The Art of Japanning, Varnishing, &c.

work. The longeft-haired Pencils I efteem the beſt for this uſe; you may have them all at the places aforefaid.

6. You ſhould get 200 of Mufle-shells, that you may have them always in readineſs to mix your Metals or Colours in, as occafion ſhall ſerve: not that you need uſe the tenth part of them at once, but that you may not be to feek when you want; and for change, when your metals or colours, by frequent mixture, ſhall grow dirty, which will be, if you work in Gum-water, as I ſhall hereafter obſerve.

7. You ſhould furnish your ſelf with Ruſhes, which are called Dutch-Ruſhes, with which you muſt smooth your work before you varnifh it; and as you lay your ground of Colour or Black, if any knob or roughneſs appear on your work, you muſt take a Ruſh and ruſh it off; fo muſt you do as oft as you find any roughneſs or gritineſs upon your work, either in laying your Grounds, or varnifhing it up. You may buy them at the Iron-mongers.

8. You muſt have Tripoly to poliſh your work after it is varnified, which muſt be ſeraped, or finely pounded and fifted. But of this I ſhall have occafion to ſpeak more largely, when I come to give rules for varnifhing: you may have it at the Iron-mongers.

9. You can't be without ſtore of Linnen-rags as well coarse as fine, with which you muſt poliſh and clear up your work, as ſhall be ſhewed hereafter.

10. You muſt have Sallet-oyl for clearing up your work, as ſhall be notified in its proper place. All theſe things every Practitioner ought to provide, as being neceſſary to his future performances.

## CHAP. I.

A true Character of the beſt SPIRITS, GUMS, METALS, &c.

To know a Strong Spirit.

To make Varniſh you muſt have Spirit of Wine, which muſt be ſtrong, or it will ſpoyl the Varniſh, and not diſſolve your Gums, and conſequently hinder your deſign; for the ſtronger your Spirits are, the better will the Varniſh be; the Spirits only being to diſſolve the Gums, in order to make them ſpread, or lie even upon the work. After it hath performed that work, the ſooner they evaporate the better, and the higher the Spirits are drawn, the leſs flegm or watery parts are in them; and the leſs of watery parts are in the Varniſh, the ſooner it dries, and is fit for poliſhing, is more permanent, and will come to the greater and better gloſs. But this is of little uſe now Varniſh is ſo much uſed; for the Difſillers have learned by practice and cuſtom to make Spirits that juſt diſſolve the gums, only it requires the longer drying: Yet theſe Spirits that are

The Art of a Powder Box

The Art of a Patch Box

The Fellow to it

The Fellows to it

Gum Capell.

The beft Capall is the whiteft, freeft from drofs, and thick dark
ftuff that is incorporated with the Gum. It is of it self a thick
whitifh heavy Gum, and rarely without that dark and droffly mix-
ture; but that which is cleareft and freeft from the faid ftuff is the
beft. The price is 12, 16, or 18d: the pound, according to the
goodneſs.

To choose Gum Elemi.

The beft Gum Elemi is the hardeft, whiteft, and cleareft, freeft from drofs or dirt. It is brought over commonly in the bark or husk of a Tree; which you may take off as well as you can before you uſe it. The Shops can afford it at 4 or 5d. the ounce.

Rofine.

The beft is the clear, and tranſparent, and clarified. It may be
had at 3d. the pound.

Ifinglafs.

The beſt Ifinglafs is that which is cleareſt, and whiteſt, freeſt from yellowneſs. It is, if good, worth 3 or 4d. the ounce; you may have it cheaper by the pound. The fame may be obſerved by other things; for the greater quantity you buy at a time, the cheaper will your purchase be.

Gamogium.

The beſt is that of the brightest yellow, and freeſt from droſs.
Some of it is dirty, thick, and full of droſs: there is difference in
the price according to the goodneſs ; the beſt is worth 6d. the
ounce.

To choose Benjamin, or Benzoine.

The beſt is that of a bright reddifh colour, very like to clarified
Rofine, but never ſo fine, freeſt from droſs or filth. Tis as in good-
neſs, 4d, 6d, or 8d, the ounce.

Dragons Blood.

The beſt is the brighteſt red, and freeſt from droſs. You may
buy it in drops (as the Drugſters call it) which is the beſt. They
are made up in a kind of leaf or husk: it is commonly 8d. fome-
times 12d. the ounce, according to the goodneſs.

I have here given you an account of those things and Gums you will have occafion for in Japanning and Varnifhing, and are all to be bought at the Drugſters at or neer the prizes I have ſpecified; and may ſerve to inform you in fome meaſure of the Gums, their excellencies and value, but time and practice will make greater difcoveries. Indeed grains of Allowance muſt be made for their different prizes; for their rife and fall depends upon the plenty or ſcarcity of them, and varies according to the goodneſs of the commodity. It is not neceſſary to furniſh your ſelf with all, or any part of theſe, but as you have occafion to make uſe of them: for of fome,

Other patterns for Powder Boxes

Other Patterns for Patch Boxes

The Fellow

The Fellow

Dirty-Gold

Is another kind of corrupted metal, which bears some resemblance to drofly dirty Gold : it may be purchased at 6s. the ounce.

Powder-Tinn

Is Tinn grinded to dust, of a dull, dark, though flyverih colour ; made use of in Rocks, &c. Its price the fame with the former.

Of Coppers

There are three forts, Natural, Artificial, and Adulterate.

The Natural is ground without mixture, well cleanfed, and is of the true genuine colour of Copper, and is fold at 6 or 7s. the ounce.

The Artificial accordingly exceeds the Natural; it is more deep and red, but very clear, and its bright glittering colour flews how far it is poffible for Art to exceed Nature. This very rarely cured, or fold under 10s. the ounce.

The Adulterate Copper is of a thick, heavy, metallick colour, and is commonly ufed to work other metals on, as if that be layed for a Ground, you hatch or highten with bright gold, or other light metal; and fold at 6s. the ounce.

There is alfo ufed in Japan-work metals, commonly called Speckles, of divers forts, as Gold, Silver, Copper, and many other colours, fome finer than other, and worked according to the fancy of the Artift, either on Mouldings, the out or in-fide of Boxes, Drawers, &c.

Of theſe, thate that are uſed in the Indian work, are the Gold, Silver, and Copper, though, as aforefaid, every one may take their own fancy or humor in the uſe of them. They are made here in England very well, and are fold each of them much at a price, 3 or 6 ſhillings the ounce, according as they are in finenefs. So that what I faid concerning the rates of Gums, will hold good here alfo, That a glut or ſcarcity of theſe enhances or abates the price; but generally theſe are expofed to ſale at the rates I have affixed to each of them. Theſe are fold by great quantities by ſeveral Merchants in London; and in leſer, by as many. I ſhall only mention two, viz. a Gold-beater, at the hand and hammer in Long-acre; and another of the fame trade, over againſt Mercers-Chappel in Cheap-fide.

Having given you an account of Gums, and Metals, I ſhall briefly run over the Colours, which formerly our ignorant Englifh and French Practitioners uſed to mix with their Japan-work, but improperly; for the true natural Japan-work, to called from the Iſland of that name, did ſo far ſurpafs all the painting of Bantam, and the neighbouring places, in goodneſs of black and ſatelineſs of draught, that no filding pretender could match or imitate it; and the ignorant undertaker not being able to make his work look well and lively,

Other patterns for Powdor Boxes

Other Patterns for Patch Boxes 3

The fellow to it

The fellow to it

abundantly sufficient, for any that defign to have something before
gawdy colours in their work. I will be convenient here to infert a
caution concerning these Colours; that they are all to be layed
with Gum-water, except the transparent ones above-mentioned:
and whofoever hath a mind to work, either in Gum-water, or Gold-
fize, shall hereafter receive sufficient Infructions for both.

According to my promife I have in full treated of Gums, Metals, and Colours; I shall now in full proceed to discover the methods that are used to make Varnishes.

## CHAP. II.

### How to make VARNISHES.

To make Seed-Lace-Varnish,

Take one gallon of good Spirit, and put it in as wide-mouthed a
bottle as you can procure; for when you shall afterwards
train your varnish, the Gums in a narrow-mouthed bottle
may stick together, and clog the mouth, so that it will be no caufe
task to separate or get them out. To your spirits add one pound
and a half of the best Seed-lace; let it stand the space of 24 hours,
or longer, for the Gum will be the better diffolved: observe to
shake it very well, and often, to keep the Gums from clogging or
caking together. When it hath stood its time, take another bott-
tle of the fame bigness, or as many quart-ones as will contain your
varnish; and your ftrainer of flannel made as aforefaid in this book,
faften it to a tenter-hook againft a wall, or fome other place con-
venient for ftraining it, in fuch a pofture, that the end of your
ftrainer may almoft touch the bottom of your Tin-tunnel, which
is supposed to be fixed in the mouth of your empty bottle, on pur-
pole to receive your ftrained varnish. Then shake your varnish
well together, and pour or decant into your ftrainer as much as
conveniently it will hold, only be fure to leave room for your
hand, with which you muſt squeeze out the varnish; and when the
bag by fó doing is almoſt drawn dry, repeat it, till your ftrainer be-
ing almoſt full of the dregs of the Gums, ſhall (the moisture being
all prefled out) require to be discharged of them: which faces or
dregs are of no uſe, unleſs it be to burn, or fire your chimny. This
operation muſt be continued, till all your varnish is after this man-
ner trained; which done, commit it to your bottles cloſe flopt,
and let it remain undifturbed for two or three days: then into an-
other clean empty bottle pour off very gently the top of your var-
nifh, fo long as you perceive it to run very clear, and no longer;
for as foon as you obſerve it to come thick, and muddy, you muſt
by all means deft: and again, give it time to reſt and ſettle, which
twill do in a day or two; after which time you may attempt to
draw off more of your fine varnifh, and having ſo done you may
lay

Cloth

Brushes

Combs

Brushes

A Pinewhing Trunks for Pendants Necklace Rings & Jewellns

other respect; That this will never be fine, clear, and transparent, and therefore twill be loft labour to endeavour, either by art or industry, to make it so. This final advantage however doth arise, that you need not expect or tarry for the time of its perfection, for the fame minute that made it, made it fit for use. This, as I intended before, is a fit varnish for ordinary work that requires not a polish; for though it may be polished, and look well for the present, yet like a handom Ladies beautiful face, it hath no security against the injuries of time; for but a few days will reduce it to its native mift and dulnefs. Your common Varnish-dawbers frequently use it, for its doubly advantageous to them: having a greater body than the Seed-Lace, its labour and varnish goes to the perfecting their work; which they carelessly flubber over, and if it looks tolerably bright till its fold, they matter not how dull it looks afterward; and lucre only being designed, if they can compass that, farewel credit and admiration. Poor insufficient Pretenders, not able to make their work more apparent, or more lafting than their knavery! And this pretty to think, that the fame mifty cloak will not cover the fraud and the impoftor! that the first should be a foil to the second, and the dull foggy work serve only to fet off the knavish Artift in his moft lively colours! But to conclude, if with a pint of this varnish you mix two ounces or more of Venice-turpentine, it will harden well, and be a varnish good enough for the infide of Drawers, frames of Tables, Stan-pilasters, frames of Chairs, Stools, or the like. Painters Lacker made also with this Varnish, and something a larger quantity of Turpentine put to it, serves very well for lackering of Coaches, Houfes, Signs, or the like, and will glofs with very little heat, and, if occupation be, without.

To make the best White-varnifh.

I would define the Reader to obferve, that when any Drugs, Gums, or Spirits, are fet down for the use and making of Varnifh, Lacker, or the like, though we do not to every particular write the beſt of ſuch a fort, yet that you ſhould understand our meaning to be ſuch, when we do not particularly forbid the getting or buying of the beſt; for tis irkſom and tedious to every ſingle drug to affix the word Beſt: wherefore to avoid ſo needleſs a repetition, I ſhall forbear mentioning it above once, either at the beginning or end, as it ſhall seem moſt neceſſary. Besides, tis a very reaſonable fuppofition; for you muſt not expect to raſe a Noble piece from droſs or rubbifh; to erect a Louvre or Eſcurial with dirt or clay, nor from a common Log to frame a Mercury. But to return to our deſign of White-varnifh: Being furnished with one pound of the whiteſt Gum Sandrick, one ounce of the whiteſt Gum Maſtick, of the cleareſt Venice-Turpentine three ounces, one ounce and a half of Gum-Capal, of Gum-Elemni half an ounce, of Gum-Benzoin or Benjamin the cleareſt half an ounce, one ounce and half of the cleareſt Gum Animæ, and of white Rofine half an ounce. The Gums

Having provided three quarters of a pound of gum Sandrick, mix it with two quarts of Spirits, and having been well flaken, and flood for about two days, decant or ftrain it into another bottle, and reserve it for use. Take also of clean pickt Maftick the fame proportion, to an equal quantity of Spirit with the former, and in every particular observe the rules for making the Sandrick, as to fetling, fhaking, decanting, and ftraining it.

Now when you defign to varnifh a print or any thing elfe with this varnifh, your ufual proportion for mixing them, is to add a double part of gum Maftick to a fingle part of gum Sandrick. As for instance: fuppofe the work would take up or confume three quarters of a pint of varnifh; then by the foregoing rule you muft put half a pint of Maftick to a quarter of a pint of Sandrick-varnifh, and fo accordingly in a lefter or greater quantity. And we think fit to make theſe varnifhes feverally, and fo mix them, that we may have our varnifh anſwer to our defires in ſoftneſs or hardneſs. Now when you have fet by your work for two days, you may try its qualities, if, by preſling your warm finger on it, you leave your print behind you, tis a ſign that it is too ſoft, and a wath or two of the Sandrick will harden it: if it not only reſift your touch, but hath ſome ſtreaks, flaws, or cracks, like ſcratches, ſome-times more or leſs, you may be ſure tis too hard, and it muſt be remedied by a wath or two of your Maſtick-varnifh. Some uſually diſolve theſe gums together, and others mix them before hand, and by ſo doing are not certain how their varnifh will fucceed; for it often happens, that ſome parts of each gum are ſofter than others, and ſo the contrary. Should therefore a varnifhed piece prove too ſoft, or hard, this way cannot remedy it; for to wath it again with the fame, is only a repetition of the former miſcarriage. Theſe things being premiſed, I need not infer which way will prove the moſt rational, certain, and fatisfactory.

To make Varnifh, that ſball ſecure your Draught, whether Gold-work, or Colour, from the injuries of Tarniſbing, and will give it a gloſs.

Before we come to the Varnifh, tis requisite to acquaint you with the manner of preparing Turpentine, which is the chiefest ingredient. Take then of good Venice-turpentine as much as you pleafe, incloſe it in a Pipkin that will hold double the quantity that you put in. Having prepared a fire that will never flame out, but burn gently and clearly, fet your pot over it, but be cautious that it boil not over, thereby to prevent the firing your Turpentine and your Chimny. To this gentle boiling motion cauſed by the fire you muſt join another, and with a ſtick very often ſtir it, until you find tis rendred fit for uſe; which you may diſcover, by dropping a little of it on the ground; for when tis cold, it will crumble to powder between your fingers, if it be ſufficiently boiled; and when tis brought to this pafs, nothing remains but that you let it cool, and reserve it for the following compoſition.

Your

The top of a hole Roin Frame for Japan wortcalled a Toad Driing frame a working Clad.

The Bottom of y Sand Frame

The Five of y Frame to y Right Land

The Five of y Frame to y Left Land

14

f time by stirring with a stick, (as in the last Chapter you were directed.) But if they find the place too hot for them, they should endeavour to escape by boiling over, which you'll soon discover by the rout and bustle, and rifting of the water; release them, not from the Veffels but fix the Pipkin in a cooler place; yet so, that they may always dance, and boil leifurely. If you find that a little of this Liquor being poured on the ground, if cold, is willing by your fingers to be reduced to powder, you may conclude that the operation has succeeded well, and ought now to be concluded. Having flood long enough to loofe its acquired heat, and will suffer you to handle it; part these fellow-fufferers, by taking the Venice-Turpentine into your wet hands, and therewith squeeze from it its friend the water, as clean as pofibly; roll it into the figure of a ball, and after a day or two pound and beat it into fine powder, and in a fit place fet it to dry, but not too near the fire, which will melt it; and laftly, imprifon it in a Gallipot.

This Operation is juſt like the former; but the two Turpentines are at variance, and differ in their colours; for this is as white as Paper, the other, in the laſt Chapter, as yellow as Amber: You muſt therefore of neceflity judge this moſt excellent for the prefent uſe; although this more often to be wafht with it, before it will endure and acquire a glittering Poliſh.

Having advanced thus far, let us now proceed to compoſe the Varniſh, by joining one ounce of this powder'd Turpentine to half a pint of Seed-Lace-varnifh, in a bottle twice as large as the things you put in, cloſe ſtopt. When it has flood ſome ſmall time on an eafe fire, take it off, unſtop, and shake it: be ſure to do ſo, until the Turpentine be diffolved to the bignefs of a large Pea; and after two days have both cooſd and fettled it, decant and ſeparate the cleareſt, which is now in readineſs for your work. Your piece therefore lying before you drawn and finiſhed, waiting for ſecurity againſt all damages, fortifie after this manner. Take a neat, clean, varniſh-Pencil, large or ſmall, as your work is in its Area, ſurface and breadth; for a large Table or Box requires a great Pencil, and ſo the contrary. This Pencil being dipt into a Gallipot, wherein you have poured ſome of the faſt varniſh; when you take it out, always ſtroke it againſt the fides of the pot, for fear it ſhould be too full and overburthened with varniſh, which will incur this inconvenience, That twill lie thick and rough in ſome places, whereas a ſmooth and even ſuperficie is its greatest beauty. This, without any diffiſtation, muſt waſh over your whole work, both draught and ground: And you muſt do it five or fix times, as you fee the gold and metals keep their colour, gently warming and throughly drying it between every waſh; and indeed it muſt be but juſt warm, for if more, twill ruine all your labour. Having obſerved these rules, as alſo that it muſt be by all means be evenly and ſmoothly done; let it have reſt three or four days before you attempt any

For a Standish for Pen Ink & paper a jolldo may stand for a Comb Box.

The Fora Side of y Standish.

The Art of Japaning, Varnishing, &c.

16

general Cautions,, which I defire you would have always in mind,
and call them to your afflirtance in all your undertakings.

1. Therefore let your wood which you intend to varnify be clove-grained, exempt and free from all knots and greafineſs, very ſmooth, clean, and well rufh't.

2. Lay all your Colours and Blacks exquifitely even and ſmooth; and where ever mole-hills and knobs, aſperities and roughneſs in colours or varnifh offer to appear, with your Ruff ſweep them off; and tell them their room is more acceptable to you than their company. If this ill ſusage will not terrifie them, or make them avoid your work, give them no better entertainment than you did before, but maintain your former ſeverity, and with your Ruff whip them off, as often as they moleſt you.

3. Keep your work always warm, by no means hot, which will certainly blifter or crack it; and if that miſchance through inadvertency ſhould happen, tis next to irreparable, and nothing leſs than ſcraping off all the varnifh can reſtifie the miſcarriage.

4. Let your work be throughly dry, after every diſtinct waſh; for neglect in this point introduces the fault again, of which we warned you in the ſecond rule, That your varnifh ſhould not be rough and knobby.

5. Let your work lie by and reſt, as long as your convenience will admit, after tis varnified; for the better will your endeavours prove, the longer it ſtands after this operation.

6. Be mindful to begin your varnifhing ſtroak in the middle of the table or box that you have provided for that work, and not in full length from one end to the other; ſo that your bruſh being planted in the middle of your board, ſtrike it to one end; then taking it off, fix it to the place you began at, and draw or extend it to the other end; ſo muſt you do till the whole plane or content be varnified over. We have reaſons too for this caution, which if neglected, has ſeveral faults and prejudices attending it; for if you should undertake at one ſtroak to move your Pencil from end to end, it would ſo happen that you would overlap the edges and mouldings of your box; this overlapping is, when you fee the varnifh lie in drops and ſplathes, not laid by your bruſh, but cauſed by your bruſhes being at the beginning of the ſtroak overcharg'd and too full of varnifh, and therefore we adviſe you to ſtroke your pencil once or twice againſt the ſides of the Gallipot, to obſtruſt and hinder this ſuperfluity; ſmall experience will diſcover theſe miſtakes.

7. When you come to poliſh, let your Tripolee be ſcraped with glaſs or a knife: for fine work your rags muſt be fine, and your Tripolee too delicately ſmall, and powder-like; and ſo for common work, coarſe linnen, and coarſer Tripolee will be very ſerviceable: let your hand be moderately hard, but very even, in all your poliſhing-ſtroaks; and remember to poliſh and brighten one place, as much as for that time you intend to do, before you forſake it, and paps over to another. For

8. Re-

The fore side of the Combe Box.

For, a. Hohn, or T. of a.  
Combe, Box.

## CHAP. IV.
Of varnishing Woods without Colour.

To varnify Olive-wood.

VWHAT remains then, but that from Precept we proceed to Practice, that from mean and ordinary endeavours we fucceffively rife to the excellence and perfection of this Art. To begin with Olive-wood, which for Tables, Stands, Cabinets, &c, has been highly in requeft amongſt us; that which is cleanly workt off, void of flaws, cracks, and aſperities, is a fit ſubject for our skill to be exercifed in. Having rufhed it all over diligently, fet it by a weak fire, or fome place where it may receive heat; and in this warm condition, wath it over ten or twelve times with Seed-Lacc-varnifh, that remained after you had poured off the top for a better uſe, with a pencil proportioned to the bignefs of your Table or Stand, or the like; let it throughly dry between every wath; and if any roughneſs come in fight, rufh em off as faſt as you meet with them. After all this, welcom it with your Ruff until tis ſmooth, and when very dry, anoint it fix ſeveral times with the top or fineſt part of the aforefaid Seed-Lacc-varnifh. After three days ſtanding call for Tripolee ſcraped with a knife; and with a cloth, dipt firſt in water, then in powdered Tripolee, polifh and rub it till it acquire a finoothneſs and gloſs: but be circumſpect and ſhie of rubbing too much, which will fret and wear off the varnifh, that cannot easily be repair'd. If when you have labour'd for ſome time, you uſe the rag often wetted, without Tripolee, you will obtain the better gloſs. Then wipe of your Tripolee with a ſpunge full of water, the water with a dry rag; greaſe it with Lamblack and Oyl all over; wipe off that with a cloth, and clear it up with another, as I have moſt fully ſhewed in the laſt Chapter, to which I refer you. If after all this pains your work look dull, and your varnifh mifty, which polifhing before tis dry, and damp weather will effect; give it a flight polifh, clear it up, and that will reſtore its priftine beauty: If you have been too niggardly of your varnifh, and there is not enough to bear and endure a polifh, uſe again your fineſt Seed-Lacc, and afford it four or five wathes more; after two days quietneſs polifh and clear it up. Should any one define to keep the true natural, and genuine colour of the wood, I council him to employ the white-varnifh formerly mentioned, as every where anſwerable to his purpofe; for this being of a reddifh tawny colour, and ſo often wathed with it, muſt neceſſarily heighten and increaſe the natural one of the Olive.

To varnify Walnut-wood.

To avoid a tedious and troubleſom repetition or tautology, I ſhall refer you to the laſt Chapter, and define you to obſerve the fame

20 The Art of Japanning, Varnishing, &c.

and no more, and with this wash it fix times, letting it stand 12
hours between the three firft and the three laft wathings. Having
thus cloathed the piece with ordinary varnish as with a common
under-garment, we now intend to put on its gayeft apparel, and
cover it all over with the top and fineft of the Seed-Lac-varnifh,
which muft also be juft coloured and tinged with the Lamp-black :
twelve times muft it be varnifhed with this, standing as many
hours between the fix firft and the fix laft wathings, with this ne-
ver to be forgotten caution, That they stand till they are dried be-
tween every diftinct varnifhing. After all this give it reft for five
or fix days before you attempt to polifh it; that time being ex-
pired, take water and Tripolee, and polifh it according to the dire-
ctions I have affigned and taught you in the Chapter for Olive-
wood: but however take along with you this further remark,
That you allow three times diftinct from each other for polifhing;
for the firft, labour at it till tis almost smooth, and let it stand till
two days; the next time, polifh till it is very near enough and suffi-
cient: lay it afide then for five or fix days; after which, laftly,
polifh off, and clear it up as you were before infructed. Follow-
ing this course, I have, I will affure you, made as good, as gloffy,
and beautiful a Black, as ever was wrought by an English hand,
and to all appearance it was no way inferior to the Indian.

I promised to detect and lay open the whole Art, and do reolve
by no means to fall short of my engagement. I intend therefore
to pleature you with another way to make good Black, and having
variety you may take your choice, and try either, as your fancy
or Genius is inclined. I muft confefs, I have made excellent good
black this way too, and such as in all respects would match and
parallel the foregoing. Lay your blacks as before, and take of the
best Seed-Lac-varnifh, and the White-varnifh: (I mean the firft
White that I taught you to make in this Book) an equal quantity,
and vouchsafe to give it a tincture only of your Lamp or Ivory-
black; wash your work with it fix or eight times, let it stand the
space of a day or two, and dry between every turn; then repeat it
four or five times more, keeping it but juft warm, and having reft-
ed a day or so, anoint it as often with the fine Seed-Lac-varnifh on-
ly. To conclude, in a weeks time, after all this has been done, it
will be dry enough to polifh, and not before, which you may then
do, and clear it up. You will obferve, that your gloffy perfor-
mances after some little time may happen to wax dull, mifty, and
heavy; which a flight polifh will remedy, with clearing it up af-
terward. Now the caues of this difappointment are two: either
firft, your varnifh is not reafonably well dried, or it has not a suffi-
cient body of varnifh; both these occafion it to mift, and, as it
were, to purl. Tis no hard task to diftinguifh them: if the for-
mer is in fault, it will appear dull, but of a full body, and smooth;
if the latter, the work will look hungry, and fo bare, that you may
almost, if not quite, fee the very grain of the wood through your
varnifh.

22 The Art of Japanning, Varnishing, &c.

fright into it as much whiting, as will make it of a teafonable thickness and confiştence; or so long, till by a ftroak with your pencil dipt into it, it will whiten the body which your brufh has pafled over; your own discretion is the best guide. Suffer it not to be in extreams, either too thick or too thin; but with your brufh, made of the softeft Hogs-hair, mix and incorporate very well the whiting with your fize. This being prepared, whiten your work once over with it, and having ſfood till it is throughly dry, do it all over again; and when dry, repeat it a third time: after which let it ſtand twelve hours, but be fure to cover and deſend it from duft before tis varnifh't. Take then ſome rufhes; rufh it as smooth and as cloſe to the wood as you can conveniently. This done, procure ſome white flake, with which the Colour-flops can furnifh you; mix it too with your fize only, that it may lie with a full, fair body on your piece. With this, three ſeveral times whiten your work, giving it ſufficient time to dry between each of them; then rufh it extraordinarily smooth, but be not now so bold as you were before; adventure not to come near the wood, but by all means keep your diſtance. Theſe two forts of white being uſed, we charge you with a third, and that is, white Starch, boiled in fair water, until it come to be ſomewhat thick, and with it almoſt blood-warm waſh over the whole, twice; never forgetting that it ſhould dry between every turn. After 24 hours reſt, take the fineſt of your white-varnifh, and with a pencil (firſt waſhed in ſpirit to clean it from duſt) anoint or varnifh your work ſix or ſeven times, and after a day or two do the like again. Theſe two fits of varnifhing, if done with a fine careful hand, will give it a better gloſs than if it were polifh't; if not so accurately performed, tis requisite to polifh it; and in order thereunto, you muſt beſtow five or ſix waſhes of varnifhing more than to the former: ſo that if tis done so well, that it ſtands not in need of a polifh, two turns of varnifhing will ſuffice; but if it muſt be polifh't, three are absolutely required, beſides a weeks reſt before you begin polifhing. Care and neatneſs ſhould attend this operation from one end to the other; for in polifhing, your Linnen and Tripolee muſt be both of the fineſt; your hand light and gentle, your cloth neither too wet, or too dry; and when you clear it up, and give it the finifhing, concluding ſtroak, fine flower and oyl muſt be admitted to the performance, but Lamp-black utterly laid afide and excluded.

To make Ifinglafs-Size.

Take an ounce of Ifinglafs, divided or broke into finall pieces; let it ſtand in a clean Pipkin, accompanied with a pint and a half of fair water, for twelve hours together. Place the veſſel on a gentle fire, suffer it to boil mighty leifurely, and continue ſmiling and ſimpering, till it is wholly confumed and diſolv'd in the water. After the water it ſelf is waſted and boiled away to a pint or leſs, remove it, and let it ſtand in a convenient place to cool. This when cold,

24 The Art of Japanning, Varnishing, &c.

when you lay or wash with clear Ifinglafs, to keep you var-
nifh from foaking into, or tarnifhing your colours, then let it
be of a strong and full body.

To make Gum-water

Hardly any can be ignorant of the making of this; tis very
common, and eafie, and the compofition conſifts of two bodies on-
ly. In three quarters of a pint of fair water diffolve one ounce of
the whiteſt Gum-Arabick, carefully and cleanly picked: If you
keep ſtirring and ſhaking it, the fooner 'twill be diſſolved; which
done, ſtrain it through a fine Holland-rag into a bottle, and if you
want it, uſe it.

To make Red-Japan.

This beautiful colour is made ſeveral ways, and we want not
drugs and mixtures to vary the different Reds, and humour all fan-
cies whatsoever. I ſhall confine their variety to three heads:
1. The common uſual Red; 2. the deep, dark; and laſtly, the light,
pale Red. Of theſe in their order.

In contriving the firſt, Vermilion defervedly claims the chief
place: Tis mixt with common ſize by ſome, by others with the
thickſt of Seed-Lace. The laſt I judge moſt fit and uſeful, for this
reafon; becauſe it will not then break off in polifhing, as that mixt
with ſize frequently does: neither is it more chargeable, feeing it
helps better to bear the body of varnifh that ſhall be ſpread over it;
Your mixture ſhould keep a medium between thick and thin; tis
difficult, and almoſt impoſſible to aſſign exact Rules for mingling
your Colours, in general we tell you between both extremes; ſmall
practice and experience will maſter this ſeeming difficulty. Your
work being ready and warm, produce your Vermilion well mixt
with the varnifh, and ſalute it four times with it; then allow it
time to dry, and if your Reds be full, and in a good body to your
liking, rufh it very ſmooth: ſo done, wash it eight times with the
ordinary Seed-Lac-varnifh, and grant it a repofe for twelve hours;
then rufh it again, though flightly, to make it look ſmooth. And
laſtly, for a fine outward covering beſtow eight or ten washes of
your beſt Seed-Lacc-varnifh upon it: and having laid it by for five
or fix days bring it forth to polifh, and clear it up with Oyl and
Lamblack.

The next in ſucceſſion to be diſcours'd on is the dark, deep Red.
When you have laid on your common Red as before directed, take
Dragons-blood, reduce it to a very ſmall duſt or powder, and as
your judgment and fancy are inclined, mix it, a little at a time,
with your varnifh; and indeed you will find, that a very ſmall
portion will extreamly heighten your colour, as alſo that every
wash will render it deeper; but when you find it has acquired a
colour almoſt as deep as you deſign, forbear, for you muſt remem-
ber you have more varnifh of Seed-Lace to lay on, which will add
and ſupply what is wanting. Confider therefore how many washes
are

26

bufinefs, call for a fine proportionable Hogs-hair brufh, with it
wafh over fmoothly your piece; let it dry, and repeat until your
colour lie full and fair. Again, give it a drying time, and ruſh it
fmooth, but by no means cloſe to the wood, unleſs you intend to
begin your work anew, and varnifh it a ſecond time. After a days
reſt, adorn it with three or four wafhes of the fine Seed-Lacc-var-
nifh; when that is alfo dried on, varnifh it up to a body, fit to re-
ceive a polifh, with your white varnifh. To conclude, its due and
neceſſary time being ſpent, polifh and clear it up with Lamblack
and Oyl.

To make an Olive-colour.

This performance is every way anſwerable to the former; only
inſtead of thofe put Engliſh Pinck: grind it with common fize, and
when it has attained the confiſtence of butter, convey it to a pot-
tinger, and there Lamblack and White-lead mixt with it produce
the Olive-colour; if too light, Lamblack will prevent it, if too
dark the other. But farther, if you think it looks too green, take
raw Umber, grinded very fine with ſize; add of that enough to take
away that greenefs: And nothing then remains but a due heed and
obſervance of the foregoing rules for Cheſnut. But before we leave
this Section, remember, That all colours laid in ſize will not en-
dure ſo violent a polifh as thofe in varnifh, but are more ſubject to
be rubb'd off.

By theſe methods you may make any colour you can fancie;
with this admonition, That all colours, which are light and apt
to tarniſh, and loofe their gloſſy beauty with Seed-Lacc, muſt be
humour'd and varnified with White-varnifh, the Seed-Lacc being
prejudicial.

CHAP. VI.

To work Metals or Colours with Gum-water.

VV
Henfoever you deſign to work Japan in Gum-water, you
are adviſed to mix all your Metals and Colours, and
every thing you make uſe of, with this Gum-water. But becauſe
there is no general Rule without exception; therefore we under-
ſtand all colours, except thofe which before we called Tranſparent
ones, for they require a different and diſtinct way of operation, as
the beginning of this Treatife has directed.

the beginning of this Treatife has directed.
When you deſign a mixture, forget not to ſtr the ingredients
very well, together with the water, in a Muffeſhell, which I con-
ceive is more proper for this undertaking, and for that reaſon de-
fired you to furniſh your ſelf with a great number of them. Be
cautious, I beſeech you, that you make not the mixture of your
metals or colours with the gum-water either too thick or thin, but
endeavour to keep the golden mean between both, that it may run
fine

and on the fame spot erect a new draught; by thefe means he may
mend, add, blot out, and alter, until the whole fabrick be of one
entire make, good and anfwerable to each part of the undertaking.
I cannot better in words exprs my ſelf, or with my Pen deliver
more full or plain rules for mixing your colours and metals; nei-
ther can I with my tongue more ſteadily guide your hand and pen.
cil. I am apt to flatter my ſelf ſo far, as to believe what I have
communicated may abundantly ſuffice, and ſhall therefore add no-
thing more with relation to laying metals or colours, and the man-
ner or method of working them in Gum-water. That part of our
Proſection which we call Setting off, or, which is the fame thing
in other words, Seeding of Flowers, Veining of Leaves, Draw-
ing of Faces, and making Garments, deſires not our preſent con-
fideration, but ſhall be handled in the following pages.

## CHAP. VII.

### To make Gold-fize.

This is the other famous compofition, which is in great ſteem
and uſe for laying metals and colours, and ought in due man-
ner to be made known; but we ſhall firſt give you the method of
mixing thoſe things which are concerned in its production. Their
names and quantities are, of Gum aniline, one ounce, Gum Eſpal-
tum one ounce, Lethergi of Gold half an ounce; Red-lead, brown
Umber, of each the like portion. To theſe, ſhut altogether in a
new earthen pipkin, large enough to hold one third more than you
put in, pour of Linfeed oyl a quarter of a pint, of drying oyl half
a pint, with which you may be furnished at the colour-shops.
Place this earthen veſſel, thus loaded over a gentle fire, that does
not flame in the leaſt, keeping it continually ſo warm, that it may
but juſt bubble up, or almoſt boil; ſhould it rieſe over, your ehim-
ny and materials would be in danger: if you perceive it ſwelling,
and endeavouring to paff its bounds, remove it from that hot place
to a more cool and gentle. When firſt it begins to ſimper and boil
a little, with a ſtick keep moving and stirring it, until the whole
maſs of Gums be incorporated and melted; not that you muſt de-
fift or forbear stirring until it become as thick and ropy as Treacle,
for then it is ſufficiently boiled. This done, convey the pipkin to
a cool place, and there let it reſt, till the extremity of heat is over.
After which time, ſtrain it through a coarſe linnen cloth into ano-
ther earthen pot, there to cool, and lie ready for uſe.

This is the manner of its compofition. I ſhall now infert the
ways of working it. When your buſineſs ſhall call for this Size,
bring forth what quantity you require for the preſent, and put it
into a muſcle ſhell with as much oyl of Turpentine as will diſolve
the ſize, and make it as thin as the bottom of your Seed-Lace.

Hold

30

long standing, it becomes skinny, thick, and knobby, and by con-
sequence unserviceable; the best use you can poffibly put it to, is to
caft it away.

I shall conclude this Chapter with my requefts to you, so to or-
der and compofe your Size, that, being of a good mediocrity, nei-
ther too thick or thin, it may run smooth and clear, and your
ftroaks be fine and even; in fome time you will be so skilful, and so
delighted with your draught, that the moft fubtle, neat, and hairy
lines will adorn your piece, and your work in all good qualities may,
though not exceed, yet vie with, and parallel the Indian.

CHAP. VIII.

To varnish Prints with White Varnish.

Procure a Board very fit and exact to the Print you refolve to
varnifh, and thus manage it. Get common Size, which you
may have at the Colour-grocers; warming it by the fire, scraping
whiting into it; make it of an indifferent thickneſs, and with the
foſſeſt hogs-hair-bruſh, proportionable to your board, wath it once
over, permitting it to dry: then white it again, and ſo repeat, till
it lies with a fair body, and quite covers the grain of the wood,
which may be of Deal, Oak, or any other. This done, take off
your whiting with rufhes very cloſe, and ſmooth, but not ſo far as
to diſcover the grain: then with flower and water make a paſſe
thick as ſtarch, and with your hand or bruſh work or dawb over
the backfide of your Print, with an even ſteddy hand lay your
Print on the board, and ſtick it on as cloſe as you can with all ima-
ginable diligence. Suffer it not to cockle, wrinkle, or rife up in lit-
tle bladders; if it should, preſs it down with your hand, but be
ſure your hands be extraordinarily clean and free from all duſt,
filth, and pollution when you come to pafſe on the Print, that it
may not in the leaſt be foiled, before tis varnifhed. Smooth down
the whole paper with your hand, pafs it over and over, that every
part thereof may ſtick cloſe and adhere to the whiting. I cannot
here burden you with too many cautions and caveats; for if any
the leaſt part of your Print rife or bubble, the whole beauty and
pride of the Picture is deftroyed when you come to varnifh. Be-
ing thus cloſely and carefully fixt to the board, fet it by for 24
hours, or longer; then take the cleaneſt of your Hinglaſs-fize, and
with a ſoft pencil wath over your Print; but be certain it be dry
before you pafs it over again, which you muſt do with a quick
hand, and not twice in a place; give it leifure to dry, and afford it
one wath more, with two days reſt: Afterwards with the fineſt
and cleareſt of your white-varnifh grant it fix wathes by a gentle
heat, not too nigh the fire, to avoid bliftering. When 24 hours
are

are

with three or four wafhes of your Varnifh mixt with Turpentine,
and you have concluded all, unlefs you intend to polifh; for then,
having done every thing as above directed, tis required that you
give it eight or ten wafhings of your beft Lac-varnifh, which be-
ing all fucceffively dried on, you are at liberty to polifh it. All
forts and variety of coloured Speckles may be thus ordered, except
Silver, the laying on of which choice metal deferves the beft and
fineft of your Seed-Lace, inſtead of the ordinary; and the beſt
white-varnifh too, muſt be emploied to bring it to a polifh; but if
you conclude upon not polifhing it, be more ſparing of your var-
nifh, for fewer wafhes will ſuffice.

CHAP. X.

To lay Speckles on the drawing part of Japan-work, as Rocks,
Garments, Flowers, &c.

B Efore you can proceed to try this experiment, a little Sieve muſt be framed after this manner. Take a ſmall box, ſuch as Apothecaries employ for Pills, ſomething larger in compaſs than a Crown-piece, about half an inch deep: ſtrike out the bottom, and in its place bind very ſtrait about it fine Tiffanie, and to prevent coming off ſaſten it on the outſide of your box with thread, and reſerve it for your neceſſities.

Now when your work expects to be adorned with Rocks, Flowers, or the like, uſe firſt your Pencil to varnifh thoſe places with, and whilſt it is wet put ſome of your ſtrewings into the Sieve, and gently ſhake it over the place deſigned for your Rock, until it appears anſwerable in Speckles to what you intended; but eſpecially when for Rocks, call for a pencil about the bigneſs of your finger, one that is drie and new, and with it ſweep all thoſe ſtragling Speckles, that lie beyond the wet or varnifhed part, into the ſides and top of the Rock that is thus moiſtned; for there it will not only ſtick, but render your work, thicker of Speckles in thoſe places, more beautiful, and oblige it with a kind of ſhadow and reſlection.

This work admits of no idle hours, no interludes and vacations,
for as soon as one part is compleated, the other deſires to undergo
the skill and contrivance of the Artift. When this Rock is drie,
the next muſt ſucceed in operation; and by this way of working
the one, when, and not before, the other is perfectly drie, you may,
like the Giants of old fighting againſt Jupiter, caſt mountain upon
mountain, lay one rock upon or beiſide another, of different colours,
and as many ſhapes, until the whole enterprife of Rock-work is
completed. But obſerve, that in ſweeping your Speckles into the
edges of each Rock, you intermix not one portion of ſattered
parts

Several Figures to be Placed as
Occasion requires in Japan
Work

raifed-work for Garments, Rocks, &c. one part is elevated and higher than the other; as in flowers, those that are first and nearest to the eye are highest, fome leaves too that lie first are higher than those that lie behind them: So in the pleats and foldings of garments, those which seem to lie underneath, are always at the greater distance. I will instance in but one more, and that is of Rocks, where in poition the first must always furnount and fwell beyond that which skulks behind, and is more remote: The rule holds good in all things of a like nature, and if you endeavour to counterfeit the Indians who take these measures, this reasonable and necessary to follow their precriptions. I shall affix two ways for its accomplishment, which, if truly and carefully copied out, will come very near the Japan original.

First, after your design is rais'd to a due height, whether Figure or Flower, and well dried, with a little Gum-water, Vermilion, and a Pencil, trace out the lines for the face, hands, or foldage of the garments, for the leaves of your plants and feeds of flowers, or any thing intended, in its proper shape made at first before the raifed work was laid, and according to which your Pafte was in such manner directed; and confined by those lines that were drawn as its boundaries; for unless such ftoaks were made, this impossible to laye the pafte in its proper figure. This done, three or four small instruments must be procured; one of them a bended Graver, which the Engravers make use of; the reft, small pieces of Steel, in shape like a Chiffel of the Carpenters, fastened in a wooden handle, the breadth of the largeft, not exceeding a quarter of an inch, of the others fizeably left. With these your raifed work must be cut, scraped, and carved, leaving one part higher than the other, keeping due regard to the proportion of the thing you design. But here I must forewarn you of the difficulty of the enterprife; no heavy, ruftick hand must be employed in this tender, diligent work; for if in hafte or unadvisedly you attempt it, believe me your raifed work will break off in several places, to the difgrace of the Artift, and deformity of the piece. Let therefore your tools have an exquifitely sharp and smooth edge, whereby they may cut clean and fine without roughneſs: And now this time to smooth and fleck it with a brush that has been often uſed before, in order, in the laft place, to cloath it with any metal you shall judge moſt proper, as Ihaſt hereafter be flewed at large.

The other way which we promifed for raifed work, is this: Strike or trace out your design, as well the infide as the outward; that is, the shape of your face, neck, hands, legs, the chief ftoaks of the foldings of the under and upper garments, fo of flowers, or the like: Then take your Pafte, fomewhat thinner than you commonly uſe it, and with it raife the lower garments or parts, which require the leaſt raifing. Grant it time to drie throughly, and then with a very ſmall pencil dipt into the thickeſt of your Seed-Lace, varnifh juſt the edges of your raifed work; for this intent, that when you advance

A Page of Worship
in the Indies

Another

36

which, if it be not smooth, again rufh it, and in a day or fo varnifh it over with black, or any other colour, as you have been directed in thofe places where we have treated of it; when it has ftood sufficiently, you may apply your felf to finifh it by polifhing.

According to thefe methods you are to prime carved Frames for
Cabinets or Chairs, when you defire they fhouid look well; with
this difference, that thefe muft not be polifht, and by confequence
require not fo great a body of varnifh, no more than will contri-
bute to a rich and fplendid glofs. There is alfo another way, which
I recommend for the moft valuable, becaufe the moft durable and
lafting, but not indeed of fo large an extent as the former, being
proper only for the tops of Tables, Boxes, or the like; and thus
you muft proceed. Boil common Glew in water, let it be fine and
thin; into which caft the fineft Saw-duft, until tis indifferently
thick, and fit to lay with a brufh, which you muft provide for that
purpose. Run it over once with the glew fo mixt; if the grain of
the wood be not effectually obfcured, wafh it again, and two days
being given to harden, ſend it to a good workman or Cabinet-maker,
who muſt ſcrape it with his Scraper, as Pear-tree or Olive-wood are
ſerved, and make it as fine and even as poffibly he can; then var-
nifh it as you have been learn't to do by Pear-tree, or any other
ſmooth wood. This, if well done, will not come behind any for
beauty or durability. Tis confefs'd, theſe labours are to be per-
formed only upon cafes of neceffity, for they are very troubleſom;
and if every circumſtance were truly weighed, not fo cheap or va-
luable as your ſmooth, cloſe-grained woods, of all which Pear-tree
is in the firſt place to be eſteemed.

Of BANTAM-work.

I Think it moſt proper in this place to ſpeak of the manner of working at Bantam, becauſe the way of preparing the wood is much the fame with that of priming with Whiting. There are two forts of Bantam, as well as Japan-work: for as the Japan hath flat lying even with the black, and other lying high, like emboſſed work; fo the Bantam hath flat alſo, and incut or carved into the wood, as a ſurvey of ſome large Screens, and other things that come from thofe parts, will beyond all ſcruple convince and ſatſiſe you: with this difference however, that the Japan-Artiſt works moſt of all in Gold, and other metals, the Bantam for the generality in Colours, with a very ſinall ſprinkling of Gold here and there, like the patches in a Ladies countenance. As for the flat work, it is done in colours mixt with gum-water, appropriated to the nature of the thing deſigned for imitation: for the ordering theſe colours with gum-water, you have already received inſtructions. The carved or in-cut work, is done after this manner: Your Cabinet or Table, be

For Drawers for Cabinets to be Placed according to your fancy.

The Art of Japanning, Varnifbing, &c.

38

journeys through the Air, as if they had found out Doctor Wilkin-
fon's way of travelling to the Moon; others they have placed in
fuch order by their ignorance, as if they were angling for Dolphins
in a Wood, or purfuing the Stag, and chafing the Boar in the mid-
dle of the Ocean : in a word, they have fo mixed and blended the
Elements together, have made a league between fire and water, and
have forc't the clouds and mountains to fhake hands, nay deprived
every thing of its due fite and poſition, that if it were like any
thing, befide ruin and deformity, it muſt repreſent to you the
Earth, when Noah's Floud was overwhelming it. Such irregular
pieces as theſe can never certainly be acceptable, unleſs perſons
have an equal eſteem for uglie, ill-contrived works, becauſe rarities
in their kind, as for the greatest performances of beautie and pro-
portion.

But to return to our buſineſs. When you have finifhed your
carved work, and cut it out clean and ſmooth, with your pencils
lay the colours, well and purely mixt, into your carved work, in
the manner which your ingenuity ſhall ſuggeſt, or the nature of it
abſolutely require. When the colours are finifhed, the gold may
be laid in thofe places where you have deſigned it, with powder-
gold, or braſs-duſt mixt with gum-water, but that looks not ſo
bright and rich as Leaf-gold, which the Bantam Artiſts always em-
ploy; and ſo may you alſo, if you make a very ſtrong and thick
Gum-Arabick water, which you muſt laie with a pencil on your
work, and whilſt it is wet take leaf-gold, cut it with a very ſharp
ſmooth-edged knife (on a piece of leather ſtraitly nail'd to a board)
in little pieces, ſhaped to the bigneſs and figure of the place where
you diſpofe of it. Take it up with a little Cotton, and with the
fame dab it cloſe to the gum-water, and it will afford a rich luſtre,
if your water be very ſtrong; otherwife twill look ſtary'd and hun-
grie, when tis drie. Having thus finifhed your work, you muſt
very carefully clear up your black with oyl, but touch not your
colours, left you ſhould quite rub them off, or foil them; for this
is not ſecured, as the other Bantam flat-work is; if wet come at
this, the colours will be ruined, and peel off. I confefs I have
ſeen ſome even of the raſed-work, whoſe colours would not ſtir,
but none ſo ſecured and firm as flat, in which you'll ſeldom or ne-
ver find ſome Colours that will not endure a ſecurity with var-
nifh, but with the loſs of their native ſplendor: but thofe who
pleafe may leave out the Tarnifhing colours, and ſecure their
carved work with a pencil, as formerly directed.

C H A P.

of Drawers ſom are Depe & ſom more narrow of ſame Cablinett

40

final knowledge and smattering in this Science: though I am per-
fwaded I have sufficiently obliged the latter, yet becaufe I may
not be so clear and satisfactory in my Rules to thofe who before
never attempted any thing of this nature, to whom tis a perfect
Terra incognita, an undifcover'd Province; for their fakes I ſhall
willingly make an addition of a few pages, to ſhow in a plain and
more particular manner the way of working fome Patterns in this
Book either in Metals or Colours, by the knowledge whereof they
may be enabled with eafe and inclination to perform any enter-
prize that I ſhall oppofe them. To theſe I ſhall affix the different
ways of fetting off and adorning your work, which I have before ra-
ther mentioned and touch't upon, than treated of.

The firſt eight Copper-prints, at the end of this Book, are feve-
ral defigns for ſmall work, of whose differences their Titleſes will in-
form you: Two others for Drawers of Cabinets; one, of all forts of
Birds flying in Antick figures; two, of Birds great and leſs, ſtand-
ing in various poſtures; another of Beaſts, &c. Two figures of
Chineſe men and women, in untoward geſtures and habits: Others,
of Flower-pots, Sprigs, Trees, and the like: Laſtly, their Tem-
ples, Structures, and Palaces; their manner of worſhip, and recep-
tion of foreign Minifters and Embaſſadors; with as much pleafing
variety as can reaſonably be expected. Any part of theſe may be
placed on the work, as the fancy and ingenuity of the undertaker
ſhall direct: yet I ſhall give a little light after what manner they
may be tranſpofed.

Suppofe then you have a large piece of work, as a Table, or Ca-
binet; take one of the Prints which chiefly complies with your
humour, infert others alſo which may be moſt agreeable, yet give
variety too: borrow a part from one, a figure from another, birds
flying or ſtanding from a third; this you may practise until your
Cabinet be ſufficiently charged: if after all this any thing be want-
ing, your judgment muſt order, beautiſe, and correct. But ob-
ſerve this always, that if you would exaſtly imitate and copie out
the Japan, avoid filling and thronging your black with draught and
figure, for they, as you may remark, if ever you happen to view
any of the true Indian work, never croud up their ground with
many Figures, Houſes, or Trees, but allow a great ſpace to little
work: And indeed tis much better, and more delightful; for then
the Black adds luſtre to the Gold, and That by way of recompence
gives beautit to the Black.

But here an Objection may be ſtarted; That if a little work is
moſt natural, and according to the Pattern which the Indians have
fet us, why have not I followed that Rule in my Draughts an-
nexed to this Book ? To this I anſwer; That if I had ſo done, I
muſt have provided thrice the number of Plates, to ſhow the va-
riety that theſe have ſufficiently done; not to mention a triple
charge that would have attended. Again, ſhould theſe have been
beau-

42 The Art of Japanning, Varnishing, &c.

nefs will reduce it to obedience, which muſt be obſerved too in a
moderate degree; for if you make it over-wet and damp, the trac-
ing-iron tis true will disjoin it, yet no ſooner can it paſs the place
but it cloſes up, and reduces it ſelf to its former amicable con-
junction; as a Ship that ploughs and divides the Sea, makes a chan-
nel in an inſtant, but as that fails off the waters return, the breach
is healed, and the place of its paſſage is no more to be found. Too
much moisture is therefore as great an inconvenience as none at
all. Perhaps your work may be rough and unhandſom before tis
throughly drie, yet after that, a ſoft, new pencil by brusſing will
caſt off that diſguife, will command the looſe rough particles to
withdraw, and repreſent the Veinings and Hatchments in a ſmooth
and pleafant drefs.

To set off Raifed work with Black.

When your Raifed work has been varnifhed and burnifhed, put
Lamp-black into a Mufele-shell, and with gum-water hardly wet
it, for if you allow it too large a portion, you'll find it a difficult
task to make it comply and incorporate: but when it is mixt,
which you muſt perform with your brusſh, then add as much wa-
ter as will prepare and enable it, by the affiſtance of a ſmall well-
pointed pencil, to draw fine black ftroaks. Thefe muſt frame the
lineaments and features of the Faces, the foldage of your raifed
Figures, the veins of Leaves, Seeds, the bodies of Trees, together
with the black hatchments of your Flowers. If you would have
any Rocks ſpeckled, firſt paſs them over with the faſd black, and
when dry, grant them two waſhes with the Securing-varnifh; laſt-
ly, lay on the Speckles. One thing here deferves your obſervation;
If your good will and labour cannot be accepted, and your black, or
whatfoever you Set off with, will not be received; paſs over the
Raifed work with a Tripolee-cloth in a ſoft and gentle manner, left
the Metals ſhould be ſeduced, and forſake their apartment.

This manner of Setting off is more prætified than that with a
Tracing-pencil, or breathing on it, not only for Raifed but Flat-
work too; for when your piece is drie, salute it once with the Se-
curing-varnifh, after which take your black pencil, and employ it
in hatching and veining at your own pleafure; other metals and
colours defire the fame management: I will give you an inſtance;
if a red flower were to be Set off with Silver, then muſt your Red
be ſecured with varnifh: and being firſt ſuppoſed to drie, hatch and
vein it with your Silver. Thefe directions muſt be of force and
conſequence in all caſes where you deſign to work one thing on an-
other, whether colour upon metal, metal upon colour, or metal
upon metal, without being guilty of falſe Heraldrie. Having ad-
orned and Set off your piece, if it be Flat-work, you may make uſe
of the varnifh ſpoken of in the 13th page of this Book, to ſecure
your whole piece both draughted and ground-work, which will en-
dure poliſhing: but if for Raifed-work, you muſt make uſe of
the

the wing be set off or feathered with filver, the long black firoaks in the feathers of it with black; the tail, legs, and bill with gold, but change the white lines in the tail for black. The bodies of the other Birds may be laied with adulterate, dirtie, dark copper, but the wings gold, set off the body with the fame; the breft with touches of filver, the wing with black: Laftly, let the tail be bright copper, and feathered with white, the bill and feet gold. Next, cover the Flies body with gold, his wings with bright copper, hatcht or set off with filver, the body with black. Make your Bird on the fecond Box-lid with gold, feather and shadow it with bright gold; let the wing be with vermilion and Lamblack mixt, till tis become a dirtie red; feather it with gold, the quills with filver, the beak gold, and the legs vermilion. Let the other Bird be gold in the body, feathered about the wing (as you may fee in the Pattern) with black; the wing natural copper, feathered with white or filver; let the Flies be gold, and fet them off with black. Beautifie the firft Bird, on the lid of the Patch-box, with bright or red copper; hatch it with filver, touch it about the eye and head with black; make the wing of gold, feathered with black; the feet and bill of the fame metal. The other Bird behind it muft have green gold in the body, feathered with filver; the wing gold as the other, hatcht with black. On the other lid make the Bird gold, the wings bright red copper, feathered with white and toucht with black. The fides of each box may be contrived after the fame manner: the sprigs deferve all to be laid in gold, as the rocks with different metals, and fhadowed, but allow the outward firoaks to be gold, not only as they confine, but as they adorn your work.

The Third Draught.

Before this piece can be adventured on, you are defired thus to
make a paint or colour for the face and hands of the Figures. Grind
white-lead finely on your Marble-ftone; add as much Auripigment
or Orpiment, as will give it a tawny colour; if you think it too
lively and bright, allay it with Lamblack, which may contribute
to a fwarthy complexion, and neareft the Indian: but if you are
inclined rather to a pleafant, flefh-like colour, a little vermilion
or dragons-blood mixed with it, can to any degree oblige you. Now
if you love variety of figures, you may uſe as many mixtures for
their countenances; and diſtinguifh the Maſter from the man, the
Abigail from the Miftrefs by her tawnie skin. Lay then the gar-
ment of your Figure in the firſt powder-box-lid in bright red cop-
per; on that part which covers the breſt, and encircles the neck.
paint vermilion; let the cap and ftick be of gold: fet off the fol-
dage of his veſture with filver, and cloſe to each filver-thread join
other of black; fet off the black with the fame. Laftly, ſtrike out
the lineaments of the face, and ſhapes of the hands, with black alſo:
Let his Lacquey, the boy that attends him, have a golden livery,
the

others of the like kind. But by way of example; The first great flower next the rock, half covered by great leaves lying before it, I would fill the feded part with filver, the leaves with vermilion, and in fetting off, work it in black Diamond-wife, and thofe little spots of black which lie lurking in the white, with bright red copper; then the part that is fill'd with red, I should bind in with filver, and vein it with the fame. From this I come to the other on the right hand, and fill the feed of that flower with bright copper, the leaves with filver, and when I come to fet off, border the feed with black, the infide with filver, compafs in the leaves with gold, hatching them with black. From hence I march to that on the left, partly hid by a great leaf: the feed of this shall be green gold, its squares bright gold, the spots in the squares vermilion, its leaves with dark heavy copper, fet off with filver. Next for the three flowers that lie fomewhat above this: that in the middle I would do with green gold, the feed bright gold, squared with black: the other may be laid with filver, feeded with bright copper, hatcht and squared with black. The left with vermilion, the feeds with transparent green, and enclofe them with vermilion, and hatch in the leaves with filver. From thefe I would proceed to the other flower, oppofite to them on the right hand, fomewhat larger; whofe feed muft be red, bound in and chequer'd with filver, covering the leaves with blew, hatcht and furrounded with gold: the little one above that with red, the feed with blew, fet off with filver. From thefe we make our progrefs to the two great flowers above them: the first may be laid with transparent blew, bounded and worked with gold, the leaves covered with filver, and hatcht with vermilion: the feed of the fecond with dirty copper, fet off and encircled with filver; the leaf of the faid flower cloathed with deep bright red copper, hatcht with black. Next bufie your feet in filling the fingle great flower above that, whofe feed may be dirty gold, environed and squared with filver; the spots in the squares done with bright gold, that part of the leaves that is white changed for black, and with gold hide the black that lies in the white: the remaining part of the leaf may be laid with bright red copper, bounded with filver, and hatcht with the fame. As for the flower next above that, I would lay the feed in transparent red, fet it off with filver, border it with black; then make the leaves filver, and hatch it with black. Afterward, the three above this, I vvould work in the fame manner with the lovvermoft three; but that above all, may have his feed bright copper, compafled and fet off with black; the leaves dirty copper, vvhich might be hatcht and enclofed with white. Novv remember, I befoech you, that although I have mentioned filling and fetting off together, for the more eafie apprehenfion of it, yet be constantly mindful to lay all your plain colours, before you think of fetting them off; and the reafon of it is this, becaufe you are more ready to fet off with one colour, before you undertake another, and your fancie is more quick

quick

An Example

48 The Art of Japanning, Varnishing, &c.

convenient pencil, to mark in your fize the outward lines, the boundaries of that rock, which in the twentieth Print you may perceive lies beyond the Buildings; and although you do begin here, you are not to fill it (either with metals or speckles,) until the other work is concluded; for, if you remember, we charged you before, to finish the Rocks in the last place. Again, if I may counsel you, begin with the remote part, that which is fartheft diffant from you; for then you will not be liable to the inconvenience of rubbing, or defacing any thing whilft it is wet, with an unwelcom hand, or intruding elbow. Having therefore in short undertaken the fartheft part first, work it just as the Print is; I mean, draw your gold-fize on the black lines of the Print, and no where else; referring the white for the black Japan or ground of your Table. But to explain it a little more: In all respects operate with your Size, as if you were to copy the Print on white paper with ink, or black Lead; only take care, that whilft you are bufied in working one part, you suffer not that already done with fize to drie to that degree, that it will not receive and embrace your metal, but very often try the draught so lately made: if it is clammy, and flicks fomewhat to your finger, but not so as to bring off any, then tis high time with your leather to lay and rub on the gold-duft: if it clings to your finger so faft, as to come off with it, then know it is not sufficiently drie; if tis no way clammy, you may conclude tis too ftubborn for the reception of the metal. This ca-veat, being rightly managed, fet upon your drawing part again, and fo continue, now making lines, then gilding them, until the whole be compleated. If you find it a tedious, troublesome undertaking to draw the white, and pafs over the black; or, on the contrary, to draw the black and omit the vwhite on the tops of your houfes, or foldage of figures, faces, or the like; then for your cafe overlay all thofe parts of your building or foldage &c with gold-fize, and when your metal is laid on that, and is well dried, waft over with Securing-varnifh thofe places only which you defign to fet off with black: which done, exercife your pencil in making thofe lines and divifions that are required to diftinguifh the parts of your houfe, as the Tiling, Draperie of garments, or any thing of the like nature. The reafon why we enjoin you to waft with varnifh, is not out of any fupposition or jealoufie that the fize or metal will forfake its allotted feat, but becaufe its surface is generally too smooth and greaſe to admit of and unite with the black, unleſs reconciled by the mediation of the aforefaid varnifh. What I have propounded is an example for any other Print, that you could wifh or define to accomplifh in Gold-fize: and indeed I had been very negligent, ſhould I have permitted this noble ſubject to reſt in filence and oblivion; this, which above all others prefents us with the grandeur and majesty of Japan, work; our under-performances vanifh and ſhrink away, when the Maſter-piece is expofed to view. Let the narrow-foul'd Mifer hug and adore his bags