[5] Any sort of old cloth, if whole, is as good as new; I prefer the former to the latter for its softness. To ascertain a just proportion of wax to every sort of cloth is unnecessary, if you should either put too much or not enough, you may easily remedy it. See Art. iv. One single trial will clear up the incertitude.
[6] Entire colours are the white, red, yellow, blue, &c.
[7] See the nature of this better explained in the copper-plate at the end of observations of Art. 2.
[8] I prefer a fire of sea-coals because it is much more uniform, and does not emit so many sparks as wood or charcoals, which might injure the picture, though any fire with proper care will answer the end proposed; a German stove is still better than any fire whatsoever.
[9] You will easily know those places that shall want wax; they will appear like so many spots of a lighter hue.
[10] Any other spirit such as that commonly burnt in lamps, common gin, rum, or genuine brandy, will do just as well; spirit or oil of turpentine is very proper too; but as it smells so very strong, ladies and gentlemen that paint for their amusement only would not like it.
[11] The same might be practiced upon cloth, it would do better than only rubbing it with the chalk; but for painting with the pencil the bare cloth is still better.
[12] I am aware that every body will not enter into this doctrine at first, and some may think it very odd that a colour which is used in oil, should not sympathise with wax; the question is easily solved, the grinding stones unite oil and pinks, and bring them together by force, but experience shews it is but for a little while; the oil once dry, pinks soon fly off and fade away.
[13] Fullers-earth, pipe-clay, chalk, &c. ought to be left out, because they sink so very low when fixed with wax, and impart a great dullness to all those tints wherein they prevail; pipe-clay and fullers-earth a dusky transparent gray; chalk, a yellowish-white no-colour.
[14] Old crayon pictures may be fixed very well; the paste becoming old looses its cohesion; the wax may freely and uniformly penetrate through; they will want retouching. If any artist has a mind to try, he may do it with some insignificant subject for fear of miscarrying on a first trial.