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Blacks

Black of charcoal from the mines, of ordinary
charcoal, of burnt ivory, of peach stones, of
lampblack, of burnt bones of the feet of
oxen


Shadows

When you are making a painting with several persons, just as the
flesh colors have to be different, so do the shadows.


In fresco

Azure is not good here, but bleak, & one needs to work
with long  longs pinceaux. Fresco is not used
cont on wood


Azure

Turpentine oil renders it very beautiful. Assay palma
christi seed oil.
Walnut oil in Flanders costs at least a hundred
sols a pint. The azure requires a little
fatty oil because it has no body.

Azur d’esmail hates more than any other to be ground,
especially with water, for it dies & loses all its color.
However, because it cannot be worked if it is coarse, grind not with
water but with oil & grind it coarsely, and in this
way it will not die as much.



Always choose the most delicate one


Pinceaulx

When the color has dried inside, & you want to clean them, soak
them in spike lavender oil and they immediately will
turn soft again as before, then you will finish to clean them in some
walnut oil. Walnut oilis not as
not as appropriate to soften them as the spike
lavender kind which is clear like water & penetrates
& does not have body like walnut oil. The handle
of pinceaulx is made by those who work with
care from porcupine quills,
by others from wood of arrows fromTurkeywith whom with which they also make small rods to rest
their hand when they are painting.



To work well on a small scale very thin pinceaulx which
have a firm pointare needed. And because the hair
taken from the tail of asquirrel's fur is soft,
the most careful take the bristles of the oldest rats,
especially of dormice if they can find them, & put two or
three of them in the middle of the pinceau. These make
a straight line like a quill & all the other
hairs of the pinceau stick to them as to the
point. The bristles of stone martens & weasels
& small animals that make musk are even better, for a
singlehair in a pinceau suffices.

