DOI Page / Citation link:
https://doi.org/10.11588/diglit.19574#0314
283 E N A
armoniac, or old ftrong fait, in a fmall glafs matrafs ; this is
put into a glafs cucurbit, wherein were already poured eight Pa-
ris pints of fpring water, an,d fix ounces of mercury ; the cucur-
bit is placed on a frill fire, and, after twenty-four hours, the gold
tlefcends to the bottom in a light land-red powder ; then the
water is poured off leifurely into an earthen glazed receiver, or
pan, and the powder gathered and dried by a moderate heat,
and with a fhamois fkin they feparate the mercury from the gold*
and grind this powder with twice its weight of flowers of fulphur
together; and then put all into a crucible over a fmall fire, where
the fulphur will communicate itfelf with the reft, and then eva-
porating, they find the powder fomewhat ruddy, which, ground
with rocaille, is what they make ufeofon the Enamel.
We own this calcination to be tolerable as to the gold ; but,
as for mixing the calx with the rocaille, without melting them to-
gether to incorporate, it is difputable. We believe that, in grind-
ing them together with oil of fpike, they may, in fome fort, in-
corporate as other colours, but can never fo perfectly unite ; be-
fides, the cryflal matter does not fo well receive the colour of the
gold this way, as if it were done by fufion.
Others make red inclining to vermilion, which they ufe in
painting, after this manner : Take vitriol, calcined in two cruW
cibles well luted together, and fet for an hour over a flow fire ;
then purge it with aqua-fortis, wafh it in fair water, and grind
it with oil of fpike as before, and fo make ufe of it for Enamel.
All red Enamel which is good, ought to be hard, and not
eafily confumed in the fire; for that which is otherwife, con-
tains much lead, and foon becomes dull and fullied,' and is not
of fo lafling a fubflance, which the workmen ought to be cau-
tious of.
To finifh the preparation of Enamel, and before the manner
of painting them is prefcribed, obferve, that all the colours be-
fore-mentioned, which are not pure Enamel, ought to be incor-
porated with a cryftalline matter, fuch as we have prefcribed, to
the end they may vitrify the better, which elfe they will not ea-
fily do ; though moft workmen make ufe of their rocaille, whe-
ther to avoid the trouble of making, or that they are ignorant how
to prepare, a better matter; and this has obliged us to give fe-
veral ways very good and true for this purpofe to make fine and
perfect work by.
7be way to paint on Enamel. This art is revered by all na-
tions ; it is fo fine and fo excellent, that the firft and nobleft per-
fons in the world pra£tife it, as we have faid elfewhere. It is
certain that the art of painting on Enamel is modern, but no lefs
eftimable for that, fince its effects are fo wonderfully beautiful,
armoniac, or old ftrong fait, in a fmall glafs matrafs ; this is
put into a glafs cucurbit, wherein were already poured eight Pa-
ris pints of fpring water, an,d fix ounces of mercury ; the cucur-
bit is placed on a frill fire, and, after twenty-four hours, the gold
tlefcends to the bottom in a light land-red powder ; then the
water is poured off leifurely into an earthen glazed receiver, or
pan, and the powder gathered and dried by a moderate heat,
and with a fhamois fkin they feparate the mercury from the gold*
and grind this powder with twice its weight of flowers of fulphur
together; and then put all into a crucible over a fmall fire, where
the fulphur will communicate itfelf with the reft, and then eva-
porating, they find the powder fomewhat ruddy, which, ground
with rocaille, is what they make ufeofon the Enamel.
We own this calcination to be tolerable as to the gold ; but,
as for mixing the calx with the rocaille, without melting them to-
gether to incorporate, it is difputable. We believe that, in grind-
ing them together with oil of fpike, they may, in fome fort, in-
corporate as other colours, but can never fo perfectly unite ; be-
fides, the cryflal matter does not fo well receive the colour of the
gold this way, as if it were done by fufion.
Others make red inclining to vermilion, which they ufe in
painting, after this manner : Take vitriol, calcined in two cruW
cibles well luted together, and fet for an hour over a flow fire ;
then purge it with aqua-fortis, wafh it in fair water, and grind
it with oil of fpike as before, and fo make ufe of it for Enamel.
All red Enamel which is good, ought to be hard, and not
eafily confumed in the fire; for that which is otherwife, con-
tains much lead, and foon becomes dull and fullied,' and is not
of fo lafling a fubflance, which the workmen ought to be cau-
tious of.
To finifh the preparation of Enamel, and before the manner
of painting them is prefcribed, obferve, that all the colours be-
fore-mentioned, which are not pure Enamel, ought to be incor-
porated with a cryftalline matter, fuch as we have prefcribed, to
the end they may vitrify the better, which elfe they will not ea-
fily do ; though moft workmen make ufe of their rocaille, whe-
ther to avoid the trouble of making, or that they are ignorant how
to prepare, a better matter; and this has obliged us to give fe-
veral ways very good and true for this purpofe to make fine and
perfect work by.
7be way to paint on Enamel. This art is revered by all na-
tions ; it is fo fine and fo excellent, that the firft and nobleft per-
fons in the world pra£tife it, as we have faid elfewhere. It is
certain that the art of painting on Enamel is modern, but no lefs
eftimable for that, fince its effects are fo wonderfully beautiful,