Art's master-piece, or, A companion for the ingenious of either sex ... by C.K.

Art's master-piece, or, A companion for the ingenious of either sex ... by C.K.

Table of contents

Title page

THE EPISTLE TO THE READER.

THE Curious Art OF DRAWING, AND Preparing for Limning or Painting in Oil, &c.

The Introduction to the Practice, in ſome things neceſſary to be provided for the proceeding in this Art.

Of Drawing Faces, &c.

Of Colours uſeful in Limning or Painting, and other matters.

Of Mixing or Tempering of Colours.

Of the firſt Operation or Sitting.

Of the ſecond Sitting or Operation.

The third Sitting or Operation.

For Drawing a Fair Complexion.

Further Directions for Colouring Garments, &c.

Inſtructions how to Frame and Paint Landskips.

To lay on Mezzatinto Prints on Glaſs.

To Paint Landskips of Mezzatinto.

Of Painting Figures this way, as Men, Women, &c.

How to Paint the Hair.

Of Painting Garments or Drapery.

The Curious Art and Myſtery of Japanning.

Several things neceſſary to be uſed in this Art, &c.

Of Spirit of Wine.

Of Gum Animae, Gum Lac, and Gum Sandarack.

Of Shell Lac, White Roſin, Bo'e-Armeni•ck, and Venice Turpentine.

Of Gum Elemi, Gum Arabick, and Gum Capal.

Of Gambogium, Iſinglaſs, Benjamin or Benzoin, Dragons Blood, &c.

Of Silver Duſt, Braſs Duſt, Green Gold, Dirty Gold, Coppers, Powder, Tin, &c.

Of Colours proper in Japaning.

Seed Lac Varniſh how to make it.

Shell Lac-Varniſh, how to make it.

White Varniſh, how to make it.

General Rules for Varniſhing.

Of Black Varniſhing, or Japan.

White Varniſhing or Japan.

Iſinglaſs Size, how to make it.

Red Japan, to make it.

Of the Dark-red.

Of the Pale-red.

An Olive coloured Japan.

Cheſnut coloured Japan.

Blue Japan.

Of Speckles, for the Adorning Japan'd Work.

To lay on Speckles in Japan Work, &c.

Wood, how to overlay with Gold or Silver.

The beſt Gold-Size at preſent in uſe.

The beſt Silver-Size in uſe.

§

To lay on the Gold, in order to Burniſhing.

To Burniſh the Gold-Work.

To lay on Silver-Size.

The Art of Gilding Mettals.

To Prepare the Gold.

To Gild with Gold, Silver, Copper, Braſs, Princes Mettal, &c.

To heighten the colour of Gold.

To Counterfeit Tortoiſeſhell.

To Dye Wood a curious Red.

To Stain a curious Yellow.

To Stain or Dye Wood Black.

To Dye or Stain Wood for Inlaying of Flowers or other things in Cabinets.

To Dye or Stain, Ivory, Bone or Horn Red.

To Stain Horn, Bone, Wood or Ivory Green.

To Stain or Dye, Horn, Box or Ivory a curious Black.

To Stain Skins Green.

An approved way to colour White Leather.

To put a curious Black on Leather.

To colour Leather a Bright Red.

A curious French Yellow for Skins.

For a deep Blue, or Purple.

For a Crimſon Colour.

To Imitate the Turkey-Blue.

For a Light Green.

To Cover or Dreſs-Skins with Gold or Silver.

To make Skins look Shining; without Silver or Gold.

To Dye Briſtles a Red Colour.

Feathers or Briſtles Green.

Or Dying Silks, Stuffs, Cloths, Thread, and other things, of divers curious Colours.

To Dye Silk a Sanguine Colour.

To Dye Silk a deep Carnation.

To Dye Silk Quoins Red.

To Dye a curious Yellow.

To Dye Silk a Roſe-red.

A good Black Water, for Silk or Cloth.

To Dye Purple.

To Dye a very fair Blue.

Carnation.

For a Pleaſant light Red.

Black for Velvet, &c.

To make Red Water for Silk or Woollen, Violet, Green, Azure or Yellow.

To Dye Woollen, Yarn, or Wool.

To make Bran-water.

To make Grey Florrey.

To Dye Linnen with Crampenade.

To Dye a good Red in Linnen, Thread, or Cloth.

The Art of Perfuming.

To make Eſſence of Hypocras.

Eſſence of Amber.

Roſa-Solis, or perfumed Liquor.

Angel-Water.

Millefleur, or the Water of ſeveral Flowers.

Orange-Flower Water.

The Queen of Hungary's-Water.

Paſtils or Perfumes, of divers kinds.

Paſtils of Roſes made into Wax-Candles.

Perfumed Paſtils for Beads or Medals.

Another.

To make Liquid Snuff, excellent for the Cure of the Head-ach, or againſt Apoplectick Fits; a rare Secret.

•oſmeticks, or Curious Receipts for Beautifying the Face, Hands, or any part of the Body.

Benjamin-Water, an excellent Beautifier.

To prepare Spunges for the Face.

To cauſe a Fair, Clear Complexion.

To cauſe a Freſh-coloured Complexion.

To make a Clear-Pale Complexion▪

A Pomatum to Refreſh the Complexion, and take off Pimples and Redneſs.

To take away Freckles.

A Pomatum, to Plump the Lips and Cheeks.

A Liquid Paſt, to Waſh the Hands without Water.

To make a Soap that will take Greace, Spots, or Stains out of Cloth, Silks or Stuffs.

To take Spots out of Linnen.

A good Ley, to take out Spots or Stains.

To take Spots or Stains out of Coloured Silks, Stuffs, Linnen or Woollen.

A way to take out Tar, Pitch, or Roſin.

To take out Oil, or Greace.

Sweet Pouders or Perfumes, &c.

To make groſs Pouder Ala-Marchale.

Pouder of Jeſſimines

Pouder of Musked Roſes.

Pouder of Orange-Flowers.

Pouder of Violets, or Iris.

Pouder of Amber.

Waſh-balls Perfumed, &c.

Common Waſh-Balls, to make them.

Waſh-Balls of Neroly.

Bologna Waſh-Balls.

Sweet-Bags, to make.

To perfume Gloves, Fans, or Skins, with Flowers, &c.

Roman-Gloves, how to Perfume.

How to Colour and Perfume Gloves, at once.

Several ſorts of Snuff, Solid and Liquid, how to Make and Perfume them. To Prepare and Cleanſe Snuff.

To Perfume Snuff with Flowers.

Snuff, with Spaniſh-Perfume.

How to take Spots or Stains out of Scarlet or Velvet.

To take Iron-moulds, or Spots, out of Linnen.

To Recover Faded Linnen.

To make Pouder-Inks, as the London-Pouder-Ink, &c. and Liquid Shining Japan-Ink.

To make that which is called the London-Pouder-Ink.

To make Japan, or Shining-Ink.

A Pouder-Ink to rub on Paper, and Write on.

Receipts for the Cures of ſundry Diſeaſes and Grievances, Incident to Men, Women and Children.

For the Ague.

To Eaſe, and Remove the Pains of the Gout.

For Pains of Teeth.

To take away Corns.

For Blaſts, Burns, or Scalds.

For the Stone or Gravel, in the Reins or Bladder.

§

[Page]

[figure]

[Page] Art's Maſter-piece. OR, A Companion for the Ingenious of either Sex. CONTAINING,

I. The Art of Limning and Painting in Oil, &c. In all particulars, viz. Drawing and Painting Faces; Bodies, Garments, Landskip, Preparing and Laying on Colours; alſo colouring Mazzotinto Prints, Gilding on Wood, Mettals and Leather.

II. The neweſt Experiment in Japaning, to immitate the Indian way, Plain and in Speckles, Rock-work, Figures, &c. Receipts for making the ſeveral ſorts of Varniſhes, Colours, &c:

III. To make Artificial Tortoiſeſhel; to Dye or Stain-Ivory, Horn, Bone, Briſtles, Feathers, and ſundry ſorts of VVoods for Cabinets.

IV. The Myſtery of Dying Silks, Stuffs, VVoollen and Linnen Cloth.

V. To take Spots, Stains, Pitch, Tar and Iron Moulds out of Silks, Stuffs, Linnen, and VVoollen, and to recover faded Silks, Linnen, &c.

VI. The Art of Perfuming and Beautifying.

VII. Divers Phyſical and Chirurgical Receipts.

VIII. To make London Powder-Ink, other Powder Inks, and the ſhining Japan Ink. With many other Notable things.

By C. K

London, Printed for G. Conyers at the Golden Ring, and J. Sprint at the Blue Bell in Little Britain. 1697.

THE EPISTLE TO THE READER.

[Page]

[Page]

Kind Reader,

I Think I need make no long Apology for this Book, ſince the Title is ſufficient to recommend it to the peruſal of the Ingenious, though it contains [Page] but hints of what in larger variety of curious things, are more copiouſly incerted for the Accommodation of Young Gentlemen, Gentlewomen, and others, done with that Care and Exactneſs, in all the many particulars, that without vain glory, I may preſume to ſay, that this, nor former Ages have not produced of theſe kinds any thing ſo curious and compact.

It carries with it all along as linked in a Chain, Pleaſure and Profit, and cannot but be grateful to the Fancies, eſpecially of the younger ſort, who putting [Page] in practice what beſt ſuits their Minds, may much pleaſe others and accompliſh themſelves.

As for Limning or Painting, it has always been in high Eſteem with the greateſt and moſt Honourable Perſons in the World, and is an Innocent and Diverting Recreation. Japanning I confeſs is not ſo Antient, eſpecially in theſe parts of the Globe, therefore to be esteemed as (indeed it is) the more Rare and Conſiderable, as for the rest too tedious to enumerate in a ſhort Epiſtle, though ſome of them have [Page] been long in uſe, Time and Induſtry have better Improved them to advantage, ſuch as are Induſtrious to Imploy their Talents for the good of themſelves and others: And ſo the whole Work not comprehending many Sheets, I ſhall omit what more I juſtly might ſay, and ſubmitting to the Cenſure of the Candid and Ingenious Reader, take leave to ſubſcribe my ſelf,

Your moſt Humble Servant C. K.

THE Curious Art OF DRAWING, AND Preparing for Limning or Painting in Oil, &c.

[Page]

The Introduction to the Practice, in ſome things neceſſary to be provided for the proceeding in this Art.

THE curious Art of Limning or Painting in Oil, has in all Ages been wonderfully admited and approved, as the Maſter-piece of other Arts and Sciences, wherein Art ſo exactly [Page] imitates Nature, that Motion only ſeems to be wanting; and many ſuch rare Pieces have been Drawn, that they have at the firſt bluſh deceived the Eyes of the Curious, who have taken them for real Living Beings, and though the Eye and Hand are mainly required herein, the one to direct, and the other to operate, yet the Mind or Imagination muſt furniſh out a great part of the curioſity, having Ideas, or the true ſhape of things always in a readineſs.

This cannot be done haſtily, but muſt be done by a ſteady practice and curious Obſervations, and the firſt in this undertaking, is to prepare your ſelf with ſuitable materials, and amongſt others French Chalk Red and White, that it may be cut into curious taper Pencils, to Draw the out ſtrokes of any [Page] Figure you deſign, Sallow wood ſo burnt that you may do the like by it, and if theſe ſtrokes hit not at firſt to due proportion, they may be rubbed out with the Feather of a Mallard's Wing, and ſo till you find them right, then go over your ſtrokes with a ſtrong well pointed Pencil, either of Red or Black Lead: To make the Impreſſion more Even and Regular, it will be proper to have Pens made of Raven or Crow Quills to finiſh the finer ſtrokes, alſo a Rule and Compaſs with three feet, to take in and out at the points as you have occaſion, the one of White or Red Chalk, the other of Black Lead, and a third of any other Paſtile, and theſe in moſt Drawings are proper to mark out equal diſtances after; the drawing of the outſtrokes; there are other things [Page] required, which in their proper place I ſhall ſpeak of.

Being thus far entred, come a little nearer to the Practice, and make your entrance on it with plain Geometrical Figures, ſuch as are the Circle, Square, Oval, Cone, Triangle, Cylinder, which at firſt uſe your ſelf to mark out with your Rule and Compaſs, till you can readily do it with your Hand, and theſe will much aſſiſt you in the beginning of this curious undertaking, the Circle well made will direct you in Orbicular forms, as the Globe of the Earth, Spherical World, Moon Sun, and the like; is very proper in confining the Picture you are to Copy; the Oval gives you directions for the Mouth and Face, the Foot of a Wineglaſs, the Mouth of a Well, and the like; The Cone aſſiſts [Page] in Drawing Columns, Spires, top of Towers, Steeples, &c. The Triangle is of admirable uſe in making the half Face; the Cylinder gives you aſſiſtance in drawing Columns, Pillars, Pilaſters, and other things belonging to Architecture; the Poligon may be alſo uſed for Ground-Plats, Fortifications, &c. and Angles and Arches in Proſpective.

Theſe things premiſed, try to Draw ſeveral ſorts of Fruits and Flowers, as Grapes, Cherries, Peaches, Apples, Apricots, Tulips, Pinks, &c. alſo Inſects, Trees, Branches, and the like, and from theſe proceed to practice on Birds, Beaſts, &c conſider well their proportion, colour, ſlowneſs, ſwiſtneſs, fierceneſs, and many other things natural to them, and the better at firſt, till your Mind [Page] [...] [Page] [...] [Page] can well frame ſuch Ideas, it will be proper to have good Drawings to imitate, and ſo go on by degrees to other things, as Fiſh, Melions, Roots, Oranges, &c. and by no means miſtake their ſutable lively colours, not proper form; and then you may venture on Humane Faces and Bodies, wherein lyes the excellency of this Art.

Of Drawing Faces, &c.

When you come to Draw a Face you muſt well weigh and conſider in what poſture it muſt be done, whether ſide-ways, upward, forward, or downward, touching lightly the Features, where the Noſe, Eyes, Mouth and Chin ought to ſtand, then go more perfectly over them, for the Circles, Squares, and [Page] Triangles uſed in this matter, may ſufficiently guide you where the Noſe, Eyes, Mouth and Chin ſhould ſtand; but in taking the Features, obſerve with a ſtedfaſt Eye, the principal Muſcles in the Face, which in perſons of years appear very much, and there is uſually to be obſerved a threefold proportion in a Face, as in the [...] place, from the top of the Forehead to the Eye-brows, in the ſecond place from thence to the bottom of the Noſe, and laſtly from thence to the bottom of the Chin, obſerving in this caſe a due proportion in the length of the Forehead and Noſe.

In a full Face, the diſtance between the Eyebrows, conſiſts of the length of one Eye, but where there is a ſide, or three quarters Face, the diſtance muſt [Page] be leſſened anſwerable to the proportion, the Noſtrils muſt be placed directly againſt the nether corner of the Eyes, and if the Face you Draw be Plump or Fat, the Cheeks muſt ſwell; but conſider, in a Lean Face the Jaw-bones ſtick out, and the Cheeks fall ſomewhat in.

In a ſmiling countenance, the Corners of the Mouth turn ſomewhat upwards, and in a ſour frowning countenance, the Forehead is bending, and Wrinkles appear on the upper part of the Noſe.

In Drawing a fore-right Face, you muſt make a perfect Oval, divided by two Lines into three equal proportions, in the firſt part place the Eyes, in the ſecond the Noſtrils, and in the third the Mouth, keeping the Eyes an equal diſtance from each other.

[Page] In Drawing an upright Head, you muſt make it in equal diviſions, with three lines every way, either upwards, downwards, higher or lower, divided as the former.

To Draw the ſhortened or enclining Face, obſerve how the Lines agree, and ſo in their proper places you may Draw the Mouth and Noſe, and the reſt of the parts after you have brought your hand a little into practice; and note, whatſoever proportion the Face bears, your out-ſtrokes muſt be formed accordingly.

As for the Noſe, you muſt among other things, particularly obſerve the roundneſs, hollowneſs, and Indentings of the Noſtrils.

As for the Hands, their Po [...]ures are various, but a true meaſure muſt be obſerved in it, [Page] according to the proportion you Draw, as likewiſe the Arms as far as they appear bare, then proceed to Draw the Feet with meaſure and without, but for theſe it will be requiſite to get Drawings to practice on at firſt, then practice Drawing Feet and Legs conjunct or ſeparate, and proceeding from the Members, draw the other parts of the Body, and practice firſt on a Child, wherein there is more caſe, becauſe they are of a Fatter and Plumper Face and Body, the Sinews, Lines and Muſcles, not appearing as in Men and Women.

In Drawing, begin at the Head, and ſo proceed by degrees to the Feet, running it lightly over at the firſt, and as you ſee occaſion, encreaſe the fulneſs, let the parallel Joints and Sinews be equally proportioned, [Page] as alſo the Muſcles, and their Attendants, and exactly oppoſite, and the Motions of the Body be anſwerable to each other, and the Limbs a true Symetry, one not being larger than the other, nor longer where Nature requires it not.

In Shaddowing, obſerve to caſt them ever one way, as in the figure of a Woman, if you begin the Shaddow at the left Cheek, you muſt continue the like on the left ſide the Neck, Body, and all other parts, unleſs the Light ſide of it requires to be Dark, by reaſon ſome other Body ſtanding between the light and it, as put the caſe three Men ſtand together, the middle Figure muſt be darkened by the foremoſt, unleſs the light by facing it comes between them.

Obſerve that all Shaddows, [Page] the further off they are, grow fainter, and circular Bodies muſt have a circular Shadow, according to the light that makes it.

In Drawing a Figure ſtanding, Draw that Leg the Body ſtands firm upon ſtrait and ſteady, or elſe the Figure will ſeem to decline, as if it were falling.

As in naked Figures, the outlines are required to be Drawn firſt, ſo do it in Drapery or Clothing, leaving ſpaces within for your greater or leſſer Folds, and break them into leſſer, that may be contained within them, and the cloſer the Garment ſits to the Body, the ſmaller and narrower muſt be the Folds, and in Shadowing the Innermoſt, it muſt be the harder, and the outermoſt the ſofter, continue the great Folds, but as for the leſſer, break them off where occaſion [Page] requires it; and the finer the Drapery is, the finer and ſharper muſt the Folds be, and the Shadow the ſtronger and finer to the Eye, always obſerving that the Garment that ſits cloſe, as the Body Coat of a Man, or Breaſts of a Woman and the like, require no Folding, but rather with a ſweet Shadow repreſent that part of the Body, that the Garment appears to cover, as Womens Breaſts with a ſweet round Shadow, and the like.

Of Colours uſeful in Limning or Painting, and other matters.

The next thing to be conſidered, the Cloth primed, and the Drawing put on, is the preparing your Colours, which in Oil Painting muſt be with Linſeed Oil, unleſs for Linnen, [Page] and then Walnut Oil is a great deal better, for it will not turn yellow as the other in time will, when mixed with curious white.

You muſt Grind your Colours on a Stone with a Muller, till they are as fine as Butter, &c. The Colours proper to be uſed in Limning are,

The Blacks; Sea-cole black, Ivory black, Lamp black, and Earth of Collen; the White, White Lead; the Green; Terravet, Verditer and Verdigreace; the Yellow, Spruce Oaker, Pink or Piment, and Maſticot; the Blues, Smalt, Biſs, Indico, and Ultramarine; the Reds, Red-Lead, Vermillion, Lake, Indian-red, and Ornatto; the colours indiſſerent are Umber, Spaniſhbrown, burnt Spruce.

Theſe are the chief to be laid in Oil, but Ivory, Spruce-Oaker [Page] and Umber muſt be burnt before they are ground; and as for Maſticot, Ultramarine, Maſticot, Vermillion, Smalt and Orpiment, you may temper them on your Pallate without grinding, though grinding is better, becauſe it mixes them the better with the Oil, and makes them dilate and ſpread more eaſily: And what of theſe are to be burnt, perform it in a Crucible, taking care they be not overburnt, to loſe their Tincture.

Take care in the next place to get good Pencils of all ſizes, proportionable to your Work, a Palate or Board to lay Colours [...] whilſt you are uſing them, [...] Eaſle to place your Cloth upon or againſt, and a ſtraining Frame, to which it muſt be nailed, a Mollſtick or Stay, made of Braſil, or ſome ponderous [Page] Wood, not ſubject to bend, about a yard long, at one end tye a ball of ravelled Cotton, with a Leather over it, ſo that with your Left-hand, holding it againſt the Work, you may ſupport your right Arm with it, whilſt you are Working.

Of Mixing or Tempering of Colours.

To make a Violet colour, take Indico, White Lead and Lake, mix them well, and the more or leſs of each quantity, will make it deeper or lighter.

A Lead colour make of White and Indico, well mixed and tempered together.

For a Scarlet colour, take Lake, Red-Lead, and a ſmall quantity of Vermillion.

For a Flame colour, take [Page] Red-Lead and Maſticot heightened with white.

For a Light-green, take Pink and Smalt, and as you ſee occaſion lighten it with white.

For a Purple colour, take Spaniſh brown, Indico, and white, well tempered together.

For a Bay colour, mix Spaniſh brown and white.

For a Murrey colour, mix Lake and White; and ſo by often tempering Colours, and Practice, you may find out the reſt.

Of the firſt Operation or Sitting.

Having thus far proceeded, it will be time to begin your Work, and having laid your Ground for the general Complexion, and Drawn the Out-Lines, which you muſt do with [Page] Lake and White mingled, Drawing very faintly, that if there be any fault it may be rubbed out and amended; the proportion of the Face Drawn, add to the former colour a ſmall proportion of Red-Lead, tempering it faintly to the colour of the Cheeks and Lips, the tip of the Chin and Ears, about the Eyes and Roots of the Hair, placing red ſhadows, and the ſhadows muſt not be put in with the flat of the Pencil, but with ſmall touches, after the manner of hatching, and in this wiſe go over the Face, and cover the Ground-work, with theſe and the like ſhadows, but in the dead colours your curioſity need not be great, only ſtrive as near as you can to immitate Nature, for the roughneſs of the colours may be mended at the ſecond operation.

[Page] Having duly placed and proportioned your red Shadows, proceed to put your faint blue [...]hadows about the Corners of [...]he Eyes, and Balls, &c. and the greyiſh blue under the Eyes, and about the Temples, working them ſweetly and faintly over by degrees, beginning the Shadow as the Light falls, as likewiſe the hard Shadows on the dark ſide of the Face, under the Eye-brows, Chin, Noſe and Neck, with ſtrong touches or thoſe places, ſo paſs to the light ſide of the Face, and bring all your Work together to an equal roundneſs; yet at this time give not perfection to any particular part, but well view the Work, and conſider how near you come to the Life, not only in likeneſs, but poſture, colouring, &c.

[Page] Having now wrought the faint Shadows into the red Shadows, you may take a touch [...] the Hair, diſpoſing it in ſuch Curls, Folds, &c. as beſt contribute to Grace and Ornament, only drawing it with Colours ſutable to the Life, and deepen it ſomewhat more ſtrongly in the deepeſt ſhadowed places, and ſo deſiſt from your firſt Operation.

Of the ſecond Sitting or Operation.

The Party to be drawn in this ſecond Sitting, muſt take the place and poſture as before, and now you muſt take a more curious ſurvey of the Lines and Features, and as you drew them over roughly before, now is the proper time to ſweeten them with the ſame Colours, by [Page] Working and Drawing them one into another, ſo that no rough edge or lump of Colour may appear, and you muſt do this with a Pencil ſharper than the former, to render the ſhadow ſmooth and ſoft.

This done, proceed to the Back-ſide of your Picture, and if there be a Curtain required, and it be ſuppoſed of Blue Satten, then temper Bice with your Oil, and draw the out-lines of the Curtain, as alſo your Picture, and lay it over very thin and airy with a large Pencil, that it may be the whole ground, intended to be done with Blue, and then lay it over again with a ſubſtantial Body, with the ſame colour, doing it ſwiftly that no part of the Colour may dry before it be all finiſhed, and in the ſame manner you may lay the backſide with any colour.

[Page] This done, lay your Linnen of a fair white, and your Drapery flat, with the Colour you intend it, then view the Face again well, noting what ſhadows are too light or too deep, and labour to reduce the ſeveral ſhadows to their perfection, then draw the Lines out of the Eye-lids, and Shadow the entrance into the Ears, the deepneſs of the Eye-brows, and all the moſt material marks and notes in the Face, do this with a curious ſharp Pencil, then heighten the Hair, deepening it as it appears in the Life, caſting over the ground ſome looſe Hairs, which will not only make it look airy, but ſeem as if the Picture ſtood a diſtance from the Curtain.

In ſhadowing the Lines, which muſt be done curiouſly, uſe black, white, and a little [Page] blue, deepen the black with Ivory-black, and put to it a little quantity of Indico or Lake, and ſo the ſecond Operation is finiſhed.

The third Sitting or Operation.

Herein where you find any defect, or judge it reaſonable, you muſt give ſtrong touches, taking curious heed for the rounding of the Face, which will now be better accompliſhed than before, obſerving diligently what yet may conduce to ſimilitude, as Moles, Scars, Caſts with the Eyes, drawing of the Mouth, and the like.

For Garments or Ornaments, the Ground for Blue being laid with Bice, the deepening muſt be Indico, and a little Lake, the Lightening white, very fine, faint and fair, and for the greater [Page] ornament, the Light may be mixed with Silver or Gold, but of Drapery more particularly in Mezzatinto Painting, for Pearl colour the Ground muſt be White and Indico, and the Shadow Pink and Black; if the Body requires to be in Armour, let Leaf Silver be the Ground, and when it is well dried and burniſhed, work the ſhadow with Silver, Umber and Indico, and the ſhadow on the Silver as the Life directs.

For Gold Armour, lay Shell-Gold for the Ground, or Liquid Gold, and ſhaddow it with Lake, Engliſh-Oaker, and a mixture of Gold.

For Drawing a Fair Complexion.

To do this, make a mixture of a ſmall quantity of White, and twice as much Lake and [Page] Vermillion, temper them well with the flat of a Knife upon the Pallat, and let it be uſed as the deepeſt Carnation in the Face, then adding a little part more of White, reſerve that for a lighter Carnation, and yet a third part being reſerved, add more White to it till it comes to the lighteſt colour in the Face, and ſo proceed to prepare the faint ſhadows.

In doing this, take Smalt, and mix it with a little White, which may conveniently ſerve for the Eyes, then ſeparate the greateſt quantity, and add to the reſt a little Pink, and theſe well tempered will be ſufficient for the greeniſh ſhadows in the Face, then proceed to prepare your deep ſhadows, do it with Pink, Ivory-black and Lake, a like quantity of each, temper them well together, and if the [Page] Complexion you Draw, requires redder ſhadows, add more Lake; if bluer or greyer, more black, if yellower, more Pink.

Having prepared your Palat with ſutable Colours for a fair Face, conſider again what other Colours are required; if the Complexion be more Brown or Swarthy, and in ſuch caſes temper the Colours as before, putting a little quantity of burnt Oaker amongſt the Lake, and Vermillion and White, that it may amongſt your heightened Colours appear Tawny; and in this caſe, temper ſo much Oaker as will juſt turn it; and for your very deep, and very faint Shadows, uſe the ſame as for the former Complexion.

For a Tawny Complexion uſe the ſame as before, however, prepare the Shadows, of burnt Oaker and Umber.

[Page] For a very black or dark Complexion, prepare the Shadows as the foregoing, but as for your lightening, take Lake, Burnt-Oaker, with White and Black, however, but a little of the White muſt be put in at firſt, that by degrees it may be the better worked up, and obſerve that the ſingle Shadows laid at firſt upon your Palate, and well tempered according to the foregoing directions, ſerve as Shadows for all Complexions.

Further Directions for Colouring Garments, &c.

Theſe Garments, or Drapery, require to be made ſutable in their Colours; for Red therefore, lay the Ground with Vermillion, glaze it over with Lake, and heighten it with White.

[Page] For Scarlet, let Vermillion be the lighteſt, deepened with Lake, and heightened with Indian red.

For Crimſon Velvet, lay a Ground of burnt Oaker, Vermillion and Indian Red, glaze it with Lake, and touch it up with Vermillion.

For a ſad Red, heighten Indian Red with White, and deepen with Black, Pink and Lake, well mixed together.

For Green, heighten Bice and Pink with Maſticot, and deepen it with Pink and Indico.

For Green Velvet, lay the dead colour with a little White and Lamp-black, glaze it with Verdigreaſe, deepen with Pink and Indico, and heighten with White and Pink.

For Yellow, uſe Maſticot, Umber and Yellow Oaker, lay the dead colour with Maſticot [Page] and White in the higheſt places, and with Oaker in the meaneſt, in the darkeſt with Umber, glazing when dry with Pink.

For Blue Garments, take Indico and White, firſt laying the White in its due place, and then your mean colour, viz. Indico and White, well tempered in their proper places, then deepen with Indico, and when dry, glaze it with Ultramarine.

For Black Garments, let the dead colour be Lamp-black and a little Verdigreaſe. and go over it when dry with a little Ivory-black, and when you have heightened it with White, go over the Work with Verdigreaſe and Ivory-black.

For Orange colour, mix Lake and Red-Lead, laying the lighteſt part with Red-Lead and White, the mean part only with Red-Lead, and the deeper [Page] with Lake, and if it be neceſſary you may heighten with White.

For a Cloth colour, let the Ground be Umber and White, and for the deeper Shadows Black and Umber, for the mean Oaker and Umber, and heighten it with Oaker and White, and ſo much for colouring Garments.

Inſtructions how to Frame and Paint Landskips.

In this Work of Painting with Oil, begin with the Sky and Sun beams, and the lighter parts, and then the Yellow, which muſt be done with Maſticot and White, the next your Blue Sky with Smalt, leaving no part of the Ground uncovered, [Page] but lay the Colours ſmooth [...]ll over, working the Sky downwards, towards the Hori [...]on, ſtill ſuffering it to grow fainter as it enclines nearer to the Earth, and work the tops of Mountains and other Objects very remote, ſo faint as they may appear loſt in Miſt or Air, and as for the neareſt and loweſt Ground, it muſt be a dark brown Earth colour, enclining a little to Yellowiſh and Green, as the nature of it requires, the next a light Green, and ſo proceed gradually as they loſe in their diſtance you muſt leſſen their Colour, obſerving not to make any thing that is to be ſeen at a great diſtance, perfect or really, becauſe you muſt imagine it is at ſuch a diſtance that you cannot well diſcern it, but expreſs it in Colours weakly and faintly; as your Eye Judges it may [Page] be, always taking notice to place the Light oppoſite to the Dark, which will very much extend the proſpect, and do it ſo that the Shadows may loſe in their proportion of diſtance, their force by little and little, as they remove from the Eye, obſerving always to put in the ſtrongeſt Shadows neareſt; put no Moon nor Stars but in a Night-piece, for they are not otherways naturally proper, becauſe they cannot be well ſeen in the day; if you imitate an over-caſt Sky, where black Clouds threaten a Storm, the Shadows may be on the meeting parts of the Clouds, this may be alſo done with Colours mixed with Water wherein Gum-Arabick has been diſſolved.

If in any fair▪ Landskip you expreſs the Light of the Sun, always obſerve throughout the [Page] whole piece, that you caſt the lights of your Trees, Rocks, Hills, Buildings, Ruines, and all other things expreſſed in it that way; obſerve alſo to leſſen your Bodies proportionable, as they are nearer or farther diſtant, and carry it off ſo far that the Earth and Sky, or Water ſeem to meet, Rivers as they run to a diſtance muſt leſſen their Streams, ſo Ships or Boats, and the like.

As for Living Creatures, Beaſts, Fowls and Serpents, or Inſects you muſt conſider their proportion, ſhape and colour, and get Draughts or Patterns, which will be better than Printed Directions, and theſe kinds being numerous, for brevities ſake I muſt omit to treat of them.

To lay on Mezzatinto Prints on Glaſs.

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In undertaking this curiouſly lay the Prints flat ways in warm water, of the fineſt and thine: Paper, for that which is rough and thick will not do near ſo well, if at all, let them ſoa [...] well, and your Glaſs being very white and thin, go over it with Venice Turpentine ſpread thi [...] with a pliable Knife, and dab i [...] all over with your Finger, tha [...] the Turpentine may ſeem rough.

This done, take the ſoaked Print and lay it on a clean cloth even, then preſs it with another; to take out the Water then lay it on a Glaſs, the Prin [...] next it, beginning at one end [Page] ſtroaking outwards the part already fixed to the Glaſs, that neither Wind nor Water may [...]e retained between, to wrinkle [...], then with a little Spunge, or [...]our Fingers, wet the backſide, and lightly by degrees roll off [...]he Paper carefully, without making holes, eſpecially in the Lights, which are the tender [...]ſt, and when the Print appears very tranſparent on the backſide, let it dry about two hours, then varniſh it over with Turpentine or Maſtick varniſh, till you can ſee through it, and [...] nights drying will prepare it to be worked on with Colours.

If you would have all the Paper off, ſo that nothing but the Print ſhould remain, lay it as before, with Oil of Maſtick, and a little Turpentine, and a Bruſh will fetch off all the Paper.

To Paint Landskips of Mezzatinto.

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As for the Poſture to do any of this Work, the beſt is ſitting to a true light, your Pencils muſt be fine, and in the firſt place glaze all the places that require, and if you would have them thin as they ſhould be, and ſoon dry, mix varniſh as they are laid on, and in four hours you may venture other Colours.

In this Work glaze the neareſt and greateſt Trees, Ground them with brown Pink, or if you fancy them greener, uſe diſtilled Verdigreaſe, and where the Leaves and Weeds that appear in ſome Landskips very ſprightly and extraordinary green, muſt be glazed with diſtilled [Page] Verdigreaſe, and Dutch Pink, the Trees appearing farther off with only the former; the Hills, Rocks, Mountains and Trees at the greateſt diſtance, glaze with Smalt, a little Lake, and Verdigreaſe thinly mixed with Varniſh; as for the Skies, uſe Ultramarine or fine Smalt, mixed with thin varniſh, glaze it over two or three times with a large clean Pencil, and nimble ſtrokes, if Buildings or Ruines of Buildings appear in it, finiſh them firſt, and the mixture of Colours, for theſe conſiſt of Yellow, Black, White, and now and then a tincture of Red.

To finiſh Ground Trees and Skies, begin with the neareſt and largeſt Trees, do over the lighteſt Leaves with white Pink and a little Smalt, and neatly do over the darkeſt and neareſt Leaves, with a little Pencil diped [Page] in Varniſh, and thoſe Tree▪ you would have very beautiful, Paint with a mixture of Verdigreaſe, Yellow Maſticot and White, the darker parts with white Verdigreaſe and Pink, as alſo thoſe Trees you glaze with Verdigreaſe only, they being very light mixed with White.

As for the Skies and Foreskips, if any Clouds appear, let them be touched with Varniſh, and a light colour mad of White Lake and Yellow Oaker; touch alſo with theſe the light parts of Hills, likewiſe Towns, and the remoteſt diſtance; then mix White ar [...] Smalt, as light as conveniently may be, and Paint over the Sky add a tincture of Lake for the dark Clouds; let the Colours lye even and thin, and where finiſhed, give it time to dry, to [Page] make it look more lively, ſet [...]he Picture againſt the light, that the Shadows may appear.

Of Painting Figures this way, as Men, Women, &c.

In Painting a Face, where there are deep Shadows, glaze and touch them thinly with crown Pink, Lake and Varniſh, alſo the black Ball, and white Speck of the Eye, as you will be directed by the Print, the round white Ball muſt likewiſe be of a convenient colour; if the Lips are to be of a curious Red, glaze them with Lake or Cazamine, and then begin with the dark ſide of the Face, and Paint the Shadows with the Colour more Red than uſual, to do this, Yellow Pink, Vermillion [Page] and White are moſt proper and note, no Varniſh muſt be uſed in Painting Fleſh colours except in glazing the Shadows for the Varniſh drys ſo faſt that you cannot ſweeten the Shadows of the Fleſh.

After this give a few touches on the ſtrongeſt light of the Face, as the Forehead, top of the Noſe by the Eyes, Chin and Mouth, which colour muſt be made white with pale Maſticot, or Yellow-Oaker, and a little Vermillion mixed, according to the Complexion intended, then mix that colour a little darker, and lay it on all the Face that before you had not very carefully painted, yet that for the Mouth and Cheeks muſt be ſomewhat redder.

Now with a fine clean Pencil that has been worn a little, hatch and ſweeten the Fleſh colours [Page] and Shadows ſweetly together, taking care to cleanſe [...]our Pencil as often as it is re [...]uiſite, ſo that whilſt the piece [...]s moiſt and wet, you may regulate Cheeks too pale, or any other defect.

If the Complexion be Swar [...]hy, mix the Fleſh-colour with White, Brown, or Yellow Oaker and light Red, with agreeable [...]hadows; and by this means [...]ou may Paint naked Breaſts, Bodies or Hands, always being [...]areful that your Pencil be ſteadily guided, for the leaſt ſlip mars the Feature, and treſpaſs [...]ot on Features and Lines of a [...]iſagreeing Colour.

How to Paint the Hair.

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In this Painting you have no occaſion to uſe Colours or Varniſh near ſo dark as the Life, for the Print contributes to the darkening of it, as ſuppoſe yo [...] was to Paint Black Hair, you mix black Red-Oaker with a touch of light Red or Lake, and theſe may well produce an Aſhcolour, and the Hair coloured with it, will ſhow you a natural Black; if you would make the Curls ſtronger, with a lighter colour, touch the lighteſt part and the darkeſt with the contrary, which you may well ſee through, if the Colours ar [...] not laid too thick.

Of Painting Garments or Drapery.

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If you are to Paint Cloth or Drapery, in a broken colour, obſerve carefully its mixture, however you muſt make three degrees of that colour, one the proper colour, another more light, and the laſt darker, for it muſt be for the darkeſt folds, and the lighteſt for the lighteſt pleats, and that between both for the other parts.

With a worn Pencil ſweeten the Colour, ſo that the Folds may lye hard, and if you intend to make a Fringe, Imbroidery or the like, and to them with Shell or Powdered Gold or Silver, mix your Minerals with Gumwater, having a fine Pencil to Hatch or Imbroider the Flowers, [Page] and touch the Fringes and other Imbroderies before you glaze, after this manner. viz. I imagine the changeable Draperies Ground to be Purple, and the light Yellow, then muſt I take a fine Pencil dipped in Varniſh, and thinly touch all the lighteſt parts of the Folds with Yellow Maſticot, if there be occaſion to repeat it, for it muſt be granted the Colour muſt be very thin with Varniſh.

When dry I muſt glaze all over with Lake, Smalt, or Ultramarine, once or twice with Varniſh, and ſo it muſt dry, and then I mix three degrees of Purple colour, of Smalt, Lake and White, and lay them on as directed, and by theſe meaſures fitting your Colours ſutable to your intention, you may Paint any other coloured Drapery, which in this little [Page] Book I want room to particularize.

The Curious Art and Myſtery of Japanning.

To be a Proficient in this Art, ſeveral matters are required, and theſe you muſt conſider as ſutable, not only in property but goodneſs, that your Coſt and Labour may not prove in vain.

As, two Strainers made of Flanel, moderately fine, or of courſe Linnen, in the nature of a Tunnel, for to ſtrain your Lac Varniſh, and the other for your White Varniſh, and the firſt of theſe may ſerve for Laccers, when your occaſion requires you to make them; beſides theſe, there are required [Page] two Tunnels of Tin for the ſame Purpoſe as before, Glaſs Bottles and Vials ſmall and great, muſt be in a readineſs, as to ſuit with the quantities of Varniſh your buſineſs requires you to uſe, and Gally Pots to put it in when you deſign to work, as alſo to mix your Blacks in, when they come to be ordered with other things.

As for Tools, they are no leſs requiſite, for without them, this Art would be inſignificant, and therefore to furniſh your ſelf with them, you muſt have Pencils according to the greatneſs or ſmallneſs of the things intended to Work on; thoſe for the Varniſh muſt be made of Cammels Hair very ſoft, and are of various prices as to the largeneſs or fineneſs; like wiſe drawing Pencils, placed in Swallow, Duck, or Gooſe Quills, [Page] as the fineſs or largeneſs of the ſtroke requires, and the longeſt haired Pencils are accounted the beſt in this buſineſs, you muſt have in a readineſs a conſiderable number of Muſcle-ſhells to mix Colours and Minerals in, as the occaſion ſhall require it, Dutch Ruſhes are another material uſeful in this matter, to ſmooth the Work before it is Varniſhed, or take off the knobs or grittineſs from the Ground, or when it is Varniſhed.

Tripoly is proper to Polliſh this Work with when Varniſhed, being reduced into fine powder and ſifced, as for Linnen Rags you muſt be provided with them, both fine and courſe, to clear and polliſh this Work, alſo Olive Oil for a clearing; as many of theſe things ſhall be directed [Page] hereafter, as they occur in due place, in the Work.

Several things neceſſary to be uſed in this Art, &c.

Of Spirit of Wine.

This is of main uſe in Varniſhing, and if it be not properly qualified, it will ſpoil the Varniſh, and not be capable, for want of ſtrength to diſſolve your Gums, or make them ſpread, and ſo conſequently lye uneven upon the Work, and to know when this Spirit is ſufficiently rectified, put ſome of it in a Spoon, and put a little Gunpowder in, and if it burns out, blows up the Gun-powder, and leaves the Spoon dry, then it is a good Spirit, but failing in [Page] this, and leaving the Spoon moiſt when the flame extinguiſhes, it is not fit for your uſe.

Of Gum Animae, Gum Lac, and Gum Sandarack.

To chuſe theſe well, as for the firſt, take the moſt tranſparent, cleareſt and whiteſt, which is the beſt.

The ſecond alſo called Seed Lac, chuſe that free from droſs, ſticks or duſt, large grained and bright.

As for the third, take that which is large and very white, caſting the leaſt yellow, free from duſt and droſs.

Of Shell Lac, White Roſin, Bo'e-Armeni [...]ck, and Venice Turpentine.

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As for the firſt, that is beſt which is moſt perſpicuouſly tranſparent, will eaſily melt, and draw out with your Fingers as fine as a hair.

As for the ſecond, chuſe for your uſe that which is he whiteſt and cleareſt.

As for the third, that is moſt fit for your purpoſe, that is free from grittineſs or gravel, and is of a blackiſh red colour, commonly called French-bole.

Of Gum Elemi, Gum Arabick, and Gum Capal.

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As for the firſt, chuſe the hardeſt, and freeſt from dirt and dr [...]ſs.

Chuſe the ſecond white and tranſparent.

As for the third that is beſt for your uſe that is whiteſt, free from droſs, and the thick dark ſtuff incorporated with it.

Of Gambogium, Iſinglaſs, Benjamin or Benzoin, Dragons Blood, &c.

Theſe are other things neceſſary in this Art, and ought to be well choſen

[Page] As for the firſt, the beſt is that of a bright yellow, free from dirty thickneſs and droſs.

Chuſe as to the ſecond, that which is whiteſt and cleareſt, free from yellowneſs.

As for the third, the beſt is that of a bright red colour, much like to clarified black Roſin, free from all droſs and filth.

The fourth, when the beſt, is of a bright red, free from droſs, it may be had as the others at the Drugiſts, but the prices I ſet not down, becauſe they generally riſe and fall.

Of Silver Duſt, Braſs Duſt, Green Gold, Dirty Gold, Coppers, Powder, Tin, &c.

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The Silver Duſt, the beſt is brought from beyond the Seas, and is known from the Counterfeit by being ſqueezed between your Finger and Thumb, giving a glorious Luſtre, as indeed it does in the Work.

Braſs Duſt, by Artiſts called Duſt Gold, is the beſt made in Germany, the beſt is of a fine bright colour, neareſt reſembling Gold, try it as the Silver Duſt; as for the courſe ſort, though it will work pretty well with Gold Size, yet it will not do ſo with Gum-water.

Green Gold, a corrupt Mettal ſo called, is very good in this [Page] Work, for caſting a fading Green colour.

Dirty Gold is a corrupt Metal, caſting a dark, dull, though Silveriſh colour, bearing pretty well a reſemblance to dirty droſſy Gold.

Coppers are three ſorts, Natural, Adulterate and Artificial; as for the Natural, being cleanſed it may be ground without any mixture.

The Adulterate is moſt fit for a Ground, and ſerves commonly to lay other Metals on, as in hetching or heightening Gold or Silver on; but the Artificial is of a higher and brighter colour than either: There are alſo uſed in this Art, thoſe called Speckles of Copper Gold and Silver, and divers other colours differing in fineneſs, which may be worked as the Artiſt fancies, either on the outſides [Page] of Boxes or Drawers, or on Mouldings, and may be purchaſed ready done.

Of Colours proper in Japaning.

Some of theſe are called tranſparent, on which Gold and Silver are to be laid, or ſome light colour, ſo that by this means they appear in their proper colours, lively and beautiful.

Of theſe, for a Green are Diſtilled Verdigriſe, for a Red, fine Lake, for a Blue, Smalt, have to Grind theſe on, a Porphiry or Marble Stone, Grind with a Muller what quantity you pleaſe, with Smalt or Verdigriſe, with Nut Oil, as much as will moiſten the Colours, and grind them till they are as [Page] fine as Butter, put then the Colours into Shells, and mix them with Oil of Turpentine till they become thin for uſe, lay them on Silver, Gold, or any other light colour, and they will then become tranſparent, altering their lightneſs or darkneſs, according to that of the Metal or Colours that are placed under them; this for a curious Red may be done with Lake, but then uſe drying Oil to grind them with.

If you deſign Figures on the black of your Table or Boxes, as Trees, Birds, or Flowers, thoſe may be done for White, with White Lead; for Blue, Smalt, mixing it with Gum Arabick Water, and mingle them as you pleaſe, to make them lighter or deeper; Flake white is a very pure White, but the other will do for ordinary [Page] Work, and you muſt uſe either of theſe with Smalt, or all other Colours that have not a Body of their own; you may for a Purple uſe Ruſſet, fine Lake, and Sea-green, and it may be done with other ſorts of Reds and Greens, and except tranſparent Colours, all muſt be laid with Gum-water.

Seed Lac Varniſh how to make it.

Your Ground Work is good rectified Spirits, of which you may take a Gallon, put it into a wide a necked Bottle as you can get, that the Gums may the better come out, then of the beſt Seed Lac add a pound and a half, let it Macerate twenty four hours, or till the Gums are well diſſolved, with often [Page] ſhaking, to keep them from cloging together, then with Flannel Strainers ſtrain it into a Tin Tunnel, placed in the Mouth of the empty Bottle, the Strainer may be made as before directed, and ſqueeze the Droſs in the Bag, and throw it away as of no uſe; then let the Varniſh ſettle, and pour it off into other Bottles, till it riſes thick, and no longer, then ſtrain the thick part and ſettle that again, and keep the fine Varniſh for your uſe, and this does as well, without the danger of attempting to boil it, which endangers firing the Houſe, and the Party's Life.

Shell Lac-Varniſh, how to make it.

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This in curious gloſſy pieces of Work is not of value, but in Varniſht Woods it ſucceeds, to make, put to a Gallon of Spirit [...] pound and a half of the beſt Shell Lac, order it as the former, and though it has no Sediment, it is proper however it ſhould be ſtrained, to take away the ſticks or ſtraws that may be in the Gum, nor will it ever be fine and clear as the former, but turns in a few days to cloudineſs, yet is it fit for courſe work, and much uſed.

White Varniſh, how to make it.

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Take an ounce of White Gum Maſtick, and an ounce of White Gum Sandarach, three ounces of the beſt and cleareſt Venice Turpentine, Gum Elemi half an ounce, Gum Capal an ounce and a half, Gum Benjamin or Benzoin of the cleareſt, half an ounce, and half an ounce of White Roſin, and the Gums being ſeparated in their quantities provided, put the Roſin and (Capal in a glaſs Vial, with half a pint of Spirits, that they may be diſſolved, and to the ſame end, in a Glaſs Bottle of three quarts of Spirits put the Venice Turpentine, Animae and Benjamine, and in another Bottle the Gum Maſtick [Page] and Sandarack, in a pint and a half of Spirits, then diſſolve the Gum Elemi in a quarter of a pint of Spirits, powder very finely the Animae and Benjamin the better to diſſolve in the Spirit, and then pour them off into one large Bottle, let them ſtand to fine as the former, and then ſtrain them through a Linnen cloth gently, not hardly preſſing the Sediment, leſt you carry the grittineſs of the Gums along with you, to injure the Varniſh.

General Rules for Varniſhing.

This is a point nicely to be obſerved, or your labour and coſt may be in vain.

1. If you chuſe Wood that requires to be Varniſhed, let it [Page] be exempted from knots, very cloſe grained, ſmooth, clean, well ruſhed, and free from greaſineſs.

2. As for your Colours and Blacks, lay them even and exquiſitely ſmooth, ſweep all roughneſs off with your ruſh.

3. Keep your Work ever warm, but not hot to raiſe bliſters or crack it, which no thing but ſcraping off all the Varniſh can amend.

4. After every diſtinct wash, let your work be thoroughly dry, for neglect in this point introduces the fault of roughneſs.

5. After it is Varniſhed, let it lye by and reſt as long as your conveniency will admit, and it will be the better.

6. Ever take care to begin your Varniſh ſtrokes in the middle of the Table, or what you [Page] do it on, and not from one end to the other, and your Bruſh being planted in the middle, ſtrike it to one end, then take it off, and fix it to the place you began at, ſo draw, or extend it to the other end, and ſo continue it till the whole plain be Varniſhed over, and beware you overlap not the Edges, which is, when the Varniſh hangs in ſplaſhes or drops on them; therefore to prevent it, draw your Bruſh gently once or twice againſt your Gally-pot ſide.

7. When you have proceeded ſo far as to come to polliſh, let your Tripoly be very fine, and the finer the Work, let it be ſtill the finer, and uſe fine Rags, keeping your hand moderately hard upon it, and brighten or polliſh one place as much as you intend, e're you [Page] leave it and paſs to another, and always have regard, that you polliſh your Work as ſmooth as you intend at one time, but if your conveniency will admit, let it reſt two or three days before you give the finiſhing ſtrokes after you have polliſhed it, but come not too near the Wood to make it thin and hungry, for then it will require another Varniſh, or remain to your diſcredit.

8. Take a ſufficient quantity of Tripoly at the firſt polliſhing, till it begins to come ſmooth, and ſo leſſen by degrees, and carefully obſerve there be no ſcratches or grating in it.

9. When you have a mind to clear up the Work, waſh off the Tripoly with a Spunge, and ſoak up the wet with a fair Linnen Cloth, and with Lampblack mixed with Oil, gently [Page] ſmeer the whole face of it, let no corner nor moulding of it eſcape, that the whole Piece may be freed, then with other Linnen, and a hard hand cleanſe it of that, and theſe things done there will be an admirable gloſs.

For white work, let your polliſhing be gentle and eaſie, do it nimbly, and clear it with Oil and fine Flower, and in exactly obſerving theſe Rules you will prove an Artiſt.

Of Black Varniſhing, or Japan.

Provide for this imatation of Japan, a cloſe grained Wood, well wrought off, Ruſh it ſmooth and keep it warm by a Fire, but never ſo near as to burn, ſcorch or bliſter your work, then add to Seed-Lac-Varniſh, as much Lamp [Page] black as will at the firſt ſtrokes colour the Wood; do it three times, permitting it to dry well between every doing, and alſo Ruſh it well, then with a quarter of a pint of the thickeſt Seed-Lac, mixed with an ounce of Venice Turpentine, put in more Lamp-black, ſo much as may well colour it, and with this waſh it ſix times, leting it ſtand twelve hours between the three firſt and the three laſt waſhings; then with the fineſt Seed Lac juſt tinctured with the Black, do it over twelve times, leting it dry between every time doing, after which let it remain for five or ſix days before you polliſh it.

At the end of that time, take Water and Tripole and Polliſh it, having firſt dipped your Cloth in Water, and rub it till it gains a very fine ſmoothneſs [Page] and gloſs, but do not rub ſo as may any ways wear off the Varniſh, which cannot be eaſily repaired, then uſe a Rag wetted without Tripole, and clear it up with Oil and Lamp-black, yet Polliſh it not all at once, but let it have ſome days reſpite between the firſt and laſt Polliſhing, and at leaſt three or four days.

White Varniſhing or Japan.

This muſt be curiouſly done without any ſoiling, and therefore you muſt be cautious of letting any dirty thing come near, whilſt you are doing it.

To begin this Work, ſcrape as much Iſinglaſs as will make it of a reaſonable thickneſs, or when dipping your Pencil into [Page] it, it will with a ſtroke whiten the Body which has been paſſed over with a Bruſh, but let it be in neither of the extreams, too thick or too thin, then mix it with your Size, whiten your Work over with it, and when dry, repeat the ſame, covering it from all manner of Duſt before it is Varniſhed; it muſt be whited three times, and dried between every one of them, ſmooth, and lay it as cloſe as you can to the Wood with your Ruſhes; then mix White Flake with your Size, only ſo that it may lye with a full and fair body on the Piece, and whiten your Work three ſeveral times, with this drying between each, then make it with your Ruſhes very ſmooth, but keep your diſtance from the Wood.

In the next place, take white Starch boiled in fair Water [Page] till it come to be ſomewhat thick, and when it is lukewarm, waſh over your Work with it once or twice, drying between whiles, and let it then ſtand twenty four hours, then take the fineſt of the white Varniſh I have directed you to make, waſh your Pencil in Spirits, and waſh or anoint your Work ſix or ſeven times, and after thirty or forty hours, do the like again, and if done with a dexterous hand, a better gloſs will be ſet on it than if it had been Polliſhed; but if it miſs of that gloſs, it is requiſite that you Polliſh it; and in order thereto, you muſt accommodate it with five or ſix waſhes of Varniſh more than the former, and it muſt continue to ſettle well about a Week before you Polliſh it.

In Polliſhing, your Linnen [Page] and Tripolee muſt be of the fineſt, being neat and careful in all this operation, your hand carried light and gentle, having your cloth neither too dry nor too wet, and clear it up with fine Flower and Oil.

Iſinglaſs Size, how to make it.

Break and divide an ounce of Iſinglaſs into little pieces, put it into a glazed, clean, and well covered Pipkin, and let it for twelve hours ſoak in a pint and a half of fair Water, then place it over a gentle fire, till it boil well at leaſure, and when the Water is conſumed to a pint, let it ſtand to cool leiſurely, and then it will be a Gelly, and may be uſed in the White Varniſh and other Works, but make no more at a time than [Page] you will uſe, for in two or three days it will prove naught.

Red Japan, to make it.

The Reds are properly three, viz. the Common Red, the Deep dark Red, and the Lightpale Red.

In the firſt Vermillion is proper, mixed with the thickeſt of Seed Lac, warm the work and mix your Vermillion with the Varniſh in a Medium, carry it over it four times, permitting it to dry as the former; and if your Reds be in a good body and full, Ruſh it ſmooth, then with the ordinary Seed Lac-Varniſh waſh eight times, and after twelve hours Ruſh it again; and then for a curious outward covering, give it eight or ten waſhes with Seed Lac-Varniſh, and after five days [Page] Polliſh it, and clear it with Lamp-black and Oil.

Of the Dark-red.

The Common Red laid as before directed, deepen it with Dragon's-Blood mixed with your Varniſh, and when it has pretty good colour, go over it with Lac-Varniſh, which will much deepen and ſtrengthen the Colour, and in all things elſe, as to Polliſhing and Clearing, do as in the former Red.

Of the Pale-red.

To do this, grind white Lead with a Muller on a Stone, and when it is finely done, mix it with ſo much Vermillion as will make it a Pale-red, mix Varniſh with them, and give the Work four waſhes, and follow [Page] the preſcription of the Common Red, conſidering well, that the after-Varniſh will heighten the Colour.

An Olive coloured Japan.

Take Engliſh Pink colour, grind it with common Size, and when it is like Pap mix with it a proportion of Lamp-black and White Lead, and work it as in other Japanning.

Cheſnut coloured Japan.

To do this, take Indian Red, or elſe Brown-red Oker, grind it well, and mix it with ordinary Size, then grind a little white Lead extraordinary well with the ſmall Size, mix with it Lamp-black, and ſo both with the Indian Red-Oker, ſtir, and well incorporate them together, [Page] if the Colour be too bright, darken it with the Lamp-black, if too dark, lighten it with white Lead, and ſo bring the Colour to your Mind; conſidering always that your Varniſh will heighten it.

With this waſh over your Work, let it dry, and repeat it till your Colour lye, full and fair, Ruſh it ſmooth, but not cloſe to the Wood, unleſs you deſign anew to begin your Work, and give it a ſecond Varniſh.

After it has ſtood three or four days, give it a Luſtre with Seed-Lac, and when dry fit it for Polliſhing with white Lac-Varniſh, and clear it with Oil and Lamp-black.

Blue Japan.

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To do this, grind white Lead very fine, add Smalt as finely ground, mix them with Iſinglaſs Size, the white Lead grind with Gum-water, let there be a proportion of White and Blue, and mix them well to the thickneſs of common Paint, go over your Work with it, and when it is well dry, proceed ſo three or four times, till the Blue lyes with a fair body, Ruſh it ſmooth, and go over it again with ſtronger Blue, and when dry waſh it with the cleareſt Iſinglaſs Size, having a new Pencil for that purpoſe, then when it is dry, warm it by the fire, and go over it with a Pencil dipped in white Varniſh ſeven or eight times, and ſo let it continue for a day or two, then [Page] waſh it as often as before, and ſo continue many operations at intermitted times; for a week at leaſt muſt paſs, before you can well venture to Polliſh it, and when it is Polliſhed, Clear it with Oil and Lamp-black.

Note, that in no wiſe you mix your Colours with Iſinglaſs Colours too ſtrong, leſt when dried, they be apt to crack, fly, and ſpoil the Piece, but when you lay your Waſh of clear Iſinglaſs, to keep your Varniſh from tarniſhing, or ſoaking into your Colours, then it is proper that it be of a full and ſtrong body.

And thus much may very well ſuffice the Learner, to give him an inſight into this excellent Art, from whence I ſhall proceed to other things, uſeful and profitable.

Of Speckles, for the Adorning Japan'd Work.

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Mix ſo many Speckles as you have occaſion for, with ordinary Lac Gum-Varniſh, ſo much, as when they are put into a Gally-pot, will fit them for working with a convenient Pencil, but not ſo thick as Colours, keep them ſtirring very well with a Bruſh, and generally warm by the fire: This continue till you perceive the Speckles lye thick and even to your mind, ſo beautifie them with three or four waſhes of Varniſh, mixed with Turpentine, and this, unleſs you intend to Polliſh, will be ſufficient, but then you muſt give it after all this eight or ten waſhings with the Prime Lac-Varniſh, drying between whiles, [Page] and then Polliſh; and on this manner you may lay on all coloured Speckles; but Silver requires Seed Lac-Varniſh, and the beſt White Varniſh e're it can be brought to a good Polliſh, but if not to be Polliſhed, you may ſpare your Varniſh.

To lay on Speckles in Japan Work, &c.

If you deſign to Adorn your Work with Flowers, Rocks, or Garments, &c. Varniſh the places intended with a fine Pencil, and through any ſmall Sieve ſhake the Colours you deſign, whilſt the Varniſh is wet, and ſweep up in Rock-Work all Speckles that ſtraggle on the edges, with a new dry Pencil lodge them on the ſides and top of the Rock, which ſticking, will render the Work more [Page] beautiful, and give it a Shadow or Reflection.

This muſt be done with all diligence, and no intermiſſion had till finiſhed, till once covered, and being once dry, operate again, and ſo one upon another ſucceſſively, to ſhape it to your mind; and in ſweeping the Speckles, intermix not one portion of ſcattered parts with the other, that are of a different colour, but every parcel in the proper ſtation, to beautifie the better: At firſt when laid, it will look dull and heavy, but the ſecuring Varniſh in a little time will add to it a pleaſant, beautiful colour; and ſo you may do Flowers, Trees, Garments, and many pleaſant things to Adorn your Work.

Wood, how to overlay with Gold or Silver.

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To prepare this Work, yea muſt be furniſhed with Parchment-Size, that is, the cuttings of Parchment boiled in fair water to a gelly, and when ſtrained and cooled, it will prove a ſtrong Size.

When you are to uſe it, put as much as you ſhall want into an Earthen Pot, and make it hot, then as it is cooling, ſcrape as much fine Whiting into it as will colour it, mix them well with a clean Bruſh, and with this mixture white your Wood or Frame, ſtriking or jobbing your Bruſh againſt it, that it may the better enter in the hollowneſſes of carved work, then give it reſt, that it may dry.

This done, melt the Size again, [Page] and put in more Whiting to render it ſome degrees thicker, and with this, do over the Frames ſeven or eight times, or as you ſee there is a neceſſity, and when it is dry, open with a Gouge no bigger than a Wheatſtraw, the Veins in the Carved Work, that the Whiting has ſtopped up, then with a fine wet Rag and your Finger, carefully ſmooth and water, plain it over, and Ruſh it ſmooth when dry, if neceſſity require it; and in this condition it will well receive your Gold or Silver Size; but before I proceed, I ſhall teach you to make theſe Sizes.

The beſt Gold-Size at preſent in uſe.

Take an equal quantity of the beſt French and Engliſh Bole-Armoniack, grind theſe fine on a [Page] Marble ſtone with fair water, then ſcrape into it a little Candle greaſe, incorporate and grind all theſe well together, then mix a little quantity of Parchment-Size, with a double proportion of Water, and the buſineſs is done.

The beſt Silver-Size in uſe.

Grind fine Tobacco-pipe Clay very ſmall, mix with it as much Lamp-black, as will turn it of a light Aſh-colour, and to theſe add bits of Candle greaſe, grind them very fine together, a mixture of Size and Water, and try theſe on the corner of the Frame, if it be rough in burniſhing, put more Oil or Greaſe, and as near as you can bring it to a due temper, that it may work well.

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[Page] To Size your Frames, or other matters.

To do this, make the Size Wood-warm, and with a fine Bruſh ſtir it very well, till it is ſomewhat thin, go over the Frames with it twice or thrice, yet touch not the hollow parts of the deepeſt Carvings, where the Gold cannot conveniently be laid, for the yellow colour nearly reſembling firſt laid on, the fault will not ſoon be diſcovered; let it dry four or five hours, and then try the Gold if it will Burniſh on it, if not, alter the Size, and do it over again.

To lay on the Gold, in order to Burniſhing.

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Let your Frame or other matter intended, be ſet on a Hazle, place the Leaf Gold o [...] a Cuſhion to be held in your left hand with the Pallat and Pencil, you muſt for this work have a Swans-Quill Pencil, or a larger of Camels hair, if the Work require it, dip it in Water, and wet no more of your Frame at a time than will take up three or four Leaves, make your beginning at the lower end, and ſo proceed upwards, laying on whole leaves or half ones, as it requires, then wet ſuch another part of your work, and lay on the Gold with your Pencil or Cotton, gently preſſing it very cloſe; and having Gilded the upright ſides, turn [Page] the Frame, and proceed the ſame way with the ends, then ſurvey the ſpots and places that are omitted, and cut ſmall parts of Gold to cover them, when wetted with a ſmaller Pencil than before, when it is ſo finiſhed let it ſtand till the next day that time you leave off.

To Burniſh the Gold-Work.

Take a Wolf or Dogs Tooth, if you cannot get Aggats or Pebles formed into the ſame ſhapes, and Burniſh ſo much of the Work as you deſign, leaving the Ground of the Carving untouched, and ſome other parts as you ſee beſt convenient, which in reſpect of the Burniſhing being rough, the better ſets it off: That which is omitted to be Burniſhed, muſt be Matted, or ſecured with Seed Lac-Varniſh [Page] or Lacker, if you deſign it a deeper colour, then muſt your Work be repoſſeſt or ſet off with Lacker, mixed with Saffron and Dragons-Blood, or the colour called Ornator, and with a fine Pencil dipped herein, touch the hollowneſſes of the Carving, and the Veins of the Foldages or Leaves; if you fancy it is not deep enough, you may by a repetition make it ſo, and the Work is done.

To lay on Silver-Size.

Warm the Silver Size that is newly ground and mingled well with weak Size, as you did the Gold Size, do it once or twice, and let it dry, and try the Leaf Silver, if it will Burniſh on it, it is prepared for the Work, but if it will not make an alteration in the Size, and for the [Page] reſt, lay on the Leaf-Silver, and do as you did by the Gold, and it will anſwer.

Note, as farther Rules, and ever obſerve them.

1. Let your Parchment Size be ſomewhat ſtrong, keep it not long, leaſt it ſpoils.

2. Grind no more Silver or Gold Size than juſt you have preſent occaſion for.

3. Ever keep your Work clean from Duſt, after it is Sized and Gilded, or elſe in the Burniſhing it will be full of scratches.

4. Do not Whiten or Burniſh Gold Size in hard Froſty Weather, for then the Whiten will be apt to peel off, and the Gold flaw.

The Art of Gilding Mettals.

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To Prepare the Gold.

Take Ducket, or Leaf Gold, what quantity you deſire, obſerve to beat the Ducket very thin, and put this Gold with as much Quick-ſilver as will juſt cover it into a Gally-Pot, where let them continue half an hour, where immediately after the mixture ſtir them with a ſtick, then ſtrain them through a piece of Leather, ſqueezing with your hand till you have forced out as much Quick-ſilver as you can induſtriouſly do, ſo that what remains in the Leather, looks more like Silver than Gold, yet this only muſt be employed in Gilding after the following manner.

To Gild with Gold, Silver, Copper, Braſs, Princes Mettal, &c.

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Bruſh firſt your Mettal well, with a Wire Bruſh, wet it with Water or Beer, and bruſh on till the dirtineſs or filth be quite removed, that the Gold may more cloſely join it, prepare then your Quick-ſilver, by mixing it with a little Aquafortis in a Vial, three or four drops of the Aquafortis to an ounce of the Quick-ſilver, quicken your Work with it, viz. rub it over with a Rag or your Finger, till it appears all Silvered, or touched. This done,

Take your prepared Gold, and with a ſmall Knife, or Iron Tool proper to the purpoſe, ſpread, or overlay the whole piece, omitting no part, give it two or three little heats, before [Page] you give it a thorough heat, ſo that with a Hair Bruſh like a Comb Bruſh, you may dab and ſpread your Gold, theſe little heats making the Quick-ſilver more ready to comply; then give it the thorough-heat, which will compel the Mercury or Quick-ſilver to evaporate or fly away, then take it from the Fire, and with a ſcrub Bruſh, untouched with Quick-ſilver, cleanſe it as at firſt; if you perceive any untouched ſpot of Quick-ſilver, the Gold muſt be laid on it again, when it is cleanſed with a ſcratch Bruſh, and after this manner you may heighten its colour if you ſee it neceſſary.

To heighten the colour of Gold.

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Take an equal quantity of Salt Argal and Brimſtone, mix them with as much fair Water as will cover the gilded Mettal when put into it, boil them well, and tying your Gilded Mettal in a ſtring, plunge it in for a little ſpace, often plunging, and looking as often on it as you draw it out, and when the colour is heightened to your expectation, dip it in cold water, and the work is done; you may in the foregoing manner double or treble Gild, till the Gold enriches it to a laſting thickneſs and colour.

To Counterfeit Tortoiſeſhell.

To do this well, let the Wood you intend to work on, be very cloſe grained, clean and [Page] ſmooth wrought off, as Peartree, or the like; but if rough grained, you muſt Prime it with Whiting, as you are taught in Black Japaning, for coarſe grained Woods, Ruſh it ſmooth and go over it with Seed Lac-Varniſh, the breadth of a Silver Leaf, which take up with Cotton, and lay on it moiſt, as cloſe as may be; then waſh again, and place on another Leaf of Silver, and ſo continue till the Wood is over-ſpread with Silver, and when dry ſweep off all the looſe Silver with a hair bruſh, then finely grind Collins Earth, and m [...] it with Gum Water or Common Size, and with this, havit, added more Size or Gum Wat [...] than it was ground withal, S [...] or Cloud the Ground-Wor [...] having a fine, true, natural Shell by you to imitate, and [Page] when this is done, you will perceive ſeveral Reds, lighter and and darker, appear on the edges of the Black, and many times lye in ſtreaks on the tranſparent part of the Shell; to imitate this finely, grind Sanguis Draconis with Gum water, and with a fine Pencil draw thoſe warm Reds, fluſhing it in about the dark places more thick, but fainter, thinner, and leſſer of colour towards the lighter parts, ſo ſweetening it, that it may in a manner loſe the Red, being ſunk in, in the Silver, or more tranſparent parts.

VVhen it is done and dried, give at leaſt ſix waſhes of Seed Lac-Varniſh, and when it has continued twenty four hours, Ruſh it gently, and when it is ſmooth, and fit for the ſecond operation, grind Gambogium very finely in an equal ſmall [Page] quantity, put theſe into as much Seed Lac-Varniſh, as will ſerve to waſh it another ſix times, then let it ſtand twelve hours, and give it the third Varniſhing, and with the laſt mixture waſh it ſo often, that the Silver is changed to a Golden colour, and the work is done.

To Dye Wood a curious Red.

The VVood that takes this colour muſt be very white, and to begin it put a handful of Allom in a moderate Kettle of water, and caſt your wood into it, and when well ſoaked, take it out, and put in two handfuls of Raſped Braſil-wood, and when that has boiled well, put the wood in again for a quarter of an hours boiling, and it will take the colour.

To Stain a curious Yellow.

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In this caſe, take the knotty Aſh or Bur, that is very white, knotty and curled, Smooth and Ruſh it very well, and when it is well warmed, waſh it over with a Bruſh dipped in Aquafortis, then hold it to the fire till it deſiſts to ſmoke, Ruſh it again when dry, then Polliſh it, and Varniſh it with Seed-Lac, and it will be of a curious colour, not inferiour to any Outlandiſh Yellow wood, and if you put filings or bits of Metal, as Copper, Braſs, &c. each Metal will produce a different tincture.

To Stain or Dye Wood Black.

Boil Logwood in Water or Vinegar, and two or three [Page] times Bruſh or Stain your Wood with it when very hot, then take Nut-Galls and Copperas, bruiſe them well, and boil them in Water, and with it Waſh or Stain your Wood ſo often till it be a perfect Black, or rather ſteep it in the hot Liquor if you can put it in, and the Dye will penetrate the better.

To Dye or Stain Wood for Inlaying of Flowers or other things in Cabinets.

Get moiſt new Horſe-Dung, and ſqueeze out the moiſture through a Cloth, put it into ſeveral ſmall Veſſels fit for your purpoſe, and diſſolve Gum Arabick, and Roach Allom, each the quantity of a Walnut, and with theſe mix Reds, Greens, Blues, or any Colour that is ſutable to the work, ſtir them [Page] often three or four [...] then take your Wood, particularly Pear-tree for VVhite, cut into the thickneſs of half-crowns, or ſo much as will ſuffice any Inlayed work, and in a ſquare or length, according to your deſire, boil up the Liquors or Colours very hot, and put in the VVood till the Colour has well taken; ſome indeed you may take out ſooner, that the Colour being leſs ſtrong, may the better agree with your particoloured Flowers, Shading and the like.

To Dye or Stain, Ivory, Bone or Horn Red.

Soak fine Lime about twelve hours in fair Rain VVater, then pour off the VVater well from the ſettling through a Linnen Cloth, and to each Pint put [Page] half an ounce of Raſped Braſil wood, and having boiled your materials in Allom water, boil it in this, and it will give a curious tincture.

To Stain Horn, Bone, Wood or Ivory Green.

Prepare your materials, by firſt boiling in Allom-water, then grind the common thick Verdigriſe, or Spaniſh Green, a moderate quantity, adding half as much Sal-Armoniack, and put them into the ſharpeſt VVine Vinegar, as alſo the materials you intend to Stain, and keep them there hot till they have taken a good tincture.

To Stain or Dye, Horn, Box or Ivory a curious Black.

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To do this, put ſmall pieces of Braſil VVood into Aquafortis, and ſo continue them, till they appear green, then waſh well your materials in them, and boil Logwood in VVater, into which put them whilſt they are warm, and in a little time the Ivory, &c. will be of a curious Black, ſo that being Polliſhed it will look like Ebony or Japan, and if you would have any part for Flowers, or the like remain white, draw them before ſtaining with Turpentine Varniſh, and the black will not touch them, and afterward you may hetch them, and clear up with Oil and Lamp-black.

To Stain Skins Green.

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Bruiſe a good quantity of the Leaves of Night-ſhade very well, diſſolve in the Juice well ſtrained out about two ounces of Allom, then put in half an ounce of Verdigriſe, ſuffer them to ſtand over a very gentle fire twenty four hours, then warm, dip in a Bruſh, and ſtrike over your Skins, let it dry, and repeat it till it has taken a pleaſant Green.

An approved way to colour White Leather.

Theſe Skins muſt be hung in Lime or Chalk VVater, that the VVool or Hair may be entirely ſtripped off, and they become ſupple, ſtretch them ſmooth on Tenters, brush them [Page] over with Allom-water very warm, and ſo tincture them with the Colours you deſign, ſutable to your purpoſe.

To put a curious Black on Leather.

Take two pound of the inward Bark of an Old Elder, the like quantity of the Ruſt or Filings of Iron, put theſe into two gallons of Rain-Water, and cloſe them right up in a Veſſel, and when they have ſtood about ſix weeks, put in a pound of Nut galls well bruiſed, a quarter of a pound of Copperas, let them ſimper a conſiderable time over a fire, and after twenty four hours ſtanding, and often ſtirring, pour out the Liquid part, and go over your Leather with it warm, and it produces a curious German Black.

To colour Leather a Bright Red.

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Dip your Leather firſt in Allom water, and rub it well therein, then take ſtale Urin, boil it till it is half conſumed, ſcum it well, and put to it an ounce of the beſt Lake, Raſped Brazil wood two ounces, and an ounce of Allom, add to theſe half an ounce of Sal Armoniack, ſtir them well-over a moderate fire two hours, pour off the Liquid part, and bruſh over your Skins with it, till it takes a good tincture, remembring ever to let the Skins in all Colours dry well, between each going over with your bruſh, and your expectation will be anſwered to a very conſiderable advantage.

A curious French Yellow for Skins.

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Take Wood-Aſhes and Chalk, of each a like quantity, and then you have made a good Ley with Rain water, ſtrain out the fineſt part, and ſet it over the fire, then put in a ſufficient quantity of Turmerick well bruiſed or beaten to Powder, and as much Saffron as may give a lively Tincture, let it ſtand over a moderate fire, but not boil, till it becomes pretty thick, and being warm colour the Skins with it.

For a deep Blue, or Purple.

Strain out the Juice of Elder-Berries, put to two quarts, an ounce of Allom, half an ounce of Smalt or Indico, ſet theſe over a gentle fire, and when [Page] warm, bruſh your Leather over with this compoſition.

For a Crimſon Colour.

Diſſolve Cake-Soap in Fair Water and Bole Armoniack, each three ounces, place them over a gentle fire till the Liquor grows clammy, then put in a little handful of Grains of Cochineal, two ounces of Red-Lead, an ounce of Lake, and a quarter of an ounce of Vermillion, a little piece of Indico, mix theſe well over a gentle fire, till they are the thickneſs of the glear of an Egg, then go over the Skins with a ſoft bruſh dipped into it, till the Colour ariſes to your mind.

To Imitate the Turkey-Blue.

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Take two ounces of Smalt, a quarter of a pint of Red Wine, half a pint of Vinegar, an ounce of White Starch, incorporate theſe over a gentle fire, till they come to a moderate thickneſs, then ſoak the Skins with Allom Water; add to the compoſition a pint of Water, wherein Gum Arabick has been diſſolved, and ſtir it well, go over the Skins three times, drying them between whiles, and when well dryed, Polliſh them over to render them gloſſy.

For a Light Green.

Take the Juice of the Herb called Horſe-tail, add to it a little Allom, Verdigriſe and Copperas.

To Cover or Dreſs-Skins with Gold or Silver.

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Grind Brown-red with a Muller, on a Marble Stone, add to liquidate it a little Water wherein Chalk has been diſſolved, and lightly go over the Skins, till they look whitiſh, and before they are dry lay on the Leaf Gold or Silver, a little lapped over one another, that no ſpace be found wanting, and when they ſtick well to the Leather, and are dry, Polliſh them over with ſmooth Ivory, or a Horſes Tooth, and it will give a very glorious Luſtre; the Silver you may Lacker over with Lacker Varniſh, and change it into a Golden Colour.

Or another way, take Gleer of Eggs, or Gum-water, bruſh [Page] the Skins over with it, and lay on your Leaf Gold or Silver, doing as before.

To make Skins look Shining; without Silver or Gold.

Take Gum water, the Gleer of Eggs, and the Powder of Antimony, grind and mix them well together, and the Skins [...]eing dry, lay it on them with a Bruſh three or four times, letting them dry every time between; then burniſh them over, and they will have a curious gloſs like Silver, which tinctured with Lacker Varniſh will produce a Fading Gold Colour.

To Dye Briſtles a Red Colour.

To Dye Briſtles a Red Colour.

Take half an ounce of Allom, a quarter of an onnce of Vermillion, [Page] and an ounce of Raſpe Braſil-wood, put theſe into pint of Vinegar, and boil the moderately thick, and dip the Briſtles when it is very ho [...] and continuing there a time they will be a fine Red; you ma [...] make larger quantities of the Liquor, with ingredients proportionable; and thus Dye Feather.

Feathers or Briſtles Green.

Take Verditur and Verdi griſe, each an ounce, put them into a pint of water, ſoak the Feathers or Briſtles in hot water, and then put them into this Liquor boiling-hot, and let them remain till they have taken a good colour, and ſo according to the complexion of your Dyes, you may Colour them this way any Colour.

For Blue, let your Dyes be Indico and Biſe.

[Page] For Black, Galls and Log [...]ood, with a little Copperas.

For Purple, Lake and Indico.

For Carnation, Smalt, and Vermillion.

For Yellow, Yellow-Berries and Saffron, diſſolving a little Tartar in your water.

For Orange, Turmerick and Red Lead, and ſo of any other Colours you fancy.

Or Dying Silks, Stuffs, Cloths, Thread, and other things, of divers curious Colours.

To Dye Silk a Sanguine Colour.

Take a pound of Green-weed, as much Allom, bruiſe them and pour on them fair water, add half a pound of Raſped Braſil, ſet them over a gentle fire, well to mix them, then put in the Silk, ſuffering it to ſeeth [Page] therein then, and ſo continue it, by ſtrengthening your Dye and dipping till you perceive the Colour has taken well; after that rinſe it in Leys, Wood-Aſhes, or Oak-Bark, and ſo clear it with fair water, dry it, and preſs it.

To Dye Silk a deep Carnation.

Take Whitegall and Allom, the Herb called Foli well dried, to the quantity of a pound, two ounces of Spaniſh-red, four of Indian Lake, boil them in fair water over a gentle fire, and when they come to a height of tincture, dip your Silks into them, and let them have [...]ood dippings three or four tim [...] and the Colour will take very well.

To Dye Silk Quoins Red.

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Let theſe be ſteeped well in [...]llom-water, then give them a gentle heat, adding in the heat [...]ng Bran-water, a pound and a half of Green-weed, ſo heat it up, and put the Silk into it, but let it not ſeeth, then rinſe [...]in Leys of Wood-Aſhes, after that in Water, then put in [...]our Logwood Raſped or in Powder, and ſo heat it up a ſecond time, and ſo in thrice well dipping, the buſineſs will be accompliſhed.

To Dye a curious Yellow.

Take Wood, the Stalks, Seeds and Leaves, and lay them to ſoak in Wood-Aſhes Leys three hours, then feeth it till it is ſufficiently ſodden, and [Page] put it into a mixture of ho [...] water and Urine, ſo heat it up and ſtrain the Liquid par [...] through a Sieve or Strainer adding Verdigriſe, and ſo boi [...] it up with the Ley already ſod, ſtirring and well mixing the Liquor about three hours, and when it is very hot, dip three times.

To Dye Silk a Roſe-red.

Take to every four yards an a half you intend to Dye, a pound and a half of Nutgalls, boil them in fair water unbruiſed two hours, ſhift the water, then put in the Silk or Linnen, letting it ſoak four hours, then wring it dry, and heat it in fair water, wherein Allom has been diſſolved, then put in half a pound of Braſil Powder, and a pound of Green-weed, and ſo [Page] by dipping in gentle heats, the Colour will heighten.

A good Black Water, for Silk or Cloth.

Take an ounce of Lamp-black, half a pound of Nutgalls, bruiſe the latter, and put them into a Pottle of Water, with a handful of the Filings, or Ruſt of Iron, heat them up, adding a quarter of a pound of Copperas, ſeeth it to a third part conſumption, then add half a hint of Gum-water, and it will not only be for preſent uſe, but keep long, and be a very good black.

To Dye Purple.

In this caſe if you Dye Silk, you muſt take to each pound of an ounce of Allom, and a gallon [Page] of water, diſſolving the Allom therein over a gentle fire, then put in the Silk, and let it continue there about four hours, then take Lake and Indico, each a quarter of a pound, a quart of Urine, then adding a little handful of Cochineel, heat them up into a Dye, and dip your Silks or fine Stuffs into it as uſual.

To Dye a very fair Blue.

Take any Silk, Stuff, or Cloth white, and ſoak it in water, that done, wring out the water very well, and add two pound of Would, a pound of Indico, and three ounces of Allom, give a gentle heat in fair water, and ſo dip till you perceive the Colour take well.

Carnation.

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To make this a curious right Colour, take dried Purper, ſoak it in Man's Urine for a Night, then take what you have to Dye, and ſoak in Allom water twice, ſeeth the Purper in fair water, and then ſet another Veſſel to receive the Liquor, and dip therein.

For a Pleaſant light Red.

Boil two gallons of Wheat, and an ounce of Allom in four gallons of Water, ſtrain it through a fine Sieve, diſſolve more Allom, half a pound, and as much of white Tartar; add three pound of Madder, to perfect the Colour, and put in your Stuff, Cloth, &c. at a moderate heat.

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Black for Velvet, &c.

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Take half a pound of Copperas, a gallon of Smiths-water, two pound of Galls, burne Ivory, Oak Bark, and Shoemakers Black, each an ounce, well ground, two gallous of fair water, mix them well, and ſet them in the Sun, or other warm place a Month, often ſtir it, and at a moderate warmth dip your Veſvet, or other things deſigned for deep blacks.

To make Red Water for Silk or Woollen, Violet, Green, Azure or Yellow.

Take two gallons of fair Water, four ounces of Braſil, and being half conſumed in heating up, remove it from the fire, put in an ounce of Grains, a [Page] quarter of an ounce of Gum Arabick, with a quarter of a pound of Allom well bruiſed, and having ſtood all Night, it may be well uſed in the Morning.

To Dye Woollen, Yarn, or Wool.

Take two pound of Wood, to every four pound of Yarn, &c. and two gallons of Water; put more, two handfuls of Wood Aſhes, and when it ſeeths, put in the Yarn or Wool, and let it continue half an hour, or ſomewhat more, then wring it, and put it in again, and let it ſeeth as long as before, and if it were a brown Blue, it will be a dark Green, or of a white Yellow colour.

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To make Bran-water.

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This is very neceſſary in Dying, and therefore you ought to know how to prepare it; do it with half a peck of Wheat-Bran, to two gallons of Fair water, over a gentle fire, and half a pound of bruiſed Allom; ſuffer it to ſtand about a week, with often ſtirring before you uſe it.

To make Grey Florrey.

Let the Florrey be ſoaked twenty four hours, then wring it through a Cloth, and take Aſhes of Vine-Sprays, and with them make a Ley, and upon a Table ſpread the Florrey, about two hours, put the Ley into three Veſſels, and ſhift the Florrey out of one into another, [Page] and before you dip, put Vinegar in, and the Florrey will be well ordered, and your Colour good.

To Dye Linnen with Crampenade.

To three Ells of your Linnen, uſe a pound of the Crampenade, and a gallon and a half of water, and ſo to a greater quantity proportionable; let it ſtand over a fire till it begins to ſeeth, put in at that time two ounces of Galls, and then your Linnen, and when you take it out, which muſt be often, wring it, and put it into Allom water; but if you would have the Colour darker, it is requiſite to have a Ley of unſlacked Lime, or Chalk Stones.

To Dye a good Red in Linnen, Thread, or Cloth.

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Soak a pound of Sam-fleure twenty four hours in two gallons of water, ſuffering it to heat over a gentle fire, add two ounces of Vermillion, half a pound of Raſped Braſil, and an ounce of Allom, diſſolved in a pint of fair water, and dip, and order your materials as in other things.

Thus Reader, have I given you a good Inſight into the Myſtery of Dying Silks, Stuffs, Cloths, and other things relating thereto, which may by Practice prove advantageous.

The Art of Perfuming.

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To make Eſſence of Hypocras.

Take a ſtrong Glaſs Bottle, and put half a pint of Spirit of Wine into it, add an ounce of Cinnamon, half an ounce of Cloves, a groſs of Ginger, and as much Coriander as you can hold with your Fore-Finger and Thumb well beaten, three or four grains of black Amber, or Ambergriſe beaten in a Stone Mortar, ſtop the Bottle very faſt, and ſet it on Sand, expoſing it to the Sun for a Month: the Bottle in this caſe muſt not be full, nor ſtand out in the Rain; This is a curious and wholeſome Perfume.

Eſſence of Amber.

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Put a pint of Spirits of Wine into a ſtrong Glaſs Bottle, and beat in a very ſmall Stone Mortar, a groſs, or the eighth part of an ounce of black Amber, or Ambergriſe, put it into the Spirits, with half a groſs of the Bladder of Musk very ſmall, ſo ſtop it cloſe, and ſet it for a fortnight as the former, ſhaking it two or three times a day, when the Sun ſhines hot upon it, but fill not the Bottle full, left the Spirits break it; and then let it ſtand ſtill another fortnight, and it is done.

Roſa-Solis, or perfumed Liquor.

Put two pints of Water, and two pounds of Sugar in a Copper Pan over a gentle fire, and [Page] let them boil to the conſumption of a fourth part, then put in two Spoonfuls of Orange-Flower Water, then throw in the White and Shell of an Egg, well beaten with a whisk, and ſtir the Egg well in the Liquor with it, take it off when it boils, and ſtrain it through a bag ſeveral times, and when you perceive it well clarified, pour in of the beſt Brandy, and then Eſſence of Hypocras or Amber, and you will have excellent perfumed Solis.

Angel-Water.

Put into an Earthen Pot a quart of Orange-Flower Water, a quarter of a pound of Benjamine, two ounces of Storax, a quarter of an ounce of Cloves, half an ounce of Cinnamon, two or three bits of Calamus, [Page] ſet the Pot on a gentle fire, to the conſumption of a fourth part, add a Bladder of Musk, then let it cool, ſtrain it well from the Droſs, and put it up for uſe.

Millefleur, or the Water of ſeveral Flowers.

To do this, put in a ſtrong Glaſs Bottle, a pint of Angel-Water, then in a little Mortar beat twelve grains of Musk, then put ſeveral Flowers of various ſcents, more of the weaker than of the ſtronger, that there may be a temperature, and allay them with that Water, and when well infuſed, pour it off into a Bottle, and keep it well cloſed for uſe.

Orange-Flower Water.

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To make this well, infuſe t [...]o pound of Orange-Flowers, and quart of Water three or four hours, and ſo Diſtil them in a cold Still; This Water is good for cleanſing Spuff, making Angel-Water, or Perfuming Waſh-Balls, or Skins.

The Queen of Hungary's-Water.

But a quart of the beſt Spirit of Wine into a ſtrong Glaſs-Bottle, and two large handfuls of Roſemary-Flowers, a handful of Tyme, and half a handful of Sweet Marjorum, the leaves only, and as much of Sage, keep the Bottle cloſe ſtopped, and expoſe it to the Sun a month, and then you may diſſolve the bigneſs of a Bean of Orcanat, [Page] bruiſing it with a little Spirit of Wine, and put it into the Bottle; then expoſe it four or five days more to the Sun, and it will be of a fine Red Colour, and a curious Scent.

Paſtils or Perfumes, of divers kinds.

Paſtils of Roſes made into Wax-Candles.

Take a pound of the Dregs of Angel-Water, beat them when dried very fine, and ſearce them through a Hair Sieve, then put to them a handful of the Leaves of Roſes, newly gathered, diſſolve Gum Adragant in Roſe-Water, and beat the whole long together, to well Incorporate it, then rowl up pieces as big as your Finger taperwiſe, and when they are dry they will [Page] burn like a Candle, and give a very curious ſcent.

Perfumed Paſtils for Beads or Medals.

Diſſolve Gum-Adragant and Arabick in Millefleur-Water, and put into it Marchal-pouder is much as will ſtiffen it into a Paſte, rub the Moulds you caſt them in with Eſſence of Flowers, and the Beads or Medals will be of a curious Brown or Coffee colour.

Another.

Take of Frangipan and Cyprus pouders, each a like quantity, put them in Gum, wherein Millefleur-Water is the greater part, and make them into Paſtils.

To make Liquid Snuff, excellent for the Cure of the Head-ach, or againſt Apoplectick Fits; a rare Secret.

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Take Diſtilled Betony-Water a pint, half a pint of Roſemary-Flower-Water, infuſe in theſe four ounces of the beſt Virginia-Tobacco, finely ſifted into pouder; let them ſtand warm by the Fire, or in the Sun twenty four hours, then ſqueze out through a very fine clean Cloth the liquid part, Scent it with a little Ambergriſe, and a very ſmall quantity of Musk, drop into it three or four drops of Chimical Oil of Nutmeg, or Cinnamon, ſhake it well when the Settlings are taken off, and keep it in ſmall, cloſe Vials for uſe, ſnuffing or ſpirting up a very ſmall quantity [Page] at a time into your Noſtrils; the Scent of it without ſnuffing up, remedies an ordinary Headach.

[...]oſmeticks, or Curious Receipts for Beautifying the Face, Hands, or any part of the Body.

Benjamin-Water, an excellent Beautifier.

Take a pint of good ſtrong Brandy, a pint of Spirit of Wine, half a pound of Benjamine, and a quarter of a pound of Storax, on ounce of Cinnamon, and half an ounce of Cloves, and four Nutmegs; beat the Spices and Benjamine, and putting them into the liquids, ſtop them up cloſe in a ſtrong Glaſs-Bottle, and let it ſtand upon Sand in the Sun, in the heat of Summer [Page] a month, and then pour it off, and clarifie it.

This cleanſes the Skin of Morphew, Tandneſs or Sunburning, and cauſes a delicate complexion, as does the Queen of Hungary's Water, which I have already taught you to make.

To prepare Spunges for the Face.

Having choſe the beſt and ſmootheſt Spunge, and cut off what is ſuperfluous, ſoak it, changing the Water till it looks clear, then dry it, and dip it in Orange-Flower or Angel-Water, pour over it a little Eſſence of Amber, then ſqueeze it but a little and let it dry, and it will be for your purpoſe, in Cleanſing and Beautifying the Skin, far beyond the uſe of Linnen.

To cauſe a Fair, Clear Complexion.

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Diſtil Fumitory Roſemary-Flowers, and Scabious, each two good handfuls in a Pottle of White-Wine, and a quart of Dew, gathered off the Graſs or Corn, with clean Napkens and Handkerchiefs, and ſo wrung out; keep it cloſe ſtopped in Glaſs Bottles, and waſh the Face and Hands with it, as there is occaſion.

To cauſe a Freſh-coloured Complexion.

Take Oil of Myrrh an ounce, three drops of Oil of Sulphur, an ounce of the Oil of Sweet Almonds, mingle them well, and anoint the Face going to Bed, and the next Morning take it off with Benjamine-Water.

To make a Clear-Pale Complexion▪

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Diſtill the Bloſſoms of Peaſe Beans and Peaches, each a good handful, in two quarts of Whey, and waſh the Face with it.

A Pomatum to Refreſh the Complexion, and take off Pimples and Redneſs.

Take half a pound of the leaf of Hogs Fat, work it well in Fair-Water till it is very white, then put it into a new earthen Pan, put in a quarter of an ounce of Copperas, two Pippins cut in pieces without paring, mix an ounce of the Oil of Sweet Almonds, and ſtrain it through a Linnen Cloth into clean Water, and make it into a Pomatum, and with it anoint the Face.

To take away Freckles.

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Take the Gaul of a Cock, an [...]unce of Rye-Meal, a quarter of an ounce of the Juice of Hem [...]ock, an ounce of Oil of Turpentine, make them into an Ointment, and anoint the freckles with it, and in a little t [...]me they will diſappear.

A Pomatum, to Plump the Lips and Cheeks.

Take an ounce of Freſh Butter, and as much Virgins-Wax, ſet them over a gentle Fire, and throw in black Grapes, bruiſe them with a Ladle; then put in two ounces of Orange-Flower-Water; bruiſe in a Porringer, the bigneſs of a Rean of Orcanet, allay it with a little Orange-Flower-Water, put them into [Page] the Pomatum, and work them up together with a Spoon, and put it up for your uſe.

A Liquid Paſt, to Waſh the Hands without Water.

Take of bitter Almonds a pound, bruiſe them well in a Stone Mortar, till no Lumps remain, wet it with a little Milk, and make it into a Paſte, beat the Crumbs of Whitebread with a little Milk, and put theſe with the Yolks of Eggs without a Tread into the Morter to the Paſte; beat them up yet more, and then boil them till thick, and keep them for uſe.

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[Page] [Page] [Page] of white Lead, and as much of burnt Bone, mix them over a gentle fire, to a thickneſs, lay them on the Strainer.

To make a Soap that will take Greace, Spots, or Stains out of Cloth, Silks or Stuffs.

Burn a pound of Roach-Allom, and finely pouder it, add to it half a pound of the Root of an Herb called Florence-flame, then a new-laid Egg, and two pound and a half of Cake Soap, bruiſe and mix them well together that they may be made up with Fair Water into Balls; then firſt waſh the place Stained or Spotted with Fair warm Water, ſcrape the Soap moiſt on it, and waſh it out, and in three or four times thus doing, the blemiſhes will diſappear.

To take Spots out of Linnen.

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Take two ſpoonfuls of the Juice of an Onion, and as much of Lime-Juice, wet it two or three times, as often drying it by a Fire, waſh-it immediately in a good Laver, and it is done.

A good Ley, to take out Spots or Stains.

Put half a pound of Soapboilers Aſhes, into two pints of Water; let them remain three days with often ſtirring, then pour off the clear Ley, and mix it with Fullers-Earth, and lay it thick on the place, drying it in the Sun, or by a Fire, and in two or three times doing, it will effect your deſire.

To take Spots or Stains out of Coloured Silks, Stuffs, Linnen or Woollen.

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Take Pumice-Stone and grind it to pounder, put to it ſharp Vinegar and Fullers-Earth, let it lye on and dry, then waſh it out with Milk and the Flower of Almonds.

A way to take out Tar, Pitch, or Roſin.

Dab on this Oil of Turpentine, let that dry, and put on more, and the third time when it is dried you may rub out the Pitch, &c. for it will crumble like Dirt.

To take out Oil, or Greace.

Mix burnt Bone and Fullers-Earth [Page] with a little White-Wine, and Plaiſter them on the Spot, dry it by the Sun or Fire, and it will ſuck out all the Greace in once or twice doing.

Sweet Pouders or Perfumes, &c.

To make groſs Pouder Ala-Marchale.

Take of Iris ſixteen ounces, dried Orange-Flowers twelve ounces, Coriander four ounces, a pound of Provence Roſes, two ounces of Angel-Water dregs, an ounce of Calamus, two ounces of Souchet, half an ounce of Cloves, beat them well one after another in a Mortar, mix them, and finely ſift them into one incorporated Pouder.

Pouder of Jeſſimines

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To make this, mix about a thouſand ſprigs and flowers of Jeſſimine, amongſt twenty pound of fine Starch, in a cloſe Box, lay them even, making a Bed of Flowers, and a Bed of Pouder, and let them lye twenty four hours without touching, then ſhift the Flowers, and put freſh ones the ſame quantity for three days, and the Pouder will be well ſcented.

Pouder of Musked Roſes.

To do this well, you muſt put the Musked Roſes into the Pouder, and leave them there twenty four hours, in a cloſe Box, ſo ſhift them three times, and they will give an excellent ſcent.

Pouder of Orange-Flowers.

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Mix a pound of good ſcented Flowers with twenty pound of Starch, or Rice grounds, mingle them, and ſift them twice a day at leaſt, for theſe are ſubject to heat, and in twenty four hours you muſt ſhift the Flowers, and put the ſame quantity of freſh ones in, and ſo till there is a good ſcent, keeping it always cloſe, unleſs when you uſe it.

Pouder of Violets, or Iris.

In this caſe, beat the Iris, and paſs it through a Sieve, mingle it with the Pouder, and it gives the natural ſcent of a Violet.

Pouder of Amber.

[Page]

Mix Jeſſimine, Roſe, and Musk-Pouder together, each a like quantity, then mix with them the eighth part of an ounce of the Eſſence of Amber; then ſift the Pouder, but break not the Lumps made by the Eſſence till dried, then ſift them in, and mingle them well; and in this manner with Flowers, Eſſences, &c. you may make what Scent you pleaſe, Starch being the Ground of theſe Hair-Pouders, which ſucks the Scents, and contains it a very conſiderable time for uſe.

Waſh-balls Perfumed, &c.

Common Waſh-Balls, to make them.

Take a pound of white Cake-Soap, ſcrape it, and beat it [Page] well in a Morter; take out the Crumbles that are not well incorporated, and put in a pound of Starch well poudered, an ounce of the Eſſence of Orange, half a pint of Macanet-Water prepared, ſtir them gently with a Peſtle, then beat till they are an well mixed, make the Paſte up into Balls, and let them dry.

Waſh-Balls of Neroly.

Take eight pound of Cake-Soap well cleanſed, put to it when ſcraped, as much of Roſe or Orange-Flower, as will well temper it, ſtirring it twice a day, the better to ſoak; then having beaten it well, put in a pound of Labdanum in Pouder, and two ounces of Neroly, mix them into a Paſte, and ſo make them into Balls.

Bologna Waſh-Balls.

[Page]

Take three Bundles or Boxes of theſe Balls, beat them, and dip them in Angel-Water, as much as will well wet them, add half a pint of Benjamine-Water, make two equal Cakes of the Paſte, by well beating, then beat very ſmall two drams of Musk or Civet, with two ounces of Balm of Peru, dropped in by degrees; add to theſe the groſs Eſſence of Amber, and ſome Eſſence of Cloves, and ſome Cinnamon, mix theſe with the Paſte, make it into Balls, and keep it for a very curious Perfume; and in this nature other Waſh-Balls, or Paſte may be made, and perfumed with various ſcents.

Sweet-Bags, to make.

[Page]

Take of Common-Roſe-Leaves twelve ounces, Lavender-Flowers a pound and a half, Sweet Marjoram-Leaves twelve ounces, four ounces of the Leaves of Myrrh, ſix ounces of Tyme-Leaves, four ounces of Mellilot-Leaves, one of Roſemary, two of Cloves, one of Musk-Roſes, a good handful of Citron and Orange-Flowers; put theſe in a Pot, making a Ley of Leaves and Flowers, and another of Salt, then ſtop it well, yet every other day, ſtir it with a ſtick, expoſing it to the heat of the Sun in Summer, but not in the Rain, and fill your Sweet-Bags with theſe, and pouder.

To perfume Gloves, Fans, or Skins, with Flowers, &c.

[Page]

Grind on a ſmooth clean Marble Stone, two drams of Civet, add three drops of the Eſſence Orange-Flowers, and other Flowers, made with Ben-Oil, add more, a few drops of Millefleur-Water, grind by it ſelf Gum Adragam, about the bigneſs of a Hazle-Nut mixed with Orange-Flower-Water; after that, mix your Civet, dropping a little of the Millefleur-Water; ſo do till all is well mixed, then put your compoſition into a Mortar, and pour more Water, ſtir it till it comes to a quarter of a pint, lay it very even on your Gloves, Skins, &c. dry them in the Air, open, and order them for Colouring, and by this Rule, you may Perfume them with any Scents.

Roman-Gloves, how to Perfume.

[Page]

Grind on a fine Marble, a dram of Civet, with a few drops of Eſſence of Orange-Flower-Water, then mix Gum-Adragant of the bigneſs of a Hazle-Nut, in other Orange-Flower Water, then warm a little Mortar, and infuſe in it a dram of Amber, with a few drops of Orange-Flower-Water, pouring more to it by degrees, till all come to about a quarter of a pint, then mix again the Civet, with ſome drops of the ſame Water, adding, till the whole comes to half a pint, and then Perfume your Gloves, Skins, or Fans with it.

How to Colour and Perfume Gloves, at once.

[Page]

Chuſe what Colours you like beſt, and grind them on a flat Stone, with a little Ben-Oil, or the Eſſence of Orange-Flowers or Jeſſ [...]min, pour Orange-flower-water by degrees, ſtill grinding, then put to the Colours Gum-Adragant, diſſolved in Orange-Water, then being well ground, pour all into an Earthen Pan with more Water, taking the Colours, being not too thick, and then dip a ſoft Bruſh into it, and rub over Gloves, Skins, or Fans; let them dry in the Air, then ſmooth and order them as is requiſite; grind a bit of your Colour with a little piece of Gum Adragant, infuſed in Orange-Flower, and very clear, rub them over with this, and it will keep the Scene a long time.

Several ſorts of Snuff, Solid and Liquid, how to Make and Perfume them.
To Prepare and Cleanſe Snuff.

[Page]

The Ground of it is Tobacco dried into Pouder, that it will ſift curiouſly through a fine Sieve, and then it requires briefly to be waſhed and cleanſed in the following manner.

Soak it in Fair Water twenty four hours, then take it out, and ſqueeze it very well in a Cloth, dry it in the Sun on Wicker Hurdles, over which a fine Linnen Cloth is laid, keeping it turning, and ſtirring almoſt continually; being dried, ſprinkle Sweet-Water on it, as Orange, Jeſſimine, Angel, or the like, then dry it again, and wet and dry it three times, by which means it will be capable to take [Page] the impreſſion of any Scent, by being ſprinkled on it, or infuſed; but if you deſign to colour it Red or Yellow, it muſt be done before it is ſcented, eſpecially for Flower-ſcents, it may be coloured with Red or Yellow-Oker.

To Perfume Snuff with Flowers.

The Flowers moſt uſed in this are Jeſſimine, Orange, Musk, Roſes, Common-Roſes, Turbe-Roſes, &c. But theſe if uſed naturally, muſt be helped with the Eſſence of other Flowers, or the ſame; to do this, get a wooden Box large enough for your purpoſe, lined within with dry White-Paper, lay a laying of Snuff, and a laying of Flowers, and let them ſtand twenty four hours, then ſearce or ſift the Snuff, to take out the Flowers, [Page] and renew them with other Flowers; continue it four or five days, then ſeparate it, and keep, it in cloſe Boxes in a dry place for uſe.

Snuff, with Spaniſh-Perfume.

Take a pound of Snuff that has been Perfumed with any ſort of Flowers, beat in a Mortar twenty grains of Musk, with a little lump of Sugar, ſo put in your Snuff by degrees, gently ſtirring it about, and when the Mortar is full, empty it gently, and cover it to keep in the Scent as much as may be, then put in ten grains of Civet, put in the Snuff again, and mingle them well, and ſo keep it dry for uſe.

How to take Spots or Stains out of Scarlet or Velvet.

[Page]

To do this, take Soap-wort, a Herb of that name, bruiſe it, and ſtrain out the Juice, add a little Black-Soap, mix them well to a moderate thickneſs, daub over the ſtained or ſpotted place, waſh it out with warm water, and ſuffering it to dry, do it again twice or thrice, and it will effect your deſire.

To take Iron-moulds, or Spots, out of Linnen.

Diſſolve the Pouder of Burnt-Allom, in the Juice of Limon, wet the place with it, and dry it with the back of a Spoon, in the fore-part of which is a live Coal, and in doing it five or ſix times, the Iron-mould, or Spot will waſh out.

To Recover Faded Linnen.

[Page]

Heat a gallon of New-Milk over the Fire, and ſcrape a pound of Cake-Soap into it, and when the Soap is well diſſolved, boil the Linnen well therein, and then clap it into a hot Laver of Water and other Soap, waſh it out well, and it will recover its Strength and Colour.

To make Pouder-Inks, as the London-Pouder-Ink, &c. and Liquid Shining Japan-Ink.

To make that which is called the London-Pouder-Ink.

Take ten ounces of the cleareſt Nut-galls, bruiſe them and ſift the Pouder very fine, then White Copperas two ounces, Roman Vitriol three ounces, [Page] Gum-Arabick or Sandriack an ounce, bruiſe and ſift them very fine, ſo that though they appear White, a little being put into Water, will in a little time turn it, and an ounce of the Pouder, will make a pint of very Black Ink.

To make Japan, or Shining-Ink.

Take Gum-Arabick and Roman-Vitriol, of each an ounce, Galls well bruiſed a pound, put them into Rape-Vinegar, or Vinegar made of clear Small-Beer; let them remain in a warm place, often ſtirring, till the Liquor becomes black, then add to a gallon an ounce of Ivory-Black, and a quarter of a pint of Seed-Lac-Varniſh, and it will be a curious Black-Shining Ink.

A Pouder-Ink to rub on Paper, and Write on.

[Page]

Bruiſe about twenty Nut-galls and half an ounce of Roman Vitriol, as much Gum-Arabick, and Gum-Sandriack, mingle theſe finely together, when well bruiſed and ſifted, to a pouder, rub the Paper hard with it with Cotton Wool, and poliſhing it with a piece of Ivory, write with Water, and in a little time, the Letters you write will appear a Fair-black, as if written with the beſt Ink.

Receipts for the Cures of ſundry Diſeaſes and Grievances, Incident to Men, Women and Children.

For the Ague.

Take a little handful of the [Page] Tops of Rue, boil them in a quart of White-Wine, give the party half a pint, four times ſucceſſively, upon four Coldſits approaching, if the Ague laſt ſo long, and put the party into a warm Bed, this muſt be drank as hot as the Patient can drink it.

To Eaſe, and Remove the Pains of the Gout.

Take two ounces of Sarſaparilla, cut it ſmall, and boil it in a quart of Small-Beer, till a third part be conſumed, drink it as hot as may be, and about a quarter of an hour after, bathe in with your warm hands a mixture equally of the Spirit of Wine, and the fineſt Oil of Turpentine, where the afflicting Pain is, and it gives preſent eaſe, and in a ſhort time makes it ceaſe.

For Pains of Teeth.

[Page]

Take Henbane-Seed, and Hiſop-Seed, bruiſe them finely together, mix them that they may ſtick well, with a little Oil of Spikenard, if hollow, ſtop the Tooth with theſe, and a piece of Lint dipped in the Oil if not, tye up the quantity of a large Pea, in a fine thin Rag, and lay it to the Root of the Tooth, and the Pain will ſoon ceaſe.

To take away Corns.

Cut well and cloſe, take out as much of the Coat as you can then take Burnt-Allom, and the Pith of an Oiſter that ſticks to the Shell, dried and poudered, incorporate theſe with a little Venice-Turpentine, put into the hollowneſs, if there be any, a little Tent of Lint dipped in Oil of Cloves, and lay on the other as a Plaſter, and it in a [Page] weeks time with thrice renewing, takes away the Corn, making Fleſh ariſe, to fill the hollowneſs.

For Blaſts, Burns, or Scalds.

Take Ointment of Tobacco a quarter of an ounce, Pidgeons, or Pullets Dung half an ounce, Sallad Oil two ſpoonfuls, Snow-Water the like quantity, Cream a quarter of a pint, and the White of a New-laid Egg, beat and bruiſe theſe till they become a pliable Ointment over a gentle fire, ſpread them on a fair Cloth, and lay it to the afflicted Part, and in three or four times renewing, it will take out the fire, and put the party in an eaſie way of Recovery.

For the Stone or Gravel, in the Reins or Bladder.

Take green Parſley, if it can be got, that is running to Seed, if not, other Parſley, ſtamp it, [Page] and ſqueeze out an ounce of the Juice, and as much of that of a very hard Onion; take a little handful of Sloes, bruiſe them that the Stones may break, mix theſe with a pint of White-Wine and boil it well, then add to the ſtrained Liquor, a quarter of an ounce of calcined Crabs-Eyes or Claws, and let the Patient drink faſting half of it, and move up and down ſwiftly, and within a quarter of an hour the reſt, and it will ſpeedily afford eaſe, and bring away Sand and Gravel, if it remain in the Ureters, or Neck of the Bladder or Yard.

Thus Reader have I made good my Promiſe in this crouded VVork, full of variety, and muſt conclude, becauſe there remains not room for any more to be inſerted in this little Book.

[Page]

Information about this book

Title statement

Art's master-piece, or, A companion for the ingenious of either sex ... by C.K.

C. K.

Edition statement

1697

Publication

Publisher

Text Creation Partnership,

Place of publication

Ann Arbor, MI ; Oxford (UK) :

Date

2007-01 (EEBO-TCP Phase 1).

ID [DLPS]

A47168

ID [STC]

Wing K2

ID [STC]

ESTC R20096

ID [EEBO-CITATION]

12354023

ID [OCLC]

ocm 12354023

ID [VID]

60074

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Series

Early English books online.

Notes

(EEBO-TCP ; phase 1, no. A47168)

Transcribed from: (Early English Books Online ; image set 60074)

Images scanned from microfilm: (Early English books, 1641-1700 ; 212:9)

Source

— Art's master-piece, or, A companion for the ingenious of either sex ... by C.K., C. K..

Extent

[7], 160 p.

Printed for G. Conyers ... and J. Sprint ...,. London :: 1697.. (Reproduction of original in British Library.)

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