DOI Page / Citation link:
https://doi.org/10.11588/diglit.19574#0422
388 G L A
ence, neither too thick nor too thin ; fo you will have a red la-*
dining to a dark yellow, very fit for ufe.
There are feveral more made ufe of in this, as well as in other
painting, but are compounded of the principal colours as we have
intimated in our difcourfe of colours for painting on enamel.
Another way to paint on Glass. Take very white Glafs,
varnifh it very thin on one fide with a white varnifh ; then, hav-
ing made choice of fome fine imprefs cut on paper jufl fit for
the piece of Glafs you dcfign to paint on, clip it in water, and,
letting it foak and dry a little, clap the picture fide thereof to the
varnifh fide of the Glafs, as exactly plain and even as poflible,
and lb let it dry thoroughly ; afterwards moiften the paper on
the blank fide, and with a blunt graver draw off and trace the
lines of the picture, which wili afterwards remain perfectly and
diftinctly on the varnifh fide of your Glafs quarry.
This draught is for the model; you muft paint your filings In
it, arid obferve that the tracings and ftrokes of the picture are to
ferve you in fhadowing, which cannot be repeated without dis-
advantage to your piece.
The manner of painting on Glafs is quite contrary to that of
limning or painting on cloth or wood ; for in this the paint, be-
ing but on one fide, is plainly vifible on the other. Here the
fettings off are firft done ; then the compound colours juft run
over, and fo continuing until perfected : Whereas on linen,
&c. the fetting off or heightenings are the laft ftrokes, and their
ground colour or firft is that which we end withal, and make
our laft lay in all pieces done on Glafs.
We do notfhew the way to make up the colours, nor how to
mix and finifh the artificial ones, for that relates immediately to
the art of painting, of which you will find in feveral other arti-
cles, and not to this art of Glafs-painting ; and thefe noted here-
in are the fame as in the other art of painting on cloth, and not
very eafily prepared.
You muft alfo paint on Glafs juft as in miniature with water
colours, laying your picture underneath it as before ; and this
will fhew finer than if done in oil, betides the colours dry in a
moment.
Your pieces being thus done in oil, or water colours, may re-
ceive a very additional and improving beauty by overlaying all
the colours, except the ground, with leaf ftlver, which will ap-
pear very glorious and lively on fuch as are tranfparent, to wit,
lakes, verditers.
General remarks for all colours. The firft time a new pot is
put into the ft it always leaves fome-fully or foulnefs on
the Glafs, which fpoils the colours ; for this reafon they always
begin to melt white Glafs in it firft, which afterwards they pour
2 out
ence, neither too thick nor too thin ; fo you will have a red la-*
dining to a dark yellow, very fit for ufe.
There are feveral more made ufe of in this, as well as in other
painting, but are compounded of the principal colours as we have
intimated in our difcourfe of colours for painting on enamel.
Another way to paint on Glass. Take very white Glafs,
varnifh it very thin on one fide with a white varnifh ; then, hav-
ing made choice of fome fine imprefs cut on paper jufl fit for
the piece of Glafs you dcfign to paint on, clip it in water, and,
letting it foak and dry a little, clap the picture fide thereof to the
varnifh fide of the Glafs, as exactly plain and even as poflible,
and lb let it dry thoroughly ; afterwards moiften the paper on
the blank fide, and with a blunt graver draw off and trace the
lines of the picture, which wili afterwards remain perfectly and
diftinctly on the varnifh fide of your Glafs quarry.
This draught is for the model; you muft paint your filings In
it, arid obferve that the tracings and ftrokes of the picture are to
ferve you in fhadowing, which cannot be repeated without dis-
advantage to your piece.
The manner of painting on Glafs is quite contrary to that of
limning or painting on cloth or wood ; for in this the paint, be-
ing but on one fide, is plainly vifible on the other. Here the
fettings off are firft done ; then the compound colours juft run
over, and fo continuing until perfected : Whereas on linen,
&c. the fetting off or heightenings are the laft ftrokes, and their
ground colour or firft is that which we end withal, and make
our laft lay in all pieces done on Glafs.
We do notfhew the way to make up the colours, nor how to
mix and finifh the artificial ones, for that relates immediately to
the art of painting, of which you will find in feveral other arti-
cles, and not to this art of Glafs-painting ; and thefe noted here-
in are the fame as in the other art of painting on cloth, and not
very eafily prepared.
You muft alfo paint on Glafs juft as in miniature with water
colours, laying your picture underneath it as before ; and this
will fhew finer than if done in oil, betides the colours dry in a
moment.
Your pieces being thus done in oil, or water colours, may re-
ceive a very additional and improving beauty by overlaying all
the colours, except the ground, with leaf ftlver, which will ap-
pear very glorious and lively on fuch as are tranfparent, to wit,
lakes, verditers.
General remarks for all colours. The firft time a new pot is
put into the ft it always leaves fome-fully or foulnefs on
the Glafs, which fpoils the colours ; for this reafon they always
begin to melt white Glafs in it firft, which afterwards they pour
2 out