Main Title, Index and Introduction
Secrets relative to the Art of Engraving
Secrets relative to Metals
Secrets for the Composition of Varnishes, etc.
Secrets of Mastichs, Cements, Sealing-wax, etc.
Secrets of Glass Manufactory
- Compositions to Imitate Precious Stones, called French Paste
Secrets Concerning Colors and Painting
§ I. Paint In Varnish On Wood
§ 2. Paint On Paper
§ 3. Compositions For Limners
§ 4. Make Transparent
Color
§ 5. Compositions
to Dye Leather
§ 6. Color
or Varnish Copperplate Prints § 7. For
Painting on Glass
§ 8.
Color
Preparation for Oil, Water, and Crayon
Marble and Jasper Paper
Methods to
Clean Paintings
Making Good
Crayons
Directions for
Coloring Prints
Directions for Painting in
Oil
§ 9. Preparation of Lapis Lazuli to Make Ultramarine
Secrets of the Art of Gilding
The Art of Dying Woods, Bones, etc.
Of Casting in Moulds
Making curious and useful sorts of Ink
Ink Stone
Invisible Ink
Some Obscure Terms Defined
Links
|
§ I. To Paint In Varnish On Wood.
Useful To Carriage Painters.
I. The preparations previous to the laying of colors, and the
general process observed in laying them on it.
1. You must first lay on the wood two coats of Troyes-white,
diluted with size-water. Next lay over these a third coat of ceruse.
Then mix the color you want with turpentine oil, add the varnish to it, and lay
it on the wood, previously prepared as follows.
2. Polish the wood, first with shave-grass or horse
tail, and then with pounce stone. Lay afterwards six or seven coats of
color mixed with varnish, allowing after each coat a sufficient time to try,
before laying on the next; then polish over the last coat with pounce stone,
grinded on marble, into a subtile powder. When this is done, lay two or
three coats of pure white varnish. As soon as this is dry, rub it over
with a soft rag, dipped into fine olive oil, then rub it over with a soft rag,
dipped into fine olive oil, then rub it with tripoly reduced into subtile
powder, and having wiped with a clean piece of linen, pass a piece of wash
leather all over it.
II. To make a black.
1. The black is made with lamp or ivory black, grinded
on a marble stone, with vinegar and water, till it is reduced into the most
impalpable powder. Keep it in a bladder.
2. There is a sort of black which, from its hue, may be
termed a velvet black. This is made of sheep trotter bones, burnt and
reduced by grinding, like the other black, into an impalpable powder. Keep
it the same as the other.
III. To make a blue.
Burnt turnsol mixed with quick lime and water, then sized
with leather size, makes the blue.
IV. To make the Gridelin.
Grind cochineal with white lead and a little Venetian lake.
According as you put more or les of this last ingredient, you make it darker or
clearer. |
|