039v - - - - - 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 pistolet gold.
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 pane on, 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 & 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 platte platte 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
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