
~~~~~~~~~~~~~~~066r~~~~~~~~~~~~~~~

Double layers

The Flemish & those who paint panels by the dozen only
make one layer & finish at the first go. But the colors soon die.
And when they are layered twice, they do not die. One needs to layer
them lightly & not very thick, to soften them well.


Shadows

For women, asphaltum, umber & a little
lake.


Painting in distemper on wood

Because it is very tedious to paint in distemper on
wood, and because one is at great pains to make a good
a face on it, some thin their colors with egg glair
passed through a sponge, or mixed with the yolk,
water, & thoroughly beaten with the skin of the fig
tree. With this | they paint & soften on the wood,
as with oil, and this supports the varnish, but this does
not last.


Colors in oil that are imbibed

It is best that colors in oil are imbibed, that is to say
they do not remain shiny after they are dry, for they do not die. But if
in some places they are shiny, it is that the fattiness of the
oil has remained in that part which would make the colors die.
The varnish mends all this & unites & renders it similar
in one place as in another.

One needs gold color to be laid down thick, for if it is clear, it
would be imbibed & would run.



On canvas & in distemper, one gilds with bole
& honey & a little garlic juice.


Gilding molding for panels with or mat

see the other side of this folio this mark:


The Flemish give one layer of colle à
destrempe on the moulding, then mix lamp black or
soot black with the same colle & let dry.
Next they pounce some moresque in the corners & paint it
with minium, massicot, & ochre de ru,
and a little yellow ocher, mixed with fatty oil
in which they clean their pinceaulx for oil,
because the three aforesaid colors are gripping & dry immediately.
Next they lay down the gold, then varnish on top of all. And it
seems to some by this means that all this black is painted in
oil, but it would not be good because the gold would
attach itself everywhere & not only to the moresque. Go
back to the top to 

*Or mat


It is made with massicot, minium, ochre de
ru, & yellow ocher, so that the composition
resembles gold. Gild the day afterun
jo it is laid down if you in the made the
groundlayer the evening of the color. After having gilded,
let it dry & rest one day, next rub the gilding
with a feather & cotton in order
that no burrs remain, then varnish with Flanders
varnish, which you make mixed with a little eau de
vye, to render it desiccative.

The varnish will be dry in an hour. It
will increase the color of gold. And this or mat holds
in the rain, even if one rubs it. But it must be well dried
for eight or ten days.

Gold color that is made of different colors cleaned from
pinceaulx for oil is not so good, & with
time, tarnishes the gold because of the verdigris. One
must not touch with a finger the layer made for
the gold because that will keep it from attaching itself. The or
moulu is spoiled if water touches it, but the or
mat holds well in the rain & in water.
One must not burnish it, because the tooth would remove it.
Gather the burrs & small flakes that the
cotton makes lift off when the gold is
dry & you clean it, for an ounce is still gold. In
Flanders, women makegild. It is more
beautiful when it is a little thick, but in France they beat it
too delicately.

Breathe on the gold color, and if it tarnishes, it is dry enough,
but if it does not receive the vapor of the breath, it is not
enough.

One must not gild or mat after with
having gilded. But wait one day or one night, But
take heed not to and once it is as if dry, it grips the
gold. After, one varnishes.

