On a quantity oF alum and cochineal pounded and
,bwiied together, pour drop by drop, oil of tartar, till it
comes to a line colour.
XX. For the â– vermilion.
VenriilloM becomes very fine in aqua'vitrf, or in child's
urine. But it will be Hill finer, if you put it in aqua^vit^e
with a little faftVon. It is ufed with whipped whites i-f
X X f . For the making of carmine,
^ I. Boil two quarts of fpring wat'-zr in a vnrnifhed pip-
k;-. ; snd, whm it boils, throw in (even pugih of puhe-
rifed ch^uam. After this has thrown tvvo or three bubbles,
t.-ike it off ihe fire, and decant it in another clean pipkin.
Then put in this water five ounces of cochineal in powder,
and boil it for a quarter of an hour. Add three pogils of
«?a/tf.vr, in fine powder, and make it throw four babbles.
Then add three pugils of Roman alum in powder, and
take it out dircclly from the fire, which mull be made of
live coals.
2. Strain all through a linen clorh, and divide this
liquor into f'everal delph vefTels, and {o let it remain for
three weeks. At the end of that term pour off the water
by inclination. You will find under a kind of mouldi-
nefs, which you muft carefully pick off, and then gather
the carmine.
Note. Every fire ounces of cochineal give one of car-,
mine. It is to be grinded on marble. — A general opinion
prevails, that this operation is beft done in the crefcent of
the moon. How far it is needful to obferve this precept,
is left to the wife to determine.
XX i I. Colours Jit for exprejjlng the 'varioui complexions.
1 . For women and children ; mix a little white and a
little turnfol.
2. For men; a mixture of white and vermilion is
proper.
3. For old folks; you muft ufe feme white and ochre.
4. For
SECRETS IN ARTS AND TRADES. lOj
4. For horfes ; you muft chufe biftre, ochre, and white.
— The dark brown horfes require a little addition of black,
—The gray want nothing but billre and white.
§ IV, To make tranfparcnt colours.
XXIII. Far ike green.
Put in very ilrong vinegar, verdigreafe, rue-juice, and
gum-arabic. Set this in the fun for a foitnigiit, or, if
you have no fun, boil it on the fire. Strain it, bottle and
Hop it— Shake it well before ufing.
XXIV. For the red.
Make a lye with fait of tartar. In it, put to infufe for
one night, feme India wood, with a little alum. Boil all»
and reduce to one third. Run it through a linen cloth,
and mix fome gum-arabic with it — With more or lefs
alum, you make it of a higher or paler hue.
XXV. FortU yellonu,
Bfulfe Avignon feed, called French Berries, and pin i:
in a lye of fait and tartar to boil on tlie fire, to the reuuo-
tion of two thirds. Run it, and boil it one bubble mr".
Then bottle and cork it — It mull b: fhaken before uling
— A fmall addition of faffron renders it more lively.
XXVI. For the Hue.
Soak in chamber-lye, one night, a quantify of German
Tnlma Chrijii. Take it out and grind it with a little
quick linie — More or lefs quick lime will raife or lower
it in hue. And notiiing more is required to dilute it than
chamber-lye and gum arable.
XXVII. Another hlue^ njcry like ultramarine.
Grind Tome indigo on porphyry with turpentine oil.
Put it afterwar(;s m a glazed pipkin, and lute it well.
Let it thus lay for the fpace of fix weeks. The longer you
leave it there, the more blue it will be.
F 4 XXVIII. A
104 SECRETS IN ARTS AND TRADES,
XXVIII. A pah red, to paint on enamel.
J. Take the filings of a piece of good iron. Put them
in a matrafs with aquafortis, and fee it on a How fire. Let
it boil gently till the filings are all difTolved.
2. When this is done, pour a little warm water into the
matrafs, and let it remain a few hours on the fire, then
pour all into another vefTel. When the liquor Ihall be
quite clear, decant it out gently, and leave the powder,
which is at the bottom, to dry.
3. Put this dried powder in a new crucible well covei-
ed and luted, and then neal it gently on a very regular
fire; and, a little while after, take it out and let it cool.
4. Now one drachm of tha: powder, and three of yel-
low Datch beads ground with maftich-oil, will give full
iatisfadion.
XXIX. Prccefi of making purple^ for painting an enamel,
1. Take one drachm of very fine gold, forged weak.
Cut it in fmall biis, and neal it. Put that gold into a
matrafs, with one ounce of ammoniac fait, and two of
good aquafortis, and fet it on a gefttle fir^ to run all into
liquor.
2. Have two ounces qf cleir water, near boiling, and
throw it in the matrafs. This done, pour the whole in
a glafs phial of more than a quart fize, to which add one
ounce and a half of oil of tartar drop by drop. It will
occafion an ebullition, which being ceafed, you muft fill
ibe bottle with water, and let it reft till the gold falls to
the bottom.
3. When the water is quite clear, decant it out gently,
for fear of difturbing the gold and loiing it. Then fill
the bottle with new water, repeating this operation till
the water is as clear when you decant it out, as when yoH
put it in, and has no more fmell.
4. Take your gold out of the bottle, and put It on a
fine brown paper, folded in four or five doubles, and
turned up by the edges, in form of a little cafe or mould.
There let it dry ; and, when dry, keep it for ufe.
5. Grind,
SECRETS IN ARTS AND TRADES. 10^
^. Grind, next, fome fine white froft-glafs; mix it with
water, put it in a bottle. ai]d ftiake it, then let it fettle.
When (his powder is fallen to tr>e bottom, decant off the
wa"er, and let the powder dry in the vflel.
6. The proportion^ to make the purple colour. Take
three grains only of your aforcfaid gold duft to thirty of
the white froft-glals, thus prepared. Mix both in a cal-
cedony morrar with clear water. After the powder has
fettled to the bottom of the mortar, decant out the water,
and let the powder diy in the roortar.
7. Tnis done, take the powder out of the mortar, and
putting It on a white bit of paper, dry it by a flow fire,
till you fee it has acquired a fine purple hue.
8. Grind, now, this powder with a little oil of fpike,
and put it in little cafes made with cards, of which the
edges are turned up. When the card has foaked the oil,
the whole operation is accompliihid — Preferve it by put«
tJng it in fraall boxes, in a dry place.
XXX. H01V to make a fme fiejh colour »
9. The mere addition of a little black to the above
compofition will make the fineft colour for complexions,
or flefh-colour, and may juftly be deemed a ninth article
in the procefs which is to be obferved in its fabrication,
XXXI. A good
Mdkc % little bag, tied very clofe, of fine Venetian
lake. Put it in a little varniflied pipkin, with rain-water
a^id crcan) of tai tar, and boil it to a firup. Thus you
will have a fine carmine colour.
XXXII. Another njoay.
Grind dry, on porphyry, {oxm oi coccinella ur/ula^ (^
gair- candy, roch-alum, and gum-arabic, all nearly in
equal quantities, except the gum, of which you put a
little iefs. Put thefe powders into a glafs phial, and
pour over a fufficient quantity of brandy to cover them,
and fqueeze ovei the juice of a lemon. Stop well the bot-
tle, and fei it in the fun for fix weeks. Run the colour
F 5 inte
I06 SECRETS IN ARTS AND TRADES.
into fhells, taking care that none of the ground ftiouM
run out with it.
XXXIII. The 'whole pro cefs of making ultramarine,
1 Make feme of the browneft lapis red hot in a cru-
cible, that! throw it into vinegar. Repeat this three times.
"When calcined, pound it in a mortar, and fift it. Then
grind it on porphyry, with a mixture of lintfeed oil and
fpii it of wine, in equal quantities, and previoufly digefted
together in a matrafs, .and often fnaken to prepare them
for this ufe. When you (hall have fub'iiized your lapis
powder, then incorporate it with the following cement.
2. Lintfeed oil, two ounces ; Venice turpentine, tniee ;
maftich, half a one; ajfu fatida^ two; black rofin/as
much; wax, half an ounce; yellow rofin, three. Boil
all in a glazed pipkin, for a quarter of an hour; then
run it through a clorh in:.o clear water. Take it cut of
that water; and, taking of this, and of the grinded lapis^
equal quantities, incorporate them in a glazed pan, and
pour fome clean warm water over, and let it reft for a
quarter of an hour. Stir this water with a wooden fpatula;
and in another quarter of an hour you wnll fee the water all
azured. Decant, gently, that water into another ghized
pan. Pour new warm water on the grounds, and proceed
as before, contiruing to ftir and beat it well ; then decant
again this now aznred water with the former. Repeat
doing fo, till the water is no more tainted with any azu-
rine particles — When doi.e, fet your azured waters in eva-
pcratior, and tl:ere will remain at the bottom a very fine
Azure of Uhramarine, 'viz. four ounces of it for every
one pound of compof)t:on. Of the remainder you may
make what is called cender blue,
XXXIV. Another 'very fine ultramarine.
Take the fined lapis lazuli you can find ; break it in
little bits, and make it red hot in a crucible, between
-blafling coals. When red hot, throw it in white wine
vinegar ; then dry it and pound It in a marble mortar
with a wooden peflle. Should it not pound eafi'y, cal-
cine it again as before, and throw it again in vinegar.
SECRETS IN ARTS AND TRADES. I07
&c. then try it in the mortar, and if it do not pound yet,
repeat again the fame procefs, till it eafily fubmits to be
pulverifed. After it has been pat into a fine powder,
grind it on a porphyry ftone, with good aquavitee^ till it
is impalpable. Then gather it up in little cakes, which
feta-drying on paper of flatcs. When dry, if you pul-
verife ic, you have a fine ultramarine.
XXXV. A very good and experienced pajlil to make ultra*
marine of — The dofes as for one ^ound*
Take nut orlintfecd oil, three ounces; new wax, and
fine rofin, three ounces of each; rofin, one; Burgundy
pitch, four ; olihan^ otherAifs male frankincenfe, two
drachms; dragon's blood, one. Melt all thefe ingredi-
ents, one after another, in the fame order as they are
here p/efcribed. That is to fay, put in a varniihed pip-
kin, the oil fift; and when a 'itrle warm, pit in the ro-
fin by little bils. This being dilTolved, put in the chalk
pu';verifed, pouring it gently, and by liitle at a time, left
it fhould blaze. As fooi as the rofin is melted, pour the
rofin in pow^ier, and by degree.-^. Next add the Burgundy
pitch, broken in fraall bits, by little at a time; and when
all are introduced and well diflblved, add gradually the
dofe of dragon's blood powder, and let it difiblve like
ihs other drugs — Stir this compofitlon with a ftick, by
means of which you are to judge whether or not your
paftil is done. To know it, let a drop fall from the flick
into a pun of water ; then, working it between your fin-
gers, you fee whether or not it ftick to them. If it ftick,
ti.e paftil is not done, and you muft let it remain longeron
the fire ; then repeat th: trial till it does not iVick to your
fingers, as a pro ;f cf its being arrived at its degree of
perfedicn. — Throw ic in a glazed pipkin filled with cold
water; and when it becomes a little cold, make it into a
ball with your hands, which you fhall have previoufl/^
greafed with lintfeed oil. Then you may keep it as long'
as you pleafe for ufe. Stay, however, three or four cays,
bsfore ufing it the firft time.
F 6 XXXVI. The
lOS SECRETS IN ARTS AMD TRADES,
XXXVI. The nxay of mixing the lapis
make ultramarine,
1. Dilute, as thick as you can, a quantity of the be-
forementioned impalpable powder of lapis lazuli, wiih
a liquor made of two parts oi aquavit a, and one of lint-
feed oil.
2. Melt in another glazed pan, without the afliftance
of water, and over a gentle fire, the paftil defcribed in the
preceding receipt, — Obferve that y(^UT paftil be perfeflly
purified from any particles of water it might have carried
away wiih it, when you threw it in water in order to
form it into a ball.
3. When the paftil is melred, throw into it the thxk
palle you had previoufly made of /^2/)/j lazuli with brandy
and lintfeed oil. Srir and mix this lo well, that the whole
be moft perfedlly united and incorporated. Then let it re-
main twenty-four hi ur?, and cover it well for fear of dufl.
4. After twenty- four hours are elapfed, put in this pan
a quantity of lukewarm water, proportionable to that of
the matter, and work well the whole together with twa
wooden pfftics, till the water becomes quite blue, which
you will immediately decant off into a china bafon, and
cover carefully for fear of dufl.
5. Put new lukewarm water again on the fame paftil.
Work it anew 2s before, and proceed the fame as the firft
time. — Repeat this operation as many times as you find
the water c^^ming blue, and till you perceive it begins to
turn gr-.iy or white, which is a convincing proof that there
IS no iiiore good in the paftil. — Be careful to range in
order the different bowls in which you have decanted
your tinged waters ; and, to avoid miftakes, number them
by firft, lecond, third, &c.
6. Let ihefe waters fettle, and when quite clear as when
you put them in, decant them again with all the gentle-
nefs })oil!b;e, each iiuo another limilar vefTel, for fear of
lofing any of the ultnmarine which lies fixed all round
the fi .'es and bottom of the bowls, and might be, though
never fo little, carried off with the decanted waters.
When thefe waters are duly decanted off, cover again,
carefully, the bowls, for fear of th^ duft, and let the ul
tramarin^
SECRETS IN ARTS AKD TRAITES. lO^
tramarine, which lies round them, dry perfeft'y. Whcn^
dry, brufliit down gently to the bottom, with a new foft:
hairbrufh, and gather your powders feparately with the
fame numbers on each parcel, agreeable to that of the
bowls, whence they come.
7. The firft ultramarine is the fined; the fecond is not
fo much fo as the firft ; neither is the third Co fine as the
fecond. And it goes thus, decreafmg in beauly» meriti
and value
ObferuaiiGm an the aBwe proce/s,
1. Ultramarine might be drawn from the paftil, by>
working it with the hands inftead of peftles. But, a-s it
fatigues a great cieai more the articulations by that fort of
working, than by the other, there is room to think, that
by this mode of proceeding, each fingle operation might
be attended with fome iraperfedion ; which is the reafon
why the pellles are preferable.
2. Some people make their lapis red-hot on bare coals,
then ileep it in diftillcd vinegar, repeating this feveral
times till it becomes fryable.
3. But it is much preferable to make it red hot in a
crucible; bccaafe, fliould the fire make it fpHt, the bits
will remain in the crucible. Now it need not be won-
dered at if it does, particularly when calcinations are often
repeated.
4. The lapisy which is of a fine blue, and flriped with
gold or filver, is the beft to make ultramarine of.
5. The lapis is a!fo reckoned to be of a good quality,
when it preferves its fine colour, even after it has been
made red-hot in blafting charcoals.
^ XX VII. Another fecret to compofe a fine blue, for nj^a/hlng^
in dranvingSy infiead of ultramarine j njohicb is too dear,
and too Jirong to be ufed far that purpofe.
I. Gather in the fummer, a large quantity of hlowarf,
which grows in the fields among the corn. Pick well
their blue leaves ofF. Have lukewarm water impregnated
â– with impalpable powder of alum. Put the picked blue
leaves into a marble raoftar, with a fufRcicnt quantity of
that
no SKCRETS IN ARTS AND TRADES,
that alum water, tofoaktliem only. Then, with either
a wooden t)r marble peftle, pound them, till the whole
is fo niafhed, as to give the juice by expreffion through
a new cloth. Then ilrain it over a glafs bcwl, in which
there is waster impiegnaied with the whitefl gum-arabic
you can find.
2. Obferve that you muft not put much alum in the
ijrll: water, if you are defiroas of prefer -.'ing the brightnels
of tiiC c. lour : for by putting too much of that ingre-
dient, as well as for the water impregnated with it, you
darkf n the tone of the c. Jour.
3. Note. By means of the fame procefs, you may like-
wife draw ihe colours from o.'^tx'j flower which has any
great eclat. You mu (I not ne;.,Ie:t to pound them with
alum water, which prevents the colour from fufFering
any alteration ; as Jt tbmeiimes happens at the very firlt
bruif'e.
4. To re dcr thcfe colrrars portable, fee them a- drying
in ihe (hade, in ^.^afs vellels, well covered, to k-ncs them
rgainft the uuft.
is
XXXV 11 1, 'ihe true fecret of making \x\%'gr an,
!. Take a large quantity of the flowers ^.^'i that name
in the fpring. Fiv.k ihem ; (hat is to f<»y, pick out the
greeii and the yellow, which are at the bottom of the
petal of the flower. Next to this, pound them in a
luarble mortar, with a little lukewarm water, impregnat-
ed with a!u!Ti. When j;Oundrd, exprsfs thejuice through
a new cloth, over a ch.ina bowl. Then raix fome gum-
arabic water with it.
2. Ify.iuwanta tone of colour different from thi na-
tural colour of the flower, you may charge it by only
adding, after the flowers are pounov'-d, a little quick-lime
dul\ in the mortar, and give two or three firckes of a
peiile more to the whole ; then ftrain it.
3. l>iote. If you fliould pound thefe flowers in a
wo. -dun mortar, you mall bs cautioned at leaft to take
care it fliouM not be one of walnut-tree wood, becaufe
ii is apt 10 tarnish the colours, aad deftroy their bright-
nefs,
SECRETS IN ARTS AMD TRADES. Ill
nefs, which is one of the chief things always required in
cfclours.
4. In the month of March, you may by means of the
fame procefs, obtain the colour from garden, or double
violets. But this is never fo line nor fo lively.
XXXIX. To make a dark green, for miniature piclures,
fwajhing on paper, on draperies and terraces.
Take, towards the end of autumn, a good quantity of
wallwort {lalks, with their fruits on them, and very
ripe. Let them rot for five or fix days in the cellar ;
and when you fee the fruits have fomented fufiiciently
to give eafily their juice by expreffion, ftrain it through
a new cloth in a!um-u ater. Divide the whole into fe-
veral glafs tumblers, to dry it more eafily. Set them in
the air, bat not in the fun, and lay fome pap.T over
them to prevent any thing from falling into the glafies,
but which fnould not at t.e fame time flop the exhala-
tion of tie liquor, and thereby csufe it to become
mouldy. By thcfe means, you fliall have a colour fit for
the wafh of a green hue, and dark at the fame time.
XL. To make the Bijlrefor the nf:ajh»
1. Grind, on marble, with child's water, fome chim-
ney-foot. Mullar it as fina as poffible. When done,
put it in a wide-mouthed bottle, which fill up with clear
water; and then, ftir and mix all well with a wooden
fpatula. Let the coarfeft parts fettle to the bottom of the
vefTel. Decant mut the liquor gently into another vcfFel,
What remains in the bottom is the coarfeft biftt e.
2. Proceed the fame with refpe6t to the fecond bottle,
and after having left this to fettle for three or four eays,
inftead of half an hour, d-ecant it into a third. This
gives you the fineft biftre.
3. In the manipulation of a^l the colours which are
intended to ferve in dra'.vino; for wafh whenever y^\x will
not have them rife thick above the furface of the paper,
which would undoubtedly look very bad ; for the neat-
nefs required in a draught, forbids the ul'e of any coarfg
colour,
XLI. The
112 gECRETS IN ARTS AND TRADES.
XLI. The fecret for a fine red for the ix.'ejh,
f . Make a fubtile powder with cochineal. Put it in
a vefie], and pour rofe-water over it as will exceed above
it by two fingers.
2. Dilute calcined and pulverifed alum, while it is
quite warm, into plantain water^ and mix fome of the-
liquor in which you have diffolved the cochineal.
3. This procefs will give you a very fine red, much
preferable for the w^fli, to that which is made with ver-
milion, becaufe this laft has tOv) much confiftence, ajid
bcfidet tarnifhes too foon, on account of the mercury
Vkh ch enters into its compofiticn.
XLII". A/icrettQ make csrmine at a /mall expetue.
Break and bruife in a bell-metal mortar, half a pound
of gold colour Fernambourg BfaiU. Put this to irifufe
with diftilled vinegar in a glazed pipkin, in which boil ic
for the fpace of ri qaarrer of an hour. Strain the liquor
through a new Ikong cloth : cl-en fet it again on the fire
to boil. When it boils, pour on ic white-wine vinegari.
impregnated with Roman a^um. Stir well with- a wooden
fpaf ula, and the frorh that will arife is the carmine. SRim.
itcarefuily in a glafs vcffel, and fei it to dry.
\ V. Coirupofition of colours, to dycjkins or gloves^^
XLUI. A Ii - V3ly I/aleL.
To make a lively Ifabel colour, you moil, to a quan-
tity of wliire, add one half of yt;Ilo-vy, and two thirds of
red and yellow.
XLIV, For a pals fiber t colour,
1 . Take b.rnt umber ; a liule yellow, very little white,
acd lim lefs red.
2. This is m.ade darker, by adding a quantity of burnt
umber, as jiiuca yellow, a little white, aiid as much red.
XLV. For
SECRETS IN ARTS AND TRADE*, il^
XLY. For the gold colour.
To much yellow, join a little more red ; and thh mix*
ture will give you a very fine bright gold colour,
XLVl. For thepjh colour »
To imitate well the complexion, or flefti colour, yon
mix a little white and yellow together, then add a little
inore red than yellow.
XLVII. Theftraw colour.
Much yellow; very little white; as little red, and a
great deal of gum.
XLVIII. Afne brown*
1. Burnt umber; much black chalk; a little blacky
and a little red ; will make a line brown, when well in-
corporated together.
2. The fame is made paler, by decreafing the quan-
tity of black chalk, and no black at all in the abore com-
portion.
XLIX. To make a fine mujk colours
Take burnt umber ; very little black chalk ; little red
and little white. Thefe ingredients well mixed will pro-:
duce as fine a muQc colour as ever was.
h* To fftake a frangipane colour,
1. This is made with a little umber; twice as muck
red, and three times as much yellow.
2. The paler hue of it is obtained by adding only fome
white, and making the quantity of red equal to that of
yellow,
LI. An olivt colour*
To make the olive colour, take umber, not burnt ;
a little yellow J and {he quarter part of it of red and
yellow.
LII, Hoiii
114 SECRETS IN ARTS AND TRADES.
LII. Hoiv to make fnins and glomes take thefe dyes.
Grind the colours yoa have pitched upon with per-
fumed oil of jeliamine, or oraage flowers. Then range
the grinded colour on a corner of the marble ftone. Grind
of gum-ad ra;^ '.nt, an equal quantity as chat of the
colours, foaking it all the while >vith orange flower water.
Then grind boih the gum and the colour together, in
order to incorponte them well. — Put all into a pan,
and pour a difcretionable quantity of water over it, to
dilate fuiTiciently your palle. Then with a brufh, rub
your gloves or Ikins over with this tinged liquor, and
hang them in the air to dry. Wher- dry, lab them with
a flick. Give them again, wi h vhefame brufh, aiother
fimilar coat of the fame dye, and hang them again to
dry. When dry for this fecond time> you may drefs
them, the colour is fufficisntly fixed, and there is no fear
of its ever coming off.
LII I. To 'uarnijh a chimney i
Blacken it firft with black and fize. When this coat
is dry, lay another of white lead over it, diluted in mere
fized water. This being dry alfo, have verdig; eafe dilut-
ed and grin Jed with oil of mus and a coarfe varnifti, and
pafs another coat of this over the white,
% YI. To colour, or varniJJi copperplate prints.
LIV. To ^arnijh copperplate prints.
1. Have a frame made precifely to the fize of your
print. Fix it with common flour-pafte, by the white
margin on that fraine. Let it dry, then lay the follow-
ing tranfparent varailh on it, which is to be made with-
out fire.
2. Dilute in a new glazed pipkin, with a fofc brufh,
as big as your thumb, about a quarter of a pound of
Venice turpentine, and twopenny w >rth of fpike, and
turpentine oils, and half a gill, or thereabouts, of
Ipirit of wine. This varnifli be.ng no thicker than
the
I
SECRETS IN ARTS AND TRADES, 11^
the white of an egs;» lay with your brufh, a ccat of it on
the wrong fide of the print; and, immediately another
on the righr. Then fet it to dry, not upright, but flit.