_How to fix the crayons._
For fixing the crayons you must act and proceed in every respect,
according to the directions given _penciling system Art. IV. page 35,
36_, &c. you may retouch, and apply the dissolved wax on the back, and
bring the picture to the fire as often as required.
_Observations on the system for painting with crayons._
For painting with crayons I should prefer cloth prepared according
to the first method, without paper, for the same reason I gave for
deviating from Count CAYLUS’S system, _page 48, 49_. however, artists
may decide for themselves.
Besides the two methods mentioned for preparing the cloth, one might
paint upon paper pasted upon cloth as directed, without first laying on
any wax or preparatory ground; but such paintings would not have that
lasting solidity they ought; besides, laying on a ground preparatory
and analogous in hue to the subject to be painted, is more expeditious,
as such a ground may be made to serve for a half tint, and answers the
purpose of dead colouring.
Turpentine enters in the paste for one great and principal end, viz.
to keep the particles of the paste a little asunder, and facilitate
to the wax a free passage through it; for the particles of turpentine
diffused through the paste, in melting, when the picture is brought
near the fire, open so many equi-distant channels for the wax, which,
by this means, can penetrate freely and uniformly, and diffuse itself
over the whole in equal proportion; without the turpentine it would
not succeed so well; the wax would only come through here and there;
the colours would in a manner be calcined before a sufficient quantity
could penetrate to secure them; for though there will be wax enough for
the first fixing, yet, to alter or retouch, or where an extraordinary
great body of colours might be employed, there might be a deficiency of
wax, which cannot be supplied otherwise than by laying it on, on the
back, and if it could not work its passage through the whole might
miscarry.[14]
As few artists compose the crayons themselves, and as inserting
directions for that purpose would have swelled this treatise too much;
the author, for the conveniency of all practitioners has given the
_recipe_ of proportion for composing every tint for what it is to be
when fixed, to Mr. Sandys, colour-merchant, in Dirty-lane Longacre, of
whom perfect sets may be had; and as the author has communicated the
_recipe_, for binding the most difficult colours,[15] for the benefit
of the art, without fee or reward whatsoever, those crayons will be
sold at the usual price. At the above place, may be had cloth or paper
ready prepared on short notice.
However, if any artist should chuse to prepare the crayons himself, he
will do well to leave out the pipe-clay, fullers-earth, chalk, &c. as
much as possible, and mix his tints as usual. The standard recommended
under _Art. II. page 29, 30_. and explained _page 55, 56_. will be of
service for ascertaining beforehand the value of each tint.
If any crayon prepared for the old way, should prove too hard for this,
as may be the case with vermilion, bice, verditer, and the other looser
colours, in whose composition enters a little paste to bind them,
sprinkle those crayons with a brush dipt in spirit of wine, and they
will become manageable.