewife ufed, for forming the body of gtafs ; 
 and it has been obferved, that moll kinds of ftony 
 fubftances, which will Icintillate, or ftvike fire with 
 Reel, are verifiable within the degree that fits them 
 for this purpofe ; but as they are neither ufed atpre- 
 fent, nor promife to be any way advantageous in 
 practice, as far as is hitherto known of them, I fhall 
 omit enumerating them, as being foreign to the pur- 
 pofe in hand, except with refpeft to two kinds ; the 
 one of thefe is called moilon by the French, and is 
 found in great quantities, as an upper cruft in many 
 free-ftone quarries; and, as it may be ufed without 
 any previous preparation, and is very quickly vitri- 
 fiable, may be ferviceable on fome occafions, tothofe 
 who may want to form glafs, or vitreous compo- 
 fitions, where this may be procured with more eafe 
 than any of the beforementioned fubftances. Ihe 
 other is the white round femi-tranfparent river peb- 
 bles, which vitrify very foon ; and, if chofen colour- 
 lefs, make a very white glafs; but they mull be cal- 
 cined, as the flint, by putting them into the fire till 
 they be red hot; and then quench them in cold 
 water, in order to bring them to a ftate fit to undergo 
 powdering. 
 
 Knuckle confounds the calcined flints, and all 
 other ftones ufed for making glafs, under the name of 
 fand, in his receipts ; notwithftanding he admits of 
 a great difference in their readinefs to be vitrified; 
 
THE ARTIST’S ASSISTANT. 261 
 
 as in the cafe of calcined flints, and the fofteft kind 
 of natural fand ; where one hundred and forty- 
 pounds of fait are required to an hundred and fifty- 
 pounds of calcined flints; and only one hundred 
 and thirty pounds of fait to two hundred pounds of 
 the fand. 
 
 Of materials ufed as fluxes in the compofition of 
 glafs:— The materials ufed for the fluxes in the 
 compofition of manufactured glafs are lead, pearl- 
 afhes, nitre, fea-falt, borax, arfenic, fmiths clinkers, 
 and wood-afhes, containing the earth and lixiviate 
 falts as produced by incineration. 
 
 Lead is the prefent moft important flux in the 
 Britifh manufactures of what is called flint glafs; 
 but it muff be brought, by previous calcination, to 
 the flate of minium, or what is called red lead. 
 This, ufed in a due proportion, makes a tougher 
 and firmer glafs than can be produced from falts 
 alone, and is y.et procured at a very fmall expence. 
 But all the glafs formed of lead is tinged originally 
 with yellow, and therefore requires the addition of 
 nitre to burn and deflroy the fulphur or phlogiflic 
 matter it contains, in order to bring it to a more 
 colourlefs flate; which addition of nitre enhances 
 again the cofl of glafs fo compofed, that would other- 
 wife be extremely low. There is another reafon, 
 likewife, for the addition of nitre, or fome other 
 fait, to operate as a flux in the glafs compounded of 
 lead, which is, that there may not be a neceflity of 
 ufing beyond a certain proportion of it; for, if 
 glafs have much lead in its compofition, it will fuf- 
 fer a corrolion by the air, which gives a greyifh 
 dulnefs to its iurFace that is very injurious both to 
 its beauty and utility. It is needlefs here to teach 
 
 the 
 
262 THE ARTIST’s ASSISTANT. 
 
 the manner of calcining lead, becaufe it is done itl 
 works appropriated to that purpofe, and is fold by 
 the proprietors of thefe works, at a cheaper rate 
 than any particular perfons could pretend to manu- 
 facture it for their private ufe. The perfection 
 of red lead lies in its being thoroughly well cal- 
 cined, which is beft diftingnifhed by its rednefs, in- 
 clining to crimfon, and in its being pure, which 
 may be judged of by the brightnefs of its colour. 
 There is indeed no materials of a red colour cheap 
 enough to adulterate it with, except powdered 
 bricks, or fome of the red okers, and they would 
 Immediately fhew themfelves in the vitrification of 
 the fmallefl quantity, by the ftrong yellow tinge 
 they would give the glafs. 
 
 Pearl-afhes is the next leading article among the 
 fubftances ufed as fluxes in glafs, and they at prefent 
 moftly fupply the place of the Levant-afhes, the Ba- 
 rillas of Spain, and many other kinds, which were 
 formerly brought here, as well for making glafs as 
 foap. In the kinds of glafs where perfeft tranf- 
 parency is wanted, as in looking-glafs plates, and 
 all kinds of window-glafs, falts are preferable as a 
 flux; for, as all the lixiviate, or fixed alkaline falts 
 of vegatables are the fame for this purpofe, when 
 pure, and thofe called pearl-afhes are purer than any 
 other which can be provided at a moderate expence, 
 the ufe of them is more expedient than of any other. 
 This kind of fixed alkaline falts, called pearl-afhes, 
 Is prepared in Germany, Ruffia and Poland, by melt- 
 ing the falts out of the afhes of burnt wood ; and, 
 having reduced them again to drynefs, evaporating 
 away the moifture, and calcining them for a con- 
 fiderable time, in a furnace moderately heated; but, 
 
 as 
 
THE ARTIST’S ASSISTANT. zS 3 
 
 as they cannot be prepared with advantage in this 
 country, and are to be had at a reafonable price, by 
 thofe who may have occafion to ufe them in mak- 
 ing glafs, I fhall wave entering more particularly 
 into the detail of the procefs, by which they may 
 be bell and mod profitably produced, as not proper- 
 ly falling either within the defign or the intention 
 of this work. The goodnefs of pearl-afhes mull be 
 diftinguifhed by the equal and white appearance of 
 them ; as it confifts in their purity, and their hav- 
 ing been calcined for a long fpace of time, of which 
 the whitenefs and equal appearance are marks, un- 
 lcfs in the cafe of fome parcels that contain lumps of 
 a bluifh cad, produced by calcination ; which dis- 
 colouring is not, however, any proof of their be- 
 being bad ; but any brownifh call in particular 
 parts, or greynefs in the whole, is a certain criterion 
 of their not being good. This muft, however, be 
 confined to fuch as are perfeflly dry, which can only 
 well be on the opening the calks they are brought 
 over in ; for, if the air have accefs to them, they 
 foon deliquiate, and look brown or greyifh, from a 
 femi-tranfpareney they acquire in that deliquiating 
 Hate. There is one, and the moll common adultera- 
 tion, which is made in thefe falts, that is not eafily 
 dillinguilhable by the appearance; it is, the addi- 
 tion of common or fea fait, to them, which is fome- 
 times copioully made ; this is not, however, very de- 
 trimental in the application of them to the forming 
 glafs. But it is, neverthelefs, a difadvantage con- 
 fiderable enough in large concerns, to buy one 
 thing for another at fix times its current price. 
 As it is expedient, therefore, to know how to dif* 
 
 tinguilh 
 
 ? 
 
264 THE ARTIST’S ASSISTANT. 
 
 tinguifh this fraud, the following method is pro- 
 pofed as eafy and certain : 
 
 Take a quantify of the fait fufpe&ed, and, after it 
 has lain in the air, fo as to he a little foftened, but 
 not melted, put it in a fire-fhovel, and hold it over 
 the fire where the heat is pretty ftxong. If it con- 
 tain any common fait, a crackling, and, as it were, 
 flight explofion will follow, as the fait grows hot ; 
 which decrepitation is a certain mark of common 
 fait wherever it is found. 
 
 The pearl-afhes require no preparation, except 
 where extreme great tranfparency is required, as in 
 the cafe of looking-glafs, and the heft window glafs ; 
 in which cafe a purification is neceflary, in the 
 manner which will be.fhewn in fpeaking of thefe 
 particular kinds. 
 
 Nitre, which in its refined Rate, is^ commonly 
 called faltpetre, has been formerly much ufed as a 
 flux in the finer kinds of glafs, and is now like- 
 wife employed in moft compofitions of the fame na- 
 ture. But this is a noted one by thofe who are at all 
 acquainted with the principles of the art, not fo 
 much in the intention of a flux, as of that of a co- 
 lorific ingredient, from its power ol rendering glafs 
 colourlefs, by defiroying the phlogiflon in lead, or 
 in any kind of vegetable or animal matter, which 
 may tinge the glafs. As a flux, it is lefs power- 
 ful than fixed alkaline falts of vegetables, and, be- 
 ing dearer by much, its ufe would, therefore, be in 
 proportion lefs expedient than that of pearl-afhes, 
 if it were to be employed in this view only. r lhe 
 faltpetre that is ufed here is brought from the Eaft- 
 Indies, in the form of what is called crude nitre, 
 and in commercial language rough-petre ; in which 
 
THE ARTIST’S ASSISTANT. 265 
 
 Hate it is commixed with fome proportion of com- 
 mon fait ; it is refined by perfons who make it their 
 proper bufmefs, and bought for the purpofe of glafs- 
 making, in the (late of faltpetre, on which account, it 
 is unneceflary to give the procefs for refining it here. 
 If it be obtained in cryflals of fuch a fize, that the 
 figure of them may be diftinguifhable, there is no 
 hazard of any adulteration, but what would be very 
 apparent, as no heterogeneous matter can be made a 
 proper part of fuch cryflals; and, therefore, if they 
 appear bright and colourlefs, the goodnefs cannot be 
 doubted. 
 
 Sea fait is alfo frequently ufed as a flux in the mak- 
 ing glafs of various kinds, and it has a very flrong 
 power in promoting vitrification, even in fome ob- 
 durate bodies; but ufed in a large proportion, it does 
 not produce fo flrong and tenacious a glafs as lead, 
 or even the alkaline falts of vegetables, and is there- 
 fore only taken in aid of the others, when admitted 
 as an ingredient : it fhould be brought to a dry Hate 
 by decrepitation, that is, keeping it in a moderate 
 heat till it ceafes crackling, before it be put with 
 other ingredients into the fufing heat, otherwife, by 
 the little explofive burfls of its parts, it will drive 
 fome of the powdered matter out of the pot ; it mufl 
 not, after fuch decrepitation be again expofed to the 
 air, for if it be, it will regain its former quality of 
 crackling in a fhort time. 
 
 Borax is the mofl powerful flux of all the falts, or 
 indeed of any known fubflance whatever, but on ac- 
 count of its great price, can only be admitted into the 
 compofition of glafs, defigned for looking-glafs plates, 
 or other purpofes, where a confiderable value can be 
 fet upon the produce, or where the quantity wanted 
 
 LI is 
 
s66 
 
 THE ARTIST’S 
 
 AS SI STANT. 
 
 is very fmall. It is brought from the EaR-Indies, 
 under the name of tincal, and the lefinement of it in 
 a perfeft manner, is hitherto known but to few per- 
 fons in Europe, who carefully keep it a fecret. The 
 knowledge of it, however, is not important to the 
 art of making glafs, as it is always procured for that 
 purpofe in a refined Rate, and not ufed in very large 
 quantities. The purity of it may be afcertained by 
 the larg'bnefs and clearnefs of the cryftals, for when 
 it is had in that Rate, it may always be concluded 
 good. The previous preparation of borax for the 
 compontion of glals, is to calcine it with a gentle 
 heat, which converts it to a flaky, feathery kind of 
 fubftance, like calcined alum ; after which it fhould 
 be ground to powder, and is then fit to be commixed 
 with other ingredients: this calcination of borax 
 fhould be with a gentle heat, and in a very large vef- 
 fel proportionably to the quantity, for it fwells and 
 rifes in inflated bladders, fo as to occupy a very great 
 Ipace. 
 
 Arfenic is alfo a powerful flux, but mull not be 
 added, neverthelefs, in too great quantity; for, though 
 when once vitrified perfectly, it greatly promotes the 
 fame change in other fub dances, yet, when added in 
 a redundant proportion, it turns the glafs milky, or 
 opake, and keeps it in that Rate a confiderable time 
 before it will duly affimilate, from whence the due 
 vitrification is greatly retarded, fo as to occafion an 
 intolerable lofs of time and fuel ; though the glafs 
 in all fuch cafes would become clear, if continued 
 long enough in the fire, yet on this principle of its 
 flownefs in vitrifying when added to compofitions of 
 glals in a large proportion, it is ufed for giving an 
 opake white colour to glafs, as we Riall fee below. 
 
 Wood 
 
TH-E ARTIST’S ASSISTANT. 267 
 
 Wood afhes, by which is to be underftood, like- 
 wife, thole of broom, furze, or any other burnt vege- 
 table, are ufed as a flux for the common bottle or 
 green glafs; the afhes muft be taken in their original 
 ftate, confiding of the calcined earth of the vegetable, 
 and their lixiviate, or fixed alkaline fait ; as their vir- 
 tue lies in their original manner of commixture; for 
 this very extraordinary circumftance attends them, 
 that though in their primitive ftate, they vitrify 
 eafily and aft as a ftrong flux to any of the vitrefcible 
 eaiths or ftones ; yet, if the falts be feparated from 
 the earth, by folution in water, the earth from 
 that time becomes extremely repugnant to vitrifica- 
 tion; and, though the fame falts which were taken 
 away from it, or even a much larger quantity be 
 again added to it, it refills their fluxing power, and 
 d ftp lays a nature intirely different from that which, 
 it appeared to have before its feparation from the 
 fairs. There is no preparation neceffary for thefe 
 allies, in order to their entering into the compofition 
 of glafs, except the lifting them, to free them from all 
 the fragments of charcoal, or unburnt parts of vege- 
 tables employed in their production ; but they fhould 
 be carefully kept from damp and moifture, which 
 would make the falts deliquiate, and runoff from the 
 earth : the goodnefs of thefe allies muft be diftin- 
 guiilied by their appearing free from impurities, and 
 by their whitenefs ; and their abounding in fait, is 
 Iiivewiie a proof of their excellence, which may be 
 examined by making a lixivium of any known fmali 
 quantity, and judging of its weight. 
 
 Of the feveral kinds of white glafs, and their com- 
 poiitions in general The feveral kinds of white 
 
 tranfparent glafs now in ufe, in this part of the world, 
 L 1 2 are 
 
a68 THE ARTIST’S ASSISTANT. 
 
 are the flint-glafs, (as it is here called) and the Gcr» 
 man cryflal-glafs, which are applied to the fame 
 ufes and purpofes; the glafs for plates, for mirrors, 
 or locking-glafles ; the glafs for windows and other 
 lights; and the glafs for phials, and fuch kind of 
 fmall veffels. 
 
 Of each of thefe kinds there are feveral forts ; fome 
 only differing in the particular compofition and ma- 
 jiagement of the direttors of the works where they 
 are manufa&ured, but alike in their price, and the 
 ufes to which they are applied; and others which 
 are allowedly inferior forts, fold at cheaper rates, and 
 employed accordingly for coarfer purpofes. 
 
 The feveral kinds of glafs differ in the fubftance* 
 employed as fluxes in forming them, as well as the 
 coarfenefs and finenefs of them which are ufed for 
 their body. The flint and cryftal, mirror, and befl 
 window glafs, not only require fuch purity in fluxes, 
 as may render it practicable to free the glafs perfe&ly • 
 from all colour; but, for the fame reafon alfo, 
 either the white Lynn fand, calcined flints, or white 
 pebbles, fhould be ufed. The others do not demand 
 the fame nicety in the choice of the materials; 
 though the fecond kind of window glafs, and the 
 bell kind of phial, will not be fo clear as they ought, 
 if either too brown fand or impure falts, be fuffered 
 to enter into their compofition. It is to be greatly 
 regretted, that the very important manufafture of 
 glafs fhould not be fo cultivated and encouraged in 
 Great Britain, as to prevent totally the importation 
 of foreign : whereas, from the produ&ion of fand, 
 lead, and coals, in our own country, we may make 
 the befl forts of glafs much cheaper than can be done 
 elfewhere. We yet, however, take looking-glafs 
 
 plates 
 
THE ARTIST’S ASSISTANT. 269 
 
 plates of France, to the amount of a very confider- 
 able fum ; 'fome window glafs of the Dutch ; and 
 the German drinking glafies for water, with gilt 
 edges and other ornaments, are now coming again 
 extremely into fafhion. The caufes of this demand 
 for foreign commodities, which are, or might be bet- 
 ter, and cheaper manufattured here, are various ; 
 and the dilplaying of them not being a proper part 
 of my bufrnefs at prefent, I fhall wave it ; and only 
 intimate, that the tax laid upon glafs (aginlt all the 
 principles of good policy) has greatly corroborated 
 them, as well as checked a growing exportation of 
 fome articles, which would probably, in time, have 
 been of very great confequence to our commerce. 
 
 Of coloured glafs For blue, take four ounces of 
 calcined and pulverifed rock cryllal, two ounces of 
 of faltpetre, one ounce of borax, half a pound of 
 manganefe, one pound of indigo-blue. 
 
 A cryfolite glafs ; — To one pound of frit, take 
 pulverifed verdigrife three ounces and a half, red 
 lead one ounce. 
 
 A faphir green glafs To one pound of the above 
 composition, or cryllal frit, take one ounce of good 
 zafFer, and of a curious fine pin-dull two pounds. 
 
 JEWELLERS SECRETS. 
 
 T O imitate fine oriental pearls : — Take of thrice 
 diftilled vinegar two pounds, Venice turpen- 
 tine one pound ; mix them together into a mals, 
 and put them into a cucurbite, fit a head and receiver 
 to it, and after you have luted the joints, fet it. 
 
«7o THE ARTIST’s ASSISTANT. 
 
 when dry, on a fand furnace, to diftil the vinegar 
 from it; do not give it too much heat left the fluff 
 fhould (well up. 
 
 After this put the vinegar into another glafs cu- 
 curbite, in which there is a quantity of feed pearl, 
 wrapt in a piece of thin filk, but fo as not to touch 
 the vinegar; put a cover, or head, upon the cucur- 
 bite ; lute it well, and put it in balneum marise, 
 where you may let it remain a fortnight. The heat 
 of the balneum will raife the fumes of the vinegar, 
 and they will foflen the pearls in the filk, and bring 
 them to the confiftence of a pafte ; which being 
 done, take them out, and mould them to what big- 
 nefs, fhape and form you pleafe. Your mould muft 
 be of fine filver, the inftde gilded; you muft alfo 
 refrain from touching the pafte with your fingers, 
 but ufe filver gilded utenfils, with which fill your 
 moulds: when you have moulded them, bore them 
 through with a hog’s briftle, or gold wire, and 
 Jet them dry a little ; then thread them again on 
 a gold wire, and put them in a glafs ; clofe it up, 
 and fet them in the fun to dry ; after they are 
 thoroughly dry, put them, in a glafs matrafs, into a 
 ftream of running water, and leave them there 
 twenty days; by that time they will contraft the 
 natural hardnefs and folidity of pearls. Then take 
 them out of the matrafs and hang them in mercury 
 water, where they will moiften, fwell, and affume 
 their oriental beauty; after which fhift them into a 
 matrafs, hermetically clofed up, to prevent any 
 water coming to them, and let it down into a well, 
 to continue there about eight days; then draw the 
 inatra's up, and in opening it you will find pearls 
 exa&ly relembling the oriental ones. This method 
 
 is 
 
THE ARTIST’s ASSISTANT. 271 
 
 i« very excellent, and well worth the trouble, fince 
 by experimenting fo fine a fecret, you will have the 
 fatisfaflion of leeing the performance anfwer the di- 
 reflion above expe&ed. 
 
 Mercury-water is thus prepared “ Take plate tin 
 “ of Cornwall, calcine it, and let the calx be pure 
 and fine ; then with one ounce of the calx, and 
 *• two oun ces of prepared mercury, make an amal- 
 gama , wafh it with fair water, till the water re- 
 (t mains infipid and clear; then dry the amalgama 
 thoroughly, put it into a matrafs over a furnace, 
 giving it fuch a heat as is requifite for fublimation. 
 “ When the matter is well fublimated, take off the 
 matrafs and let it cool: take out that fublimate, 
 aod an ounce of Venice fublimate to it, and grind 
 i “ it together on a marble ; put this into another 
 matrafs, clofe it, and fet it upfide down in a pail 
 “ of water; and the whole mafs will diffolve itfelf 
 “in a little time into mercury-water: this done, 
 filtei it into a glafs receiver, fet it on a gentle afh 
 fire to coagulate, and it will turn into a cryflalline 
 fubftance ; this beat in a glafs mortar with a glafs 
 “ peftle to a fine powder, fearce it through a fine 
 “ fieve, and put it into a matrafs, flop it clofe up, 
 
 “ and place it in balneum mariae ; there let it re- 
 “ main till it diffolves again into water, which is 
 “ the mercury-water, fit for the above mentioned 
 “ ufe.” 
 
 To form large pearls of fmall ones, as dire fled by 
 Korndorffer .- — Take of mercurial water 14 ounces; 
 put two ounces fulph. folis into a low matrafs, pour 
 the mercurial water upon it, and let it difTolve and 
 extrafl , then take of the whitefl fmall pearls 20 
 ounces, put them into a proper matrafs, and pour 
 
 th .9 
 
272 THE ART I ST’s ASSISTANT. 
 
 the faid water upon it. The pearls will, by degrees, 
 di {halve, and at lad turn to a clear calx, much like 
 di ffolved filver calx ; pour off the mercurial water; 
 boil the calx well out and dry it ; then put it into 
 a clean crucible by itfelf ; and melt and cad; it into 
 what form you pleafe. When cold, polifh it in the 
 fame manner as you do gems or cvyftals, and you 
 will have your work of the confillency and beauty 
 of the fined and cleared oriental pearl. 
 
 Choice fecrets imitating precious dones, or for , 
 making artificial gems: — This curious art is arrived j 
 to that perfection, that it is capable of imitating pre- 
 cious dones in their ludre, colour and beauty, even I 
 to furpafs the natural ones, except in hardnefs, which 1 
 to obtain, has been, and no doubt dill are, the en- j 
 deavours of feveral ingenious men. 
 
 The art of making artificial gems, confids chiefly 
 in rightly imitating the teints of thofe that are real ; I 
 thefe mud be extrafted from fuch things as refid the 
 fire, and do not change their colour, though of a I 
 volatile nature : thus verdigreafe being put into the j 
 fire, is changed to another colour, but when put in | 
 fufion with cry dal, it retains its natural colour. 
 
 You mud therefore take fuch colours as change j 
 not, when mixed together; therefore fince blue and | 
 yellow make a green, you mud take fuch blue as | 
 will not hurt the yellow when you mix them, and al- J 
 fo fuch a yellow as fhall not be detrimental to the j 
 blue, and fo of the other colours. We fhail give j 
 very plain and certain indruftions to carry the in- j 
 genious artid with eafe and pleafure through this 
 labour, and fird fhew him — 
 
 To make a fair emerald : — Take of natural cryf- 
 tal four ounce., verdigtife forty-eight grains; crocus 
 
 martia 
 
THE ARTIST’s ASSISTANT. 273 
 
 Jnartis prepared with vinegar, eight grains; let the 
 whole be finely pulverized and fifted ; put this toge- 
 ther in a crucible, leaving one inch empty; lute it 
 well, and put it into a potter’s furnace, where they 
 make their earthemware, and let it (land there as 
 long as they do their pots ; when cold, break the cru- 
 cible, and you will find a matter of a fine emerald 
 colour, which, after it is cut and fet in gold, will fur- 
 pafs, in beauty, an oriental emerald; if you find that 
 your matter is nort refined, or purified enough, put it 
 again, the fecond time, into the fame furnace, and in 
 lilting off the cower you will fee the matter fiiining ; 
 you may then break the crucible, but not before, for 
 ii you fiiould put the matter into another crucible, 
 the pafte would be cloudy and full of bliffers; if you 
 cannot come to a potter’s furnace, you may build one 
 yourfeli wdth a fmall expence, in which you may 
 put twenty crucibles at once, each with a different 
 coloui , and one baking will produce a great variety 
 of gems : heat your furnace with hard and dry wood 
 and keep your matter in fufion twenty-four hours 
 which time it will require to be thoroughly purified 
 and if you let it hand four or fix hours longer, it will 
 not be the worfe for it. 
 
 1 omake patle for imitating an oriental topaz The 
 colour of this ftone is like water tinged with faffron, 
 or rhubarb; to imitate it, take of prepared natural 
 cryftal one ounce, of red lead feven ounces, finely 
 powdered and learced ; mix the whole together, 
 and put it into a crucible, not quite full by an inch, 
 leaft the matter fiiould run over, or (tick to the cover 
 of the crucible in rifing, then proceed as dire&ed 
 above. 
 
274 THE ARTIST’S ASSISTANT. 
 
 To make an artificial chryfolite This ftone is of 
 a green colour, and fome have the call of gold ; to 
 imitate it, take natural cryftal prepared two ounces, 
 red lead eight ounces, crocus martis twelve grains', 
 mix the whole finely together, and proceed as before, 
 onlv leaving it a little longer in the furnace. 
 
 Another procefs for counterfeiting precious Hones; 
 take of black flint ftones what quantity you pleafe, 
 and put them into a pail of hot water, and being wet, 
 put them into a hot furnace; this will prevent their 
 flying into frnall pieces; or elfe warm them thorough- 
 ly, by degrees, before you put them into the furnace ; 
 when you fee that they are thorough red hot, then 
 quench them in fair water, and they will look of a 
 fine white colour, dry and pulverize them very fine ; 
 this you may do in an iron mprtar, but, as it may 
 contract fome of the iron, it will be proper, after 
 you have'taken it out, to pour on it fome aquafortis, 
 which will clear it of the iron, and fo difengage it 
 from all filth and impurities ; wafii it in feveral clean 
 hot waters. 
 
 This powder, thus prepared, is fit to be ufed for 
 making the fineft glafs, and for imitating the cleareft 
 and moil: tranfparent gems, efpecially thole that re- 
 quire the luilre of a diamond or ruby ; as for a fa- 
 phir, emerald, topaz, chryfolite. fpirel, amethift, &c. 
 your labour with aquafortis may be faved, if your 
 mortar be bright and free from ruft ; fuch as hav.e a 
 mortar of porphiry, or fuch like ftone, have no dc- 
 cafion to ufe an iron one, but will fave themfelves 
 a great deal of trouble. 
 
 In cafe you cannot have black flint ftones, you 
 may content yourfelf with pebble, but flint is far 
 
 preferable^ ^ 
 
THE ARTIST’S ASSISTANT. 275 
 
 preferable, and makes the glafs of a harder fubftance 
 than that made of pebble 
 
 Bartholomew Korndorfer’s fecret to make a dia- 
 mond of natural cryftal .-—Take the bell polifhed 
 cryftal, no matter whether large or fmall, fo it is but 
 clear and tranfparent, put it in a crucible, with three 
 times as much of my fixed fulphur of gold, fo that 
 the cryftal may be covered all over with it, then, 
 after you have put a lid over if, and luted the cru- 
 cible well, let it for three days and nights anneal in 
 a ftrong fire, then take it out and quench it in fpring 
 water, in which red hot fteel is quenched forty-fix 
 times running, and you will have a diamond which 
 refembles a natural one in every refpeft, and is right 
 and good. 
 
 Thus for Korndorfer, but as to his fulphur, he has 
 left us in the dark. 
 
 How to make a diamond out of a faphir, accord- 
 ing to Porta’s defcription : — Weufe to make it, (the 
 diamond) the lureft way, in this manner; we filled 
 an earthen pipkin, or crucible, with quick lime, and 
 laid the faphir in the midft thereof, covering it firft 
 with a tile, and then with coals all over, blowing 
 them gently until we had a clear fire ; for if it is 
 blown too much, it may occafion the breaking of the 
 ftone. 
 
 When we thought that the faphir had changed its 
 colour, we let the fire go out of itfelf, and took it 
 out to fee whether it was turned white ; if fo, then 
 we laid it again in the crucible, in order to let it cool 
 with the fire ; but if it had not the right colour, then 
 we augmented the heat again as before, and looked 
 often to fee whether the fire had taken away all the 
 M m 2 colour, 
 
ij% THE ARTIST’S ASSISTANT. 
 
 colour, which was done in about five or fix hours; 
 if then the blue colour was not quite gone, we began 
 our operation afrefh until it was white and clear. 
 It is to be obferved, that the heat of the fire, in the 
 beginning of the operation, mull increafe by fiow de- 
 grees, and alfo in the fame manner decreafe ; for if 
 the ftone comes either too fuddenly into the heat, or 
 from the heat into the cold, it is apt to turn dark, or 
 fly to pieces. 
 
 In like manner all other precious Rones lofe their 
 colour, fome fooner than others, according as they 
 are either harder or {often The amethiR is very 
 light, and requires but a flow fire, for if it has too 
 much heat, it becomes dark, or turns into chalk. 
 
 This is the art whereby inferior precious Rones' 
 are changed into diamonds; they are afterwards cut 
 in the middle, and a colour given them , and fiorn 
 hence comes the fecond fort of falfe diamonds, or 
 doublets. 
 
 A plain dire&ion concerning the polifhing of 
 thefe counterfeits, and alfo of natural gems. — It is 
 to be obferved that all glafs, or artificial Rones, may 
 be cut and polifhed after one method ; namely, by 
 Rrewing fine powdered emery upon a leaden plate 
 with water, holding the Rone firm, and grinding it 
 in what form or fhape one pleafes. 
 
 If you fling ground tripoli, mixed with water, 
 upon a pewter plate, and add a little copper afhe*. 
 amongA it, it will have the fame effect.. 
 
 Pulverized antimony Rrewed upon a fmooth plate 
 of lead, with the tripoli and vinegar, polifhes not 
 only glafs, cryAal, garnets, calcedons, agates and 
 amethiRs, but all other natural Rones, except the 
 diamond. The diamond is only cut with the 
 
 diamond 
 
THE ARTIST’S ASSISTANT. 277 
 
 diamond powder itfelf. Any fuch diamonds which 
 can be touched by emery, lead, copper, or other me- 
 tals, or be cut therewith, are falfc ; and this is a 
 good teft for knowing a real diamond. 
 
 The method of counter-drawing on artificial ftones, 
 the original camieaus, intalics, and other gems, 
 which are kept and preferved in the feveral mufeums 
 of Europe : — Chufe the fmeft fort of tripoli which 
 can poffibly be found ; grind it on marble, into an 
 impalpable powder, andasfubtile as poflible ; add a 
 little water to it, fo as to make a fort of pafte with it, 
 of the confidence of colours on pallets for painting; 
 when it is in that date, put it in a little fquare tin 
 mould, with turned-up edges: prefs well your pafte 
 down in it, and fmoothen the furface ; as foon as 
 you fee it begins to dry, damp on it the feal of which 
 you want to obtain the impreflion, and taking it off 
 fkilfully from the tripoli pafte, let this dry tho- 
 roughly ; when you find it is perfeftly hard, and 
 the ftrokes of the feal are folids, put on the im- 
 preflion fome powder of cryftal, or any artificial ftone 
 you pleafe, whether red, green, blue, or any other 
 colour ; then, with a metal pipe, blow on that pow- 
 der the flame of a candle, or a lamp, till the cryftal 
 is perfeftly melted ; when done, lay fomething, 
 fuch as a fmall iron pallet, of nearly the fize of the 
 feal, on the melted pafte, and prefs it gently to make 
 it take the better the impreflion, and all the turns 
 of the defign, and then let it cool. When you take 
 the cryftal up you will find it to be a perfeft copy of 
 the original ", you may then fend it to the lapidary to 
 he cut, and fet for feal or ring as you like. From 
 thefe very copies you may even get other copies, by 
 following the fame procefs of operation. 
 
 When 
 
2 73 THE ARTIST’S ASSISTANT. 
 
 When vou have made on the tripoli pafte the im* 
 ptefiion of the original leal, the fafeft and fhorteft 
 va V would be to bake it in a furnace, under a tin 
 arch, io prevent the coals from touching the im- 
 pretlion, which might hurt and damage the relief; 
 then take off your little tin mould, and having put 
 on the [lamp, cryftal powder, or other fufible mat- 
 ter. you may place it again under the fame arch, in 
 she furnace, and when that powder is melted, do 
 as before direcled. 
 
 MISCELLANEOUS SECRETS. 
 
 T O preferve things from corruption in fpirit of 
 wine : — This is done in the moil fubtle rec- 
 tified fpirit of wine camphorized, wherein many 
 forts of animals, as birds, fifhes, infefts, reptiles, &c. 
 may be kept many yearsfrom decaying or corruption. 
 Porta relates, that he had feen a fifh at Rome, thus 
 preferved for above twenty years, which was as 
 frefh as if alive : likewife at Florence he faw one 
 that had been preferved above forty years, d he 
 glaffes wherein they were kept were hermetically 
 fealed, to keep the lead: air from coming to them. 
 
 The preparation of the fpirit or oil of ialt, where- 
 by things may be kept from corruption, and which 
 is a great reftorer and preferver ol health I ake fea 
 fait as much "as you plcafe, put it in a crucible co- 
 vered, over a good coal fire, and when it has done 
 crackling, take it. off, and put it in a damp place 
 till it is diffolved, filter it often through a paper, till 
 it is thoroughly clear and fine ; then let it digcfl in 
 
 horfe 
 
THE ARTIST’S ASSISTANT. 279 
 
 horfe dung for about two months, changing the dung 
 oiten for frefh, in order to keep it continually 
 warm ; then diftil it over fome fand, and you will 
 have in your receiver a fait oil, with a watry phlegm, 
 di ft 1 1 this gently in a bain, and the oil will re- 
 main behind, but the watry fubllance he carried off. 
 Whatever is put into this oil, will keep from cor- 
 ruption, without changing, for ages. This is the 
 fait fpirit which by Paracelfusis called vividitas falis, 
 and has incomparable virtues, as well to re (lore men 
 to health and vigour, as alio to preferve them from 
 moft diftempers; four or fix drops, taken in worm- 
 wood water, is good for the dropfy, convuliions, and 
 the yellow jaundice ; three or four drops taken in 
 hartfhorn water, is good for all forts of agues; for 
 worms it is taken in brandy; three drops taken in 
 carcit, or water of Carduus Benedi&us, is good for 
 the flop page of urine. It is a fine remedy for all 
 forts of fprains and contractions of the nerves; it 
 heals bruifes and fwellings, when mixed with other 
 ointments, and the affected parts are anointed there- 
 with. When mixed with oil of turpentine or wax, 
 or camomile, it will affuage the gout. This oil, or 
 fpirit of fait, if well rectified, is a folvent of all 
 forts of metals and (tones, and a key to many hidden 
 myfteries. 
 
 But if this prefervative is too coftly to keep 
 things from corruption, you may prepare a fea water 
 with a fmall expence, which will keep things for 
 many years ; and this you may do in the following 
 manner : — After you have fearfed your fea fait, di'f- 
 folve it in diftdled rain water, and make thereof a 
 lee which will bear an egg. Or, when the fait is 
 fearfed, put it into a damp place, and when it is 
 
 diffolved, 
 
aSo THE ARTIST’S ASSISTANT. 
 
 difiblved, filter it through a paper, fo long till it is 
 clear and fine. This you may ufe to preferve things 
 from corruption, by di Hilling it, and pouring it over • 
 the thing to be preferved. 
 
 A fecret to caufe the tranfmutatioa of iron into 
 the fined German Heel Take of clean foot one 
 pound, oak-wood afhes twelve ounces, and four of 
 pounded garlick. Boil all together in twelve 
 pounds of common water, reduced to a third, or 
 four pounds. Strain this, and dip in it the iron 
 ■peers, which you will afterwards ftratify with the 
 following cement i T. akc burnt wood coals, otner- 
 wife called cokes, and quick lime, of each three 
 pounds; foot dried and calcinated in an iron pan, 
 one pound ; decrepitate fait, four ounces : make of 
 this and your iron feveral beds alternately, one over 
 another, and having well luted the veflels in which 
 you fhall have made thofe beds of iron and cement, 
 give them a reverberating fire, for three times 
 twenty-four hours, and the operation is done. 
 
 To preferve the brightnefs of arms Rub them 
 with hart’s marrow ; or elfe, diffolve fome alum 
 powder with the dronged vinegar you can find, (that 
 of Montpellier, which ferves tq make their famous 
 verdigrile, is the fitted) and rub your arms with it ; 
 by thefe means they keep for ever bright and 
 fhining. 
 
 Againd rud, fpots, &c. in iron Crucible pow- 
 der, lifted emery, and filver ore, all in fine powder ; 
 add thereto the beaten feales of iron, and lub the 
 rudy parts with leather dipt therein. 
 
 To make tin Take a difgretionabl.e quantity of 
 rye-bran, quite pure ; boil it a minute or two in 
 vinegar, then add to it a little water } and in that 
 
 fame 
 
THE ARTIST'S ASSISTANT. 281 
 
 fame inftant plunge your fleets of black iron; then 
 take out of the fire, and Rop well the vefTel. Let 
 your iron reft there and foak for twenty-four hours, 
 after which time take off your iron fheets ; fcore 
 them well with the very bran with which they have 
 been foaking, then rub them over a little with 
 grindflones. This being done, make them foak again 
 in a water wherein you fhall have diffolved fome am- 
 moniac fait, whence having taken them ofiF, fet them 
 to drain, and rub them afterwards with rye-bran, 
 and your tin will be done^ 
 
 Obferve that the veflel in which you lay your fheets 
 to foak, muft be large enough to receive them in 
 their full intended fize. 
 
 To compofe a metal of a gold colour : — Take re- 
 finer’s copper fix ounces; melt it in a crucible; 
 add one ounceof calaminary flone, half an ounce of 
 tutty, and one of terra merita, in powder ; give to this 
 a melting fire for five or fix hours running, and no 
 more; then take off the crucible from the fire. Put 
 this compofition in powder, and add to it two ounces 
 of common mercury, fix of fea-falt, exficcated, and a 
 fuffi cient quantity of water. Set the whole to boil 
 until there appears no more mercury ; then put the 
 matter into a crucible, and place it between two fires 
 of kindled coals, avoiding carefully the breathing of 
 the fumes: give this a melting fire, for two hours, 
 then wafh the compofition in water, till this runs off 
 quite clear; fet this again in a crucible, and when 
 melted, pour it into an ingot. This will give you a 
 metal of the mod beautiful gold colour which can be 
 defired, and which you may make ufe of for plates, 
 buckles, fnuff-boxes, cane-heads, &c. But one can- 
 not recommend too much the avoiding of breathing 
 the fumes of this compofition, while it is making. 
 
 N n , Hqw 
 
282 THE ARTIST’S ASSISTANT. 
 
 How to give fome perfection to imperfeCt metals : — * 
 It is well known that gold is the moft perfeCt of me- 
 tals. After this comes filver, the principles of 
 which are very near pure, and equally proportioned 
 between them as thofe of gold. All other metals are 
 reckoned imperfeH and crude. Among them how- 
 ever that which approaches neareft to perfe&ion, is 
 copper. This therefore may ealily be purified, by 
 being delivered of all the fuperficial and combuftible 
 fulphurs with which it is loaded, and whoever will 
 proceed according to the following direCtion, will 
 not fail to obtain it : 
 
 Take what quantity you pleafe of copper; fet it 
 in a crucible over a melting fire ; while melting in 
 the crucible, throw in at different times fome tutty 
 powder, mixed with equal parts of refined faltpetre ; 
 then, the detonations being made, take the crucible 
 out of the fire and let it cool ; break the crucible and 
 feparate the fcories, from the regulus ; put the cop- 
 per regulus into another crucible, and reiterate the 
 fame operation three times, till the copper is ex- 
 tremely fine, and a true gold colour. 
 
 Now, if you fet it melting for the fourth time, 
 and projeCt on it perfiearia’s or hydro-popper’s leaves 
 powder, you will render it Hill more perfeft ; and 
 ■you might thus purify it fo far, as to give it, at laft, 
 all the qualities of gold. 
 
 Whoever will know how to purify brafs from its 
 foreign fulphur, will turn it likewife into a very fine 
 filver. 
 
 You may alfo whiten lead ; and, by giving it the 
 hardnefs of filver, render it fimilar to it. 
 
 Pewter and quickfilver may likewife be purified, 
 in feperating from this laft its arfenical fulphurs, and 
 
 fixing 
 
THE ARTIST’S ASSISTANT. 2% 
 
 fixing it by the fupplement of a fixed, metallic, in- 
 combuftible and folary fulphur. The other may, by 
 taking off from it its fuperfluous faline part, and unit- 
 ing its mercurial one to the true metallic fulphur ; but 
 this we cannot expea to attain, if not previoufly 
 verfed in the method of diffolving, analyfing, and di- 
 viding or feparating, and then re-embodying again 
 metallic fubftances ; and this is known by none but 
 the fons of the art, the adepts alone. 
 
 To reftore gold to its weight, after it has loft it in 
 regal water Put a bit of tortoife-fhell to foak, for 
 fome time, in regal water, then put your gold in it 3 
 and, by that means it will recover its loft weight. 
 
 To operate the tranfmutation of ftlver into gold 
 Get a new iron pan, make it red hot upon a trevet, 
 and then put two pounds of lead into it ; as foon as 
 this is melted, throw over it by degrees, fome good 
 faltpetre pulverifed, and this will melt likewife ; 
 keep it thus in fufion till it is at leaft half diflipated ; 
 fhould it take fire during that time it does notfignify, 
 for it hurts nothing, and the more conceded over 
 again the falt-petre is, the ftronger the oil. 
 
 Let this cool ; divide the faltpetre from the lead ? 
 after having well pounded it on a marble ftone, car- 
 ry it into the cellar, there it will fall into deliquium 
 which you will pour into a cucurbit, with double 
 its weight of true French fpirit of wine, added by 
 little and little at a time ; then diftil by a flow fire ; 
 grind on marble as before, what remains in the cu- 
 curbit, and being turned into deliquium, put it again 
 into the cucurbit with fome more fpirit of wine ; Take 
 oir thefe diliolutions and cohobations, repeating the 
 lame procefs over again as before, till the faltpetre 
 remains at the bottom of the cucurbit refolved into a 
 ^ n 2 , true 
 
284 THE ARTIST'S ASSISTANT. 
 
 true oil which congeals itfelf no longer, and this 
 will procure you what is called the fix-balm. 
 
 Next to that operation, you will make an aquafortis 
 with equal parts of faltpetre, dried vitriol, and roch- 
 alum ; and before you put the receiver to the cucur- 
 bit, add fleel filings, antimony, verdigrife, in fubtile 
 powder, tutty and cinnabar, of each half an ouncce, 
 or one ounce, according to the quantity of aquafortis 
 you want to draw. Cohobate the fpirits feven times 
 over, upon the faeces, which you will grind each 
 time on a marble table. 
 
 Difl’olve one ounce of filver in three of this liquor ; 
 and, on that folution, ftill, drop by drop, one ounce 
 of your nitre-oil, in a bottle made like the hour- 
 glafles, which, after the operation muft be at molt 
 only half full, and which you will cover with an- 
 other inverted, fo that the neck of the under one 
 fhould get into that of the upper one. Or elfe, put 
 it in a matrafs with a long neck, which you will leal 
 hermetically ; but, if you make ufe of bottles, take 
 care to lute the joints ; place this over hot afhes, and 
 plunge it in them to the heigth of fix inches. Giv<j 
 under this a lamp fire, which fhould not reach 
 the matter by three fingers diftance. You will get 
 every day to the amount of a filver pennyweight of 
 filver fixed into gold ; and when the whole {hall 
 have been fixed thus, day after day, the aquafortis, 
 which before was green as an emerald, will becdme 
 as clear as pump-water. Let the compofition cool, 
 and divide the water from the oil, which will never 
 be the worfe for ufe, and muft therefore be prelerved. 
 At the bottom of the veflel you will find the filver 
 fixed into gold. 
 
 Permutation . 
 
THE ARTIST’S ASSISTANT. 285 
 
 Permutation of lead into filver : — Take fine lead, 
 calcine it with common fait, or elfe with that fort of 
 fait which is extra&ed from the dregs, faeces, or ca- 
 put mortuum of faltpetre and vitriol calcinated both 
 together; foak the whole warmly with oil of vitriol 
 till you make it come into an un&uous pafte ; this 
 you will put into a pot or crucible, well luted, and 
 placed in a pan full of fand, with which you will 
 cover it over intirely. Make under this a digesting 
 fire ; that is to fay, fuch a fire as is neceffary to 
 warm the fand ; keep it fo for ten days, then take 
 off your matter and tell it. Out of one hundred 
 and five pounds of lead, you will draw five marcs, 
 or two pounds and a half weight, of filver capable 
 to hand the teft. 
 
 Tranfmutation of iron into copper: — Iron is eafily 
 changed into copper by means of the vitriol; to 
 do this you put your iron flratum fuper ftratum in a 
 defcenforium, and fet it over a ftrong blaft fire, 
 pufhed by bellows, till the iron melts and flows into 
 copper ; you mufl not forget, when you have made 
 your beds of vitriol, to water them a little over 
 with vinegar faturated of faltpetre, alkaline, and 
 tartar falts and verdigrife. 
 
 Spots very effettually taken out of filk, linen, or 
 woollen: — Spirits of turpentine twelve drops, and 
 the fame quantity of fpirits of wine ; grind thofe 
 with an ounce of pipe-maker’s clay, and rub the 
 fpots therewith ; you are to wet the compofition 
 when you do either filk, linen, or woollen with it ; 
 Jet it remain till dry, then rub it off, and the fpot 
 pr fpots will difappear. The ingenious Dr. Godfrey 
 (3^ that true fpirits of falts is the only thing to 
 
 remov-e 
 
286 THE ARTIST’S ASSISTANT. 
 
 remove iron moulds from linen ; and fal armoniac, 
 with lime, takes out the ftains of wine. 
 
 An excellent water for taking out fpots in cloth, 
 fluff, &c.-~ Spring water a quart, put into it a little 
 potafhes, about the quantity of a walnut, and a le- 
 mon cut in final 1 pieces, let it ftand twenty-four 
 hours in the fun, then {train it through a cloth, and 
 Lottie the clear liquor for ufe. It takes out all forts 
 of fpots in any kind of thing. Wafh the place where 
 the fpots were, afterbeing taken out, with fair water. 
 This liquid is preferable to the before mentioned 
 halls for taking out fpots, &c. 
 
 For preferving from ruff:— Take an eel, fry it, 
 prefs out the oil, and rub you furniture in metal 
 therewith . 
 
 Againft moths, worms, &c — Dry the herb botris, 
 ffrew it among your cloaths, and neither moth or 
 worm comes near them. 
 
 Flow to make ball foap, and its great ufe in fami- 
 lies : — This foap is eafily made, and goes much farther 
 than the other foap. You are to make a lee from 
 afhes and tallow, then put the lees into a copper, and 
 boil them till the watery part is quite gone, and there 
 remain nothing in the copper but a fort of nitrous 
 matter, to this the tallow is put, and the copper 
 kept boiling and ftirring for above half an hour, in 
 which time the foap is made ; it is then taken out of 
 the copper, and put into tubs, or bafkets with fheets 
 in them, and immediately, whilft warm, made into 
 balls. You are to take notice, that it requires near 
 twenty-four hours to boil away the watry part of the 
 lee. 
 
 Chinefe method of mending china : — Boil a piece 
 of white flint glal's in river wat«r five or fix minutes, 
 
 beat 
 
THE ARTIST’S ASSISTANT. 28? 
 
 heat it to a fine powder, and grind it well with the 
 white of an egg, and it joins china without riveting, 
 fo that no art can break it again in the fame place. 
 You are to obferve that the compofition is to be 
 ground extremely fine on a painter’s ftone. 
 
 A. good common cement : — Beat the white of an 
 egg very clear, and mix it in lime in very fine 
 powder; join the broken pieces together with this 
 and let them fland till they are quite dry. 
 
 A very ftrong cement for broken chinaware : — 
 Take equal parts of ifinglafs, maflic, and turpentine ; 
 beat them together in a ftone mortar till they are 
 well united, and then join the pieces well together. 
 They will fooner break in a new than the old place. 
 If the turpentine is not enough to render the other 
 ingredients of a proper confidence, add more till 
 it is. 
 
 To join broken amber: — Anoint the pieces with 
 linfeed oil, and hold them as clofe to the fire as you 
 can till they flick, and then fet them by to dry at 
 leilure. 
 
 A certain method to whiten ivory : — When ivory 
 is turned yellow or red with long keeping, boil it in 
 flrong lime water, fuppofe a pound of lime to a quart 
 of water, and if that has not the defired effeft, add 
 more lime. This method never fails to bring it to 
 a proper whitenefs. 
 
 To make fine hard red fealing-wax -Take of 
 gum lac, or fihell lac, half a pound ; melt it in au 
 earthen velfel, and then add an ounce and a half or 
 two ounces of Vermillion, in very fine powder; 
 when they are well mixed over the fire, and are 
 become of a proper coolnefs, make them into flicks 
 or balls. If you would have a coarfer fortj take 
 
 half 
 
288 THE ARTIST’S ASSISTANT. 
 
 half lac and half rofin. If a coarfer Hill, take red 
 lead inllead of Vermillion. 
 
 To make balck fealing-wax Ufe the fame lac in 
 the manner direfted above, only inftead of Vermil- 
 lion mix it with ivory black. 
 
 To make oil-cloth for hat-cafes and other ufes:— 
 Take drying-oil and fet over the fire, and then dif- 
 folve rofin in it, or which is better but dearer, gum 
 lac. There mult be fo much of either as will bring 
 the oil to the confidence of balfam •, then add fome 
 colour to it, as verdigrife for a green, umber for a 
 hair colour, white lead and lamp black fora grey, 
 or indigo and white fora light blue ; fpread this over 
 canvas or linen cloth, fo that it may be fully drenched 
 or glazed over with a brufh, and when it is quite 
 dry no wet can touch it. That made of lac and ap- 
 plied to fine linen would make good great coats for 
 thofe that travel much in all weathers. Some have 
 lately laid this compofition on filk. Thefe fine forts 
 may be rolled up . and put in the pocket, being ex- 
 ceedingly proper for gentlemen, or any that ride 
 out with good cloaths, and would not have them 
 fpoiled. Some of this varnifh fhould be laid on the 
 feams after the garment is made, and then no wet 
 can foak through. 
 
 MNI S. 
 
 
N 
 
 D 
 
 X. 
 
 A RTIFICIAL Gems ill imitation of 
 
 oriental pearls — 269 
 
 • to prepare mercury-water ; to firm 
 
 large pearls out of (mail ones — 271 
 
 to imitate precious Hones, &c. 272 
 
 • pafte tor imitating an oriental 
 
 topaz 273 
 
 an artificial Chryfolite ; a diamond 
 
 or a ruby — — 274 
 
 to polifh gems — — 276 
 
 of counter-drawing camieaus, in- 
 
 talios, and other gems preferved in 
 the feveral mufeums of Europe- 277 
 BRONZING ; colouring bulls and figures 
 
 to reprelent copper — 222 
 
 procefs to prepare the metaline 
 
 powder ; eafy niethod to produce gold 
 powder, and aururn molaicum 223 
 — - argentum mulivtim; bronzing by 
 foft leather inflead of cement — 224 
 
 • g°'d lize the beft binding ; filver 
 
 bronzing by means ofmulivum argen- 
 turn — — _____ 22c 
 
 CASTING; to prepare clay for moulds 
 to call gold, filver, &c. in — 202 
 
 make moulds of clay to call 
 
 brafs ; moulds which need not be 
 
 heated to call metal in 203 
 
 preparation of Mantua earth for 
 
 moulds ; a particular fort of mould 
 to call exceedingly fine -, to imprefs 
 bals relievo, on medals, in imitation 
 
 of ivory _ : 204 
 
 — — to imprefs medals and other things 
 in bals relievo on paper ; to call vege- 
 tables in moulds particularly prepared 
 
 for filver _ 205 
 
 — — to call all forts of things in gold, 
 
 filver, or other metals 206 
 
 to call vegetables and infefls 207 
 
 to place infects, ate. to call from 208 
 
 ■ ’ a nmple plain method to call vege- 
 
 tables or infects in another manner 200 
 * — 7 t0 cafl figures in brimflone ; all 
 kinds of final 1 birds, frogs, filh,8tc. 210 
 —7- how to cafl finall fhot ; calling an 
 
 image or animal in plaifler 21 1 
 
 • to cafl wax, medals, tttc. in bals 
 
 relievo 212 
 
 ■ how to cafl them like jafpis ib. 
 
 to cailfilh, reptiles, fruit, 8tc. in a 
 
 pewter plate, or diih — 213 
 
 •— figures in imitation of ivory 214 
 
 O o 
 
 -CASTING, with marble colours in plaifi- 
 ter ; a land to call with nicety 215 
 
 to cafl horn and wood in moulds, 
 
 as fine as ivory, and of a fragrant 
 
 fmell ^ — 216 
 
 mixture for calling mirrors, and 
 
 other things for opticks 217 
 
 another, anfwering the fame pur- 
 
 P° fes — „ — ~ ~ 21B 
 
 ' • a third fort of Heel mixture for 
 
 mirrors 219 
 
 to call iron. Heel, and prepare 
 
 arfenic glafs — 220 
 
 to call iron as white as filver ; to 
 
 call plaifler of Paris on copper 221 
 
 ; a mixture for impreflions of any 
 
 kind, which will become as hard as 
 
 done _ 222 
 
 to imprefs figures in imitation of 
 
 porcelain ib. 
 
 COLOURS, method of preparing the 
 different kinds uled in painting 4? 
 
 Clafs I. RED. 
 
 fcarlet, or tending to orange 44 
 
 crimfon, or tending to purple ib. 
 
 vermillion, its qualities ib. 
 
 procefs for preparing vermillion 
 
 to great perfection — — 45 
 
 - means to detetfl dealers who fo- 
 
 phiflicate vermillion with red lead 46 
 • native cinnabar, red lead or mi- 
 
 nimi, "fcarlet oker, and their ufes 47 
 
 prepartion of fcarlet oker — 48 
 
 common Indian red, its ufe and 
 
 preparation — 43 
 
 Venetian red — ib. 
 
 Spanilh brown — 30 
 
 calcined or burnt terra difiennaib. 
 
 carmine — ib. 
 
 lake, manner of extracting it 51 
 
 rofe pink, and its prepartion 53 
 
 red oker — r , 
 
 Clafs II. BLUE. 
 
 — — ultramarine — — — 54 
 
 bell modern method of preparing 
 
 the Ultramar ine pigment — 55 
 
 — 7- its properties and bad confequence 
 
 if adulterated — £ 7 
 
 ultramarine afhes, and how to pre- 
 pare them — — — 38 
 
 Pruffian blue and preparation eg 
 
 verditer v — g t 
 
 bleu de Cerjdreg or Sanders blue 62 
 
 COLOURS ; 
 
11 
 
 INDEX. 
 
 COLOURS; indigo, Spariilh the beti 63 
 
 ■ linalt, bice, litmus, or latnius 64 
 
 Clafs III. YELLOW. 
 
 king’s yellow — 65 
 
 Naples yellow and yellow oker 66 
 
 • Dutch pink and how to make it 
 
 perfeft — 67 
 
 Englilh pink — — 67 
 
 Light pink, gamboge, maiHcot 68 
 
 common orpiment, and gall Hones, 
 
 or a good lubftitute — — 69 
 
 terra di fienna unburnt ■ — —70 
 
 turpeth mineral, its preparation ib. 
 
 yellow wafh from French berries 7 1 
 
 turmeric walli — ib. 
 
 tinfture of laffron — - — - 72 
 
 zedoavy walh — ib. 
 
 Clafs IV. GREF. N. 
 
 ■ yerdigrife — _ — 72 
 
 chryltals, or diftilled verdigrife 73 
 
 lap green, Pruffiau green and their 
 
 procefs — — — — 74 
 
 Clafs V. PURPLE. 
 
 Indian red — — ■ — 75 
 
 archal, or orchal — — ib. 
 
 Clafs VI. BROWN. 
 
 brown pink and biflre 76 
 
 brown oker, Cologn and Japan 
 
 earth — — 77 
 
 umber, afphaltum, and Spanith 
 
 juice, or exraft of liquorice — 78 
 Clafs VII. W H I T E. 
 
 • white lead — — 79 
 
 burnt hartlhorn and pearl white 80 
 
 • trgv white, and egg-iltell white 81 
 
 Clafs VIII. BLACK. 
 
 lamp black — — — jb. 
 
 ivorv black and Indian ink — 82 
 
 CRAYONS, their perfection, &c. — 130 
 
 preparation ib. 
 
 Redsj carmine and lake — 131 
 
 Vermillion and native cinnabar 133 
 
 ■ Blues; Pruflian blue, verditer ib. 
 
 ■ Greens ; brilliant greens — 1 34 
 
 • Yellows ; king’s yellow, orange ib. 
 
 ■ Browns; Cullen’s earth, umber 135 
 
 Purples ; Prullian blue — ib. 
 
 Black ; lamp black ib. 
 
 CRAYON rolling, and difpofing them 
 
 for painting 1 36 
 
 bedding and arrangement 137 
 
 DESIGNING and its eflfential requi- 
 fites — — • — 19 
 
 • principal rules regarding defign 20 
 
 DRAWING, preliminary to — 7 
 
 the foundation of polite arts 11 
 
 materials neceflary for drawing 12 
 
 inftruftions to tkeixh an outline ib. 
 
 • rules for drawing a head — ib. 
 
 ■ an oval recommended to produce a 
 
 variety of faces — — — 13 
 
 • a leffon from Trefibny for drawing 
 
 a human figure — — — 14 
 
 a flight Iketch of a figure, inltead 
 
 of finilhing the head firlt 16 
 
 ■ drapery conlidered ' — — 17 
 
 drawings of the belt mailers highly 
 
 neceflary for a young beginner — 1 8 
 ENAMEL grounds ; to apply the ena- 
 mel to tiie belt advantage — 138 
 
 ENAMEL grounds; management of 
 piftures and dial-plates, to present 
 
 warping 1 39 
 
 - — - what cafes cnal may be tiled in 140 
 
 ENAMEL painting tot 
 
 what metals bear a fufficient to 
 
 fultain the neceflary heat — 142 
 
 fluid body for the ground, &c. 143 
 
 Venice and Dreleen formerly mo- 
 nopolized thele preparations — ib. 
 
 other requifites neceflary 144 
 
 • experience neceflary to prepare 
 
 with certainty — — 145 
 
 fubftances for forming fluxes ib. 
 
 borax and common lalt ufeful 146 
 
 liibltances tiled fir forming the 
 
 body' of enamel, or fluxes — 147 
 
 fubftances uled for white — 148 
 
 ultramarine, *or light blues; ul- 
 tramarine alhes, for femi-tranlparent 
 light blues ; zaffer, fir blue, green, 
 purple, and black colours — 130 
 
 magnefia, broken crimfon ; fmalt 
 
 as a blue — — — 151 
 
 gold to produce a crimfon, or ruby ; 
 
 filver, a yellow ; copper, green, blue, 
 and red ; iron, orange red, or foul 
 fcarlet — — — 152 
 
 glafs of antimony, orange; orpi- 
 ment, vellow — 153 
 
 borax the mod aftive flux amongft 
 
 falts — — — ib. 
 
 ENGRAVING — 196 
 
 to temper and hold the graver 197 
 
 ftraight and crooked ftrbkes — 198 
 
 firft copies ; a lafh of fan paper to 
 
 preferve the fight — 1 99 
 
 ETCHING and engraving ; proper liib- 
 jefts, materials, tools, and laying the 
 
 ground — J 9 2 
 
 direftion for tracing — — 193 
 
 etching needles ; biting, or eating 
 
 the work with aquafortis — 194 
 
 management of the aquafortis 195 
 
 EXPRESSION of the pailions — 21 
 
 graceful attitudes, light, fhade, 
 
 grief joy. Sic. — — — ib- 
 
 landfcapes of Diderich, battles of 
 
 Burgognone, and le Brun’s paflions 22 
 
 anecdote of the famous Pietro de 
 
 Cortona — — — -3 
 
 dumb men recommended by Lio- 
 
 nardo Vinci, as the heft matters from 
 
 whom to copy expreilion _ _ ib. 
 
 Itrange relations of antient paint- 
 ers ; a " woman mortally wounded, 
 with a child crawling to her breaft, 
 by Ariftides ; a Medea murdering her 
 children, by' Timomachus, See. — 24 
 
 the marriage feaft at Cana-ofGa- 
 
 lilee, by Paolo Veronefe 25 
 
 Michael Angelo Icrupidoufly ex- 
 
 aft in point of anatomy — — ib. 
 
 Domin china and Poulfin great 
 
 matters of expreflion — — ib. 
 
 Raphael fovereign matter of them 
 
 all — — — — —.26 
 
 Quintilian affirms, that painting 
 
 has more power over us than all the 
 
 arts of riietorick — - ib, 
 
 EXPRESSION 
 
I N D 
 
 EXPRESSION of the paffions ; various 
 
 paintings of Raphael _ — 26 
 
 — — miracles of the art in one piece ib. 
 
 Albani’s precept — — — 27 
 
 expreflion, as Socrates proves to 
 
 Parrhafius, the laft goal of the paint- 
 er’s art — — — — ib. 
 
 GILDING : principal kinds, choice of 
 leaf gold, inftruments tiled, Sic. 234 
 
 • oil gilding and preparation of fat 
 
 oil — 236 
 
 — preparation of the piece to be 
 
 gilt, firing, &c. — 238 
 
 proper Rate to receive the gold ; 
 
 how to lay on the leaves — 239 
 burnifh gilding, with the prepara- 
 tion of the proper fi;-e - — -241 
 
 • wood fit for burnilh gilding, and 
 
 laying on the gold _ 242 
 
 brandy, or fpirits of wine unne- 
 
 ceflary in gilding ; liibftitute for gold, 
 in the hollows where it cannot be in- 
 troduced — 244 
 
 japanners gilding and goldfize 245 
 
 • curious gold powder 246 
 
 powder in imitation of gold — in, 
 
 mode of tiling japanners fize — 247 
 
 - — — on paper, vellum, or parchment 248 
 gilding proper for coloured paper 
 
 for bind' ng books — 240 
 
 ■ letters of gold on paper, embellim- 
 
 mentof manulcripts, and directions 
 to make the gold armoniac — 25 1 
 
 1 gilding Lather for hangings,&c. 252 
 
 to gild glafs without enamelling 
 
 or burning ; drinking glades, Stc. 253 
 GLASS, its nature and compofition 236 
 materials tifed as fluxes in the com- 
 pofition of glafs — 261 
 
 • various fluxes — — 2 65 
 
 feveral kinds of glafs — 26s 
 
 coloured glafs 269 
 
 JAPANNING, introduction to — 159 
 
 on metals, wood, ahd paper — 160 
 
 Birmingham and Paris paper boxes 
 
 compared — — _ — — 161 
 
 laying on colours with varr.ifh in- 
 
 ftead of gum water recommended 162 
 
 japan grounds and priming — 1 63 
 
 common grounds, and varnifh 1 64 
 
 white japan grounds — — t6j 
 
 white varnilbes — - — 1 66 
 
 blue janan grounds 167 
 
 • red and yellow ditto — 1 68 
 
 green, orange and purple ditto 160 
 
 black and tortoife-fhell ditto 170 
 
 KORNDORFER’s method of making a 
 
 diamond of chrvflal — 275 
 
 LACQUERING, method, and life 177 
 principal body in lacquers ; an ex- 
 cellent compofition, for brafs work, 
 
 to refemble gilding — 178 
 
 a cheap lacquer; faffron and tur- 
 meric con trailed in yellows — 179 
 
 varnifh for tin, lacquer for locks, 
 
 a d nails; procefs, Sic. l 3 i 
 
 MKZZOTINTO - SCRAPING recom- 
 mended as the mofi eafily executed by 
 thofe who have any notion of draw- 
 ing ; to lay the ground — 199 
 
 E X. ii; 
 
 MEZZOTINTO fcraping; to trace the 
 original ; to whet the grounding tool; 
 
 to lcrape the picture 200 
 
 ufe of the burnifher ; another ealy 
 
 method tiled bv mezzotinto-lcrapers, 
 
 with copious directions 201 
 
 MISCELLANEOUS articles ; to pre- 
 lerve things from corruption in fpi- 
 rits of wine — -278 
 
 fpirit of fait, its extraordinary 
 
 qualities — 279 
 
 tranfmutation of iron into the fineffc 
 
 German Reel — 286 
 
 to prefer ve arms bright, &c. ib, 
 
 to compofe a metal of the moft 
 
 beautiful gold colour — 281 
 
 to give perfection to imperfect me- 
 tals — 282 
 
 to reftore gold to its weight ; trans- 
 mutation of filver into gold — 283 
 
 permutation of lead into filver 285 
 
 tranfmutation of iron into cop- 
 per — — — ib. 
 
 a water to take out fpots in cloth ; 
 
 to preferve from rtifl, Sic. — - 286 
 
 cements for china ; broken am- 
 ber ; to whiten ivory 287 
 
 OIL-CLOTH for hats, Stc. 288 
 
 PAINTING, its properties Sec. - — 83 
 
 draft, attitude, expreffion — 84 
 
 drapery, animals, landfcapes — 85 
 
 the clair-obfcure — 86 
 
 invention, and compofition — 87 
 
 tafte, elegance, and defign 88 
 
 • general obfervations — — 89 
 
 perfpective colouring 
 
 the pencil and its ule — — 97 
 
 on walls in frefco, or in oil — 92 
 
 on wood, canvas. Stc. — — 93 
 
 finifhed works, in one colour or 
 
 two, oeconomy and e fleet 94 
 
 inflruftions what colours to mix in 
 
 painting a picture — 97 
 
 for painting a face, y8 
 
 water colours, limning, Sec. — too 
 
 in miniature, and mofaic — lor 
 
 directions for colouring flowers and 
 
 painting on filks — 102 
 
 names of tranfparent and body co- 
 lours — ib. 
 
 flower painting with water co- 
 lours — — ib. 
 
 colombine, variety and difplay 103 
 
 balfam, pea, and iafmine 104 
 
 hyacinth and auricula — 104 
 
 anemone, jonquil and tulip 106 
 
 the rifle, copious inftructions 107 
 
 the Rriped rof e and ranuncula 1 08 
 
 carnation, martagon and poppy 109 
 
 funflower, lily, and ftock - no 
 
 Africans, holyoak, and paflion- 
 
 flower — — — 1 1 1 
 
 honeyfuckle — — — 112 
 
 heart ’s eafe, convolvulus, pink 1 13 
 
 on, filks - — — — — 114 
 
 painting with crayons 114 
 
 of crayon and oil colours — ib. 
 
 portrait of Sir W. Chambers, arid 
 
 difeovery for fixing crayons to pre- 
 vent injury by rubbing ’ b. 
 
 PAINTING 
 
I N D E X. 
 
 PAINTING; effefts of an experiment 
 on Sir W. Chambers’s portrait 116 
 
 a uleful hint to oil painters when 
 
 they attempt crayon painting — ib. 
 
 preliminary jprocefs for Rudents 1 1 y 
 
 paper is preferable to vellum i '.8 
 
 methods of taking the outlines 1 19 
 
 irtj'truclioris to tire {indent — 120 
 
 cautions neceflary to be obferved 1 2 1 
 
 after dead-colouring the head to 
 
 fweeten the whole together — 122 
 the back grounds — 123 
 
 ■ their importance when a variety 
 
 of objects is introduced — 124 
 
 ■ introduction of blues and greens 
 
 in the face, them ufe to break and cor. 
 reft the other colours 1 26 
 
 ■ to compound the colours on the 
 
 pifture in crayons — _ 1 27 
 
 remarks on the eve 128 
 
 the lips, differen" modes of painting 
 
 with crayons and . il 129 
 
 PAINTING upon rials ; antient man- 
 ner: its progrels, and prelent me- 
 thod — — — ,,, 
 
 inftrufti.ms what to fubflitute to 
 
 produce the various colours — 155 
 
 various modes of flaming — 156 
 
 each colour mud be dried before 
 
 thVIUcceeding one is hid on — 137 
 
 ■ furnace ufed for annealing, &c. 1 c8 
 
 PAINTING japan work — ■jfi 
 
 varnilhing japan work 172 
 
 • _ a Curious mixed varnilh, where 
 
 brightnels is the matei ial point 1 73 
 
 to rectify weak fpirits — 174 
 
 manner of uling the feed lac 1 75 
 
 • white grounds — 176 
 
 gilding fe nan work — — — ib. 
 
 PAPIER- MA' (E : the method of pre- 
 paring and moulding 226 
 
 ■ Slue or fee recommended infiead 
 
 of gum-arabic in la-ge pieces ; moulds 
 cf plaifter r wood — — 227 
 
 • bait reliefs and other ornaments 228 
 
 wooden moulds belt in carticular 
 
 cafes : how to fill the mould, &c 229 
 
 manner Of moulding whole paper 
 
 for forming fnuffboxes, cups, &c. 230 
 — 4 method of preparing and moulding 
 light japan ware . — 23? 
 
 • rapier mache ci ps highly painted 
 
 and varnifhed, more efegant than 
 ch’na ; manner of "'■inting, gilding, 
 and vaiiiifliing ; fnuff-bojres- — 232 
 
 • ca’-o in breaking the pieces, to pre- 
 
 vent change of colour in the varnilh 
 or painting ; caution againft the ufe 
 ct the black japan lacquer brought 
 
 from China — 2 -’-> 
 
 I'k ■ S RECTI VE the art of delineating 
 vifible objefts oh a plain furfece 27 
 
 dufei entibrts of perlpeftive, (kc. ib. 
 
 — aerial and Ipecuiar perlpeftive 28 
 
 PERSPECTIVE ; geometrical, hori- 
 zontal and vertical plane — 28 
 
 - — - terreftrial and geometrical line 29 
 
 line of front — — — ib. 
 
 vertical, vifual,and objective line ib. 
 
 lines of Ration and uiflance — ib. 
 
 various points of light 30 
 
 from a point in a given line to raile 
 
 •a perpendicular — ib. 
 
 — 7 to draw one line parallel, or equi- 
 diftantto another given line — 31 
 
 to bileft or divide a given line into 
 
 two equal parts — — ib. 
 
 to raile a perpendicular 32 
 
 7 to turn a circle through any three 
 
 given points, not in a right line ib. 
 
 ■ to draw an oval — ib. 
 
 another method for an oval — 33 
 
 to draw a lquare pavement in per- 
 
 lj>eftive — — - — — if,. 
 
 ■ practical examples ’ -4 
 
 to find the height and proportion 
 
 of any objefts, as they appear above 
 the horizon, on a fupp’ofed plane 35 
 
 the lame rule exemplified in objefts 
 
 below the horizon — 
 
 to draw a direct view — — ib. 
 
 to draw an oblique view 28 
 
 to draw a perlpeftive wherein 
 
 are accidental points — — R7. 
 
 to find the centre for the roof of a 
 
 honle in an oblique view 39 
 
 Icenography; projeftion; projeftiou 
 
 of thelphere in plane — 40 
 
 laws of projeftion, and ftereogra- 
 
 phic projection — 41 
 
 PREFACE, ,,- 
 
 SEALING-WAX red; its preparation, 
 
 skc. — — 287 
 
 black ditto 2 S8 
 
 SILVERING either with leaf or pow- 
 der, as gilding 2 [, 
 
 varnilh to' bind the filver — 254 
 
 ■ to make the filver powder — 2cc 
 STAINING ; how to flam wood yel- 
 low by turmeric root 1&2 
 
 by Frenchberries and aquafortis ib. 
 
 to ftain red, pink, or blue 1 83 
 
 preparation cf copper tofiain blue; 
 
 ditto, verdigrile and indigo —184 
 
 mahogany colour ib. 
 
 light brown and dark mahogany 
 
 colour — — — 185 
 
 ■ green, purple, and black — 186 
 
 yellow, for ivory, bone, Stc. — 187 
 
 ‘green, red, bluejorpi rple, dit. 188 
 
 Kern to imitate tortoilefhell 189 
 
 yellow, for paper or parchment ib. 
 
 red, crim! n, green, or blue 190 
 
 — cringe and purple — 191 
 
 how marble and other Hones mav 
 
 be Rained of v arious colours — i'a. 
 
 THE 
 
 END,