First edition, folio, , viii, 64, pp., with half-title, additional engraved title with large allegorical vignette, text in English and French, without the list of subscribers, 7 hand-coloured engraved plates with some transparency varnish, 8 plates showing examples of engraving, stipple, soft ground etching, and aquatints (one double-page), 4 half-page vignettes, one plate of six mounted specimens of the coloured papers that produce the best imitation of Stained Glass, the tip of each having been been dipped into Transparent Varnish shows the effect when so cleared, wood-engraved tail-pieces, small ink stain to lower margin of first 6 leaves, some occasional spotting, endpapers creased, orig. paper-covered boards, soiled, rebacked with paper spine, with orig. oval printed paper title label within a decorative border on upper cover, uncut, persevered in a smart morocco-backed solander box, spine lettered in gilt.
“A book dealing with a special method of using varnishes in order to render transparent the paper employed for coloured prints on glass. This curious fashion of transparencies or glass paintings arose at the end of the seventeenth century, and was much in vogue for windows, screens, and the like. They were produced by laying specially tinted impressions on glass and rubbing away the paper behind, leaving just enough film to enable the colouring to be put on by hand.”—Prideaux. The varnished images include two Chinese men with lanterns, the head of a cat, the British Imperial crown, a philosopher in his windowed study, and a fireplace.
Author Orme (Edward)