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. CCXII. The Way to Paint on Glass.

THE Painting on Glass is of such fine Effect, as becomes the Admiration of the Learned in all Noble Arts: Nothing can be more wonderful to the Sight; besides, its continuance, and resisting all the Efforts of every Season, and badness of Weather, for several Ages, tho this last Excellency was un∣known to the first Practitioners, and reserved for this latter Age, however the Honour is due to them, since they made the first Secrets and Discoveries in this Art, and 'tis much easier to improve, than form a new Invention.

If Glass were malleable, and discharged of its Na∣tural Frangibility, nothing could equal the Paint thereon; 'tis not to be tarnished, but always main∣tains its primitive Beauty and Splendour, without any obstruction to the Transition of Light; and there may as fine Fancy be done on it, as on Limn∣ing, there would certainly be nothing on Earth so rich or precious as Glass, whether Painted, or Tin∣ged, if it had this principal Perfection of Malleabi∣lity, which many Learned Men have studied for, and daily find; but such is the Corruption of this Sinful Covetous Age, that those Wise Seniors of this Art, do rather chuse to pass for Ignoramus's, than run the Risque of Perpetual Confinement, by exposing so fine and delicate a Secret, which would incur the Envy of the Great: and this they take care wisely to avoid.

We have already taken notice that such as for∣merly Painted on Glass, were both Painters and

Glass-makers, and that such Gentlemen as were of them, received neither lessening in Birth nor Quality, as in case of other Arts, for this Prejudice is exemp∣ted in the Art of Glass, and our Kings have that E∣steem for the Curious therein, that they have grant∣ed them such ample Privileges.

Now to proceed to the Manner of Painting on Glass, which is the Subject of this Chapter, where∣in are several Particulars to be considered, which we will endeavour to distinguish as well as possible.

First choose such Glass as is usually called Glass of Lorrain, tho there be such and as good made at Ne∣vers; for this sort of Glass receives the Colours bet∣ter than any other, because 'tis best compact and a∣ble to resist the Fire; 'tis very easily known; 'tis not altogether White, but of a Whitish Yellow. But to proceed.

You must have the Original you Paint by, ready drawn and proportioned, on strong Cap-Paper, in all its Colours and Perfection; for your better advan∣tage in Pattern, lay it on a Table, and so choose your Pieces of Glass to be Painted, and take care to fit them so to each other, as they may joyn easily after∣wards without any prejudice to the Draught from displacing them, and so confounding the Figures and Pourtraits, or from the Lead which must joyn them afterwards, by obscuring any parts of the painting; then mark out each piece on the Tablet, by No. 1, 2, 3. for better distinction, and so trace them over with the Black given in Chap. 204. with a Pencil, as we shall further shew; do this very exactly, neither too slightly nor too thick, and so let it stand two Days to dry, before you paint it.

Then having all your Colours in readiness, so as directed in the foregoing Chapters, fill your Pieces off with Colours, for which use the Nib of the Pen∣cil, especially in Carnation, where you must be very

exact; you must also be very Circumspect and Expe∣ditions, and take a great deal of care not to blot or blur the Tracings, and chose rather to paint on the other side of the Glass.

All the Colours, except Yellow, may be applied on the same side, and that you must do on the con∣trary side, because it is apt to mingle with the other Colours, and if near the Blue, will compose a Green; so that for want of such precaution the whole Work may be spoil'd; if the Yellow transmit it self perfectly through the Quarre, it is as well as if it had been done on the same side; and take notice by the Way, that the other Colours have not so ready a Transition, because they consist of a Grosser Body.

The Yellow ought to be very equally and justly laid on in a greater or lesser quantity, as you'd have your Shadows; observe this too in the rest, especi∣ally to lay them on as quick as possible, as we have already said, particularly the Azure, Green, and Purple require the most exactness of any.

Now to set off and heighten the Lights, in piling a Beard, describing Hair in Drapery, or otherwise, use the Handle, or But-end of the Pencil, a small pointed Stick, or Quill, wherewith take off the Co∣lours in those places you would Enlighten, which is easily done.

Such Works as are done in Grisaille you must paint after this manner: Trace your Piece with Black, and let it dry for two Days entirely, do it over very lightly and equally with a Wash so thin laid on, as not to efface the first Lines, and let it dry for two Days; after this run it over again with the same Wash where you find it convenient to give a se∣cond Tinge, and let it dry two Days longer: Then to give it the Lights; and convenient Heightnings, take the sharp But-end of your Pencil, or pointed

Stick, or Pen, as before, and take off the Colour of the first Wash, in the most necessary places, and so your Work will be finished.

To make this Wash is easie: Take a small Pewter Cup, or other Vessel, and put therein a quantity of black colouring, then dissolve Gum-Arabick pow∣dered in its weight of Wine, and throw this on the Black in the Pewter-dish, or Saucer, that it may be very clear, and not easily dry'd, and that you may have your Wash for painting Glass in Grisaille, or Gray.