The art of glass shewing how to make all sorts of glass, crystal and enamel : likewise the making of pearls, precious stones, china and looking-glasses : to which is added, the method of painting on glass and enameling : also how to extract the colours from minerals, metals, herbs and flowers ... : illustrated with proper sculptures / written originally in French, by Mr. H. Blancourt, and now first translated into English ; with an appendix, containing exact instructions for making glass-eyes of all colours.

CHAP. CXCII. The Way to Paint on Enamel.

THIS Art is revered by all Nations, 'tis so fine and so excellent, that the first and Noblest Per∣sons of the World practise in it, as we have said elsewhere: It is certain that the Art of painting on Enamel is modern, but no less estimable for that, since its effects are so wonderfully beautiful, so infi∣nitely lasting, of so Natural a Gloss, and their Splen∣dour never to be defaced.

If it were possible to make large Works of Enamel, as is done in Picture, they would be inestimable be∣cause of their Lustre, and so far surpass what Anti∣quity has had such great respect for, and which these latter Ages still caress with extraordinary esteem.

This way of painting on Enamel, seems much more difficult than Limning; Practice however convinces us, that they are equally easie, and we can with as little trouble represent any History on Enamel, as in Limning; the difference lies only in preparing the

Colours, which is not done the same way; for we dry and varnish our Enamel-paint by Fire, whereas that in Limning is done by the Air.

To paint on Enamel, you must have a Plate of Gold enamel'd with White, on which delineate and pourtray your Design. This done, draw it over a∣gain in dark Red: The Piece being perfectly done off, and the Lines compleat to the Subject, set the Tablet, or Piece in the Muffle, on a reverberatory Fire, to settle as before directed.

Your Tablet being taken out, apply the Colours in a just order as in Limning, with this difference on∣ly, that here you make your White Ground serve for filling, where that Colour is required to set off the heightnings and lustre of the Lights as is done in Miniature; and because it mightily contributes to the heightening thereof in the other Colours as to im∣proving their Lights, we have given a most excellent Receipt in Chap. 187. which very excellently serves upon this occasion.

When the Piece is thus finished, put it again into the Furnace to fix the Colours, and as soon as you perceive it varnish or polish, draw it out least the Colours mix and spoil each other.

You may take out the Work again, and revise it as often as you please, only putting it still into the Furnace until it receives its just Gloss, &c.

This way of renewing and revising the Tables, is done in Limning with Oyl; and the Painters observe that the Pieces must not be handled until they are well dry'd in the Air, so those in Enamel must be let alone until they receive their perfection from the Fire.

This is all to be observed in Painting on Enamel; it remains only for us to shew how to prepare your dark Red for tracing the Design; you may have it thus.

Take the Caput Mortuum which remains in the Re∣tort, after the Aqua-fortis is made of your Vitriol and Nitre, grind it with Oyl of Spike, and so you have the dark Red ready for your use; or you may make it with Crocus Martis, ground with Oyl of Spike.

The End of the Seventh BOOK.