264 Rec( iplsfor Enamel Colours , 



consists of the most valuable selections fronri the experience and 

 labours of above twenty years. 

 I am, sir, 



Your most obedient servant, 

 Wellington Place, Vauxhall, March 1 1, 1817. RoBERT WyNN. 



. To A. Aikin, Esq. Sec. 



Introductory Remarks. 



The different qualities or degree of purity in the ingredients 

 as usually met with, will, with the same prescriptions, produce 

 some slight variations in effect; but the best enamel colours may 

 always be obtaineil with certainty by careful attention to the 

 following receipts. 



When metals are dissolved, the solutions should always be per- 

 fectly saturated. In making the fluxes, they should be suffi- 

 ciently melted in the crucibles, so as to flow liquid and pour out 

 easily. 



The various qualities of the material, or surface, on which 

 painting in enamel is pel formed, require the colours to be adapted 

 to the degree of heat it will bear or require when burnt ; and it 

 is generally the practice of the best painters in enamel, to use for 

 the first painting ajid burning, colours considerably harder than 

 those used in the second painting and burning, the latter being fine 

 soft enamels, in order to finish the work, and give a beautiful 

 smoothness. It cannot hut be obvious to every person who uses 

 enamel colours, that the hardening them if necessary, will be 

 effected by adding more of the colouring matter ; or lessening' 

 the quantity of flux, and, if required to be more soft, or to shine 

 more when burnt, to add a little more flux ; and this is best done 

 by a very soft flux generally used for this purpose, such as No. S; 

 but when particular directions are necessary, they will be found 

 mentioned in the receipt for making the colour. It will be bet- 

 ter to make a few ounces at least of each colour at a time, and 

 they are all to be ground as soon as made in water, vvith a glass 

 muller, or a piece of plate glass, and dried before the fire, then 

 gcraped off in powder, and kept in bottles for use. 



When used in painting thev are ground in spirits of turpentine^ 

 and thickened with thick oil of turpentine, which quality the 

 fluid oil of turpentine acquires in three or four years. 



Preparation of iNGREDiENTSt 



Flhil Powder. 



Take pieces of flint, which have been burnt white at the chalk 



lime burners (they may be had at the lime burners at Vauxhall), 



make them clean vvith hot water and a brush } then throw them 



red 



