A short introduction to the art of painting and varnishing Smith, John, fl. 1673-1680. 1685 Approx. 12 KB of XML-encoded text transcribed from 9 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2005-12 (EEBO-TCP Phase 1). A60475 Wing S4108 ESTC R219106 99830631 99830631 35084 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A60475) Transcribed from: (Early English Books Online ; image set 35084) Images scanned from microfilm: (Early English books, 1641-1700 ; 2078:17) A short introduction to the art of painting and varnishing Smith, John, fl. 1673-1680. [2], 14 p. printed for George Dawes, over against Lincolns-Inn-Gate, in Chancery-Lane, London : 1685. By John Smith. Reproduction of the original in the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. 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Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Painting -- Early works to 1800. Varnish and varnishing -- Early works to 1800. 2005-04 TCP Assigned for keying and markup 2005-06 SPi Global Keyed and coded from ProQuest page images 2005-07 Andrew Kuster Sampled and proofread 2005-07 Andrew Kuster Text and markup reviewed and edited 2005-10 pfs Batch review (QC) and XML conversion A Short Introduction TO THE ART OF PAINTING AND Varnishing , LONDON , Printed for George Dawes , over against Lincolns-Inn-Gate , in Chancery-Lane , 1685. THE NAMES OF COLOURS FOR PAINTING , WHite Lead , Flake , Ceru's , White . Kirmine , Vermillion , Red lead , Spanish Brown , Indian Red , Red Ocker . Red. Ultramarine , Bice , Smalt , Verditer , Indigo , Blew . Distill'd Verdigrass , Green. Three sorts of Masticote , Yellow ocker , light pinck , Ortmeut two sorts , Yellow . Ivory Black , Black. Brown pinck , Brown ocker , Umber , Brown. Venice Lake , a sort of Red or Blome . To Mix your Colours . WHite Umber and Black , Hair Colour White and a little Black , Grey Hair. White , little Black , little Yellow ocker and very little Lake , Dead Body or Face . Black and little Umber Dark part of the Eye . Lake and Vermillion , Scarlet . White , Black a little Smalt , Armour . Yellow ocker and little Vermillion , Gold. Lake and little White , Pale Purple . Lake White and little Indigo , Deep Purple Light Masticote , Lemmon . Verdigrass , and very little White , Willow Green. Verdigrass brown pink and very little white , Grass green Verdigrass & light pink Bright green . Verdigrass and light Masticote another , Green. Smalt and light Masticote , Moss green . And for Variety you may put together any of the Blewes to any of the Yellowes . Smalt and White , Skie or Pearl . Vermillion and Umber Brick . Indigo , White & Lake , Violet . Light Masticote and Vermillion , Flaming Fire . Lake and Bice , Blome . Indigo and White , Lead . White , Black , and little Yellow Ocker , Stone . Deep Masticote Buff. Deep Masticote and little Vermillion , Orange . Lake and little Black Sables . White and little Verdigrass , Grass Window . Verdigrass and White , Sea. White , Black , and Vmber for grounding . When you have laid on your Cut and Rub'd it , you are to do it over with Oyl of Turpentine , with a soft Brush , & in an hour after , to do it again with Nutt Oyl , and then to close it well to the Glass with your fingers , to disperse those little hollownesses that then will appear , and if after there shall appear any little glissinings or bright places , you are to repeat the last oyl upon the places , & close it well as before , & they will disappear or if they happen after Painting , then lay your Nutt oyl upon the back of the Colours against the place and it will in a little time pierce through and cure it , but at the first in laying on of your Oyls , use of neither sort more then what will just wet your Cutt through . You are to grinde all your Colours in Nutt Oyl , and that extremely Fine . To make the Varnish . Take half a pound of Gum Sandrock four ounces of Gum Animy , two ounces of Gum Copal , one ounce of Mastick and half an ounce of Tackamahacka , steep your Gumlack twenty four hours in water in a course bag , then put to it a Lump of hard Soap , the bigness of an Egg and chafe it well about half an hour to beget a lather to take as much of the Red Tincture from it as you can , then clean the Soap from it with water , then make it very dry either in the Sun or before the Fire , then bruise all your other Gums , that is , your Gum Animy , very small , and the other but as gross Pepper , then divide all your Gums into two equal quantities , and put them severally into 2 glass bottles that hold 3 quarts a piece , then into each bottle put two quarts of Spirit of Wine , stop them close & keep them in a moderate heat before the fire for six or seven days , shaking 'em once an hour to prevent the Gums for setling to the botom , then take it from the fire and let it rest twenty four hours , then through a cloth into a clean Bottle , pour as much off as will run perfectly clear and let the remainder settle again , and as it becomes clear pour it off as before . To do black Work. TO some of your Varnish put a little Ivory black in a little pot of a thin consistance , and do your work over nine times , letting it dry two hours betwixt each time before a fire , then let it dry a day , then smooth it a little with polishing Rushes either wet in water or dry . If you wet your Rushes , then when you have done , wash your work clean , and dry it with a cloth by the fire , then do it over ten times with clear Varnish , without Colour , allowing the same space for drying as before , then let it dry three days , then pollish it with Tripola made fine upon a wet cloth until you have brought it to an exact eveness , then wash it as before , and dry it , then take a little oyl upon a clean soft rag , and just touch it over to take off the dulness given it by washing , but use not so much oyl as to leave your work greasie . Tortoise-shell upon Red Ground . FIrst do your Work over four or five times with Vermillion mixt with Varnish of a like thin consistance until you see your Wood be perfectly covered , then do it twice with clear Varnish , then cloud it with Dragons Blood and Ivory black mixt together , then let it dry a day , then varnish it ten times with clear Varnish , then let it dry three days , and pollish and finish as in your black work . Tortoise upon Yellow Ground . INstead of Vermillion mentioned in the last , use white Lead and very little yellow ocker and Cover your wood as in the Red Tortoise , then proceed and finish as in that , only in this you must observe , that your cloudings must be more Ruddy then on the Red Ground . Tortoise upon Gold Ground . WHen you have silvered your work let it dry a day , then with a Camels hair brush do it twice or thrice over with the mixture next mentioned then let it dry another day , then cloud it with the clouding directed in your Yellow Tortoise and go on and finish as in the other . To turn Silvered work to a Gold Colour . TO half a pint of varnish put as much gam bouge as will lie upon a large shilling , and as much Dragons blood as will lye upon a groat , both beaten small and let it dissolve two or three days , sometimes shaking it , then run it through a fine rag into a clean bottle , and this laid twice or thrice upon silvered work , 't will bring it to an Exact gold Colour . To Gild. TAke Parchment shreds and boyl them in water that when the Liquor is cold , it may be as stiff as jelly , then to some of that put some Spanish White to make it somewhat thicker than Cream and keep it warm upon a few Coales , and do your work four or five times , that your wood be throughly Covered , then smooth it with Rushes , and then do it twice over with the Size alone , then smooth it again a little more , then lay on your Gold Size thin and even and let it dry until it be of such a temper that when you touch it with your finger , you may perceive it stick and yet none of the Size to come off upon your finger , then lay on your mettle and press it down with a Hares seutt . To do the Red work that appears to have Black to be sprinckled on in little specles . FIrst Ground your work with Vermillion , as in the Red Tortoise , then with the clouding directed for that taking very little in your brush , and holding it upright in your hand , strike it down pretty quick and hard , and take no greater compass at a time than you can well attend ( before the Varnish dries ) to disperse the little black eyes and froth occasioned by the quick motion of your brush , and then begin again at the edges where you left off , after that proceed as in your Tortoise . To make Gold Size . TO a quart of Linseed Oyle put White Copperis , Honey , razen and Littridge of Gold , each one ounce , and boyl it four or five hours upon a gentle fire , sometimes stirring it , that it burn not to the bottom , and let it cool , & pour off all the thin part into a pot or bottle , and as you have occasion to use it , grind a small quantity of it at a time upon your stone , with a little white Lead , yellow Ocker , and a little boul Almanick , to be of a thinner consistance than you make your Colours for Painting , but you must be careful to grinde it extremely Fine , otherwise your mettle will not lye even . White Varnish . TAke four ounces of the Largest Lumps of Gum Sandrock four ounces of Gum Animy , one ounce of Mastick , and one ounce of Camphier , scrape off the outsides of your Gums that they be very clean , and bruise them all as in your other Varnish , and slice the Camphier thin , and put them altogether into a quart of Spirit of Wine , and manage it at the fire after the same method , and for the same time as you do the other Varnish and when it has stood twenty four hours , let it through a cloth into another bottle , and it will at once all run off clear . This is to be used with Blew and White Colours after the same Manner as you use your other Varnish , with other Colours ( it likewise being twice laid on ) preserves anything silvered from ever tarnishing and is most used for this . To Enammel . DIssolve some Gum Arabick in fair water and mix with it some of your Shell Gold or Shell Silver , and with a small Pencil , draw upon your work either before your work be fit to pollish or after it be done , but I conceive it best before you Varnish it the last ten times , so that Varnishing and pollishing upon it will both secure it from tarnishing and rubbing off . You must observe , that all the wood you intend to Varnish , that is of an open grain , as Oak , Firr or such like , you must first white and smooth it just as you do for Gilding , otherwise the Varnish will not fill it up though you repeat it never so often . To lay on your Mettle Speckles . FIrst wet your work with Varnish , with a soft brush , then while 't is wet dust your speckles upon it thro' a piece of Tiffany , and then Varnish it twice , to keep 'em from rubbing off 't is enough . You are to grinde all your Colours dry and very small ▪ FINIS .