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Enamel

Enamel takes more readily on copper than on
silver. It is true that the cut needs to be well hollowed out
& rough. Azure in body & the red called gules, white
enamel & thick green take to it very well. Having
enamelled, one gilds the feuillages of the
engraving. Copper has a similar
hardness for engraving as fine silver or
pistoletgold.


Colors for illumination on glass

In order that your turpentine colors shall not spread, &
hold together, mix in a little of tear of mastic together with
the turpentine.


Tracing some history on glass

If you want to trace some history in intaglio on glass, you
can do it in different ways. Lay your glass paneon,
the thinnest you can find, on the printed history, & having cleaned
the glass well with lye & ash so that it is not
greasy, trace over the lines visible to you with noir à
huile or noir d’escaille with the
pinceau, if you want to paint with colors in the
manner of glaziers, who wash their glass pane with
noir d’escaille & then scrape & clear the parts
which they want to coat with color, leaving that which is necessary for
shading. But if you want to make gilt histories on glass
with a background of colors, which imitates the basse-taille of
goldsmiths, gild your entire glass pane with
gum water or garlic juice or fig-tree
milk. Then moisten your printed history between two wet
linen cloths, and lay it down on the gilt
glass. Then with a pin mounted on the end of a small
stick, follow the lines of your history as if you wanted to
pounce it, & thus you shall exactly trace it on the gilding of
the glass. & next you shall clear the background & that
which needs to be blank with a quite pointy steel awl,
& and neatly follow once more the lines & accomplish your work
& fashion your faces & flesh tones in pounded silver;
then you shall fill the background with azur d’esmail or
verdigris or fine laque
platteplatte tempered with clear
turpentine, mixed with a little of tear of mastic if you want
that the colors hold together more & not to spread. Next, layer on
the back of the glass & over the colors a white tin
sheet. And once this is dry, you can cover the tin sheet
of with color to hide your secret. The tin sheet gives
light to the colors. Thus you will be able to paint without being

