Art's master-piece, or, A companion for the ingenious of either sex ... by C.K.

The Curious Art and Mystery of Japanning.

To be a Proficient in this Art, several matters are requi∣red, and these you must consi∣der as sutable, not only in pro∣perty but goodness, that your Cost and Labour may not prove in vain.

As, two Strainers made of Flanel, moderately fine, or of course Linnen, in the nature of a Tunnel, for to strain your Lac Varnish, and the other for your White Varnish, and the first of these may serve for Lac∣cers, when your occasion re∣quires you to make them; be∣sides these, there are required

two Tunnels of Tin for the same Purpose as before, Glass Bot∣tles and Vials small and great, must be in a readiness, as to suit with the quantities of Var∣nish your business requires you to use, and Gally Pots to put it in when you design to work, as also to mix your Blacks in, when they come to be ordered with other things.

As for Tools, they are no less requisite, for without them, this Art would be insignificant, and therefore to furnish your self with them, you must have Pencils according to the great∣ness or smallness of the things intended to Work on; those for the Varnish must be made of Cammels Hair very soft, and are of various prices as to the largeness or fineness; like wise drawing Pencils, placed in Swallow, Duck, or Goose Quills,

as the finess or largeness of the stroke requires, and the longest haired Pencils are accounted the best in this business, you must have in a readiness a consider∣able number of Muscle-shells to mix Colours and Minerals in, as the occasion shall require it, Dutch Rushes are another ma∣terial useful in this matter, to smooth the Work before it is Varnished, or take off the knobs or grittiness from the Ground, or when it is Varnish∣ed.

Tripoly is proper to Pollish this Work with when Varnished, being reduced into fine powder and sifced, as for Linnen Rags you must be provided with them, both fine and course, to clear and pollish this Work, al∣so Olive Oil for a clearing; as many of these things shall be di∣rected

hereafter, as they occur in due place, in the Work.

Several things necessary to be used in this Art, &c.

Of Spirit of Wine.

This is of main use in Var∣nishing, and if it be not pro∣perly qualified, it will spoil the Varnish, and not be capable, for want of strength to dissolve your Gums, or make them spread, and so consequently lye uneven upon the Work, and to know when this Spirit is sufficiently rectified, put some of it in a Spoon, and put a little Gun∣powder in, and if it burns out, blows up the Gun-powder, and leaves the Spoon dry, then it is a good Spirit, but failing in

this, and leaving the Spoon moist when the flame extin∣guishes, it is not fit for your use.

Of Gum Animae, Gum Lac, and Gum Sandarack.

To chuse these well, as for the first, take the most tran∣sparent, clearest and whitest, which is the best.

The second also called Seed Lac, chuse that free from dross, sticks or dust, large grained and bright.

As for the third, take that which is large and very white, casting the least yellow, free from dust and dross.

Of Shell Lac, White Rosin, Bo'e-Armeni••ck, and Venice Turpen∣tine.

As for the first, that is best which is most perspicuously transparent, will easily melt, and draw out with your Fingers as fine as a hair.

As for the second, chuse for your use that which is he whi∣test and clearest.

As for the third, that is most fit for your purpose, that is free from grittiness or gravel, and is of a blackish red colour, com∣monly called French-bole.

Of Gum Elemi, Gum Arabick, and Gum Capal.

As for the first, chuse the hardest, and freest from dirt and dr••ss.

Chuse the second white and transparent.

As for the third that is best for your use that is whitest, free from dross, and the thick dark stuff incorporated with it.

Of Gambogium, Isinglass, Benja∣min or Benzoin, Dragons Blood, &c.

These are other things ne∣cessary in this Art, and ought to be well chosen

As for the first, the best is that of a bright yellow, free from dirty thickness and dross.

Chuse as to the second, that which is whitest and clearest, free from yellowness.

As for the third, the best is that of a bright red colour, much like to clarified black Ro∣sin, free from all dross and filth.

The fourth, when the best, is of a bright red, free from dross, it may be had as the others at the Drugists, but the prices I set not down, because they ge∣nerally rise and fall.

Of Silver Dust, Brass Dust, Green Gold, Dirty Gold, Coppers, Pow∣der, Tin, &c.

The Silver Dust, the best is brought from beyond the Seas, and is known from the Coun∣terfeit by being squeezed be∣tween your Finger and Thumb, giving a glorious Lustre, as in∣deed it does in the Work.

Brass Dust, by Artists called Dust Gold, is the best made in Germany, the best is of a fine bright colour, nearest resem∣bling Gold, try it as the Silver Dust; as for the course sort, though it will work pretty well with Gold Size, yet it will not do so with Gum-water.

Green Gold, a corrupt Mettal so called, is very good in this

Work, for casting a fading Green colour.

Dirty Gold is a corrupt Me∣tal, casting a dark, dull, though Silverish colour, bearing pretty well a resemblance to dirty dros∣sy Gold.

Coppers are three sorts, Na∣tural, Adulterate and Artificial; as for the Natural, being clean∣sed it may be ground without any mixture.

The Adulterate is most fit for a Ground, and serves com∣monly to lay other Metals on, as in hetching or heightening Gold or Silver on; but the Ar∣tificial is of a higher and brigh∣ter colour than either: There are also used in this Art, those called Speckles of Copper Gold and Silver, and divers other co∣lours differing in fineness, which may be worked as the Artist fancies, either on the outsides

of Boxes or Drawers, or on Mouldings, and may be pur∣chased ready done.

Of Colours proper in Japaning.

Some of these are called tran∣sparent, on which Gold and Silver are to be laid, or some light colour, so that by this means they appear in their pro∣per colours, lively and beauti∣ful.

Of these, for a Green are Di∣stilled Verdigrise, for a Red, fine Lake, for a Blue, Smalt, have to Grind these on, a Por∣phiry or Marble Stone, Grind with a Muller what quantity you please, with Smalt or Ver∣digrise, with Nut Oil, as much as will moisten the Colours, and grind them till they are as

fine as Butter, put then the Co∣lours into Shells, and mix them with Oil of Turpentine till they become thin for use, lay them on Silver, Gold, or any other light colour, and they will then become transparent, altering their lightness or darkness, ac∣cording to that of the Metal or Colours that are placed under them; this for a curious Red may be done with Lake, but then use drying Oil to grind them with.

If you design Figures on the black of your Table or Boxes, as Trees, Birds, or Flowers, those may be done for White, with White Lead; for Blue, Smalt, mixing it with Gum Arabick Water, and mingle them as you please, to make them lighter or deeper; Flake white is a very pure White, but the other will do for ordinary

Work, and you must use either of these with Smalt, or all o∣ther Colours that have not a Body of their own; you may for a Purple use Russet, fine Lake, and Sea-green, and it may be done with other sorts of Reds and Greens, and except transparent Colours, all must be laid with Gum-water.

Seed Lac Varnish how to make it.

Your Ground Work is good rectified Spirits, of which you may take a Gallon, put it into a wide a necked Bottle as you can get, that the Gums may the better come out, then of the best Seed Lac add a pound and a half, let it Macerate twenty four hours, or till the Gums are well dissolved, with often

shaking, to keep them from clog∣ing together, then with Flannel Strainers strain it into a Tin Tunnel, placed in the Mouth of the empty Bottle, the Strain∣er may be made as before di∣rected, and squeeze the Dross in the Bag, and throw it away as of no use; then let the Var∣nish settle, and pour it off into other Bottles, till it rises thick, and no longer, then strain the thick part and settle that again, and keep the fine Varnish for your use, and this does as well, without the danger of attempt∣ing to boil it, which endangers firing the House, and the Par∣ty's Life.

Shell Lac-Varnish, how to make it.

This in curious glossy pieces of Work is not of value, but in Varnisht Woods it succeeds, to make, put to a Gallon of Spirit •• pound and a half of the best Shell Lac, order it as the for∣mer, and though it has no Se∣diment, it is proper however it should be strained, to take away the sticks or straws that may be in the Gum, nor will it ever be fine and clear as the former, but turns in a few days to clou∣diness, yet is it fit for course work, and much used.

White Varnish, how to make it.

Take an ounce of White Gum Mastick, and an ounce of White Gum Sandarach, three ounces of the best and clearest Venice Turpentine, Gum E∣lemi half an ounce, Gum Ca∣pal an ounce and a half, Gum Benjamin or Benzoin of the clearest, half an ounce, and half an ounce of White Rosin, and the Gums being separated in their quantities provided, put the Rosin and (Capal in a glass Vial, with half a pint of Spi∣rits, that they may be dissolved, and to the same end, in a Glass Bottle of three quarts of Spirits put the Venice Turpentine, Animae and Benjamine, and in another Bottle the Gum Ma∣stick

and Sandarack, in a pint and a half of Spirits, then dissolve the Gum Elemi in a quarter of a pint of Spirits, powder very finely the Animae and Benjamin the better to dissolve in the Spi∣rit, and then pour them off in∣to one large Bottle, let them stand to fine as the former, and then strain them through a Lin∣nen cloth gently, not hardly pressing the Sediment, lest you carry the grittiness of the Gums along with you, to injure the Varnish.

General Rules for Varnishing.

This is a point nicely to be observed, or your labour and cost may be in vain.

1. If you chuse Wood that requires to be Varnished, let it

be exempted from knots, very close grained, smooth, clean, well rushed, and free from grea¦siness.

2. As for your Colours and Blacks, lay them even and ex∣quisitely smooth, sweep all roughness off with your rush.

3. Keep your Work ever warm, but not hot to raise blisters or crack it, which no thing but scraping off all the Varnish can amend.

4. After every distinct wash, let your work be thoroughly dry, for neglect in this point introduces the fault of rough∣ness.

5. After it is Varnished, let it lye by and rest as long as your conveniency will admit, and it will be the better.

6. Ever take care to begin your Varnish strokes in the mid∣dle of the Table, or what you

do it on, and not from one end to the other, and your Brush being planted in the middle, strike it to one end, then take it off, and fix it to the place you began at, so draw, or ex∣tend it to the other end, and so continue it till the whole plain be Varnished over, and beware you overlap not the Edges, which is, when the Varnish hangs in splashes or drops on them; therefore to prevent it, draw your Brush gently once or twice against your Gally-pot side.

7. When you have proceed∣ed so far as to come to pollish, let your Tripoly be very fine, and the finer the Work, let it be still the finer, and use fine Rags, keeping your hand mo∣derately hard upon it, and brighten or pollish one place as much as you intend, e're you

leave it and pass to another, and always have regard, that you pollish your Work as smooth as you intend at one time, but if your conveniency will admit, let it rest two or three days before you give the finishing strokes after you have pollished it, but come not too near the Wood to make it thin and hun∣gry, for then it will require another Varnish, or remain to your discredit.

8. Take a sufficient quantity of Tripoly at the first pollishing, till it begins to come smooth, and so lessen by degrees, and carefully observe there be no scratches or grating in it.

9. When you have a mind to clear up the Work, wash off the Tripoly with a Spunge, and soak up the wet with a fair Lin∣nen Cloth, and with Lamp∣black mixed with Oil, gently

smeer the whole face of it, let no corner nor moulding of it escape, that the whole Piece may be freed, then with other Linnen, and a hard hand cleanse it of that, and these things done there will be an admirable gloss.

For white work, let your pollishing be gentle and easie, do it nimbly, and clear it with Oil and fine Flower, and in ex∣actly observing these Rules you will prove an Artist.

Of Black Varnishing, or Japan.

Provide for this imatation of Japan, a close grained Wood, well wrought off, Rush it smooth and keep it warm by a Fire, but never so near as to burn, scorch or blister your work, then add to Seed-Lac-Varnish, as much Lamp

black as will at the first strokes colour the Wood; do it three times, permitting it to dry well between every doing, and also Rush it well, then with a quarter of a pint of the thick∣est Seed-Lac, mixed with an ounce of Venice Turpentine, put in more Lamp-black, so much as may well colour it, and with this wash it six times, let∣ing it stand twelve hours be∣tween the three first and the three last washings; then with the finest Seed Lac just tinctu∣red with the Black, do it over twelve times, leting it dry be∣tween every time doing, after which let it remain for five or six days before you pollish it.

At the end of that time, take Water and Tripole and Pollish it, having first dipped your Cloth in Water, and rub it till it gains a very fine smoothness

and gloss, but do not rub so as may any ways wear off the Var∣nish, which cannot be easily re∣paired, then use a Rag wetted without Tripole, and clear it up with Oil and Lamp-black, yet Pollish it not all at once, but let it have some days re∣spite between the first and last Pollishing, and at least three or four days.

White Varnishing or Japan.

This must be curiously done without any soiling, and there∣fore you must be cautious of letting any dirty thing come near, whilst you are doing it.

To begin this Work, scrape as much Isinglass as will make it of a reasonable thickness, or when dipping your Pencil into

it, it will with a stroke whiten the Body which has been passed over with a Brush, but let it be in neither of the extreams, too thick or too thin, then mix it with your Size, whiten your Work over with it, and when dry, repeat the same, covering it from all manner of Dust be∣fore it is Varnished; it must be whited three times, and dried between every one of them, smooth, and lay it as close as you can to the Wood with your Rushes; then mix White Flake with your Size, only so that it may lye with a full and fair bo∣dy on the Piece, and whiten your Work three several times, with this drying between each, then make it with your Rushes very smooth, but keep your di∣stance from the Wood.

In the next place, take white Starch boiled in fair Wa∣ter

till it come to be somewhat thick, and when it is luke∣warm, wash over your Work with it once or twice, drying between whiles, and let it then stand twenty four hours, then take the finest of the white Var∣nish I have directed you to make, wash your Pencil in Spirits, and wash or anoint your Work six or seven times, and after thirty or forty hours, do the like again, and if done with a dexterous hand, a better gloss will be set on it than if it had been Pollished; but if it miss of that gloss, it is requi∣site that you Pollish it; and in order thereto, you must accom∣modate it with five or six washes of Varnish more than the for∣mer, and it must continue to settle well about a Week before you Pollish it.

In Pollishing, your Linnen

and Tripolee must be of the fi∣nest, being neat and careful in all this operation, your hand carried light and gentle, having your cloth neither too dry nor too wet, and clear it up with fine Flower and Oil.

Isinglass Size, how to make it.

Break and divide an ounce of Isinglass into little pieces, put it into a glazed, clean, and well covered Pipkin, and let it for twelve hours soak in a pint and a half of fair Water, then place it over a gentle fire, till it boil well at leasure, and when the Water is consumed to a pint, let it stand to cool leisurely, and then it will be a Gelly, and may be used in the White Var∣nish and other Works, but make no more at a time than

you will use, for in two or three days it will prove naught.

Red Japan, to make it.

The Reds are properly three, viz. the Common Red, the Deep dark Red, and the Light∣pale Red.

In the first Vermillion is proper, mixed with the thick∣est of Seed Lac, warm the work and mix your Vermillion with the Varnish in a Medium, carry it over it four times, permit∣ting it to dry as the former; and if your Reds be in a good body and full, Rush it smooth, then with the ordinary Seed Lac-Varnish wash eight times, and after twelve hours Rush it again; and then for a curious outward covering, give it eight or ten washes with Seed Lac-Varnish, and after five days

Pollish it, and clear it with Lamp-black and Oil.

Of the Dark-red.

The Common Red laid as be∣fore directed, deepen it with Dragon's-Blood mixed with your Varnish, and when it has pretty good colour, go over it with Lac-Varnish, which will much deepen and strengthen the Colour, and in all things else, as to Pollishing and Clear∣ing, do as in the former Red.

Of the Pale-red.

To do this, grind white Lead with a Muller on a Stone, and when it is finely done, mix it with so much Vermillion as will make it a Pale-red, mix Varnish with them, and give the Work four washes, and fol∣low

the prescription of the Common Red, considering well, that the after-Varnish will heighten the Colour.

An Olive coloured Japan.

Take English Pink colour, grind it with common Size, and when it is like Pap mix with it a proportion of Lamp-black and White Lead, and work it as in other Japanning.

Chesnut coloured Japan.

To do this, take Indian Red, or else Brown-red Oker, grind it well, and mix it with ordina∣ry Size, then grind a little white Lead extraordinary well with the small Size, mix with it Lamp-black, and so both with the Indian Red-Oker, stir, and well incorporate them toge∣ther,

if the Colour be too bright, darken it with the Lamp-black, if too dark, lighten it with white Lead, and so bring the Colour to your Mind; con∣sidering always that your Var∣nish will heighten it.

With this wash over your Work, let it dry, and repeat it till your Colour lye, full and fair, Rush it smooth, but not close to the Wood, unless you design anew to begin your Work, and give it a second Varnish.

After it has stood three or four days, give it a Lustre with Seed-Lac, and when dry fit it for Pollishing with white Lac-Varnish, and clear it with Oil and Lamp-black.

Blue Japan.

To do this, grind white Lead very fine, add Smalt as finely ground, mix them with Isinglass Size, the white Lead grind with Gum-water, let there be a proportion of White and Blue, and mix them well to the thickness of common Paint, go over your Work with it, and when it is well dry, proceed so three or four times, till the Blue lyes with a fair bo∣dy, Rush it smooth, and go o∣ver it again with stronger Blue, and when dry wash it with the clearest Isinglass Size, having a new Pencil for that purpose, then when it is dry, warm it by the fire, and go over it with a Pencil dipped in white Varnish seven or eight times, and so let it continue for a day or two, then

wash it as often as before, and so continue many operations at intermitted times; for a week at least must pass, before you can well venture to Pollish it, and when it is Pollished, Clear it with Oil and Lamp-black.

Note, that in no wise you mix your Colours with Isinglass Colours too strong, lest when dried, they be apt to crack, fly, and spoil the Piece, but when you lay your Wash of clear Isin∣glass, to keep your Varnish from tarnishing, or soaking into your Colours, then it is proper that it be of a full and strong body.

And thus much may very well suffice the Learner, to give him an insight into this excellent Art, from whence I shall pro∣ceed to other things, useful and profitable.

Of Speckles, for the Adorning Japan'd Work.

Mix so many Speckles as you have occasion for, with ordina∣ry Lac Gum-Varnish, so much, as when they are put into a Gally-pot, will fit them for working with a convenient Pen∣cil, but not so thick as Colours, keep them stirring very well with a Brush, and generally warm by the fire: This con∣tinue till you perceive the Speckles lye thick and even to your mind, so beautifie them with three or four washes of Varnish, mixed with Turpen∣tine, and this, unless you in∣tend to Pollish, will be suffi∣cient, but then you must give it after all this eight or ten washings with the Prime Lac-Varnish, drying between whiles,

and then Pollish; and on this manner you may lay on all co∣loured Speckles; but Silver re∣quires Seed Lac-Varnish, and the best White Varnish e're it can be brought to a good Pol∣lish, but if not to be Pollished, you may spare your Varnish.

To lay on Speckles in Japan Work, &c.

If you design to Adorn your Work with Flowers, Rocks, or Garments, &c. Varnish the places intended with a fine Pen∣cil, and through any small Sieve shake the Colours you design, whilst the Varnish is wet, and sweep up in Rock-Work all Speckles that straggle on the edges, with a new dry Pencil lodge them on the sides and top of the Rock, which sticking, will render the Work more

beautiful, and give it a Shadow or Reflection.

This must be done with all di∣ligence, and no intermission had till finished, till once covered, and being once dry, operate a∣gain, and so one upon another successively, to shape it to your mind; and in sweeping the Speckles, intermix not one por∣tion of scattered parts with the other, that are of a different co∣lour, but every parcel in the proper station, to beautifie the better: At first when laid, it will look dull and heavy, but the securing Varnish in a little time will add to it a pleasant, beautiful colour; and so you may do Flowers, Trees, Gar∣ments, and many pleasant things to Adorn your Work.

Wood, how to overlay with Gold or Silver.

To prepare this Work, yea must be furnished with Parch∣ment-Size, that is, the cuttings of Parchment boiled in fair wa∣ter to a gelly, and when strain∣ed and cooled, it will prove a strong Size.

When you are to use it, put as much as you shall want into an Earthen Pot, and make it hot, then as it is cooling, scrape as much fine Whiting into it as will colour it, mix them well with a clean Brush, and with this mixture white your Wood or Frame, striking or jobbing your Brush against it, that it may the better enter in the hol∣lownesses of carved work, then give it rest, that it may dry.

This done, melt the Size a∣gain,

and put in more Whiting to render it some degrees thick∣er, and with this, do over the Frames seven or eight times, or as you see there is a necessity, and when it is dry, open with a Gouge no bigger than a Wheat∣straw, the Veins in the Carved Work, that the Whiting has stopped up, then with a fine wet Rag and your Finger, care∣fully smooth and water, plain it over, and Rush it smooth when dry, if necessity require it; and in this condition it will well re∣ceive your Gold or Silver Size; but before I proceed, I shall teach you to make these Sizes.

The best Gold-Size at present in use.

Take an equal quantity of the best French and English Bole-Ar∣moniack, grind these fine on a

Marble stone with fair water, then scrape into it a little Candle grease, incorporate and grind all these well together, then mix a little quantity of Parch∣ment-Size, with a double pro∣portion of Water, and the busi∣ness is done.

The best Silver-Size in use.

Grind fine Tobacco-pipe Clay very small, mix with it as much Lamp-black, as will turn it of a light Ash-colour, and to these add bits of Candle grease, grind them very fine together, a mix∣ture of Size and Water, and try these on the corner of the Frame, if it be rough in bur∣nishing, put more Oil or Grease, and as near as you can bring it to a due temper, that it may work well.

To Size your Frames, or other matters.

To do this, make the Size Wood-warm, and with a fine Brush stir it very well, till it is somewhat thin, go over the Frames with it twice or thrice, yet touch not the hollow parts of the deepest Carvings, where the Gold cannot conveniently be laid, for the yellow colour nearly resembling first laid on, the fault will not soon be disco∣vered; let it dry four or five hours, and then try the Gold if it will Burnish on it, if not, alter the Size, and do it over a∣gain.

To lay on the Gold, in order to Bur¦nishing.

Let your Frame or other matter intended, be set on a Hazle, place the Leaf Gold o•• a Cushion to be held in your left hand with the Pallat and Pencil, you must for this work have a Swans-Quill Pencil, or a larger of Camels hair, if the Work require it, dip it in Wa∣ter, and wet no more of your Frame at a time than will take up three or four Leaves, make your beginning at the lower end, and so proceed upwards, laying on whole leaves or half ones, as it requires, then wet such another part of your work, and lay on the Gold with your Pencil or Cotton, gently pres∣sing it very close; and having Gilded the upright sides, turn

the Frame, and proceed the same way with the ends, then survey the spots and places that are omitted, and cut small parts of Gold to cover them, when wetted with a smaller Pencil than before, when it is so finish∣ed let it stand till the next day that time you leave off.

To Burnish the Gold-Work.

Take a Wolf or Dogs Tooth, if you cannot get Aggats or Pebles formed into the same shapes, and Burnish so much of the Work as you design, leav∣ing the Ground of the Carving untouched, and some other parts as you see best convenient, which in respect of the Burnish∣ing being rough, the better sets it off: That which is omitted to be Burnished, must be Matted, or secured with Seed Lac-Var∣nish

or Lacker, if you design it a deeper colour, then must your Work be repossest or set off with Lacker, mixed with Saf∣fron and Dragons-Blood, or the colour called Ornator, and with a fine Pencil dipped herein, touch the hollownesses of the Carving, and the Veins of the Foldages or Leaves; if you fancy it is not deep enough, you may by a repetition make it so, and the Work is done.

To lay on Silver-Size.

Warm the Silver Size that is newly ground and mingled well with weak Size, as you did the Gold Size, do it once or twice, and let it dry, and try the Leaf Silver, if it will Burnish on it, it is prepared for the Work, but if it will not make an alte∣ration in the Size, and for the

rest, lay on the Leaf-Silver, and do as you did by the Gold, and it will answer.

Note, as farther Rules, and ever observe them.

1. Let your Parchment Size be somewhat strong, keep it not long, least it spoils.

2. Grind no more Silver or Gold Size than just you have present occasion for.

3. Ever keep your Work clean from Dust, after it is Sized and Gilded, or else in the Burnishing it will be full of scratches.

4. Do not Whiten or Burnish Gold Size in hard Frosty Wea∣ther, for then the Whiten will be apt to peel off, and the Gold flaw.