,illustration ,,encaustic ,,painting4 ,illustration ,,encaustic3 ,,or1 ,count ,,caylus',s ,,method of ,,painting ,in the ,,manner of the ,,ancients4 ,to which is added ,a sure and easy ,,method for ,fixing of ,,crayons4 ,by ,j4 ,h4 ,m,,ntz4 ,illustration ,,london3 ,printed for the ,,author2 and ,a4 ,,webley1 at the ,,bible and ,,crown near ,,chancery ,,lane1 ,,holborn1 #agfj4 ,illustration ,,to ,,the ,,right ,,honourable ,richard ,lord ,edgcumbe1 ,controller of his ,,majesty',s ,household4 ,my ,,lord1 ,i ,should be afraid to offer you the following ,treatise if ,i could not flatter myself with the hope that its intrinsic ,merit1 and the ,intention it was writ in1 would in your noble and generous ,mind counterbalance the ,defects and ,improprieties of ,language1 of which1 as almost unavoidable to a ,foreigner1 it must of course be guilty of4 ,the subject ,i present you with is known to you long ago2 you saw the first ,essays and ,experiments in ,encaustic2 ,you was pleased to approve of them1 and to express some ,satisfaction at the least ,picture executed in this manner4 ,with what greater ,advantage could ,i usher this new ,invention into the ,world1 than dedicating it to ,you2 to make it known that the ,,greatest ,,patron of ,arts1 and the best ,judge of the ,merits of ,painting approved of it8--,count ,,caylus invented it2 under the ,sanction of your ,lordship's ,name ,i offer it to the ,public1 and with a grateful ,sense for all the ,favours and ,kindness ,you have at all ,times shewn towards me4 ,i am1 my ,lord1 your ,lordship's most obedient and most obliged humble ,servant1 ,j4 ,h4 ,m,,ntz4 ,,encaustic3 ,,or1 ,,method of ,,painting ,in the ,manner of the ,,ancients4 ,a relation of my proceedings1 to reduce this singular invention into a regular system agreeable to reason1 and practical in itself1 would be tedious and superfluous3 ,to enter upon the process without giving the reader some little account of the matter1 would be improper4 ,as something is required to introduce the reader1 and as the books ,i must refer to are not in every body's possession1 ,i shall in lieu of introduction1 insert the whole as laid before the ,royal ,society1--which is as follows4 ,,extract of a ,,letter#a ,from the ,abb ,,mazeas1 ,f4 ,r4 ,s4 ,concerning an ancient ,method of ,painting4 ,revived by ,count ,,caylus4 ,count ,,caylus1 a member of the ,academy of ,inscriptions1 had undertaken to explain an obscure passage in ,,pliny the naturalist4 ,this author 7whom ,i have not now before me7 says in some place of his works1 that 8the ancients painted with burnt wax0#b and we have it from tradition1 that pictures of this kind were very durable4 ,this was the passage1 the count undertook to clear up1 in trying all the different ways that are possible to paint in wax2 and after many experiments1 he hit upon a very simple method1 of which he made a secret1 in order to excite the curiosity of the public4 ,the several artists who were desirous of knowing by what means the count came to make this discovery1 made several attempts themselves2 but in a great number of trials1 only two are worth mentioning4 ,the first was to melt wax and oil of turpentine together1 and use it for mixing the colours4 ,but this method does not at all explain ,,pliny',s meaning2 because wax is not burnt in this way of managing it3 and besides1 this method has two defects2 the oil of turpentine dries too fast1 and does not allow the painter sufficient time to blend and unite his colours4 ,the second method is very ingenious1 and seems to come up to ,,pliny',s notion very well2 it is as follows2 the wax is melted with strong lixivium of salt of tartar1 and with this the colours are ground4 ,when the picture is finished1 it is gradually put to the fire1 which increases the heat by degrees2 the wax melts1 swells1 and is bloated up upon the picture2 then the picture is removed gradually from the fire1 and the colours do not at all appear to have been disordered2 the colours then become unalterable by the action of the fire1 and even spirit of wine has been burnt upon them without doing them the least harm4 ,however1 the following is the ,count de ,,caylus',s method1 which is much more simple2 according to which the head of ,minerva was painted1 which was so much admired by all the connoisseurs4 ,first4 ,the cloth or wood designed for the picture is waxed over1 by only rubbing it simply with a piece of bees-wax4 ,secondly4 ,the colours are mixed up with common water2 but as these colours will not adhere to the wax1 the whole picture is to be first rubbed over with ,spanish chalk1 or whitening1 and then the colours are used4 ,thirdly4 ,when the picture is dry1 it is put near the fire1 whereby the wax melts1 and absorbs all the colours4 ,it must be allowed1 that nothing can be more simple than this method2 and it is thought1 that this kind of painting is capable of withstanding the injuries of the weather1 and last longer than painting in oil2 which ,i will not answer for4 ,the effect produced by these colours upon wax is very singular2 nor can one have any notion of it without seeing it4 ,the colours have not that natural varnish or shining1 that they acquire with oil2 but you are capable of seeing the picture in any light1 or in whatsoever situation you place it2 in short there can be no false glare or light upon the picture for the spectators3 the colours are secured1 are firm1 and will bear washing2 and have a property1 which ,i look upon as the most important of any1 which is1 that they have smoaked this picture in places subject to foul vapours1 and to smoke in chimnies2 and then by being exposed to the dew1 it became as clean as if it had been but just painted4 ,these are all the contents of the letter1 laid before the ,royal ,society by a member of that learned body1 who accompanied it with a series of very acute and learned observations1 which1 with an extensive knowledge1 shew an inclination to prove that the count's method could not be the encaustic of the ancients1 and that encausto pingendi could be nothing else but enameling4---- 99 99 99 99 99 ,it is neither my business nor intention to enter into discussions2 it would be too difficult a task to prove that the count's invention comes up to ,,pliny',s meaning2 no certain evidence can be brought neither for nor against it4 ,any discovery that tends towards improvement of arts and sciences is valuable2 that the count's invention is of this kind1 will appear to every unprejudiced mind4 ,therefore it matters not if the ancients did so or not4 ,but1 to give my opinion only----the numberless experiments ,i made to bring the new encaustic into a regular system--the repeated trials to explain ,,pliny',s meaning any other way that would answer the general ends of painting1 c4 induce me to believe that encausto pingendi of the ancients could not be enameling1 but must have been some manner of painting very near of kin to that which is the subject of this treatise4 ,besides the clear and expressive words of our ancient author--,ceris pingere ac picturam inurere--and where he speaks of their ship painting--resolutis igni ceris penicilio utendi--carry a silent proof with them1 that the ,latin verb urere ought not to be understood in so fierce a degree as enameling requires4#c ,in both the above cited passages cera is in the plural number2 and for this very reason ,i believe it can mean nothing else but bees-wax simple1 or compounded with other ingredients capable to sympathise therewith4 ,it would be ridiculous to suppose the ,latin tongue so defective in ,,pliny',s time1 as not to afford two distinct names for two things so opposite as enameling and ship painting are4 ,i cannot conceive what good enamel would or could do to their ships1 without undergoing the operation of the fire after being painted4 ,nor can ,i form any idea of a ,roman enameled first-rate man of war4 ,the most probable reason1 for ,,pliny',s not giving a better account of particulars may be1 that he knowing nothing at all of the matter1 used the term of art then in vogue2 or was imposed upon by artists who did not chuse to part with the secret of their art4 ,instances of this kind we have every day4----,arts and trades abound with jargon and mystical names1 which1 if taken or explained literally1 would often prove but little analogous to their subject4 ,writers that pay no regard to that1 and without farther scrutiny speak and relate what they are told1 must of course be unintelligible4 ,hence it comes that most of our dictionaries on arts and sciences1 and the greatest number of books on painting1 are so perplexing2 and in many a point rival ,,pliny in obscurity4 ,to write upon a subject and unfold its mystery1 one ought to be practically acquainted with it2 a superficial drawing is not enough2 to teach others how to go to work1 the section is wanted4 ,if all books upon arts and sciences1 manufactures and mechanics1 had been or could be written by the respective professors thereof1 things would appear in another light2 we should1 perhaps1 not have the finest language in those performances2 but we do not want that1 plain truth and common sense is all that is required2 if a guide leads us the right way1 we need not mind his dress4 ,i shall make no apology for this performance of mine3 if the contents do not speak for themselves1 my abilities as a writer would but weakly support them1 only as new inventions are frequently condemned for no other reason but because they are new2 it becomes me to acquaint the public1 that ,i should never have gone so far as to publish this system1 if ,i had not been convinced of its merit by experience and practice2 ,i made many and various experiments 7as will be mentioned in the sequel7 to ascertain its stability2 and having painted several pictures of different sizes1 ,i can answer for its practicability4 ,in short1 it is a manner of painting susceptible of all the boldness1 freedom and delicacy of any other whatsoever2 you may leave off and cherish your work at pleasure1 you cannot fatigue your colours1 you are not subject to that inconvenience attending oil painting1 viz4 of setting one's picture by to dry1 c4 ,you will have all the effects and sweetness of painting in oil1 and the colours will not be liable to fade and change2 no damp can affect it1 no corrosive will hurt it2 nor can the colours crack and fall in shivers from off the canvas4 ,let no-body think me too positive1 or intoxicated with my own notions1 before they have gone through the whole treatise1 and made a few experiments4 ,i advance facts1 and not conjectures only4 ,it is not my intention to quarrel or depreciate oil painting1 nor will ,i attempt to deny its true merit2 therefore hope it will not be considered as a crime to propose a method that will equal its perfections1 and surpass it for duration and stability of colours4 ,i tell artists what ,i know1 they may do what they judge proper4 ,though ,i bestow encomiums upon my subject it is not with a design to impose2 ,i am not self-conceited1 or foolish enough to think or believe that ,rynolds or ,ransey1 ,scott or ,lambert1 c4 c4 will take up at once and prefer my new system to that they practised for many years with success and applause--they1 and every body else1 may try2 a trifling expence1 and a few idle hours will afford experiments by which they will know if what ,i advance will really be an advantage to their works and themselves4 ,and how far it will answer1 either whole or in part1 the general ends of painting1 one single sketch will be enough to judge by2 in arts1 one experience is worth a thousand conjectures4 ,in the prosecution of my system1 oil-colours came always in for a part of the experiment1 in opposition to those fixed with wax1 in order to judge better and with more precision of their variation4 ,by this it happened that ,i often painted oil-colours over a waxed ground2 which colours always appeared brighter and cleaner than the very same painted over an oil-cloth2 at least ,i fancied that dead colouring in water colours and finishing in oil1 was an experiment worth trying4 ,for this purpose 7as portrait painting is not my province7 ,i pitched upon a head of ,sir ,godfrey ,kneller1 a gentleman and friend had sent me to copy small in oil2 accordingly ,i dead coloured it in water colours and fixed them with wax1 and afterwards finished it in oil-colours1 not only to my satisfaction and surprize1 but every body's else that saw it2 the brightness and transparency of its colours is not to be conceived4 ,i copied the same head again in oil-colours only1 and with all imaginable care and attention1 but the colouring of the latter looked dull in opposition to the other#d2 to give reasons for this incident is more than ,i can do2 ,i shall give a few conjectures1 and conjectures only1 upon it1 under the article of experiments4 ,if ,i should not gain the approbation and good will of the oil painting faculty1 for a few hints3 ,i am sure those artists who profess painting in crayons will be beholden to me for what ,i shall communicate to them--a method to fix crayons or pastelle4 ,every body knows the beauties and pleasing effects of those paintings and their perishable qualities so well1 that to enlarge upon is needless to bestow great encomiums upon my secret1 which is so closely connected with encaustic for the pencil1 and whose merit has already been mentioned1 would be superfluous2 the process and experiments ,i am now going to unfold will be of more weight than all my reasonings previous thereto4 ,to make the whole familiar and easy to all capacities1 ,i thought it convenient to lay down the whole penciling system under five different articles or periods1 according as they succeed each other in the execution2 and to keep the thread of the proceeding uninterrupted1 ,i shall make a few observations upon every article in particular1 and there give and explain the different methods that may be practised for the same end1 together with my reason1 and why ,i deviated in some parts from ,count ,,caylus',s system4 ,the operations for painting with crayons will be treated and explained separately1 and upon the same plan4 ,lastly1 the experiments will come in to illustrate both1 and verify what ,i advance4 ,,art4 ,i4 ,preparation of the cloth for painting in ,encaustic4 ,take any sort of clean linen cloth whose texture is pretty close1 soft and even1 stretch it upon a straining frame1 as you would do an oil cloth1 lay it upon a smooth table1 the side your are to paint on downwards1 then with a piece of common bees- or virgin-wax rub it over and over1 till you perceive a good quantity of the wax adhere to the cloth1 in equal proportion over the whole4#e ,your cloth thus waxed is ready to paint upon if it be fine2 if it is coarse1 turn it1 and with a pumice stone gently rub over the side which is to receive the colours1 to take off all the knots and unevenness that might obstruct the free flowing of your pencil4 ,if you want to paint a picture of any determined size1 provide a straining frame1 whose inner circumference is equal to the height and width required2 that is to say1 you must have two frames1 the one to work and finish your picture upon1 the other whereon the picture is to go and remain when finished4 ,the first must be of such height and width1 as to contain between its inner edges cloth enough to cover the second4 ,no part of the cloth you paint over ought to touch the wood of the frame1 if it did the wood would imbibe part of the wax1 when the picture is brought near the fire1 and leave those parts imperfect4 ,,art4 ,,ii4 ,of the colours and their preparation4 ,all colours used in oil painting are fit for this manner1 and no others4 ,there are a few that ought to be omitted2 for reason see the list of colours4 ,grind all your colours very fine with simple water1 allot to every particular colour a distinct vessel1 such as gallipots1 pans1 c4 ,from your colours so ground1 compose all the different principal tints1 as the nature of your intended work shall require4 ,but1 as most of the colours acquire a deeper hue when moistened1 and some deeper still when fixed with wax1 it will be necessary1 to prevent perplexity in the execution1 to have a guide for retouching1 either when the picture is finished and dry1 before the operation of the fire1 or after it is fixed2 for this purpose you may1 before you go to work1 use the following expedient4 ,take two slips of cloth about a foot long1 and three or four inches wide1 wax them as before mentioned1 then upon the one slip paint of every one of your entire colours#f about an inch high over the whole width of the cloth1 and with your tints already composed do the same upon the other piece of cloth1 according to their order and degradation2#g mark every tint with a number1 such as #a1 #b1 #c1 c4 write down upon a paper every number1 and what it is composed of4 ,this done and your colours so applied dry1 cut your cloth across all the tints from top to bottom in two equal parts2 bring one half of each near the fire1 and by melting the wax fix them1 the other two halves you keep as they are unfixed4 ,by rejoining and comparing them together1 you may judge what strength every tint will acquire1 and by their reciprocal references you will be enabled to alter or imitate1 deepen or heighten with certainty1 any tint1 either before or after the colours are fixed4 ,in painting be not sparing2 the greater body of colours you employ1 the better and brighter your work will appear2 you may give greater freedom to your pencil1 blend and sweeten your colours better than in any other way of painting4 ,,art4 ,,iii4 ,how to paint over or alter any part before the picture has been near the fire4 ,if the parts of the picture you want to retouch are large and the colouring dry1 take a large soft hair pencil1 and with water gently moisten those places1 or the whole picture if you please1 and repaint till your eye is satisfied4 ,you might paint over1 or alter any part without moistening1 but on a first trial you would not so well see what you are about4 ,while the picture is wet it appears very near what it will be when fixed2 when it is dry it looks like a weak dead colouring in oil4 ,you will see enough to judge of the general effect1 but none of the tenderer half tints will appear discernable enough to judge of them with precision4 ,in large pictures where the cloth will be required stronger1 a picture is kept wet with great ease and security1 by moistening it on the back with a large brush as often as there is occasion1 for the water will soon soak through the texture and take hold of the colours2 there is no danger of disturbing them on the other side with the action of the brush1 by reason of the substance of the cloth4 ,,art4 ,,iv4 ,to fix the colours by melting the wax4 ,when your picture is finished and dry1 have a good clear fire of sea-coals1#h approach your picture with the painted side towards it1 at about two feet distance1 let it grow warm by gentle degrees1 always approaching nearer1 till within a foot distance from the grate1 but never closer1 holding your picture perpendicularly or a little inclined as you shall find necessary4 ,if the picture is large do one half first1 then the other2 there is not the least difficulty for any size4 ,when you perceive by the hue and shining of the painted surface that all is perfectly absorbed2 then remove it gradually from the fire as you advanced it1 and your picture will be done4 ,if you see any place defective for want of a sufficient quantity of wax1#i put a little finely scraped wax on the back of that place1 then bring only a red hot poker1 or some such thing towards it1 the wax will immediately settle in its place4 ,if there are many parts so defective1 put scrapings of wax there1 and bring the whole picture before the fire as above mentioned4 ,there is no danger in bringing the picture to the fire as often as required1 provided you never give it too great a degree of heat2 if you do1 the wax will raise in bubbles upon the surface1 and your picture will look rough and uneven4 ,advance your picture never too hasty1 nor retire it too quickly2 if you do the former1 the sudden action of the fire might disturb some of the colours2 if the latter1 the wax will not retire enough within the texture of the cloth1 consequently lye too much above the colours and look glaring4 ,if you perceive any such glaring spots or places upon your picture1 or 7in other words7 parts that appear varnished like1 and that appearance should proceed from too great a quantity of wax1 paint those places over on the back with whitening1 or any one of your other colours1 and when dry bring the picture near the fire1 as above mentioned1 and those colours or whitening will imbibe the overplus of the wax4 ,repeat that if required4 ,,art4 ,v4 ,how to retouch or paint over any part after the colours are fixed4 ,put upon your pallette such of your tints as will be fit for the place or parts you want to alter or paint over1 temper and employ them with a little spirit of wine2#aj repaint1 and bring the picture to the fire as often as required1 and those retouched parts will become fixed like any other part of the picture4 ,observations on article the first4 ,as linen cloth is the material most commonly and preferably used1 as the fittest and most convenient to paint upon1 ,i chose to give under ,article the first1 directions for that purpose only2 for though the wax and colours may be applied to cloth and other materials in several different manners1 ,i1 not to bewilder the beginners in multiplicities on a first setting out1 gave and recommend that1 which besides its being the likeliest to be most practised1 is the best for solidity1 and will prove to every practitioner the easiest1 most agreeable1 expeditious and convenient for execution4 ,but not to deprive the artists and curious of the several means and methods that may be practised for and towards the same end1 ,i shall here give some of the principal ones1 as well for painting upon canvas as upon wood1 plaister1 c4 but first of all ,i shall consider and treat ,count ,,caylus',s system a little more at large1 and shew why ,i have deviated from it in this particular1 and leave the artist at liberty to adopt and practise which suits him best4 ,the ,count's method for preparing the cloth consists1 in stretching it upon a frame1 and holding it horizontally over1 or perpendicularly before a fire 7at a distance convenient and proportionable to the degree of heat it casts7 and rubbing it with a piece of wax2 which1 melting gradually as it is rubbed on1 diffuses itself1 penetrates the body1 and fills the interstices of the texture of the cloth1 which when cool1 is fit to paint upon2 but1 as water colours will not adhere regularly flowing and connectedly to the wax1 ,he1 to remedy this inconveniency1 makes use of an intermediate body1 viz4 chalk or whitening1 with which he rubs over that surface of the waxed canvas he intends to paint upon1 and then the colours will easily flow over and adhere to it4 ,now1 though this way of proceeding is very simple and successfully practicable for small subjects2--for instance1--such as the head of ,diana1 mentioned in the ,abb's letter1 or any other that may be finished in a couple of hours1 and while the colours upon the canvas retain moisture2 yet1 to execute pictures of a larger size and composition1 which will require many a day's labour and application1 and whereof no part can be finished positively at the first onset1 this manner of managing it will not answer so well1 as that given under ,art4 the first1 for the following reasons4 ,first4 ,in painting upon the wax by virtue of the whitening1 you will not have that conveniency of retouching or altering of any part1 and before the colours are fixed1 so well1 as painting upon the raw and bare canvas will afford you2 because the texture and fibres of the cloth being thoroughly invaded by the wax1 there remains nothing for water colours to fix or adhere to1 capable to retain them2 those colours once dry1 the slightest touch of a moist pencil will1 as it were1 attract them1 and frequently make and leave a bare spot2 so that in attempting to retouch1 instead of adding fresh colours1 you will fetch off the old ones3 for though the rough edged particles of the chalk facilitate to the first colours an adhesion upon the smooth body wax yet1 water the vehicle of the colours1 being the menstruum of chalk1 by discomposing it destroys part of its power and virtue1 and renders it incapable to perform the first service a second time4 ,secondly4 ,upon canvas fully imbibed with wax1 you can neither use so great a body of colours1 nor employ them with such freedom1 boldness1 or delicacy as you may upon cloth1 whose texture is not pre-occupied with wax--the reason is obvious--the one has its pores and interstices filled up with wax2 the other's you must fill up with colours4 ,cloth1 a firm spungy body or substance1 in sucking in the water attracts the colours along with it into its pores1 and thereby facilitates the firm and delicate strokes2 and the colours mixing and adhering to its numberless fibres1 will not come off on retouching1 before the picture is fixed2 you may cherish or leave your work at pleasure without detriment or inconveniency arising from that4 ,advantages that cloth pre-occupied with wax is incapable of4 ,thirdly and lastly4 ,by painting on canvas prepared according to the directions of ,art4 the first1 your works will be more solid and lasting1 because the colours will not simply lay upon the surface of the wax1 but cloth1 wax and colours will make but one individual body4--,thus much on my deviation from ,count ,,caylus',s system1 in regard to the preparation of the cloth4 ,for painting upon walls or plaister where the wax cannot be applied on the back1 the ,count's system must be practised2 it will succeed well2 the rough and gritty grain of the plaister will take and retain a sufficient quantity of colours to insure solidity2 the only difference between painting upon cloth and plaister consists in this2 painting upon canvas you can finish your picture entirely before you fix it2 in painting upon plaister1 you must proceed as you do in painting with oil-colours1 viz4 first1 dead colour your subject and fix it1 and then paint it over again and finish it1 either by virtue of the chalk1 or by tempering and employing the colours with some spirit1 or oil of turpentine4 ,you may too paint and retouch with crayons4 ,upon wood1 stone1 and metals1--you must proceed as you do upon plaister2 but as there is no grain you must procure an artificial one1 after your board is waxed1 by laying on a ground of any colour mixed with half chalk and fix it#aa2 upon this you may paint with water colours or crayons1 as sweetly as upon canvas4 ,to paint upon paper2--you must have a smooth board1 or copper-plate of a convenient size1 and well waxed2 upon this you fasten your paper by the corners and paint upon2 the colours dry1 present it to the fire1 and the wax underneath the paper melting1 will soak and penetrate through and fix the colours2 this method may be successfully practised with cloth4 ,there are two more methods remaining to be practised on cloth and paper2 but as they make part of the system for painting with crayons1 and will be described under that head1 ,i omit to mention them here4 ,observations on ,article the second4 ,in grinding the colours upon the stone1 and managing them upon the pallette1 care should be taken not to use an iron knife1 the steel or iron that grinds off1 in mixing with the colours spoils their brightness and vivacity2 flake-white and white-lead1 yellow-oker1 lacque and light-red1 suffer greatly by it1 it gives them a dull and dirty cast2 ,naples-yellow suffers most of all from it2 its vivacity is entirely destroyed by the iron's touching it4 ,horn1 ivory1 or tortoise shell knives1 or wooden spatulas are fitter for all manner of painting2 they will affect no colours2 iron knives have destroyed many a tender complexion in oil-colours2 for1 the oil once dry1 the iron ground off from the knife and mixed in the colours will be converted into rust by the moisture of the air4--,tho' this little hint is foreign to our present subject1 it will perhaps not be unacceptable to my brethren4--,it is an essential point in an architect to be acquainted with the qualities and properties of the materials he builds with1 if his plan and stile1 dispositions1 proportions1 c4 be ever so good1 noble1 grand and graceful1 yet if his fabric falls down as soon as built1 we are but little beholden to his skill4--,vandyke1 ,i believe1 never used an iron knife1 if he had he would not have painted a spatula of horn in one of his pictures1 wherein all the utensils of a painter accompany his own figure4-- 99 99 99 99 99 ,the expedient recommended under ,art4 the second1 for establishing a standard for all the differing principal tints that may be required for any subject1 will be of use to them who are not much acquainted with painting in water colours2 and to ladies and gentlemen1 who painting only now and then for their amusement1 cannot have so thorough a knowledge of the value of each colour1 and might therefore be at a loss how to retouch1 after the colours are fixed4 ,to make the directions given for that purpose more intelligible1 and to point out the use of such a standard--let us suppose--the annexed copper plate figure ,a4 ,b4 ,c4 ,d4 to be a piece of cloth1 about a foot long and three or four inches wide1 waxed on the back1 as directed under ,art4 the first1 and the divisions a4 b4 c4 d4 e4 f4 g4 h4 c4 be the tints painted1 according to their order and degradation1 across the whole width of the cloth ,a4 ,b4 these tints dry1 cut the piece of cloth across all the tints from top ,e4 to bottom ,f4 in two equal parts1 bring the one half ,a ,c near the fire1 and by melting the wax fix it1 the other half ,b ,d you keep as it is unfixed4 ,now1 the half ,a ,c being fixed1 will shew you at one glance what strength every tint will acquire2 and if you moisten again the other half ,b ,d1 or paint the same tints upon a fresh piece of cloth1 you will see which are the colours that grow deeper still1 fixed with wax than they appear when only moistened with water1 and the references #a #b #c #d #e c4 telling you what each tint is composed of1 you will be enabled to amend any one that might be amiss4 ,farther1 when your picture will be fixed and it should want retouching1 and you should be at a loss for hitting of the tint or hue required for that purpose1--bring only the fixed half ,a ,c upon the picture and compare them1 and you will easily find what you want2 again1 if you want to renew any tint that is spent1 find that tint upon the picture1 with the fixed half ,a ,c1 when found compare it to1 and moisten its fellow upon the unfixed half ,b ,d1 and that will give you again the original hue1 and the references #a #b #c #d c4 will tell you what that tint is principally composed of4 ,illustration ,tho' professed artists 7whose long experience enables them to judge of the value of each colour7 will not have absolute occasion for the comparative use of such a standard1 yet they will not do amiss to make an essay of their tints before they employ them4 ,observations on ,article the third4 ,the being able to work and retouch at pleasure1 and at any time1 without fatiguing the colours1 or any other detriment arising from it1 is an advantage peculiar to encaustic only2 for1 the new colours will unite with the old ones without making spots1 as is the case in common size-painting2 nor will there be that inconveniency of rubbing the places to be retouched over with oil1 as is the case with oil pictures2 the only seeming difficulty to a beginner1 will consist in the colours growing paler and weaker in drying1 but as a picture is easily kept wet1 by moistening it now and then as above directed1 the difficulty vanishes4 ,pictures of any size may easily be kept wet for several days1 by applying a double wet cloth on the back2 but a little practice will render that precaution unnecessary4 ,every body in the least acquainted with colours1 knows that water colours1 tempered or employed either with gum or size1 grow paler and lighter in drying1 and that they acquire their true tone only when dry2--in encaustic they grow paler and lighter too in drying1 but they recede from and lose their true tone4--,encaustic is the reverse of size-painting as to effect1 while you are at work and the colours wet2--of the latter you cannot judge positively until the colours are dry2 of the former you can only judge while the colours are wet1 or which is the same1 when fixed with the wax4 ,observations on ,article the fourth4 ,the most essential point in encaustic--the fixing of the colours--is the simplest and easiest for paintings of any size1 moveable or immoveable4 ,a surface of forty feet may be fixed as conveniently as a picture of twelve inches2 for if the painting be too large to be brought near the fire1 or immoveable on a wall1 bring that agent to the painting2----a square copper or iron chest1 or box1 such as commonly used for warming or airing of beds1 with a red hot iron or lighted charcoal in it1 will do the business admirably well1 by passing it in a direction parallel to and before the painted surface1 at a distance proportionable to the degree of heat it casts1--a brasier ambulant1 with a cover to prevent the ashes from flying about1 with charcoal well lighted1 will answer the end too1 by inclining the picture over it1--an instrument of iron like a baker's shovel1 with a long handle and made red hot1 will perform the same service1 if waved in a parallel direction before the painted surface2 and by heating it again1 when grown cool1 with such an instrument one may fix paintings of the largest size2 it matters not if the whole be fixed at once1 or in parts at different times4 ,the directions for rectifying of any defects arising from too small a quantity of wax1 are so clear1 simple and sufficient1 that they want but little explanation or addition2 only1 you may instead of wax simple use wax dissolved in such a quantity of oil of turpentine1 as to make it when cool1 fluent enough to be employed with a brush on the back of the picture1 which1 when brought to the fire1 the wax will settle with the colours1 and the turpentine will fly off4 ,my saying under the above article that the sudden action of the fire might disturb some of the colours1 must not be understood in regard to the wax1 but in regard to the nature of the colours1 which1 if the picture be brought too near the fire at once1 will be scorched before the wax can melt and penetrate the texture to screen and secure them4 ,observations on ,art4 the fifth and last4 ,the facility and conveniency for retouching a picture after the colours are fixed1 without the new colours differing from the hue of the old ones1 is an advantage no other manner of painting is possessed of4 ,in oil painting you cannot do it so well except you paint over large parts1 because the colours in drying acquire a yellower hue1 than they have while fresh2 there will always be a difference between the very same tints2 besides1 oil pictures are frequently greasy-like and refuse the new colours1 so that you are obliged to rub those parts with oil1 to make the new colours adhere to and flow over the old ones1 which rubbing with oil very often makes a dull and yellow spot when the colours are dry2 in size-painting it is worse1 retouchings there in general appear hard1 and in large masses of a uniform colour1--such as sky's--produce spots4----,encaustic is free from all that2 you may glaze with a body of colours as thin and as transparent as you please1 without your colours changing of tone4 ,by retouching with crayons upon the fixed colours1 the sweetest effects may be produced in landscapes and figures2 nay1 for retouching only here and there1 ,i should prefer crayons4 ,for instance--to finish a head1--and give the decisive strokes about the eye1 mouth1 hair1 and sharp folds of linen1 c4 in landscapes--for the extremities of trees1 c4 the smart touch of a crayon will be preferable to the pencil4 ,when your picture is entirely finished1 and you should want to give the canvas more solidity1 you may paint it over on the back with any colour or tint1 and bring it again and for the last time to the fire1 to fix that colour2 if you apprehend there is not wax enough1 apply a little dissolved in spirit of turpentine1 as mentioned in the foregoing observations on ,art4 iv4 this fixed take your picture off from the frame1 and stretch it upon that whereon it is to remain4 ,having now done with the process for painting in encaustic with the pencil1 which notwithstanding its simplicity might appear to some beginners intricate1 because ,i pointed out all the difficulties that possibly may occur in the execution1--to comfort and encourage those that might think the task hard1 ,i shall recapitulate1 and reduce the whole within this compass4--,stretch a piece of cloth upon a frame1 rub the back of that cloth with wax1 paint your subject on the other side1 with colours prepared and tempered with water1 and when dry bring the picture near the fire1 and by melting the wax fix the colours4 ,n4 ,b4 ,i might have said much more1 and dwelt longer on several particulars2 but as the only aim of this treatise is to communicate the discovery to artists1 and others already acquainted with the management of colours1 and not to form pupils from beginning1 ,i omitted saying any thing of composing the tints and disposing the colours on the pallette1 c4 ,every artist may go on in his accustomed method2 the use of all the colours is in encaustic as in oil1 as may be seen by the following list4 ,the direction for painting with crayons will illustrate some passages of the foregoing process1 and what other advantages encaustic painting will have over oil and size-painting will be shewn by conclusions drawn from the experiments4 ,the end of the first part4 ,,list of the ,,colours ,to be ,,used for ,painting in ,encaustic2 ,,as ,,also ,,for ,,the ,,composing of the ,,crayons4 ,,white4 ,flake-white1 and white-lead1 or ceruss4 ,for painting in encaustic1 ,i mix always both together half and half2 flake-white alone is subject to raise too much little bubbles in employing it with water1 which the admixture of the other prevents2 besides1 both together make a better and more solid body2 tho' flake-white is the whitest of the two1 to use either alone ,i should prefer the second4 ,the ,venetian or ,dalmatian white-lead is by far the best for all manner of painting2 being prepared with a purer and subtler acid it is whiter and purer than any other whatsoever1 and preferable to flake-white2 next to it is the ,german or ,dutch2 ,french or ,english ceruss are in general but indifferent1 in experiments ,i frequently found the latter to have one third of marle or chalk in its composition2 which is the cause of its growing so soon yellow1 dull and dirty in oil4 ,in composing of the crayons it will be well to observe the above mentioned proportion of half and half1 as by the doing so1 much pipe clay will not be required to bind them4 ,,yellows4 ,naples-yellow1 ,light-oker1 ,brown-oker1 ,yellow-orpiment1 or1 ,king's-yellow1 ,red-orpiment1 are all perfectly good and necessary for our purpose4 ,naples-yellow is the only colour that ought to be used in composing the tenderer flesh tints of women2 it proves a very tender1 bright and beautiful lasting colour for all manner of painting1 if properly prepared and managed1 if not1 a dirty1 weak and treacherous one1 and particularly in oil4 ,it is a mineral compound of lead1 antimony1 sulphur1 and some arsenic1 which latter is the cause of its changing1 and hurting other colours1 and particularly the white1 so much complained of by the painters4 ,though this yellow fixed with wax will not change2 yet it will not be amiss to insert a method to clean1 and purify it1 so as to render it beautiful and lasting for oil and other uses4 ,to clean it do as follows4 ,take crude ,naples-yellow1 7the heaviest for bulk is the best7 and break it into small pieces with the mallet upon the grinding stone1 put it in a clean earthen vessel1 and pour over it a quantity of new milk1 sufficient to cover it three or four inches over1 stirring it well for some time with a wooden spatula or stick2 then let all together stand undisturbed for five or six days1 and the milk will become thick and sour1 and master by its acidity the noxious saline principles of the colour2 having stood the abovementioned time1 take off the creamy part from the top of the milk1 and pour warm water upon it1 and let the vessel overflow till you perceive the water to come off as clear as when poured on1 and the colour will be purified and fit for use4 ,light-oker1 a precipitated1 feruginous earth1 answers in encaustic all the purposes it does in oil4 ,brown-oker1 a precipitated feruginous earth too1 only it partakes a little of a vitrioline principle1 which the light-oker does not4 ,in encaustic this colour answers all the purposes it does in oil4 ,yellow orpiment1 or king's-yellow4 ,the principal constituent particles of this colour are1 sulphur and arsenic1 which latter prevails and makes great havock among the other colours when used in oil2 it cannot play the same tricks fixed with wax2 wax being a closer and unvariable body1 confines its arsenical principle4 ,oil once dry ceases to be oil1 and can confine them no longer4 ,red-orpiment1 so called to distinguish it from the other1 is properly not red1 but of a rich orange colour1 and is a compound of arsenic and sulphur too2 but here sulphur prevails1 which is the reason of its standing its ground better and doing less harm in oil than the other4 ,in encaustic it is of universal use1 throughout a whole picture to give warmth to lights and shades2 in landscapes it may be used from the horizon down to the fore ground1 to good purpose2 for shades in flesh it is admirable1 it gives a clear1 soft and transparent strength2 in the verdure of landscapes it answers all the ends for brown-pink1 when mixed with a little bone black4 ,this colour is very conspicuous in all the warmer landscapes of ,claude ,lorraine2 ,mr4 ,vernet a famous ,french painter uses it very much4 ,,pinks4 ,light-pink1 and brown-pink4 ,these two colours ought rather not be used1 as they both proceed from the same vegetable principle1 viz4 the juice or extract got by decoction from ,french berries by the help of acid salts2 consequently incapable to sympathise with or admit wax into their pores#ab2 the wax can take hold of them only superficially1 which makes them appear dry and gritty upon the picture1 and will easily come off by rubbing them with one's finger4 ,those artists who cannot do without them1 will do well to grind them1 the light-pink with a little light-oker1 and brown-pink with a little brown-oker1 and they will keep a little better2 but red-orpiment and a little bone black1 making as fine a pink as that properly so called1 it will be best to use the latter4 ,,reds4 ,lake1 ,vermilion1 or ,cinnabar1 ,minium1 or ,red-lead1 ,light-red1 or ,light-oker calcined ,brown-red1 or ,brown-oker calcined ,indian-red1 are all properly qualified for encaustic4 ,care must be taken to have the lake good2 that which is commonly sold under the name of ,florence lacque1 and recommended as the best1 is in general the worst2 it is usually in small hard grains1 which hardness is owing to gum arabic1 or what is worse1 to that glutinous substance which oozes out from the cherry tree1 put in by the fabricant 7of the lake7 to bind and keep the grains together1 and make it appear better merchandise than it really is2 such lake will scale off from the canvas2 the gum it is impregnated with hinders the wax from penetrating its pores--every body knows that lacque is made of cochineal2 there is a bastard lake made of ,brazil wood1 but that is easily known by its dullness4 ,the best lake for our purpose is that which is of a fine1 clear1 deep hue1 easily to be broken and crumbled between the fingers4 ,the finest and best lacque ,i ever saw and used1 is made here in ,england by an ingenious artist in the seal engraving way4 ,vermilion1 or cinnabar1 answers in encaustic all the purposes it does in oil4 ,minium1 will be of infinite service for painting with the pencil and crayons2 it will not change fixed with wax1 as it does in oil2 it may be used to advantage in some carnations or flesh tints2 and in landscapes to enliven the oker1 for great lights4 ,light-red1 or light-oker calcined1 is of the same universal use in this manner of painting as it is in oil1 or common water colours4 ,brown-red1 or brown-oker calcined1 may be employed for the same use as in oil1 or distemper painting4 ,indian-red1 the ,french call this colour1 ,terre d',angleterre1 ,english earth2 this colour is particularly useful for distances1 it makes the degradation of objects light and airy4 ,,terra ,,di ,,siena1 and ,,terra ,,verte1 ,terra di ,siena1 a yellow hard and clayish substance1 so called from the city of ,siena in ,italy1 from whence it comes4 ,this colour is very unfit to be used crude1 either for painting in encaustic or crayons1 its pores are too close for the wax to penetrate2 or to say better1 this colour or earth is very much impregnated with a nitrous principle1 with which wax cannot sympathise1 and for this very reason it is as unfit to be used crude in oil4 ,those painters that use it freely have always but too much reason to repent4 ,but1 ,terra di ,siena calcined1 is a very beautiful and useful colour for all manner of painting1 and particularly encaustic4 ,the fire having dispelled in some measure the nitrous principle1 the wax may freely enter its pores4 ,this colour gives a great1 soft1 and glowing strength in flesh1 drapery and landscape2 some painters call this colour ,roman oker4 ,terra verte2 this colour too comes to us from ,italy1 and some from ,germany1 they are both alike1 and ought to be entirely banished the pallette1 as it grows so soon dirty and black when employed with oil4 ,terra verte differs from terra di ,siena in little else but colour1 it has a little vitriol4 ,the too free use some of the older ,italian painters made of this colour in flesh tints1 is the cause that numbers of pictures of those masters are so black as we see them at this time4 ,,blues4 ,ultramarine1 ,prussian blue1 ,smalt4 ,ultramarine is perfectly good1 and every body that likes to use it may do so4 ,prussian blue1 equals ultramarine in encaustic1 for all intents and purposes2 there is no other blue required for crayons neither4 ,smalt may be used1 but ,i think it rather too gritty2 its particles are too transparent for parts where a solid mass of colour is required4 ,for crayons it does very well mixed with ,prussian blue to bind it1 both together make a beautiful colour1 the grittiness of smalt will there be of advantage4 ,this colour will not grow black fixed with wax as it does in oil4 ,,blacks4 ,ivory ,black1 ,bone ,black1 ,blue ,black1 have all the necessary qualifications to be employed4 ,ivory black may be employed for all the uses made of it in oil4 ,blue black is particularly necessary for landscapes2 the blue black generally sold at the colour shops is commonly made of wine stalks2 but blue black made of peach1 apricot1 or plum-stones calcined1 is by far the best2 it is not so loose and spungy as the former1 its colour too is finer4 ,bone black is the most valuable of the black tribe for sweetness1 and a transparent warmth for landscapes and figures2 bone black and white alone will make softer and more natural turning tints than any other colours can produce2 the ,flemish painters use it very much for glazing4 ,this black mixed with a little terra di ,siena calcined1 makes the strongest and sweetest shades that can be obtained with colours4 ,the best is made of the bones of mutton trotters calcined4 ,,collens ,,earth4 ,a dark blackish brown and somewhat bituminous earth1 inclining a little towards purple1 is a very good colour1 and of singular use where extraordinary strength is required in fore grounds4 ,,umbra1 ,crude and calcined4 ,a useful colour enough for common purposes2 some painters use it for shades in flesh1 but very improperly1 for it is a very raw colour crude or calcined1 and only fit to be used in drapery or back grounds4 ,these are all the colours that ought to be used for painting in encaustic1 with the pencil2 there are a few more that might be employed in this manner1 but as they are rather inferior in quality1 or only compounds of those already mentioned1 ,i omit them2 a few1 not commonly used in oil painting that notwithstanding might be used in encaustic1 ,i shall mention under the article of crayons1 as they belong more to1 and are more useful in that way4 ,,encaustic2 ,,or1 ,method of painting with and fixing of the ,,crayons4 ,the method of painting with and fixing of the crayons comes not only within the sense of encaustic1 but is the very self-same thing4 ,the whole proceeding is founded upon the foregoing principle2 the same materials and agent are required4--,the only difference between painting in encaustic with the pencil1 and painting in encaustic with crayons1 consists in employing the colours2 in the former--you paint with colours tempered with water2 in the latter--you employ1 and paint with the same colours dry2 the effect and solidity will be equal and the same in both4-- 99 99 99 99 99 ,the encomiums ,i bestowed upon the penciling system1 are applicable to that of the crayons2 ,i shall say nothing more2 experience will be the best panegyrist4 ,i am afraid crayons1 as seemingly the less troublesome1 will carry the golden apple2 ,i will not anticipate the decision of the public4--,i shall give the hint1 and my fellow artists may make use of it as they please4-- 99 99 99 99 99 ,as the system of encaustic for the pencil is the parent of that for the crayons1 and as both may be happily blended and jointly practised to good purpose1 ,i shall1 to avoid tiresomely repeating the same thing over again1 refer the reader to the former process whenever similarities of proceeding occur2 they1 besides commenting each other1 will open to the more timorous artist a freer field of action4 ,as ,i did in the former1 so shall ,i in this1 give that method of proceeding1 which by experience ,i found to be the best4 ,though this system did not enter in the original plan of publication with the other1 and ,i intended to withold it from the public a little longer1 to see what reception the former should meet with2 yet as it got vent by shewing it to few friends1 and a gentleman offering me 7in his opinion7 a considerable reward to dispose of the secret in his favour only1 ,i1 to prevent some modern ,,pliny's casting more direct reflexions upon me1 without my having the skill of ,apelles to uphold my reputation1 at least thought proper to give them to the public both at once4 ,to make discoveries that may be of infinite advantage to arts1 subservient to private avarice1 is the foible of a weak1 jealous1 and ill-natured mind4--,here follows the process2 and first the preparation of the cloth4 ,,art4 ,i4 ,preparation of the cloth1 or paper1 for painting with crayons4 ,first method to prepare the cloth without paper4 ,take any sort of linen cloth whose texture is pretty close and even1 stretch it upon a straining frame and rub it on the back with a piece of wax1 as directed under ,art4 the first1 page #bf4 your cloth waxed1 prepare any tint or colour you like1 or judge best for a ground to work upon1 let enter into the composition of this tint or colour1 one half1 or at least one third of chalk or whitening1 mix and temper all with pure water2 your tint ready1 paint over your cloth with it on that side you are to paint upon1 and lay the colour on pretty even and substantially2 this colour or ground dry1 bring the canvas near the fire1 as under ,art4 the fourth1 page #ce4 and the wax melting will fix that colour or ground1 which when cool will be a fit and firm body to work upon with crayons4 ,note1 if the quantity of wax should prove too small for the quantity of colour1 apply with a brush on the back some wax dissolved in turpentine1 as described in the next page1 and bring the canvas again to the fire4 ,it is essential in painting with crayons to have the first ground properly prepared4 ,second method1 to prepare cloth with paper pasted thereon4 ,take linen cloth and stretch it upon a frame as the foregoing2 then make a paste with fine wheat flour1 or starch and water1 and when the paste is near boiled enough1 put in and mix with it of common horse-turpentine1 about half an ounce to six ounces of paste1 stir it well together1 and let it simmer five or six minutes longer2 then take it from the fire and set it by to cool a little1 and while it is still tolerably warm1 paste your paper 7grey1 blue or white7 to the cloth in the usual manner1 and set it by to dry4--,in the mean time put wax1 broken in small pieces1 to dissolve in oil of turpentine near a fire1 and in such proportion that1 when dissolved and cold1 it will be of consistence like a thin paste1 and fluent enough to be managed with a brush4--,when your cloth and paper is perfectly dry1 hold it over or before a fire1 at a convenient distance1 and with a brush apply the dissolved wax on both sides to cloth and paper1 and continue laying on wax till you perceive both surfaces equally shining1 and there be no imbibed-like spot remaining2 this done1 let your cloth stand before the fire about half an hour longer1 7or in summer in the sun17 and1 the oil of turpentine evaporating1 the wax will become firm again1 and be fit to receive any tint or colour for a ground to work upon1 which you must lay on and fix as the foregoing upon cloth without paper1 and when cool you may go to work4 ,,art4 ,,ii4 ,of the crayons their preparation and use4 ,,preparation4 ,there is no particular or uncommon preparation or composition required for encaustic1 all crayons hitherto commonly used may be employed2 some great lights only will be wanted for every set of tints2 for what has been said on colours1 and their growing deeper when fixed with wax1 penciling system ,art4 ,,ii4 page #bi1 #cj4 holds equally here2 therefore every artist1 that may be inclined to make a trial in this manner1 will do well to make an essay of all his tints1 by preparing a piece of cloth as directed in the foregoing article1 and giving a few strokes of each crayon and fixing it1 this will immediately shew what new tints will be wanted4 ,in composing any new tint it will be well to leave out fullers-earth1 pipe-clay1 chalk1 and other calcarious matters#ac which are generally used in the common way2 the former--to bind the looser colours2 the latter--to keep up the flake-white and white-lead1 which otherwise would turn black2 in encaustic those matters are wanted for none of the above ends2 flake-white and white-lead will not change1 and both together will make a body sufficiently connected to bind the lighter tints4 ,all colours used in oil and mentioned in the foregoing list1 are good for crayons1 and no others4 ,note4 ,what has been said at the end of the list of colours1 that a few more colours1 not commonly employed in oil1 might be used for crayons1 was a mistake of the author's upon his experimental table2 there are but two more that may be used for crayons1 viz4 bice and verditer4 ,the use of the crayons in encaustic is the very same as commonly practised1 there is no difference2 you must work and paint upon the waxed ground as you do upon the bare paper4 ,encaustic has the advantage over the common way as to expedition4 ,the fine grittiness procured by the particles of the chalk mixed with the ground you work upon1 will file off more colour from the crayon than the grain of the unwaxed paper2 and the wax diffused through the ground will retain the colours better2 so that when you sweeten your tints with your finger there will be no waste2 for in working1 the particles of the colour will intrude themselves into the body of the wax1 which yields to them2 which paper1 bare or prepared with a ground tempered with gum or size1 does not4 ,,art4 ,,iii4 ,how to fix the crayons4 ,for fixing the crayons you must act and proceed in every respect1 according to the directions given penciling system ,art4 ,,iv4 page #ce1 #cf1 c4 you may retouch1 and apply the dissolved wax on the back1 and bring the picture to the fire as often as required4 ,observations on the system for painting with crayons4 ,for painting with crayons ,i should prefer cloth prepared according to the first method1 without paper1 for the same reason ,i gave for deviating from ,count ,,caylus',s system1 page #dh1 #di4 however1 artists may decide for themselves4 ,besides the two methods mentioned for preparing the cloth1 one might paint upon paper pasted upon cloth as directed1 without first laying on any wax or preparatory ground2 but such paintings would not have that lasting solidity they ought2 besides1 laying on a ground preparatory and analogous in hue to the subject to be painted1 is more expeditious1 as such a ground may be made to serve for a half tint1 and answers the purpose of dead colouring4 ,turpentine enters in the paste for one great and principal end1 viz4 to keep the particles of the paste a little asunder1 and facilitate to the wax a free passage through it2 for the particles of turpentine diffused through the paste1 in melting1 when the picture is brought near the fire1 open so many equi-distant channels for the wax1 which1 by this means1 can penetrate freely and uniformly1 and diffuse itself over the whole in equal proportion2 without the turpentine it would not succeed so well2 the wax would only come through here and there2 the colours would in a manner be calcined before a sufficient quantity could penetrate to secure them2 for though there will be wax enough for the first fixing1 yet1 to alter or retouch1 or where an extraordinary great body of colours might be employed1 there might be a deficiency of wax1 which cannot be supplied otherwise than by laying it on1 on the back1 and if it could not work its passage through the whole might miscarry4#ad ,as few artists compose the crayons themselves1 and as inserting directions for that purpose would have swelled this treatise too much2 the author1 for the conveniency of all practitioners has given the recipe of proportion for composing every tint for what it is to be when fixed1 to ,mr4 ,sandys1 colour-merchant1 in ,dirty-lane ,longacre1 of whom perfect sets may be had2 and as the author has communicated the recipe1 for binding the most difficult colours1#ae for the benefit of the art1 without fee or reward whatsoever1 those crayons will be sold at the usual price4 ,at the above place1 may be had cloth or paper ready prepared on short notice4 ,however1 if any artist should chuse to prepare the crayons himself1 he will do well to leave out the pipe-clay1 fullers-earth1 chalk1 c4 as much as possible1 and mix his tints as usual4 ,the standard recommended under ,art4 ,,ii4 page #bi1 #cj4 and explained page #ee1 #ef4 will be of service for ascertaining beforehand the value of each tint4 ,if any crayon prepared for the old way1 should prove too hard for this1 as may be the case with vermilion1 bice1 verditer1 and the other looser colours1 in whose composition enters a little paste to bind them1 sprinkle those crayons with a brush dipt in spirit of wine1 and they will become manageable4 ,,general ,,remarks ,on the apparent characters of encaustic paintings1 on wax and varnish4 ,the principal apparent characters of an encaustic painting are1 #a4 ,the colours have all the airiness of water colours1 and all the strength of paintings in oil1 without partaking of the apparent character1 or defects of either4 #b4 ,you may look at and enjoy a picture in any light2 the colours are bright1 fresh and lively without glaring4 ,they require no varnish4 #c4 ,the colours are firm1 without being brittle1 and will bear scratching without receiving any harm4 ,the effect of the colours is the same in both systems1 each will have and preserve its peculiar character1 as to the manner of painting2 if you paint your subject in the light and airy stile of the ,carlo ,marat school1 when the colours will be fixed you will have the high colouring of ,rubens4 ,on ,,wax4 ,it is not material for me to decide which of the two ought to be preferably employed1 bees-wax simple1 or virgin-wax4--,for large works that will be exposed to the air1 ,i should prefer the former2 artists will see by a few trials which will suit their taste best4 ,on ,,varnish4 ,varnishes are not required1 as has already been observed2 but as our eyes have been used so much to see colours1 not in their natural hue1 but disguised by varnish1 those that should like to please themselves in this point may use the following method4 ,first lay on with a clean spunge a substantial lay of the white of eggs1 and work it well upon the picture4 ,this dry1 lay on any varnish commonly used for oil painting1 and your picture will look as if painted with oil-colours4 ,this varnish may be taken off at pleasure1 the uppermost by rubbing the surface of the picture with a rag dipped in spirit of wine or turpentine1 the white of eggs by washing the picture with water4 ,it is not adviseable to lay a varnish of spirits or gums1 without first using the white of eggs1 as spirit of turpentine is the menstruum of wax4 ,,experiments4 ,to adopt and practise in earnest any new system without sufficient trials and proofs of its merit1 may be called going wilfully astray4--,to avoid deceiving myself in the new system before us1 ,i1 after having been convinced of its advantageous practicability1 set about to ascertain the other great point1 the stability of the colours2 for this end1 and to know more exactly how much every colour would vary from its original hue in a certain space of time1 as well in regard to the same system as in opposition to oil-colours1 ,i proceeded as follows4 ,experiment the first and principal1 #ageg4 ,i had all the colours used in oil painting1 mentioned in the foregoing list1 carefully ground with water1 at ,mr4 ,sandys's1 colour-merchant1 and from those colours ,i composed ninety various and sensibly differing tints1 for flesh1 drapery and landscape2 of each tint ,i had a quantity of a two ounce gallipot full1 tempered with water2 so ,i left them well screened from dust till they were become dry again2 then ,i divided each mass of tint in four equal parts2 two of each ,i set by for the comparative use1 the other two parts of each ,i employed in the following manner4 ,one part of each ,i tempered again with water1 and painted with it over a space of cloth of six inches wide and two inches high1 the tints close to each other1 in the manner of copper-plate1 page #eh1 and the cloth waxed as directed ,art4 ,,iv4 page #bf4 ,the same ,i did with the entire and unmixed colours4 ,the other parts of each tint ,i tempered with the finest nut-oil according to custom1 and painted-over with them such another space of six inches by two1 as the former1 upon oil-cloth4 ,the same ,i did with the entire colours1 and set them by to dry2 when dry1 ,i brought the encaustic tints near the fire1 and by melting the wax fixed them4 ,my tints thus ready1 ,i cut each piece of cloth1 encaustic and oil-tints1 in five equal parts1 and disposed of a piece of each in the following manner4 #a4 ,one piece of each ,i exposed in the open air to all the injuries of sun1 dew1 wind and rain4 #b4 ,one piece of each ,i nailed to a wall in a damp cellar-like room4 #c4 ,one piece of each ,i nailed to the ceiling of a kitchen and near the chimney1 where all the year round a fire was kept4 #d4 ,one piece of each ,i nailed to the side of a room ,i usually inhabited4 #e4 ,one piece of each ,i put between several quires of paper1 and confined them in a close drawer deprived of air4 ,thus ,i left them1 till the latter end of ,october1 #agei1 7the space of twenty-seven months7 when ,i gathered them4 ,then ,i took the two parts of tints ,i had set by and preserved1 and tempering the one with water1 and the other with oil1 painted the first upon a fresh piece of waxed cloth and fixed them1 the other tempered with oil1 ,i painted upon a fresh piece of oil-cloth1 and after having washed the old tints1 on comparing the new and old colours together found as follows4 ,the old encaustic entire colours and tints of number #a4 seemed to have suffered a considerable change in opposition to the new ones1 but compared to their old fellows in oil they looked bright4 ,i washed them both with common water1 and a brush1 the encaustic tints recovered a little2 oil-tints not4 ,i brought the encaustic to the fire1 and most tints recovered their original hue1 and were equal to the new ones1 pinks1 yellow-orpiment1 lake1 terra di ,siena1 and verditer excepted2 the first was partly gone1 what remained was dull2 the second was grown whiter2 lake grown lighter1 but had not suffered in beauty of colour2 terra di ,siena crude1 grown rough and dirty2 verditer1 a little dull4 ,no4 #c4 seemed to have suffered by the smoke2 but after washing it with a stout brush1 and soap and water1 it recovered its original hue1 pinks1 yellow-orpiment1 smalt and verditer excepted2 the first was sensibly decayed2 the second grown darker1 inclining towards red-orpiment2 the third grown dull1 but mixed with ,prussian blue it was as bright as the new2 verditer grown dark and dull4 ,no4 #b1 #d1 #e4 were just as the new ones1 there was no difference4 ,oil colours did not stand the test so well2 their general appearance in opposition to old and new encaustic1--was3 ,no4 #a4 weak1 dull and dim1 some entirely gone4 ,no4 #b4 freckled1 of all sorts of hues1 not to be washed off4 ,no4 #c4 darker1 some dull1 others dirty1 some entirely gone4 ,no4 #d4 considerably yellower1 and less bright4 ,no4 #e4 yellow-spotted1 as if varnished with gall4 ,the foregoing tints were all fixed with virgin-wax1 which ,i thought the best2 but having at the same time and with the same colours painted upon cloth waxed with common yellow bees-wax1 ,i found that the latter in the open air preserved the colours rather better4 ,experiment the second4 ,i washed the foregoing tints with a strong lixivium of pot-ash1 vinegar1 spirit of wine1 a solution of sea salt1 and aqua fortis4 ,by this operation the oil-colours were entirely destroyed1 the encaustic suffered nothing1 only smalt grew darker2 but after scraping it and bringing it again to the fire1 it recovered its tone4 ,i have still a little scrap of a picture1 a landscape1 by me1 which has undergone all the abovementioned trials and more1 for ,i took it from the frame and folded it in four1 put it upon the frame again1 and brought to the fire and the folds disappeared1--the colours are as fresh as if painted but yesterday4 ,on examining it close one may perceive it suffered violence1 but at a yard's distance no marks appear4 ,experiment on oil-colours4 ,having perceived that oil-colours1 painted upon a waxed ground always appeared brighter upon an oil-cloth2 ,i1 to come at the knowledge of the cause of this effect1 contrived various experiments1 but without success2 at last ,i made microscopical observations1 and found that oil-colours painted upon an oil-cloth undergo a great fermentation1 five or six hours after being laid on1 and continue so till they are dry4 ,then they begin to overcast1 and by degrees cover the surface with a yellowish1 grey substance1 not to be washed or rubbed off but with a knife4 ,among the very same colours painted upon an encaustic ground ,i could perceive no such fermentation1 or overcasting4--,from this we may conjecture that the priming1 or ground we work upon is more the cause of the colours changing than the colours themselves1 very likely owing to the desecated saline particles of the oil1 which are dissolved by and mix with the new oil and colours2 or to the superabundant quantity of salts contained in the ground or priming1 which is generally composed of the coarsest oil and colours1 and frequently half chalk4 ,though this latter experiment has nothing to do with encaustic1 it will find its application and owner4 ,to prove the stability of encaustic colours1 ,i have mentioned but two experiments2 they are sufficient2 from them we may draw the following ,,conclusions4 ,first1 that encaustic colours1 having resisted the injuries of the weather better than oil-colours1 for the space of twenty-seven months1 they will prove more lasting than oil-colours for a greater space of time4 ,secondly1 that having resisted the effects of the corrosives1 alkali and aqua fortis1 c4 the circumambient air1 howsoever impregnated with saline particles1 cannot affect them4 ,thirdly1 that if pictures of this kind receive any hurt1 fire will restore them4 ,the most celebrated men of antiquity1 celebrated the performances of their painters2 if their colours had not been as lasting as their skill was great1 some one might have left us regretful instances4 ,they left us none4 ,was ,,wax the preserver of their colours8 ,,finis4 ,,advertisement4 ,as the foregoing ,treatise is written and published with an intention to communicate a discovery that will prove of infinite advantage to the loveliest of arts1 in all its branches2 the author1 conscious of wanting the necessary qualifications of a writer in a language not natural to him1 hopes for indulgence1 for all the inaccuracies and improprieties of expression he may and must have fallen into3 as to facts1 he begs leave to assure the public1 that nothing has been advanced but what is strictly true4 ,if any artist or others should in practising be at a loss or stand for any thing1 the author shall always be willing and ready to give them farther light on any occasion4 ,the treatise on ,practical ,painting in general1 which was to have been published together with this1 as has been intimated to the public in an advertisement of the third of ,january1 will be published as soon as possible2 the author being engaged in a work of a very extensive nature1 had not time to bring it in perfect order himself2 a gentleman and friend of his has been so kind as to undertake the finishing and correcting of it2 it will soon be ready for the press4 ,,footnotes3 #a ,philosoph4 ,transact4 vol4 xlix4 part #b4 #b ,though the ,abb does not quote the passage1 one may guess it must be the following the count undertook to explain4 ,pliny lib4 xxxv4 chap4 #aa4 8,ceris pingere ac picturam inurere quis primus excogitaverit non constat3 quidam ,aristidis inventum putant1 poste consummatum ,praxitele4 ,sed aliquanto vetustiores ,encaustic ,pictur exstitere1 ut ,polignoti ,nicanoris1 ,arcesilai ,pariorum4 ,lysippus quoque gin ,pictur su inscripsit1 1 quod profecto non fecisset nisi encaustica inventa40 ,which may be told in plain ,english thus1 8,who first invented to paint with 7or in7 wax1 and burn in 7or fix7 the picture with fire1 is not certainly known4 ,some think ,aristides invented it1 and that ,praxiteles brought it to perfection2 but there were pictures by masters1 of a much older date2 such as of ,polignote1 ,nicanor and ,arcesilaus1 all artists of ,paros4 8,lysippus writ upon his pictures he burnt in1 which he would not have done if the encaustic had not been invented then40 #c ,,pliny is an evidence for this my opinion2 for after having said1 lib4 xxxv4 ch4 #d4 ,nicias scripsit se inussisse1 he says1 tali enim usus est verbo4 ,which words seem clearly to indite that ,,pliny thought it equivocal1 or contrary to its proper signification4 #d ,both pictures were disposed of as soon as finished to a ,dutch gentleman1 who sent them to ,holland as a pattern1 and were mightily approved of4 #e ,any sort of old cloth1 if whole1 is as good as new2 ,i prefer the former to the latter for its softness4 ,to ascertain a just proportion of wax to every sort of cloth is unnecessary1 if you should either put too much or not enough1 you may easily remedy it4 ,see ,,art4 iv4 ,one single trial will clear up the incertitude4 #f ,entire colours are the white1 red1 yellow1 blue1 c4 #g ,see the nature of this better explained in the copper-plate at the end of observations of ,art4 #b4 #h ,i prefer a fire of sea-coals because it is much more uniform1 and does not emit so many sparks as wood or charcoals1 which might injure the picture1 though any fire with proper care will answer the end proposed2 a ,german stove is still better than any fire whatsoever4 #i ,you will easily know those places that shall want wax2 they will appear like so many spots of a lighter hue4 #aj ,any other spirit such as that commonly burnt in lamps1 common gin1 rum1 or genuine brandy1 will do just as well2 spirit or oil of turpentine is very proper too2 but as it smells so very strong1 ladies and gentlemen that paint for their amusement only would not like it4 #aa ,the same might be practiced upon cloth1 it would do better than only rubbing it with the chalk2 but for painting with the pencil the bare cloth is still better4 #ab ,i am aware that every body will not enter into this doctrine at first1 and some may think it very odd that a colour which is used in oil1 should not sympathise with wax2 the question is easily solved1 the grinding stones unite oil and pinks1 and bring them together by force1 but experience shews it is but for a little while2 the oil once dry1 pinks soon fly off and fade away4 #ac ,fullers-earth1 pipe-clay1 chalk1 c4 ought to be left out1 because they sink so very low when fixed with wax1 and impart a great dullness to all those tints wherein they prevail2 pipe-clay and fullers-earth a dusky transparent gray2 chalk1 a yellowish-white no-colour4 #ad ,old crayon pictures may be fixed very well2 the paste becoming old looses its cohesion2 the wax may freely and uniformly penetrate through2 they will want retouching4 ,if any artist has a mind to try1 he may do it with some insignificant subject for fear of miscarrying on a first trial4 #ae ,if this treatise should meet with such approbation as to require a second edition1 the recipe for the composing of crayons will be inserted at full length4 ,,table of ,,contents4 ,introductory account of ,encaustic ,painting page #a ,article the first1 preparation of the cloth for painting in encaustic #bf ,art4 the second1 of the colours1 and their preparation and use #bi ,art4 the third1 how to paint over or alter any part before the picture has been near the fire #cc ,art4 the fourth1 how to fix the colours #ce ,art4 the fifth1 how to retouch any part after the colours are fixed #dj ,observations on ,art4 the first #da ---- ,count ,caylus's method of preparing the cloth #dc ---- ,reasons for deviating from the count's method #de ---- ,how to paint upon walls #di ---- ,how to paint upon wood1 stone1 c4 #ej ---- ,how to paint upon paper #ea ,observations on ,art4 the second2 on grinding the colours #ec ---- ,how to ascertain the just value of each colour #ee ,observations on ,art4 the third1 advantages of ,encaustic painting over oil and size-painting #fj ,observations on ,art4 the fourth1 various methods for applying the fire to a picture #fc ,observations on ,art4 the fifth1 on retouching after the colours are fixed #fg ,list of the colours1 white #gd ---- ,yellows #gf ---- ,pinks #hb ---- ,reds #hd ---- ,terra di ,siena and terra verte #hh ---- ,blues #ia ---- ,blacks #ib ---- ,collens earth #id ---- ,umbra #ie ,method of painting with and fixing of the crayons #ig ,art4 the first1 first method to prepare the cloth #ajb ---- ,second method #ajd ,art4 the second1 of the crayons2 their preparation #ajg ---- ,and use #aaj ,art4 the third1 how to fix the crayons #aab ,observations on the system for painting with crayons #aac ,remarks on the apparent character of encaustic paintings #aai ---- ,on wax #aba ---- ,on varnish ibid4 ,experiments #abd ---- ,first #abe ---- ,second #acd ,experiments on oil-colours #ace ,conclusions #ach ,transcriber's ,notes ,obvious typographical errors have been silently corrected4 ,variations in hyphenation and accents have been standardised but all other spelling and punctuation remains unchanged4 ,italics are represented thus italic4