VARNISH (n.)

ÉMAIL (fra.) · FIRNIS (deu.) · INKT (nld.) · OLIEVERNIS (nld.) · OVERSTRIJCKSEL (nld.) · VERNICE (ita.) · VERNIS (fra.) · VERNIS (nld.)
TERM USED AS TRANSLATIONS IN QUOTATION
VERNIS (fra.)

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5 quotations

Quotation

To make a Varnish.
{To make a Varnish.} Take a pound and half of oyle
Aspect, […].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

Quotation

CHAP. VII. Of Etching, and the Materials thereof.
I
. ETCHING is an Artificial Engraving of Brass or Copper Plates with Aqua fortis.
            II. The Instruments of Etching (besides the Plate) are these nine. I.
Hard Varnish. 2. Soft Varnish. 3. Prepared Oyl. 4. Aqua fortis. 5. Needles. 6. Oyl stone. 7. Brush-pensil. 8. Burnisher. 9. The Frame and Trough.
            [...].

IV.
To make the hard Varnish for Etching.
Take Greek or Burgundy Picth, Colophonium or Rozin, of each five ounces, [...].
V.
To make the soft Varnish for Etching.
Take Virgin-wax three ounces, Mastich in drops two ounces, [...].
[...] CHAP. VIII. The way and manner of using the hard varnish.
I. Having well heat the polished plate over a chaffing dish of coals, take some of the first varnish with a little stick, and put a drop of it on the tope of your finger, with which lightly touch the plate at equal distances, [...].
[...] CHAP. XII. The way of using the soft Varnish.
I. The Plate being prepared by cleansing it with a Charcoal and clean water, wash it well and drie it, then with fine white Chalk scraped and a fine rag, rub it well over, not touching it with your fingers. [...].
 
CHAP. XIII.
The way of Etching upon the soft Varnish.
I. The way of Etching is the same with that in the hard Varnish ; [...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la gravure
MATERIALITE DE L’ŒUVRE → outils

Quotation

CHAP. XXV. Of the making of Varnishes.
I. VARNISH
for Painting in Oyl.
Take Mastich two ounces, Oyl of Turpentine one ounce ; put the Mastich in powder [...].
II.
Varnish for painted pictures.
[...].
V.
A very good Varnish for Gold, Silver, Brass, Iron, Stone, Wood, Vellom or Paper.
[...].
VI.
A Varnish particulary for Gold, Silver, Tin, or Copper.
[...].
VII.
A Varnish for Wood and Leather.
[...].
VIII.
To make the Common Varnish.
[...].
IX.
To make a red Varnish.
[...].
X.
To make a Yellow Varnish.
[...].
XI.
An Universal Varnish, the best of all others.
[...].
 
CHAP. XXVI.
Of the manner of Varnishing
I. The intent of Varnishing is either to preserve the gloss of paintings or pictures, or else to represent and imitate the forms of shining and perlucid bodies.
            II. To varnish paintings and pictures, tis no more but with a pencil dipt in the Varnish to go over the same, then letting it dry ; and so going over it so often as in reason you shall see convenient.
            III. If you are to imitate any thing, as Marble, Tortoise shell, Amber,
Lapis Lazuli or the like ; you must first make the imitation of them, upon that which you would Varnish, with their proper colours, as in Limning or Painting with oyl ; which must be throughly dry : then  by the 2 è. [ndr : voir la section précédent celle-ci] go over all with the Varnish ; letting it dray every time leisurely. [...].

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
MATERIALITE DE L’ŒUVRE → technique de la peinture

Quotation

How to Cleanse an Old Painting, so as to preserve the Colours ; with cautions to those that through ignorance have in stead of Cleansing, quite Defaced or irrecoverably lost the Beauty of good colours in an Old piece of Painting.

To Cleanse any very old Picture in Oyl.
Take your purest white Wood-ashes you can get, and sift them very well in a fine lawn sieve ; or else some Smalt, which is as some call it Powder blew, and with a fine Spunge and fair water wash the Picture you intend gently over, but be sure you have a great care of the Shadows ; for by the ignorance of many persons many good Picture hath been abused ; but having carefully wash’d it, as before mentioned, take some of these Vernishes, of which there be several, but some are more prejudicial than others, therefore chuse those which may upon occasion be wash’d off again
As Gum-water purely strain’d, or pure Size-gelly, or the whites of Eggs well beaten ; all these will wash off.
Your common Vernish will vernish over any very dark part of a Picture.
But your distill’d Vernish is the best of all ; this will not wash off.
But observe, that when you have wash’d the Picture, you must dry it very well with a clean cloth very dry before you varnish it.
Divers there be which have pretended to be well skill’d or knowing in the Cleansing of Pictures, and skill in Painting ; and have undertaken the spoyling of things they have been unworthy to understand ; as with Sope, or Ashes, and a Brush, and divers other inventions, by their ignorance to deface and spoyl those things which otherwise might have been worth great value, and in stead of hindering the Painter of his employment, have indeed created them new work.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

BESIDES all this, our Author [ndr : Pline] in another Place affirms, such was the Beauty and Brightness of his [ndr : Apelle] Colours, that least the Lustre should too much dazzle and offend the Sight, he had one peculiar and extraordinary Invention of a curious (and our Author would have it black) Varnish, so finely tempered and driven over the whole Work, that it not only took off that Inconvenience, but secured and guarded it from the Injury of Wet and Dirt, or any Filthiness whatsoever.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique de la peinture
MATERIALITE DE L’ŒUVRE → outils