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Sheath-maker

Sheath-makersuse small, very delicate skins of
lambs and young goats, almost like
parchment and keep them constantly re-moistened in humid
places. When they want to print some history, they layer them in
the hollows of their figure, then put over the top fine fatty
earth with which cloths are degreased, having pressed & beaten
it well & rendered it moderately humid and soft. Then they put on
the earth a small even board and put the whole in a
press and let it dry there. After the
earth, only the leather remains neatly imprinted  of
the size of a pea. And then you give the
leather two or three even layers of copperas black and
iron scale, one after the other, like the
tanners do. And this dye, being astringent, makes the
leather shrink & strengthens it and makes it imprint better.
Once dry, one gluescanvas on the back with colle
forte. In this manner one can quickly imitate big statues &
very delicate medals and paint &
decorate them & are light and portable
& last a long time. That which is imprinted on a relief
is done differently and can be passed over again with a hot
iron.


Painter

Good crayons are not made with goodglue but with women's milk.

Images made of carton, once dry, have to be soaked
in thoroughly macerated and clear melted resin. This strengthens
it, otherwise they turn limp in wet weather.

Venice masks are made with a
hollow & male face of
copper.

The Flemish do not use any whites for flesh colors in
oil other than lead white because the ceruse turns
yellow.

4 or 5 year-old walnut oil which is clear
is the best color, it keeps off dust. The kind which has recently been
drawn with the press in the manner of almond oil is
white, especially if the walnuts' skin is removed.

