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Table of Contents for The Craftsman’s Handbook

Preface

I

I The first chapter of the first section of this book

II "How some enter the profession through loftiness of spirit, and some, for profit"

III Fundamental provisions for anyone who enters this profession

IIII How the schedule shows you into how many sections and branches the occupations are divided

V How you begin drawing on a little panel; and the system for it

VI How to draw on several kinds of panels

VII What kind of bone is good for treating the panels

VIII "How you should start drawing with a style, and by what light"

VIIII "How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief"

X "The method and system for drawing on sheep parchment and on paper, and shading with washes"

XI How you may draw with a leaden style

XII "How, if you have made a slip in drawing with leaden style, you my erase it, and by what means"

XIII How you should practice drawing with a pen

XIIII How to learn to cut the quill for drawing

XV How you should advance to drawing on tinted paper

XVI How the green tint is made on paper for drawing; and the way to temper it

XVII "How you should tint kid parchment, and by which method you burnish it"

XVIII How you should tint paper turnsole color

XVIIII How you should tint paper with an indigo tint

XX "How you should tint papers with reddish color, or almost peach color"

XXI How you should tint papers with flesh color

XXII "How you should tint papers greenish gray, or drab"

XXIII How you may obtain the essence of a good figure or drawing with tracing paper

XXIIII The first way to learn how to make a clear tracing paper

XXV A second way to make tracing paper: with glue

XXVI How to make tracing paper out of paper

XXVII How you should endeavor to copy and draw after as few masters as possible

XXVIII How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up

XXX "How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style"

XXXI "How you should draw and shade with washes on tinted paper, and then put lights on with white lead"

XXXII How you may put on lights with washes of white lead just as you shade with washes of ink

XXXIII How to make good and perfect and slender coals for drawing

XXXIIII About a stone which has the character of charcoal for drawing. This ends the first section of this book

II

XXXV The second section of this book: bringing you to the working up of the colors

XXXVI "This shows you the natural colors, and how you should grind black"

XXXVII How to make various sorts of black

XXXVIII On the character of the red color called sinoper

XXXVIIII "How to make the red called cinabrese, for doing flesh on the wall; and about its character"

XL On the character of the red called vermilion; and how it should be work

XLI On the character of a red called red lead

XLII On the character of a red called hematite

XLIII On the character of a red called dragonsblood

XLIIII On the character of a red called lac

XLV On the character of a yellow color called ocher

XLVI On the character of a yellow color called giallorino

XLVII On the character of a yellow called orpiment

XLVIII On the character of a yellow called realgar

XLVIIII On the character of a yellow called saffron

L On the character of a yellow called arzica

LI On the character of a green called terre-verte

LII On the character of a green called malachite

LIII How you make a green with orpiment and indigo

LIIII How you make a green with blue and giallorino

LV How you make a green with ultramarine blue

LVI On the character of a green called verdigris

LVII How you make a green with white lead and terre-verte; or lime white

LVIII On the character of lime white

LVIIII On the character of white lead

LX On the character of azurite

LXI To make an imitation of azurite with other colors

LXII "On the character of ultramarine blue, and how to make it"

LXIII The importance of knowing how to make brushes

LXIIII How to make minever brushes

LXV "How you should make bristle brushes, and in what manner"

LXVI How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third

III

LXVII "The method and system for working on a wall, that is, in fresco; and on painting and doing flesh for a youthful face"

LXVIII The method for painting an aged face in fresco

LXVIIII The method for painting various kinds of beards and hair in fresco

LXX The proportions which a perfectly formed man's body should possess

LXXI The way to paint a drapery in fresco

LXXII The way to paint on a wall in secco; and the temperas for it

LXXIII How to make a violet color

LXXIIII To execute a violet color in fresco

LXXV To try to imitate an ultramarine blue for use in fresco

LXXVII To paint a shot green drapery in fresco

LXXVIII To paint in fresco a drapery shot with ash gray

LXXVIIII To paint one in secco shot with lac

LXXX To paint one in fresco or in secco shot with each other

LXXXI To paint a greenish-gray costume in fresco or in secco

LXXXII "To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood"

LXXXIII "To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue"

LXXXIIII "To make a black drapery for a monk's or friar's robe, in fresco and in secco"

LXXXV "On the way to paint a mountain, in fresco or in secco"

LXXXVI "The way to paint trees and plants and foliage, in fresco and in secco"

LXXXVII "How buildings are to be painted, in fresco and in secco"

LXXXVIII The way to copy a mountain from nature. This ends the third section of this

IV

LXXXVIIII "How to paint in oil on a wall, on panel, on iron, and where you please"

LXXXX How you should start for working in oil on a wall

LXXXXI "How you are to make oil, good for a tempera, and also for mordants, by boiling with fire"

LXXXXII How good and perfect oil is made by cooking in the sun

LXXXXIII "How you should work up the colors with oil, and employ them on the wall"

LXXXXIIII "How you should work in oil on iron, on panel, on stone"

LXXXXV The way to embellish with gold or with tin on a wall

LXXXXVI How you should always make a practice of working with fine gold and with good colors

LXXXXVII "How you should cut the golden tin, and embellish"

LXXXXVIII How to make green tin for embellishing

LXXXXVIIII "How to make the golden tin, and how to lay fine gold with this vermeil"

C "How to fashion or cut out the stars, and put them on the wall"

CI How you can make the diadems of the saints on the wall with this tin gilded with fine gold

CII How you should model up a diadem in lime mortar on a wall

CIII How from the wall you enter upon panel-painting. This ends the fourth section of the book

V

CIIII The system by which you should prepare to acquire the skill to work on panel

CV How you make batter or flour paste

CVI How you should make cement from mending stones

CVII How to make cement for mending dishes of glass

CVIII "How fish glue is used, and how it is tempered"

CVIIII "How goat glue is made, and how it is tempered; and how many purposes it will serve"

CX A perfect size for tempering gessos for anconas or panels

CXI A size which is good for tempering blues and other colors

CXII To make a glue out of lime and cheese. This ends the fifth section of this book

VI

CXIII How you should start to work on a panel or anconas

CXIIII How you should put cloth on a panel

CXV How the flat of a panel should be gessoed with the slice with gesso grosso

CXVI How to gesso sottile for gessoing panels

CXVII How to gesso an ancona with gesso sottile; and how to temper it

CXVIII How you may gesso with gesso sottile without having gessoes with gesso grosso first

CXVIIII How you should temper and grind gesso sottile for modeling

CXX How you should start to scrape down an ancona flat gessoed with gesso sottile

CXXI "How the gesso sottile on the flats should be scraped down, and what these scrapings are good for"

CXXII "How to draw on panel with charcoal, to begin with, and to fix it with ink"

CXXIII How you should mark out the outlines of the figures for gilding the grounds

CXXIIII "How to model on a panel with gesso sottile, and how to mount precious stones"

CXXV How you should cast a relief for embellishing areas of anconas

CXXVI How to plaster reliefs on a wall

CXXVII How to model with mortar on a wall the say you model with gesso on panel

CXXVIII "How to take reliefs from a stone mold, and how they are good on wall and on p

CXXVIIII How you may model on a wall with varnish

CXXX How you may model on a wall with wax

CXXXI "How to lay bole on panel, and how to temper it"

CXXXII "Another way to temper bole on panel, for gilding"

CXXXIII How you may gild on panel with terre-verte

CXXXIIII How to gild on panel

CXXXV What stones are good for burnishing this gilding

CXXXVI How to prepare the stone for burnishing gold

CXXXVII "How you should burnish the gold, or mend matters in case it could not get burnished"

CXXXVIII "Now I will show you how to burnish, and in what direction, especially a flat"

CXXXVIIII "What gold is good for burnish and mordant gilding, and what thickness"

CXL "How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures"

CXLI How to design gold brocades in various colors

CXLII How to execute gold or silver brocades

CXLIII Several rules for cloths of gold and silver

CXLIV "How to do velvet, wool, and silk"

CXLV How to paint on panel

CXLVI How to make draperies in blue and purple

CXLVII How to paint faces

CXLVIII How to paint a dead man

CXLVIX How to paint wounds

CL How to paint water

VII

CLI "A short section on mordant gilding. How to make a standard mordant, and how to gild with it"

CLII How to control the drying of the mordant

CLIII How to make a mordant out of garlic

VIII

CLIV Introduction to a short section on varnishing

CLV When to varnish

CLVI How to make a painting look as if it were varnished

IX

CLVII "A short section on illuminating: first, how to gild on parchment"

CLVIII Another kind of size: for grounds only

CLIX How to make and use mosaic gold

CLX How to grind gold and silver for use as colors

CLXI Colors for use on parchment

X

CLXII "A section dealing with work on cloth: first, painting and gilding"

CLXIII Various ways to do hangings

CLXIV How to draw for embroiderers

CLXV "How to work on silk, on both sides"

CLXVI How to paint and gild on velvet

CLXVII How to lay gold and silver on woolen cloth

CLXVIII How to make devices out of gilded paper

CLXIX How to model crests or helmets

CLXX How to do caskets or chests

XI

CLXXI "A short section on operations with glass: first, for windows"

CLXXII How to gild for reliquary ornaments

CLXXII Arrangements for drawing on this glass

CLXXII How to draw on the gilded glass

CLXXII How to scrape the gold off the backgrounds

CLXXII How to back up the drawing with colors

XII

CLXXII "Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost"

CLXXII Mosaic of quill cut

CLXXII "Mosaic of crushed eggshells, painted"

CLXXII Mosaic of paper or foil

CLXXII "Mosaic of eggshells, gilded"

XIII

CLXXIII "A section dealing with miscellaneous incidental operations: first, block printing on cloth"

CLXXIV How to gild a stone figure

CLXXV The dangers of a wet wall for fresco

CLXXV Preliminary precautions against moisture

CLXXV Waterproofing with boiled oil

CLXXVI Waterproofing with pitch

CLXXVI Waterproofing with liquid varnish

CLXXVII How to distemper inside walls with green

CLXXVIII How to varnish terre-verte

CLXXIX How to clean off the paint after you have made up a face

CLXXX The perils of indulgence in cosmetics

CLXXXI "The final section, devoted to methods of casting, begins here"

CLXXXII How to take a life mask

CLXXXIII The breathing tubes

CLXXXIV The operations of casting the matrix

CLXXXIV How to cast this waste mold

CLXXXV How to cast whole figures

CLXXXVI How to make a cast of your own person

CLXXXVII Castings in gesso for use on panel

CLXXXVIII How to cast medals

CLXXXIX How to make a mold from a seal or coin

Index