The art of glass shewing how to make all sorts of glass, crystal and enamel : likewise the making of pearls, precious stones, china and looking-glasses : to which is added, the method of painting on glass and enameling : also how to extract the colours from minerals, metals, herbs and flowers ... : illustrated with proper sculptures / written originally in French, by Mr. H. Blancourt, and now first translated into English ; with an appendix, containing exact instructions for making glass-eyes of all colours.
De l'art de la verrerie. English
Haudicquer de Blancourt, Jean, b. ca. 1650.
1699
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The art of glass shewing how to make all sorts of glass, crystal and enamel : likewise the making of pearls, precious stones, china and looking-glasses : to which is added, the method of painting on glass and enameling : also how to extract the colours from minerals, metals, herbs and flowers ... : illustrated with proper sculptures / written originally in French, by Mr. H. Blancourt, and now first translated into English ; with an appendix, containing exact instructions for making glass-eyes of all colours.
De l'art de la verrerie. English
Haudicquer de Blancourt, Jean, b. ca. 1650.
[14], 355, [13] p. : ill.
Printed for Dan. Brown ... Tho. Bennet ... D. Midwinter and Tho. Leigh ... and R. Wilkin ...,
London :
1699.
Translation of: De l'art de la verrerie.
Reproduction of original in Princeton University Library.
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eng
Glass manufacture -- Early works to 1800.
Enamel and enameling -- Early works to 1800.
Precious stones.
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THE
Art
of
Glass
.
SHEWING
How
to
make
all
Sorts
of
GLASS
,
Crystal
and
Enamel
.
Likewise
the
Making
of
Pearls
,
Precious
Stones
,
China
and
Looking-Glasses
.
To
which
is
added
,
The
Method
of
Painting
on
Glass
and
Enameling
.
Also
how
to
Extract
the
Colours
from
Minerals
,
Metals
,
Herbs
and
Flowers
.
A
Work
containing
many
Secrets
and
Curiosities
never
before
Discovered
.
Illustrated
with
Proper
Sculptures
.
Written
Originally
in
French
,
By
Mr.
H.
BLANCOVRT
,
And
now
first
Translated
into
English.
With
an
APPENDIX
,
containing
Exact
Instructions
for
making
GLASS-EYES
of
all
Colours
.
LONDON
,
Printed
for
Dan.
Brown
at
the
Black
Swan
without
Temple-Bar
;
Tho.
Bennet
at
the
Half-Moon
,
D.
Mid-winter
and
Tho.
Leigh
at
the
Rose
and
Crown
,
and
R.
Wilkin
at
the
King's-Head
in
St.
Paul's
Church-yard
,
MDCXCIX
.
TO
My
Lord
Marquiss
OF
VILLACERF
,
Counsellour
of
State
,
Chief
Steward
of
the
Houshold
to
the
Late
Queen
;
Superintendant
and
Surveyor-General
of
His
Majesty's
Buildings
and
Gardens
,
Arts
and
Manufactures
.
SIR
,
THE
Knowledge
which
I
acquired
by
my
Study
and
Experience
in
the
Art
of
Glass
,
has
Retriev'd
several
Important
Secrets
,
which
for
a
long
time
lay
Buried
in
Oblivion
:
Of
these
I
at
length
resolved
to
Compose
a
Treatise
;
and
I
here
make
bold
to
Inscribe
it
to
your
Illustrious
Name
,
that
they
may
be
once
more
Restored
to
this
Kingdom
.
If
your
Honour
pleases
to
look
over
the
Wonders
herein
delivered
,
you
'll
be
satisfied
I
have
found
out
and
added
several
Curious
Things
of
my
own
Invention
,
as
well
relating
to
the
Secrets
of
Nature
,
as
the
most
profound
Science
of
the
Adepti
,
or
Ancient
Philosophers
.
Hence
it
is
,
Sir
,
I
am
to
hope
You
'll
Receive
this
Favourably
;
that
under
the
Honour
of
your
Protection
,
it
may
meet
with
Acceptance
Abroad
:
For
if
You
grant
Your
Approbation
,
the
World
will
not
deny
it
Theirs
.
Permit
therefore
,
Illustrious
Sir
,
that
I
may
Impart
the
Secrets
of
this
Noble
Art
to
the
Publick
,
under
your
Auspicious
Patronage
:
Which
is
the
Most
Humble
Request
of
him
who
Subscribes
himself
with
all
Imaginable
Respect
,
Your
Honour
's
,
Most
Humble
,
and
most
Obedient
Servant
,
H.
de
Blancourt
.
THE
PREFACE
.
THE
Art
of
Glass
,
being
one
of
the
Most
Noble
and
Curious
of
all
other
Arts
,
and
the
Wonderfulness
of
it
,
both
in
the
Simplicity
of
the
Matter
,
whereof
it
is
made
,
and
in
the
Formation
of
it
;
as
also
the
Various
Colours
it
is
capable
of
receiving
,
appearing
so
Curious
and
Entertaining
,
chiefly
engaged
my
Thoughts
in
the
Study
of
its
Principles
,
and
to
penetrate
into
the
most
hidden
Secrets
of
it
.
The
Knowledge
I
had
acquired
in
the
Secrets
of
Nature
,
both
by
Speculations
,
and
repeated
Experiments
,
Excited
me
to
a
more
particular
Enquiry
of
whatever
might
be
extraordinary
in
it
,
that
I
might
Impart
it
to
the
Publick
.
Most
People
are
of
Opinion
,
That
the
Ancient
Manner
of
Tinging
Glass
,
(
with
those
fine
and
rich
Colours
,
whereof
there
are
still
some
Remains
to
be
seen
in
Ancient
Churches
)
is
at
present
quite
lost
.
It
is
true
indeed
,
it
is
lost
Publickly
,
since
those
who
publickly
profess
the
Art
of
Making
Glass
,
know
nothing
of
it
:
But
to
those
who
set
themselves
throughly
to
study
the
true
Principles
of
whatever
they
undertake
,
it
is
not
difficult
to
Retrieve
lost
Arts
,
and
Revive
them
in
their
Ancient
Splendour
and
Perfection
.
I
shall
therefore
here
endeavour
to
Revive
,
and
make
Publick
,
this
supposedly
lost
Secret
,
of
giving
all
those
Curious
and
Rich
Colours
to
Glass
,
which
the
Ancients
did
,
by
shewing
whatever
has
been
performed
,
that
is
extraordinary
and
curious
in
this
Science
,
which
I
have
traced
and
recovered
from
the
obscure
Tracts
of
Ancient
Authors
,
and
confirmed
by
my
own
Experiments
;
and
also
augmented
what
was
delivered
by
them
,
in
Preparations
of
several
rare
and
precious
Matters
,
that
cannot
but
appear
very
extraordinary
.
This
Age
has
been
very
happy
for
the
Restauration
of
Arts
and
Sciences
,
of
which
that
late
Excellent
Minister
of
State
,
Monsieur
Colbert
Superintendant
,
and
Surveyor-General
of
the
Buildings
,
Arts
,
and
Manufactures
of
France
,
has
been
an
Assiduous
Reviver
and
Encourager
:
They
seem
at
present
to
be
arrived
at
so
high
a
degree
of
Perfection
,
that
there
is
not
one
but
has
surpassed
whatever
was
done
by
the
Ancients
;
and
those
under
his
Inspection
,
particularly
merit
on
that
account
a
preference
to
any
others
.
That
of
Glass
,
whereof
we
are
at
present
to
treat
,
has
not
been
the
last
that
has
signalized
it self
,
having
already
shewn
Wonders
in
the
extraordinary
largeness
of
Coach-glasses
.
We
have
divided
this
Work
into
Twelve
Books
,
which
contain
so
many
different
Heads
,
tho'
derived
from
the
same
Principles
.
If
we
were
to
follow
the
ordinary
Custom
of
most
Authors
,
we
should
Epitomize
in
the
Preface
,
the
Contents
of
those
Twelve
Books
:
But
that
seems
to
us
a
needless
Task
,
since
the
Reader
may
please
to
peruse
an
Index
,
which
we
have
for
that
purpose
annexed
to
the
End
of
this
Volume
,
which
will
be
sufficient
for
the
Reader
's
Satisfaction
therein
.
Our
Design
being
not
to
trouble
the
Reader
with
a
long
Preface
,
we
have
resolved
only
to
touch
very
lightly
of
the
Matters
contained
in
the
Book
,
and
only
to
hint
of
some
things
that
are
omitted
.
Glass
has
something
in
it
so
beautiful
to
the
Sight
,
and
its
Transparency
is
so
agreeable
,
that
it
is
no
wonder
we
find
it
by
several
,
and
even
in
the
Holy
Scripture
it self
,
compared
not
only
to
Gold
,
the
most
perfect
of
all
Metals
,
but
also
to
things
far
more
high
and
Spiritual
.
They
are
Mysteries
of
deeper
Consequences
,
than
at
first
sight
we
imagine
,
since
by
them
we
are
informed
,
that
Vitrification
gives
a
better
Being
,
or
Nobler
Nature
.
This
requires
the
attentive
Thoughts
of
Philosophers
,
not
only
in
the
Nature
of
Metals
,
where
it
is
easily
seen
;
but
also
in
other
things
,
where
Sense
and
Experience
testifie
the
Truth
of
it
.
We
have
asserted
in
our
Book
,
that
Glass
is
a
perfect
Metal
,
since
it
will
bear
the
utmost
force
of
Fire
as
well
as
Gold
:
And
that
there
is
but
one
sort
of
Fire
,
more
Puissant
than
the
Vulgar
,
that
can
consume
it
:
But
here
we
will
take
notice
,
that
there
are
two
Ways
to
make
Glass
,
and
that
it
may
be
made
more
or
less
fixed
.
That
the
more
fixed
,
which
is
the
least
beautiful
and
the
least
transparent
,
resists
every
thing
;
no
Preparation
of
Mercury
,
nor
any
Species
of
Aqua-fortis
,
can
Dissolve
it
,
nor
the
most
sub●le
Poisons
,
or
highest
Corrosives
,
arrive
any
further
than
to
break
it
.
The
less
fixed
,
on
the
contrary
,
which
is
the
most
clear
and
transparent
,
as
that
of
Venice
,
is
less
capable
of
Resistance
,
being
composed
of
a
more
purified
Salt
:
Thus
it
will
Dissolve
in
the
Earth
,
or
in
cold
and
moist
Places
,
if
there
be
more
Salt
in
it
proportionably
●han
Sand
,
by
a
Separation
natural
to
those
two
sorts
of
Matter
:
And
Poisons
Extracted
out
of
Minerals
will
Dissolve
it
,
by
reason
of
their
great
cold
.
We
shan't
repeat
here
the
Virtues
Glass
is
capable
of
acquiring
,
(
whereof
we
make
mention
in
several
places
)
by
the
Grand
Elixir
of
the
Philosophers
,
(
which
makes
it
Malleable
,
and
Converts
Crystal
into
Precious
Stones
)
as
also
by
several
other
ways
.
We
'll
only
add
,
That
there
are
several
other
less
and
particular
Secrets
,
by
which
it
may
be
made
soft
and
fusil
like
Wax
,
and
afterwards
reduced
to
its
former
hardness
in
Water
;
but
these
are
little
Curiosities
that
serve
to
no
purpose
.
Glass
may
receive
either
within
or
without
any
sort
of
Metallick
Colours
,
which
makes
it
very
proper
for
Painting
.
Those
which
we
shall
teach
to
Extract
from
Metals
,
and
shew
in
this
Book
for
the
tinging
of
Glass
,
give
it
a
Lustre
equal
to
Precious
Stones
,
and
set
it
off
with
an
unspeakable
Beauty
.
As
we
have
given
you
the
ordinary
Preparations
of
all
sorts
of
Metals
,
Crystal
,
Glass
,
Rochetta
,
Soda
,
Tartar
,
Manganese
,
Salt
,
Sulphur
,
Vitriol
,
Aqua-fortis
and
Regis
,
Pastes
,
Enamels
,
Pearls
,
and
other
things
contained
in
this
Work
:
So
we
can
safely
say
,
we
have
given
you
more
of
them
than
are
common
,
and
some
which
have
never
been
publick
;
which
we
have
all
along
taken
particular
care
to
do
,
to
oblige
the
Curious
in
this
Art
,
who
will
apprehend
it
better
by
reading
the
Book
it self
,
than
we
can
tell
them
in
the
Preface
.
But
more
particularly
to
shew
our
Ingenuous
and
Vnprejudiced
Impartiality
in
this
Affair
,
and
how
little
envy
we
have
to
the
Students
and
Practisers
of
this
Art
,
we
discover
to
them
such
extraordinary
and
precious
Receipts
in
it
,
as
would
have
been
Industriously
concealed
by
any
other
Hand
,
because
they
point
out
the
Paths
to
Persons
Conversant
and
Illuminated
in
these
Studies
,
even
to
their
greatest
Secrets
,
and
most
hidden
Recesses
.
By
what
we
treat
of
in
this
Book
upon
this
Subject
,
●ne
may
perceive
that
there
is
nothing
in
Nature
which
Man
cannot
imitate
:
And
if
we
believe
what
Claudian
●ells
us
,
of
that
great
Sphere
of
Glass
,
made
by
Archinedes
,
we
shall
have
reason
to
be
as
much
surprized
,
as
Claudian's
Poem
makes
the
Gods
to
be
.
If
the
Reader
●ould
know
the
reason
why
that
Sphere
was
made
of
Glass
,
●e
may
see
it
in
Cardan's
Book
,
de
Subtilitate
,
where
●e
may
see
with
it
,
a
Quotation
of
the
Verses
we
here
●ention
.
Besides
what
relates
to
the
Art
of
making
Glass
,
we
●lso
treat
of
the
Ways
of
Painting
on
Enamel
and
Glass
;
●nd
we
also
shew
the
Way
of
Extracting
Tinctures
of
●everal
Colours
of
Herbs
,
Flowers
,
Roots
,
Grain
,
Wood
,
Stones
,
and
other
things
,
for
this
sort
of
Pain●ing
and
Tinging
of
Glass
.
Altho
▪
this
.
Art
of
Painting
seems
different
from
that
●f
Glass
,
yet
they
ought
not
to
be
separated
,
since
this
Painting
is
performed
with
Minerals
,
and
that
they
melt
●n
Fire
like
the
Enamels
.
One
of
the
most
Ingenious
we
have
ever
had
for
Pain●ing
on
Glass
,
was
one
Jaques
de
Paroy
,
a
Native
of
●t
.
Pourcain
sur
Allier
,
who
has
Writ
upon
that
Subject
.
His
Genius
always
leading
him
that
ways
,
he
apply'd
him●elf
to
it
with
a
great
Inclination
and
Industry
,
and
suceeded
in
it
accordingly
:
Whereupon
he
went
to
Rome
to
●erfect
himself
,
as
being
the
greatest
and
most
general
●chool
for
Painting
and
Sculpture
;
where
he
studied
●
long
time
under
the
Famous
Dominican
.
After
he
at●ained
to
Perfection
,
he
went
to
Venice
,
where
he
did
●everal
fine
Pieces
.
Returning
into
France
,
in
the
Province
of
Auvergne
,
where
he
was
Born
,
he
performed
also
some
extraordinary
Pieces
in
the
Castle
of
the
Count
de
Calignac
,
and
afterwards
in
the
Church
of
St.
Mederick
in
Paris
,
where
is
yet
to
be
seen
of
his
,
the
Judgment
of
Susannah
,
which
is
very
perfect
and
Exquisite
,
as
well
as
all
the
other
Pieces
of
the
Choir
.
At
length
this
Excellent
Person●
died
at
the
Age
of
102
Years
,
in
the
City
of
Moulin●
Burbonois
,
where
his
last
Funeral
Obsequies
were
performed
in
the
Church
of
the
Jacobines
.
There
are
likewise
more
of
those
fine
Paintings
,
whic●
justly
cause
Admiration
in
all
Learned
Beholders
,
to
b●
seen
in
the
Church
of
St.
Gervais
at
Paris
,
and
in
th●
Wooden-Chappel
at
St.
Vincent's
,
in
the
Great
Church
o●
the
City
of
Metz
,
in
that
of
St.
Owen
at
Roan
,
in
th●
Castles
of
Gaillon
and
Annet
;
and
in
several
other
places
,
which
would
be
tedious
to
relate
,
where
in
a●
of
them
are
to
be
seen
some
of
those
Prodigies
o●
Art.
The
Way
to
become
perfect
in
any
Art
,
is
wholly
to
d●
vote
and
give
ones
self
up
to
't
;
but
the
most
part
of
thos●
who
have
so
Zealously
apply'd
themselves
to
it
,
and
be●
come
Excellent
therein
,
have
left
no
other
Patrimony
●●
their
Heirs
,
but
their
own
Empty
Fame
,
which
they
a●●
ways
pursu'd
when
alive
,
with
far
more
Vigour
than
th●
Goods
of
Fortune
.
Witness
Lisippus
,
that
Incomparab●●
Engraver
,
why
Died
of
meer
Poverty
,
because
instea●
of
seeking
whereby
to
Live
,
he
continually
employ'd
him self
about
his
Art.
And
Miron
,
who
seem'd
to
have
●nimated
his
Statues
,
cast
them
so
happily
in
Brass
,
l●●
so
little
behind
him
,
that
no
one
would
take
the
pains
to
●
his
Executor
to
look
after
it
.
We
might
give
a
Thousand
Examples
of
these
Truths
,
and
in
what
Esteem
those
who
have
excell'd
in
these
Arts
,
have
been
had
by
great
Princes
all
over
the
World
,
but
the
Subject
would
require
a
larger
Discourse
than
we
have
allotted
to
this
Preface
,
which
obliges
us
to
come
to
a
Conclusion
;
only
further
desiring
the
Reader
not
to
expect
any
Quaintness
of
Expression
,
or
Politeness
of
Stile
,
but
rather
to
content
himself
with
the
Exactness
which
we
have
always
taken
care
to
observe
in
giving
him
the
Preparations
we
pretend
to
shew
,
with
all
the
Truth
and
Fidelity
possible
.
OF
THE
ART
OF
GLASS
.
PART
I.
CHAP.
I.
Of
the
Original
,
Antiquity
,
and
Vse
of
Glass
.
IT
has
not
been
without
Reason
,
that
several
Learned
Persons
have
compared
Man
to
a
Microcosm
,
or
Little
World
,
since
he
contains
in
himself
all
the
Excellencies
of
the
Greater
;
and
that
God
,
having
created
him
after
his
own
Image
,
has
given
him
an
Absolute
Dominion
over
all
Creatures
in
this
World
:
Not
only
over
Animals
and
Vegetables
,
and
those
other
visible
mixt
Bodies
,
among
which
we
are
immediately
conversant
;
but
also
over
Metals
,
Minerals
,
Semiminerals
,
Pretious
Stones
,
Pearls
,
Corals
,
and
whatever
Treasures
are
hid
in
the
Bowels
of
the
Earth
,
or
Bottom
of
the
Seas
;
that
he
might
make
use
of
them
for
his
own
Pleasure
,
and
that
by
the
Understanding
God
has
given
him
,
he
might
know
their
Properties
,
to
make
them
usefull
for
his
particular
Occasions
.
The
Power
of
Nature
is
limited
in
all
her
Effects
,
and
Man
alone
can
augment
and
enlarge
by
Art
,
the
Virtues
and
Powers
which
she
has
produced
,
by
separating
the
Pure
from
the
Impure
,
that
which
is
more
Subtil
and
Spiritual
,
from
the
more
Gross
and
Earthy
;
which
Nature
her self
cannot
do
,
by
reason
she
has
no
Tools
nor
Instruments
proper
for
such
Separations
;
especially
of
those
Impurities
,
which
by
proceeding
from
the
Corruptions
of
the
Matrixes
,
where
all
her
Generations
are
made
,
perpetually
mix
themselves
with
all
her
Productions
:
Besides
that
the
Universal
Seed
(
or
Spirit
)
of
the
World
,
which
contains
in
it self
the
three
Principles
and
four
Elements
,
whereof
every
thing
in
Nature
is
compos'd
and
nourish'd
,
is
it self
not
free
from
Impurity
;
for
in
making
its
Circulations
from
Heaven
to
Earth
,
and
from
thence
again
to
Heaven
,
where
it
is
impregnated
with
all
the
Virtues
of
the
Constellations
and
Planets
,
it
returns
again
,
and
descends
even
to
the
Center
of
the
Earth
,
there
to
be
impregnated
with
a
Body
and
Salt
,
and
acquire
the
utmost
Elementary
Perfection
;
whence
the
Central
Fire
forcing
it
to
repass
to
the
Surface
,
and
thence
into
the
Globe
of
Water
and
Air
,
after
having
produced
,
in
its
passage
,
in
all
the
Elements
,
an●
infinite
Number
of
Mixtures
,
it
ascends
again
into
the
Heavens
,
whence
it
penetrates
and
animates
the
whole
Universe
.
It
is
by
all
these
Circulations
tha●
this
Seed
or
Soul
of
the
World
becomes
invested
with
Impurities
,
whereof
the
general
or
universal
Spirit
is
tainted
,
so
that
the
Pure
and
Impure
ascend
and
descend
together
in
Confusion
;
insomuch
,
that
only
the
Industry
of
Man
can
separate
them
,
by
ejecting
the
unprofitable
excrementitious
Parts
,
and
separating
and
purifying
its
Principles
,
and
then
reuniting
them
,
to
make
a
Compound
of
a
greater
Virtue
;
so
that
of
that
Compound
you
may
make
a
Species
capable
of
producing
its
*
like
:
For
the
Nature
of
one
Mixt
or
Compound
,
cannot
produce
or
be
chang'd
into
a
Mixt
of
a
different
Nature
;
We
must
always
sow
Wheat
to
have
a
Crop
of
Wheat
.
Hence
it
is
that
so
many
great
Philosophers
have
told
us
,
That
Man
,
by
the
means
of
Art
,
might
begin
where
Nature
left
off
,
by
purifying
its
Matters
,
and
reducing
them
to
their
first
Principles
,
and
thence
raising
them
to
the
utmost
degree
of
Perfection
;
whether
the
End
be
to
prolong
Man's
Life
,
or
curing
his
greatest
and
most
inveterate
Diseases
,
as
also
of
other
Animals
;
or
for
Metals
,
Minerals
,
Pretious
Stones
,
Plants
,
and
other
Vegetables
.
Now
such
Separation
and
Purification
of
Substances
is
not
impossible
,
as
long
as
you
destroy
not
entirely
the
Subjects
:
But
it
must
be
perform'd
by
something
that
specifically
agrees
with
their
own
respective
Natures
;
then
(
by
it
)
you
may
make
a
perfect
Reduction
of
their
Substances
,
wherewith
by
means
of
Art
,
Man
may
perform
all
those
things
I
have
now
mention'd
,
as
to
cure
the
most
inveterate
Diseases
,
convert
what
is
imperfect
into
the
most
perfect
;
and
it
is
hereby
that
you
have
display'd
,
that
absolute
Dominion
which
God
has
given
him
over
all
the
Creatures
.
It
is
not
my
present
Design
to
enter
into
the
depth
of
the
Mysteries
of
this
sublime
Science
,
which
I
leave
to
those
true
*
Philosophers
,
who
are
the
only
Creatures
to
whom
God
has
reveal'd
them
,
and
whereof
all
other
Men
,
like
my self
,
are
unworthy
:
but
only
to
shew
by
sensible
Demonstration
,
That
Man
,
in
many
things
,
is
capable
of
imitating
Nature
by
the
Assistance
of
Art
;
and
of
performing
several
things
by
his
Industry
,
and
the
Work
of
his
hands
,
which
look
more
like
Miracles
,
than
the
Effects
of
Art.
Those
which
make
the
Subject
of
the
following
Discourse
,
would
be
no
less
surprizing
,
if
they
were
less
common
;
but
from
the
time
our
Eyes
become
accustom'd
by
constant
use
to
any
Object
,
the
Esteem
of
it
begins
to
be
lessen'd
,
and
fall
;
Witness
Nature
her self
,
whose
Annual
Renovation
,
tho'
we
are
accustom'd
to
it
,
ought
to
be
a
perpetual
Subject
of
Admiration
.
Of
all
the
Works
of
Art
,
that
of
Glass
is
not
the
least
considerable
,
whether
it
be
Natural
or
Artificial
;
it
melts
in
the
Fire
without
consuming
,
and
is
therein
perfected
or
made
fine
like
Gold
,
which
is
a
perfect
Metal
,
and
there
leaves
behind
it
its
Dross
,
becoming
purified
and
whitened
,
which
renders
it
more
proper
for
making
Dishes
,
Glasses
,
and
other
Vessels
for
Man's
use
,
than
any
other
Metal
,
or
Matter
whatsoever
.
Nay
,
I
may
yet
go
farther
,
and
say
,
That
Glass
not
only
purifies
it self
in
the
Fire
,
but
also
assists
to
purifie
and
melt
all
other
Metals
,
and
render
them
more
plyable
and
malleable
,
and
so
more
easie
to
work
upon
to
the
ends
they
are
design'd
for
.
In
the
Spagyrick
Art
,
in
Physick
,
in
Chymistry
,
it
is
impossible
to
be
without
Vessels
of
Glass
,
whether
for
Sublimations
,
Distillations
,
or
Putrefactions
,
Digestions
,
Circulations
,
or
other
Operations
to
which
they
are
necessary
for
several
Reasons
;
one
whereof
is
,
That
all
the
gradual
Alterations
,
of
the
Matter
therein
contain'd
,
and
what
is
done
in
it
on
the
Fire
,
are
visible
to
the
eye
;
and
another
,
That
those
Matters
can
neither
be
imbib'd
by
the
Vessel
,
nor
transpire
thro'
its
Pores
,
nor
it
communicate
any
ill
Scent
or
Taste
,
which
might
be
noxious
to
the
Health
,
if
the
Matter
be
prepar'd
for
Medicine
:
Moreover
the
Philosophers
make
use
of
no
other
Vessels
for
their
curious
Operations
,
whether
it
be
to
extract
the
Philosophick
Mercury
,
or
purifie
it
,
or
for
the
Decoction
of
their
Grand
Elixir
and
Panacaea's
,
which
they
cannot
perform
without
Glass
;
for
otherwise
they
would
labour
in
the
dark
,
and
could
never
well
regulate
their
Operations
:
Besides
the
Volatility
of
their
Spirits
,
which
they
must
preserve
,
is
of
so
subtile
and
quick
Penetration
,
that
no
other
Vessels
could
hold
them
.
Churches
,
Palaces
,
Castles
,
and
Particular
Houses
,
owe
their
chiefest
Ornaments
as
well
as
Conveniencies
,
to
Glass
;
for
that
transparent
Substance
guards
them
within
from
too
great
Heat
and
Cold
,
without
hindring
the
Intromission
of
the
Light.
Looking-Glasses
,
and
other
great
Plates
of
Glasses
are
as
so
many
surprizing
Objects
to
our
Eyes
,
representing
so
distinctly
and
naturally
all
even
from
the
least
to
the
greatest
Actions
of
the
Objects
before
them
;
whereby
also
one
may
always
keep
himself
in
a
neat
and
agreeable
dress
.
Notwithstanding
not
one
in
a
Thousand
of
those
who
have
them
,
ever
reflect
on
the
Admirableness
of
the
Work
,
which
is
beyond
doubt
,
one
of
the
chiefest
,
and
most
perfect
Pieces
of
Art
,
and
than
which
Man
can
make
nothing
more
wonderful
.
Moreover
,
China-Ware
for
adorning
Capboards
and
Tables
,
Dishes
,
divers
sorts
of
Glasses
,
and
Figures
,
and
a
thousand
other
Curiosities
,
of
all
sort
;
of
Colours
,
which
serve
both
for
Pleasure
and
Use
,
and
employ
the
Poor
all
over
the
World
;
are
they
not
well
worthy
of
Admiration
?
But
if
we
consider
the
Painting
and
Representations
in
the
Glasses
of
Churches
,
we
must
at
the
same
time
admire
,
that
the
Colours
which
we
extract
from
Metals
for
that
End
,
can
be
so
very
lively
,
as
to
resemble
so
many
pretious
Stones
.
If
any
of
this
Glass
be
cast
into
a
Furnace
,
you
may
see
what
a
vast
number
of
Colours
it
is
susceptible
of
,
even
beyond
Comparison
.
*
Glass
is
called
by
that
Name
,
because
it
is
a
transparent
Metal
,
while
other
Metals
are
opaque
,
there
being
only
Glass
that
can
shew
what
it
contains
within
.
The
Name
of
Glass
,
which
the
French
,
Germans
,
and
English
have
given
it
,
seems
to
be
taken
from
its
resembling
or
approaching
somewhat
in
its
Colour
to
†
Azure
,
or
Sky-colour
.
The
Word
Glass
,
also
seems
to
be
deriv'd
,
from
its
Resemblance
to
Ice
(
from
Glacies
)
,
while
the
Fire
does
much
the
same
thing
in
Glass
,
as
the
Frost
in
the
Water
:
Thus
all
Glass
looks
like
Frozen
Water
;
which
made
a
modern
Author
merrily
say
,
That
it
made
Wine
smile
to
see
it self
cherish'd
in
the
bosom
of
its
most
Mortal
Enemy
.
Monzerus
tells
us
;
That
when
Looking-Glass
was
first
invented
,
they
were
sold
very
dear
,
as
if
they
had
been
made
of
some
pretious
Matter
,
and
also
by
reason
People
took
so
much
Pleasure
in
seeing
themselves
so
lively
pictured
.
To
this
we
may
add
,
That
it
is
not
above
200
Years
since
they
came
first
to
be
in
use
,
and
that
the
way
of
making
them
was
found
out
by
a
certain
Person
,
who
,
melting
some
Glass
in
a
Crucible
,
chanc'd
to
spill
it
on
the
ground
,
where
it
running
under
a
great
Square
Tile
,
wherewith
the
Floor
was
pav'd
,
oblig'd
the
Workman
to
take
it
up
,
where
he
found
it
in
Form
of
a
Looking-Glass-Plate
,
(
which
could
not
have
been
so
form'd
by
the
ordinary
way
of
blowing
)
,
which
began
to
employ
his
Thoughts
all
that
Night
,
and
thence
he
conceived
,
That
Glass
might
be
run
into
Plates
like
Metal
,
which
he
began
to
experiment
from
that
day
forward
;
and
so
he
found
out
the
way
to
those
Consequences
which
meer
Chance
was
the
first
occasion
of
;
as
it
had
been
also
before
of
the
very
Matter
whereof
this
Metal
is
compos'd
,
as
we
shall
hereafter
shew
.
The
use
of
Glass
is
so
Antient
,
that
it
is
difficult
to
assign
the
time
of
its
first
Invention
:
Pliny
pretends
,
that
it
was
in
the
City
of
Sidon
that
the
first
Vessels
of
Glass
were
made
,
as
may
be
seen
in
the
26
th
Chap.
of
his
36
th
Book
.
Others
affirm
its
Origin
must
be
as
antient
as
Bricks
,
by
reason
one
can
scarce
make
the
one
without
the
other
;
this
is
the
reason
that
has
made
some
assert
that
this
Art
was
known
at
the
time
of
the
Building
of
Babel
,
that
being
made
of
Brick
,
and
that
way
of
Building
continu'd
in
Egypt
,
since
we
read
,
it
was
the
sole
employ
of
the
Children
of
Israel
in
their
Captivity
to
make
them
.
This
might
be
strengthen'd
by
a
convincing
Proof
out
of
the
Bible
,
whereof
Moses
was
the
first
Author
,
where
you
read
of
Glass
,
which
would
not
have
been
mention'd
if
it
had
not
been
in
use
in
those
Days
.
The
Passages
we
find
of
St.
Iohn
in
the
Apocalypse
,
seem
to
put
a
very
high
esteem
on
Glass
;
for
in
speaking
of
the
Throne
of
God
,
Chap.
4.
ver
.
6.
he
says
,
And
before
the
Throne
there
was
a
Sea
of
Glass
like
unto
Crystal
.
And
speaking
of
the
Heavenly
City
,
whereof
he
gives
the
Description
Chap.
20●
Ver.
18.
he
says
,
And
the
building
of
the
Wall
of
it
,
was
〈◊〉
Iasper
,
and
the
City
was
of
pure
Gold
,
like
unto
clear
Glass
.
and
at
the
21.
verse
,
And
the
twelve
Gates
were
twelve
Pearls
,
every
Gate
was
of
one
Pearl
,
and
the
street
of
the
City
was
pure
Gold
,
as
it
were
transparent
Glass
.
That
is
to
say
,
a
Glass
of
Gold
,
or
more
properly
,
Gold
Vitrifi'd
,
which
is
that
Electrum
of
Ezechiel
,
whereof
St.
Ierome
makes
mention
.
I
may
strengthen
it
yet
further
,
by
a
passage
out
of
Iob
,
Chap.
28.
ver
.
17.
where
speaking
of
the
Wisdom
of
God
,
he
says
,
The
Gold
and
Crystal
cannot
equal
it
.
Which
does
not
only
shew
us
the
Antiquity
of
Glass
,
but
also
in
what
esteem
it
was
had
in
those
days
,
being
always
equall'd
to
Gold.
This
last
passage
is
also
Cited
in
a
Translation
of
St.
Ierome
,
and
in
several
other
Authors
,
among
whom
,
some
have
chang'd
the
word
of
Gold
and
Glass
,
to
that
of
a
Stone
more
precious
than
Gold.
Others
to
a
Carbuncle
,
or
some
other
precious
Stone
.
But
,
(
say
they
,
)
all
these
names
are
understood
of
only
one
and
the
same
Stone
,
which
the
Antients
believed
gave
Light
by
Night
,
and
which
is
no
where
to
be
found
.
This
last
Opinion
is
very
Mysterious
,
and
that
one
only
Stone
,
according
to
St.
Paul
,
in
the
Epistle
to
the
Romans
,
ought
to
be
understood
of
the
Divine
Union
with
our
Nature
,
by
the
Mystery
of
the
Incarnation
of
the
Word
.
The
great
Hermes
,
the
Father
of
the
Philosophers
,
call'd
that
Stone
,
the
Image
of
the
Invisible
God
,
which
Moses
(
also
)
shut
up
in
the
Ark
of
the
Covenant
,
and
which
was
call'd
the
Glory
of
God
,
shining
in
the
Night
like
a
burning
Fire
,
or
like
a
bright
and
and
shining
Star
which
gave
light
by
Day
,
as
you
may
see
in
Numbers
.
This
it
was
,
which
these
Authors
meant
and
understood
,
but
which
no
others
can
comprehend
,
unless
it
be
the
true
Philosophers
.
We
design
to
treat
more
largely
thereof
in
our
next
Work
,
Entituled
,
The
Mystical
Characters
of
Antiquity
unveil'd
and
laid
open
,
wherein
we
will
make
it
appear
,
that
of
those
Characters
were
Compos'd
the
Two
Tables
of
the
Law
,
which
were
afterwards
put
into
the
Ark
,
and
which
are
the
two
Pretious
Stones
which
serve
at
present
for
Guides
to
the
wise
among
the
Philosophers
,
as
they
did
heretofore
for
Figures
to
the
Antients
.
We
might
fetch
the
Origin
of
Glass
from
Tubal-Cain
,
the
Son
of
Lamech
;
for
he
being
the
first
Chymist
that
found
out
the
way
of
melting
Metals
,
and
the
uses
of
Iron
and
Brass
,
whereof
he
forg'd
Arms
for
War
,
as
is
noted
in
the
4
th
.
Chap.
of
Gen.
it
is
not
improbable
,
but
that
he
might
be
the
first
Inventor
of
Glass
,
because
one
can
scarce
avoid
reducing
Calcin'd
Metals
into
Glass
,
especially
when
the
Fire
is
more
than
ordinarily
violent
,
and
the
Matter
remains
longer
in
it
than
it
ought
.
It
was
this
which
made
Ferrandus
Imperatus
,
say
,
that
the
Origin
of
Glass
came
from
Fire
,
or
from
its
Reverberation
alone
in
those
Furnaces
where
Fire
was
preserv'd
in
its
full
force
.
We
own
Fire
to
be
the
first
Agent
both
of
Nature
and
Art
;
but
with
this
distinction
,
that
that
of
Nature
vivifies
or
enlivens
,
and
that
of
Art
resolves
and
destroys
,
especially
when
it
is
too
vehement
:
But
he
who
knows
how
to
direct
and
manage
it
,
may
make
good
use
of
it
for
the
Separation
and
Perfection
of
the
Matters
wherein
he
works
;
whence
it
very
often
happens
that
several
Persons
seek
that
which
they
cannot
find
,
and
find
that
which
they
did
not
seek
;
wherefore
we
may
truly
say
,
that
most
part
of
our
best
Inventions
and
Secrets
,
have
been
found
out
by
meer
chance
,
and
as
it
were
hazard
of
Art.
The
great
Hermes
was
not
ignorant
of
the
Art
of
making
Glass
,
since
he
taught
the
Knowledge
of
it
to
the
Aegyptian
Chymists
,
but
not
that
of
the
Transmutation
of
Metals
,
tho'
he
possess'd
it
,
as
Kircher
tells
in
his
Oedipus
;
That
since
that
time
,
that
People
have
always
profess'd
this
Art
,
in
which
they
were
so
Expert
,
that
Flavius
Vopiscus
speaking
of
Alexandria
,
tells
us
,
it
was
very
Rich
,
and
Fruitful
in
Corn
,
and
that
no
one
is
there
idle
,
one
part
of
the
Poor
making
Glass
,
and
the
other
Paper
.
We
have
another
Evidence
of
the
Antiquity
of
Glass
,
in
the
4
th
Book
of
Lucretius
:
But
the
most
part
of
Historians
attribute
the
Invention
of
it
to
the
Alchymists
,
who
by
endeavouring
to
counterfeit
Pretious
Stones
,
found
out
this
Secret.
It
is
to
these
great
Men
,
indeed
,
we
are
oblig'd
for
almost
all
our
Modern
Knowledge
of
the
most
curious
Secrets
of
Nature
,
they
having
unveil'd
her
most
hidden
Mysteries
.
The
Profession
of
an
Alchymist
in
those
Days
,
was
not
Vilifi'd
as
it
is
now
,
it
being
esteem'd
very
Honourable
,
Kings
themselves
exercising
it
.
We
shall
discourse
thereof
in
the
Work
we
have
promis'd
,
and
whence
the
word
Chymistry
is
deriv'd
,
where
we
will
prove
its
Antiquity
by
several
passages
out
of
the
Holy
Scripture
.
But
we
will
here
add
,
that
the
Chymists
of
this
present
Age
are
very
far
remov'd
,
both
in
Knowledge
and
Probity
from
those
Antient
ones
,
who
never
practis'd
those
base
Sophistications
,
and
a
thousand
other
Tricks
of
that
Nature
,
which
the
Modern
do
;
which
is
the
reason
that
this
Art
,
so
Noble
and
Sublime
in
its
Principles
,
is
now
a-days
so
much
Vilifi'd
,
that
to
have
the
name
of
a
Chymist
,
(
of
that
sort
,
)
is
enough
to
render
a
Man
detestable
among
honest
Men.
Also
most
part
of
those
who
set
up
for
that
Profession
,
are
nothing
but
a
sort
of
Quack
Collectors
of
Recipe's
,
with
which
,
under
the
false
appearances
of
Fixation
,
of
Augmentation
of
Gold
and
Silver
,
which
they
call
Powders
of
Projection
,
&c.
and
which
they
pretend
to
do
with
common
Mercury
,
the
Imperfect
Metals
,
Minerals
,
Salts
,
Powders
,
and
other
Ingredients
,
Heterogeneous
to
the
principal
Matters
,
with
these
,
I
say
,
they
abuse
Credulous
Persons
by
their
fair
words
often
to
their
Ruine
.
It
is
not
with
common
gross
Matters
that
Philosophers
work
,
nor
can
they
bring
any
thing
to
Perfection
,
before
they
have
converted
their
Matters
into
Fluid
,
Volatile
,
and
Spiritual
Substances
,
such
as
they
were
before
their
Coagulations
;
not
by
the
means
of
Aquae
Fortes
and
Corrosives
,
which
the
Antients
knew
nothing
of
;
but
by
means
of
the
same
Liquors
that
engender'd
and
nourish'd
them
,
which
is
as
it
were
their
Parent
,
Homogeneous
to
them
,
and
that
Water
of
Life
of
the
Philosophers
,
or
rather
the
Key
of
Nature
,
without
which
,
you
'll
always
work
in
vain
.
That
which
seems
to
the
Eyes
of
the
Credulous
to
be
Augmentation
,
will
never
undergo
the
true
Proofs
of
Silver
and
Gold
;
if
it
should
chance
to
undergo
some
one
tryal
;
you
may
be
sure
the
second
will
make
all
the
hopes
of
the
pretended
profit
vanish
in
Smoak
,
and
on
the
contrary
,
make
you
sensible
of
considerable
loss
,
both
by
the
waste
of
the
Matters
,
and
the
Charges
expended
on
the
way
of
managing
them
.
Thus
those
who
have
so
little
Sense
as
to
engage
in
these
Matters
,
may
one
Day
find
themselves
drawn
in
to
their
loss
.
But
let
us
return
to
the
Origin
of
Glass
;
the
Author
of
the
Essays
of
the
Wonders
of
Nature
,
tells
us
,
That
the
Limon
of
Lac
Cendevia
,
which
is
found
at
the
Foot
of
Mount-Carmel
,
was
the
first
Matter
wherewith
Glass
was
made
.
That
some
Mariners
being
about
to
make
a
Trevet
for
a
Kettle
,
went
ashore
in
a
place
where
they
found
this
Lac
,
that
they
took
some
of
the
Sand
,
and
mix'd
it
with
Nitre
,
wherewith
their
Ship
was
laden
,
and
that
making
a
Fire
under
the
Kettle
,
they
saw
a
Noble
Stream
as
it
were
of
running
Crystal
,
or
melted
Jewels
,
whence
they
learn'd
to
make
Glass
of
those
two
Matters
,
since
which
time
,
(
says
he
,
)
they
have
also
mixed
Load-Stone
,
seeing
that
will
attract
Glass
as
well
as
Iron
;
thence
following
they
made
use
of
certain
fine
Stones
,
and
also
of
Sand
,
as
the
Indians
also
did
of
Crystal
;
but
that
in
his
time
they
made
use
of
a
Glassy
Substance
,
extracted
from
an
Herb
,
call'd
Soda
,
wherewith
they
mixed
Sand
to
fix
it
.
Pliny
tells
us
something
like
this
,
in
his
5
th
Book
,
Chap.
19.
where
he
also
asserts
,
that
we
were
indebted
to
Chance
for
the
first
Invention
of
Glass
,
which
was
on
the
Banks
of
the
River
Belus
in
Syria
,
where
certain
Merchants
being
drove
a-shore
in
a
Storm
,
were
obliged
for
sometime
to
stay
and
make
Fires
and
to
dress
their
Provisions
;
that
the
place
abounding
with
a
certain
Herb
call'd
Kali
,
which
,
by
the
great
Fires
they
made
,
being
reduc'd
into
Ashes
full
of
Salt
,
and
joyn'd
with
Sand
and
Stones
proper
for
making
Glass
,
which
are
Natural
and
plenty
thereabouts
,
run
down
into
a
sort
of
melted
Glass
:
Which
shew'd
them
not
only
the
manner
of
making
Glass
;
but
also
Crystal
,
and
several
other
●ine
things
,
which
had
not
been
found
out
without
the
Invention
of
Glass
;
the
use
whereof
is
so
necessary
to
pass
away
Life
with
Pleasure
and
Satisfaction
,
that
Divine
Providence
has
taken
peculiar
care
that
no
place
on
Earth
should
want
Materials
to
make
it
,
all
being
stock'd
with
them
in
such
abundance
,
that
they
seem
inexhaustible
.
Which
once
made
a
certain
Artist
pleasantly
conclude
,
That
the
Art
of
Glass
would
last
throughout
all
Ages
;
for
the
general
Conflagration
in
reducing
the
Earth
into
Ashes
,
by
reason
of
the
vast
quantities
of
Salts
that
are
mixed
with
it
,
would
at
last
vitrifie
the
whole
Mass
into
a
lasting
Monument
of
the
Art.
It
is
true
,
the
end
of
the
World
,
according
to
the
Holy
Scriptures
,
is
to
arrive
by
Fire
,
not
by
that
material
Fire
we
use
in
our
Chimneys
;
but
by
that
which
we
call
Elementary
and
Central
,
whereof
God
will
only
augment
the
heat
,
which
will
so
dry
up
and
parch
the
Earth
,
and
exhaust
all
its
humidity
,
that
it
shall
not
only
be
Calcin'd
,
but
chang'd
into
a
better
Nature
;
afterwards
to
be
inhabited
by
a
new
World
of
a
Spiritual
,
Incorruptible
and
Glorious
Nature
,
no
more
to
be
subjected
to
any
change
.
What
the
two
Authors
we
have
just
cited
tell
us
,
concerning
the
Origin
of
Glass
,
is
far
better
clear'd
,
and
more
particulariz'd
by
Iosephus
,
in
the
9
th
Chap.
of
his
2
d
Book
of
the
Wars
of
the
Iews
,
wherein
he
acquaints
us
with
several
surprizing
things
concerning
the
Sand
for
making
Glass
,
whereof
we
have
been
speaking
.
He
takes
notice
that
the
River
Belus
arises
out
of
Mount-Carmel
,
and
passes
between
Ptolemais
and
Tyrus
;
that
it
is
not
above
2
Furlongs
from
Ptolemais
that
near
this
River
is
the
Sepulchre
and
Statue
of
Bel
or
Belus
,
Father
of
Ninus
,
first
King
of
the
Assyrians
,
whom
the
Babylonians
worship'd
for
a
long
time
,
and
Sacrific'd
to
,
by
the
order
of
Ninus
,
who
was
the
first
Author
of
the
Idolatry
and
Priesthood
of
the
Chaldeans
,
according
to
Eusebius
,
lib.
1.
and
Isidore
,
lib.
8.
That
that
Statue
of
Belus
,
whom
the
Pagans
call'd
Iupiter
,
was
almost
100
Cubits
high
,
(
which
is
very
remarkable
,
)
and
that
in
that
place
there
is
a
Valley
almost
round
,
full
of
a
clear
Sand
very
fit
for
making
Glass
:
And
if
the
Ships
which
come
thither
for
their
Lading
,
chance
to
empty
the
place
,
it
is
immediately
fill'd
again
,
by
the
Winds
driving
it
down
from
the
Precipices
of
the
Mountains
which
environ
the
Valley
round
;
insomuch
,
that
having
for
many
Ages
past
,
made
use
of
this
Sand
,
it
still
always
remains
in
the
same
abundance
.
He
also
tells
us
in
the
same
Book
,
Chap.
17.
that
this
Sand
has
a
strange
Nature
above
any
other
,
which
is
,
that
it
will
change
any
Metal
into
Glass
that
is
thrown
in
among
it
;
and
that
which
is
yet
more
strange
,
that
all
the
pieces
of
Glass
made
of
this
Sand
,
and
cast
again
upon
it
,
are
immediately
converted
into
Sand
again
:
That
there
is
also
found
among
this
Sand
a
Pretious
Stone
about
the
bigness
of
an
Acorn
,
very
fine
and
transparent
.
Tacitus
in
the
5
th
Book
of
his
Annals
,
makes
also
mention
of
this
River
Belus
,
telling
us
it
enters
into
the
Sea
of
Iudea
,
at
the
Mouth
whereof
,
the
Sand
that
is
gather'd
up
,
by
reason
of
the
great
quantity
of
Nitre
contain'd
in
it
,
is
easily
chang'd
into
Glass
in
the
Furnaces
.
And
altho'
the
Shore
is
but
small
,
that
the
Sand
is
notwithstanding
inexhaustible
.
Strabo
tells
us
the
same
thing
in
his
12
th
Book
,
and
Pliny
in
his
6
th
,
and
also
Agricola
in
his
Treatise
of
Fossils
:
And
one
may
say
,
that
generally
all
Authors
,
who
have
spoke
of
Glass
,
have
made
mention
of
the
place
where
this
Sand
is
gotten
,
whereof
Glass
is
made
without
any
other
mixture
,
wherein
the
Effects
of
Nature
are
to
be
admired
,
in
affording
us
so
fine
and
pretious
a
Metal
in
so
base
and
common
Matter
.
This
ought
to
be
an
example
to
the
Curious
,
and
teach
them
,
that
those
who
seek
for
the
prime
Agent
of
Nature
only
in
rare
and
pretious
Matters
,
may
be
grosly
mistaken
,
seeing
it
may
often
be
found
in
the
most
Simple
and
Common
;
and
often
even
in
those
things
we
tread
under
foot
:
So
true
it
is
,
that
Wise
Nature
,
or
rather
the
infinite
Goodness
of
God
,
has
so
ordain'd
the
Business
,
that
the
Poor
as
well
as
the
Rich
,
may
partake
of
the
most
pretious
and
valuable
Treasures
,
and
as
easily
arrive
to
that
Sovereign
,
Universal
Medicine
,
to
cure
all
Diseases
;
otherwise
God
could
not
be
said
to
have
dispens'd
his
Benefits
to
all
Mankind
,
and
his
Word
,
which
is
infallible
,
would
not
be
true
,
when
he
says
,
That
he
is
no
respecter
of
Persons
,
but
that
every
one
who
loves
and
fears
him
,
shall
be
accepted
by
him
.
Which
shews
us
,
that
it
is
his
Will
to
be
known
by
all
Men
,
and
that
all
those
who
live
in
his
Laws
,
may
hope
to
be
possess'd
of
this
hidden
Treasure
,
to
employ
the
fruits
of
it
to
his
Honour
and
Glory
,
which
are
the
true
Sentiments
all
good
Christians
ought
to
have
;
otherwise
they
ought
never
to
hope
for
that
Divine
Treasure
,
which
God
only
manifests
to
his
Elect.
Several
Authors
have
written
,
and
among
the
rest
Pliny
,
Cassius
,
and
Isidorus
,
That
in
the
time
of
the
Emperor
Tiberius
,
who
reigned
in
the
time
of
our
Saviour
,
a
certain
Person
,
but
Anonymous
,
an
Architect
by
his
Profession
,
having
by
an
admirable
Piece
of
Skill
,
set
upright
again
in
the
City
of
Rome
,
a
great
Portico
that
lean'd
to
one
side
,
and
made
the
Foundation
firm
and
immoveable
:
Tiberius
paid
him
,
and
banish'd
him
the
City
,
forbidding
him
to
return
.
In
the
mean
time
this
Person
had
found
out
the
means
to
make
Glass
malleable
,
and
came
again
to
Rome
,
and
presented
one
of
these
Glasses
to
the
Emperour
,
who
,
being
angry
with
him
for
returning
without
his
Leave
,
flung
the
Glass
against
the
ground
,
which
only
bruised
:
That
this
Workman
taking
it
up
again
,
immediately
mended
it
with
a
Hammer
upon
a
little
Anvil
he
had
brought
on
purpose
,
expecting
for
it
the
Emperour's
Pardon
;
but
it
happen'd
quite
contrary
;
for
that
Prince
asking
him
,
if
there
were
any
other
that
knew
the
Secret
,
he
answering
no
,
the
Emperour
immediately
caused
his
Head
to
be
cut
off
on
the
spot
,
for
fear
the
Knowledge
of
this
Secret
,
should
come
to
be
propagated
to
Posterity
,
and
that
Gold
on
that
account
should
come
to
be
no
more
valu'd
than
Dirt
,
and
consequently
all
other
Metals
lose
their
Esteem
and
Value
.
In
short
,
Glass
would
be
more
valuable
than
Gold
,
if
it
were
malleable
,
by
reason
of
its
Transparency
.
Our
Age
,
fruitful
in
great
Men
,
has
had
no
less
Advantage
in
the
Reign
of
the
late
King
Lewis
the
Iust
,
than
that
of
Tiberius
;
since
we
are
assur'd
,
That
a
certain
Learned
Man
having
found
out
the
same
Secret
calls
it
by
the
Name
of
Ferretto
,
nor
makes
any
mention
of
it
.
CHAP.
XX.
To
make
Ferretto
of
Spain
for
Tinging
Glass
.
ALtho'
Ferretto
be
found
in
Mines
,
yet
it
may
be
artificially
made
much
better
,
as
I
shall
shew
in
the
following
Chapter
.
Excellent
Ferretto
used
to
be
made
heretofore
in
Cyprus
,
and
at
Memphis
,
the
Metropolis
of
Egypt
,
but
it
is
no
more
used
in
France
,
whether
by
reason
they
make
no
more
of
it
there
,
or
that
we
bring
it
no
more
from
those
Places
,
I
cannot
tell
.
Neri
and
Merret
,
who
have
written
of
the
Art
of
Glass
,
use
only
Copper
or
Brass
to
make
Ferretto
:
We
will
give
you
their
Preparations
;
but
true
Ferretto
cannot
be
made
without
Iron
or
Steel
,
altho'
Iron
and
Copper
are
somewhat
of
a
like
Nature
;
since
't
is
easie
to
convert
the
former
into
the
latter
:
wherein
there
is
far
more
Virtue
for
several
Operations
than
i●
the
Natural
Copper
,
and
it
is
finer
,
more
pure
,
and
redder
.
An
ordinary
way
of
making
Ferretto
is
this
;
Take
Filings
of
Iron
very
clean
,
and
Sulphur
beat
to
Powder
,
put
them
in
a
Crucible
Layer
over
Layer
,
or
first
one
Layer
of
Sulphur
,
then
one
of
Filings
,
and
so
on
,
beginning
and
ending
with
the
Sulphur
;
which
is
called
Stratification
,
or
Stratum
super
Stratum
.
After
that
you
must
cover
the
Crucible
with
another
,
or
with
a
Tile
,
and
lute
it
close
,
and
set
it
into
a
Furnace
with
Coals
round
it
for
six
hours
,
encreasing
the
Fire
every
two
hours
,
that
is
,
the
two
first
hours
let
the
Fire
or
Coals
be
half
a
foot
from
the
Crucible
;
the
two
second
about
a
quarter
of
a
foot
,
and
the
two
last
let
it
be
covered
all
over
with
Coals
.
Then
,
the
Matter
being
cool'd
,
you
must
pound
it
small
,
and
keep
it
for
Use.
CHAP.
XXI
.
Another
Extraordinary
Way
of
making
Ferretto
of
Spain
,
which
is
a
great
Secret.
THis
way
of
making
Ferretto
is
not
common
,
nor
much
known
;
wherefore
we
will
here
teach
it
for
Satisfaction
of
the
Curious
.
It
is
of
a
very
wonderful
use
,
not
only
for
Tinging
Glass
,
but
for
several
Chymical
Operations
,
wherein
we
know
the
use
of
it
,
which
is
very
surprizing
,
if
a
second
and
further
Preparation
be
made
of
it
,
whereof
we
shall
here
make
no
mention
,
it
being
foreign
to
our
Subject
;
but
take
that
which
serves
for
Tinging
Glass
as
follows
.
Take
very
fine
Steel
,
for
in
the
Perfection
of
that
consists
all
the
Excellency
of
the
Work
;
make
it
into
thin
Plates
,
or
file
it
:
also
do
the
same
▪
with
Copper
or
Brass
,
viz.
make
that
also
into
thin
Plates
,
or
take
the
Filings
of
it
,
one
part
to
two
of
the
Steel
;
put
them
into
a
Crucible
stratum
super
stratum
,
lute
them
,
and
put
it
on
a
gentle
Fire
for
Eight
Hours
,
then
take
it
out
,
and
melt
the
whole
in
a
Wind-Furnace
,
then
cast
it
in
a
Lingot
,
or
in
little
Plates
,
and
the
business
is
done
.
To
make
use
of
this
in
Glass
,
you
must
calcine
these
Plates
,
then
pound
them
,
and
searce
them
,
and
keep
that
Powder
in
a
Pot
close
shut
up
for
use
.
CHAP.
XXII
.
Another
Way
of
making
Ferretto
of
only
Copper
,
for
Tinging
Glass
.
NEri
and
Merret
give
the
Name
of
Ferretto
of
Spain
to
the
following
Preparations
,
in
this
and
the
next
Chapter
;
asserting
that
it
communicates
several
very
fine
Colours
to
Glass
.
The
different
ways
of
Calcining
Metals
,
causes
different
Effects
;
which
is
known
to
the
Experienc'd
in
this
Art.
If
the
Ferretto
we
have
taught
in
the
precedent
Chapters
,
be
of
vast
use
in
Glass
,
and
very
serviceable
in
Pastes
,
Enamels
,
and
Glass
of
Lead
,
by
reason
of
the
great
Resemblance
it
causes
to
Precious
Stones
;
this
and
the
following
are
of
no
less
use
.
Take
thin
Plates
of
Copper
or
Brass
,
cut
them
into
pieces
,
and
put
them
into
a
Crucible
,
in
the
Bottom
of
which
you
have
laid
a
Bed
of
Sulphur
pulveriz'd
,
then
a
Layer
of
Copper
;
then
another
of
Sulphur
,
and
then
again
of
Copper
:
which
you
must
thus
continue
stratum
super
stratum
,
till
the
Crucible
is
full
.
Then
cover
over
the
Crucible
with
another
,
or
with
a
Tile
,
and
lute
it
well
,
and
dry
it
,
and
put
it
into
a
Furnace
among
hot
Coals
in
a
good
brisk
Fire
for
the
space
of
two
hours
.
Then
take
out
the
Crucible
,
let
it
cool
,
and
you
will
find
the
Copper
or
Brass
calcin'd
,
which
will
break
and
crumble
between
your
fingers
like
dry
earth
,
of
a
blackish
Colour
.
You
must
pound
it
to
a
fine
Powder
,
and
searce
it
and
keep
it
in
a
Vessel
well
closed
for
use
.
CHAP.
XXIII
.
Another
Way
of
making
Ferretto
of
only
Copper
for
Tinging
Glass
.
THis
second
way
of
making
Ferretto
is
something
more
troublesome
than
the
former
,
but
its
Effects
in
Glass
are
far
finer
.
In
this
method
you
must
take
Vitriol
instead
of
Sulphur
,
wherewith
you
stratifie
the
thin
Plates
of
Copper
in
the
Crucible
just
as
in
the
precedent
Chapter
,
then
set
this
Crucible
to
Calcine
in
the
Mouth
of
a
Glass-Furnace
,
which
the
Italians
call
Occhio
,
and
the
French
the
little
Working
hole
,
where
it
ought
to
stand
for
the
space
of
three
days
.
Then
take
out
the
Crucible
and
add
to
the
Copper
new
Rows
or
Layers
of
Vitriol
,
stratifying
it
as
before
;
then
you
put
the
Crucible
in
a
Reverberatory
Fire
in
the
same
place
as
before
;
which
you
must
continue
to
do
for
six
times
successively
one
after
another
,
and
then
you
will
have
a
very
Excellent
Ferretto
,
which
you
beat
to
Powder
,
and
it
will
tinge
Glass
of
Extraordinary
Beautiful
Colours
.
CHAP.
XXIV
.
To
make
Crocus
Ferri
,
commonly
called
Crocus
Martis
,
to
colour
Glass
.
WE
will
shew
several
ways
of
preparing
Crocus
Martis
,
some
more
Simple
,
others
more
Extraordinary
and
Curious
,
both
with
and
without
Liqours
or
Menstruums
,
whereof
the
effects
are
different
both
in
tinging
Glass
,
and
other
uses
,
to
which
it
is
put
.
Crocus
Martis
,
which
is
made
without
Menstruums
,
depends
on
a
very
fine
Calcination
of
the
Iron
,
by
means
of
which
the
Tincture
that
is
Extracted
,
gives
a
very
fine
red
to
Glass
,
and
so
communicates
it self
to
it
,
that
it
not
only
manifests
it self
,
but
makes
all
other
Metalline
Colours
(
which
Ordinarily
are
hidden
and
dead
in
Glass
)
appear
fair
and
resplendent
.
As
to
the
way
of
Menstruums
,
we
may
say
that
all
Acid
and
Corrosive
juices
which
Operate
on
Copper
,
will
also
do
the
same
on
Iron
,
so
that
you
will
always
have
a
red
Colour
,
more
or
less
bright
,
and
which
may
be
mixed
with
Tinctures
of
other
Metals
to
cause
other
different
Colours
.
We
don
't
in
this
place
understand
by
our
two
methods
of
dry
and
wet
(
or
with
and
without
Menstruums
)
for
the
preparation
of
Crocus
Martis
,
those
two
ways
which
the
Philosophers
speak
of
,
in
the
same
Terms
,
their
dry
way
or
method
being
only
a
certain
Vitrified
matter
,
and
their
wet
or
Menstruous
one
,
a
sort
of
sweet
*
Liquor
without
any
Corrosive
,
wherein
Metals
will
dissolve
like
Ice
in
warm
Water
,
and
which
afterwards
cannot
be
reduc'd
again
into
Metals
by
any
way
whatsoever
.
The
first
way
of
making
Crocus
Martis
take
as
follows
;
Take
very
fine
filings
of
Iron
,
or
those
of
Steel
are
better
,
mix
them
in
a
Crucible
with
three
parts
of
Powder'd
Brimstone
,
Stratum
super
Stratum
(
Commonly
noted
thus
S
S
S.
)
Calcine
them
four
hours
at
a
very
strong
Fire
,
till
the
Sulphur
be
Consumed
:
then
take
the
Crucible
out
of
the
Fire
,
and
let
the
matter
Cool
,
then
grind
it
to
very
small
Powder
,
and
searce
it
through
a
very
fine
Sieve
,
then
put
that
Powder
into
a
Crucible
,
and
lute
it
well
,
and
put
it
into
the
Mouth
of
a
Reverberatory
Furnace
for
the
space
of
Fifteen
Days
or
more
;
and
of
the
Reddish
Colour
it
was
before
it
will
become
a
very
deep
red
almost
like
Purple
:
keep
it
in
a
close
Vessel
for
the
use
of
Glass
Colours
;
it
will
work
many
wonderful
Effects
.
CHAP.
XXV
.
Another
way
of
making
Crocus
Martis
for
Colouring
of
Glass
.
THO'
this
second
way
of
making
Crocus
Martis
be
very
Easy
,
yet
it
ought
to
be
Esteemed
;
since
it
tinges
Glass
of
the
true
red
Colour
of
Blood
;
it
is
prepared
thus
.
Take
filings
of
Iron
,
or
,
which
is
better
,
of
Steel
;
mix
them
well
in
Earthen
Pans
with
strong
Vinegar
,
only
sprinkling
them
so
much
that
they
may
be
throughly
wet
,
spread
them
in
Pans
and
set
them
in
the
Sun
till
they
be
dry
,
or
if
the
Sun
be
hid
by
the
Clouds
set
them
in
the
open
Air
;
then
Powder
them
,
and
sprinkle
them
again
with
Vinegar
,
and
dry
them
as
before
,
then
Powder
them
again
,
and
repeat
this
Process
Eight
times
;
at
last
grind
and
searce
them
well
,
and
you
will
have
a
very
fine
Powder
of
the
Colour
of
beaten
brick
,
which
keep
in
close
Vessels
for
use
.
This
Crocus
Martis
thus
made
with
Vinegar
complies
very
much
with
Greens
,
and
the
Emerauld
Colour
of
Glass
of
Lead
.
It
is
used
also
in
Pastes
for
the
same
Colour
with
Verdigrease
,
and
in
Blacks
.
CHAP.
XXVI
.
Another
way
of
making
Crocus
Martis
with
Aqua
Fortis
.
CRocus
Martis
may
be
prepared
a
third
way
,
with
Aqua
Fortis
,
by
which
the
red
Colour
of
Iron
is
made
yet
more
manifest
in
Glass
;
wherein
it
is
so
very
resplendent
and
bright
,
that
it
seems
almost
incredible
,
if
experience
did
not
shew
it
.
Put
fine
filings
of
Iron
or
Steel
into
glaz'd
Earthen
Pans
,
sprinkle
them
with
Aqua
Fortis
,
and
set
them
to
dry
in
the
Sun
,
and
then
reduce
them
again
into
Powder
,
and
repeat
this
process
several
times
,
as
you
have
done
with
the
Vinegar
,
in
the
precedent
,
Chap.
and
having
obtained
a
good
red
Colour
as
before
,
Powder
it
and
searce
it
,
and
keep
it
for
use
.
CHAP.
XXVII
.
Another
way
of
making
Crocus
Martis
with
Aqua
Regalis
.
THis
is
a
fourth
way
of
making
Crocus
Martis
,
and
perhaps
the
best
of
all
,
because
in
them
you
cannot
find
such
Diversities
of
Colours
as
in
this
.
Dissolve
,
silings
of
Iron
or
Steel
,
in
a
Glass
Body
well
Covered
,
in
Aqua
Regalis
,
that
is
in
Aqua
Fortis
made
Aqua
Regalis
with
sal
Armoniac
,
as
we
shall
shew
in
the
second
Book
.
Keep
them
so
three
days
,
stirring
them
every
day
well
,
during
which
you
may
add
fresh
filings
little
by
little
,
wherein
you
must
be
very
Cautious
:
for
it
riseth
so
much
by
Fermentation
in
the
Aqu.
Reg.
that
it
will
endanger
breaking
the
Glass
or
running
over
.
After
three
days
set
your
Cucurbite
on
a
gentle
Fire
,
that
all
the
Water
may
Evaporate
till
it
leaves
the
Crocus
behind
dry
,
which
is
admirable
for
Tinging
Glass
,
which
keep
for
use
.
CHAP.
XXVIII
.
Another
way
to
make
Crocus
Martis
.
THis
way
tho'
it
be
easy
makes
a
Crocus
of
no
less
Virtue
and
Beauty
than
the
precedent
.
To
make
it
take
fine
filings
of
Iron
or
Steel
without
any
rust
,
let
them
stand
in
a
Reverberatory
Furnace
with
a
very
strong
Fire
,
the
heat
being
at
least
to
the
fourth
degree
,
till
it
becomes
of
the
Colour
of
Purple
.
Then
take
it
out
of
the
Fire
,
and
when
it
is
Cool
,
put
it
into
a
Vessel
full
of
Water
,
and
stir
it
briskly
about
,
and
then
presently
pour
off
the
Water
into
another
Vessel
,
which
you
may
reiterate
.
Thus
there
will
remain
in
the
first
Vessel
the
Iron
that
is
not
yet
Calcined
,
which
if
you
please
you
may
put
again
into
a
Reverberatory
Furnace
;
In
the
second
Vessel
there
will
be
the
Crocus
which
set
over
a
gentle
Fire
to
evaporate
the
Water
.
But
you
must
not
decant
off
the
Water
tho'
it
appears
clear
after
it
has
settl'd
:
for
tho'
the
Crocus
may
seem
to
be
precipitated
to
the
bottom
,
yet
the
Water
Contains
the
most
subtile
parts
of
it
imperceptibly
suspended
in
it
.
Having
well
Evaporated
the
Water
you
will
have
a
very
red
Powder
,
very
fine
and
Extraordinary
,
which
keep
for
use
.
CHAP.
XXIX
.
The
last
way
of
making
Crocus
Martis
.
THis
last
way
will
be
of
some
use
to
those
who
shall
desire
to
have
the
Iron
or
Steel
Granulated
,
or
in
little
drops
,
the
Metal
whereof
is
difficult
to
Melt
.
Take
a
bar
of
one
or
the
other
Metal
,
of
the
weight
of
five
or
six
pounds
,
which
heat
as
hot
as
you
can
in
a
Smith's
Forge
,
so
that
it
may
Sparkle
when
it
comes
out
of
the
Fire
:
At
the
same
time
another
Person
must
have
ready
a
long
stick
of
Brimstone
and
large
which
is
the
best
for
this
Operation
,
and
the
Metal
coming
out
of
the
Fire
in
the
condition
we
have
shewn
,
you
must
thrust
them
one
against
another
over
a
great
Earthen
Pan
full
of
warm
Water
,
into
which
the
Metal
will
drop
in
little
drops
,
or
granuli
,
melting
like
Wax
,
when
touch'd
by
the
Sulphur
;
then
you
must
take
those
little
grains
,
and
Stratifie
them
in
a
Crucible
with
Powder'd
Brimstone
,
and
afterwards
sett
them
in
a
Reverberatory-Fire
,
where
they
will
be
reduc'd
to
a
red
Powder
,
which
grind
and
searce
and
keep
for
your
use
.
CHAP.
XXX
.
The
way
to
Calcine
little
Plates
of
Copper
,
to
tinge
Glass
of
a
blue
Colour
.
WE
have
shewn
the
way
to
make
Crocus
Martis
for
Colouring
Glass
,
and
now
we
will
shew
that
of
Copper
,
which
is
very
near
in
nature
to
the
other
as
we
have
remarked
;
And
which
dissolves
in
the
same
Acids
and
Corrosives
.
Venus
as
well
as
Mars
(
or
Copper
as
well
as
Iron
)
gives
us
different
Colours
,
which
proceed
from
different
ways
of
preparing
them
,
as
we
shall
see
in
the
following
Chapters
.
Merret
pretends
that
Brass
gives
us
a
finer
blue
than
Copper
,
by
reason
of
the
Lapis
Calaminaris
which
is
mixt
with
it
,
and
partly
causes
the
Colour
.
Of
all
Metals
Copper
is
only
used
(
as
Allay
)
to
give
malleability
to
Gold
and
Silver
in
Coin
:
It
melts
easily
in
an
indifferent
heat
,
but
it
is
calcin'd
into
powder
with
difficulty
.
There
are
several
ways
of
Calcining
Copper
,
here
follow
five
of
them
by
help
of
fire
.
The
first
is
of
Copper
alone
without
any
addition
;
the
second
by
the
addition
of
Sulphur
;
the
third
by
Vitriol
;
the
fourth
of
Brass
alone
divers
ways
;
the
fifth
by
a
preparation
of
the
Vitriol
of
Venus
.
These
preparations
are
the
best
,
and
of
more
value
than
those
prepared
by
Spirits
and
Corrosives
.
All
these
different
ways
of
Calcinations
and
Preparations
of
Venus
,
shall
be
explained
in
several
Chapters
of
this
Treatise
,
whither
the
curious
Reader
may
have
recourse
.
The
little
Plates
or
Leaves
,
whereof
we
are
now
to
shew
the
preparation
,
are
a
sort
of
Copper
or
Brass
exceeding
thin
,
approaching
the
Colour
of
Gold
,
called
Festoons
.
These
Plates
are
made
of
this
Colour
by
Lapis
Calaminaris
,
which
does
not
only
Colour
the
Copper
,
but
augments
its
weight
;
this
Brass
being
well
calcined
tinges
Glass
of
a
Blue
,
and
Sea-Green
.
The
way
to
calcine
it
is
this
.
To
avoid
the
expence
of
buying
new
,
you
may
make
use
of
those
leaves
that
have
been
already
used
and
worked
,
they
being
good
,
and
cut
them
with
Scissers
into
little
pieces
,
and
put
them
into
a
Crucible
covered
and
luted
,
in
the
mouth
of
a
Furnace
to
Calcine
,
and
let
them
stand
there
for
four
days
,
at
a
Coal
fire
,
so
that
the
leaves
may
not
melt
:
For
then
they
would
be
unfit
for
this
use
.
The
four
days
being
expired
,
the
whole
will
be
calcined
,
beat
them
on
a
Porphury
Stone
,
and
Searce
them
thro'
a
fine
Sieve
;
and
you
will
have
a
blackish
powder
,
which
you
must
spread
on
Tiles
,
and
put
it
into
the
same
Furnace
for
four
days
longer
;
then
take
it
out
and
blow
off
the
ashes
that
may
be
fallen
on
it
;
then
reduce
it
again
into
Powder
,
searceing
it
thro'
a
fine
Sieve
as
before
,
and
keep
it
for
use
.
You
may
know
when
it
is
well
Calcined
,
if
the
Glass
rises
and
swells
when
you
put
it
upon
it
,
if
it
does
not
you
must
calcine
other
leaves
,
those
being
not
Serviceable
by
reason
they
are
burnt
in
the
Calcination
.
CHAP.
XXXI
.
Another
way
of
Calcining
these
leaves
of
Copper
to
make
a
very
transparent
Red
,
Yellow
,
and
Chalcedony
.
TAke
the
same
leaves
as
in
the
precedent
Chap.
Cut
them
into
small
pieces
and
Stratifie
them
with
Sulphur
pulveriz'd
,
in
a
Crucible
covered
and
luted
.
Then
set
them
on
burning
coals
at
the
Mouth
of
the
Oven
to
Calcine
for
Twenty
Four
hours
;
then
take
it
out
and
grind
it
small
;
then
put
it
in
an
Earthen
Vessel
in
a
Reverberatory
Furnace
,
where
leaving
it
10
hours
,
take
it
out
and
powder
it
,
then
keep
it
for
use
.
CHAP.
XXXII
.
To
calcine
Copper
to
a
Red
Powder
,
which
serves
in
several
Processes
for
colouring
Glass
.
ALtho'
Copper
be
of
the
same
nature
as
Brass
,
which
serves
to
Colour
Glass
blue
,
yet
there
is
some
difference
between
them
,
for
the
latter
will
tinge
it
of
several
Colours
,
which
proceeds
from
the
Lapis
Calaminaris
,
and
some
other
mixtures
in
the
preparation
.
To
make
this
powder
,
Take
what
quantity
you
please
of
Copper
in
thin
plates
,
put
it
into
a
great
Crucible
into
the
Furnace
,
till
it
be
calcined
,
without
melting
;
then
being
cooled
,
reduce
it
into
powder
which
will
be
very
red
,
and
searce
it
;
whereof
you
may
make
divers
uses
as
we
shall
shew
hereafter
.
CHAP.
XXXIII
.
To
make
Copper
thrice
calcin'd
for
colouring
Glass
.
THE
same
red
Powder
in
the
preceding
Chapter
serves
here
.
Take
of
that
Powder
and
put
it
on
Tiles
,
and
calcine
it
again
in
the
Furnace
four
days
;
it
will
become
black
,
and
coagulated
into
one
Mass
:
Powder
it
and
searce
it
,
calcine
it
again
5
or
6
days
in
the
same
Furnace
,
and
it
will
become
grey
without
coagulating
any
more
,
or
running
into
Lumps
,
and
will
be
in
a
condition
fit
to
be
dissolv'd
.
Of
this
Powder
which
the
Italians
call
Ramina
di
Trecotte
,
is
made
Sky-colour'd
blue
,
the
colour
of
Turcois
,
the
green
of
Emerald
,
and
several
other
colours
.
It
must
not
be
calcined
above
thrice
,
for
it
would
no
longer
Colour
Glass
.
You
may
know
if
it
be
calcined
well
,
by
casting
some
of
it
in
a
Pot
of
boiling
Glass
;
if
it
swells
as
we
have
said
before
,
if
not
,
you
must
set
it
yet
Twenty
Four
hours
longer
in
the
Furnace
,
or
rather
begin
a
new
Process
.
CHAP.
XXXIV
.
Another
way
of
making
thrice
calcin'd
Copper
with
less
charge
and
more
ease
.
WOrkmen
who
seek
ways
to
spare
their
pains
,
will
find
this
way
of
Calcination
less
Expensive
than
the
others
,
and
almost
of
equal
beauty
:
Take
the
Scales
which
the
Brasiers
make
when
they
hammer
Pans
,
Kettles
,
or
other
works
of
Brass
,
as
being
much
cheaper
than
new
Copper
.
To
calcine
these
Scales
there
is
no
need
of
Stratification
as
we
have
shewn
before
in
other
Copper
,
which
is
troublesom
;
they
need
only
be
well
washed
from
all
foulness
;
and
being
well
dry'd
,
put
them
into
one
or
more
Crucibles
,
and
set
them
just
into
the
Mouth
of
the
Reverberatory-Furnace
for
the
space
of
four
days
:
Being
at
length
cool'd
,
pound
or
grind
them
and
fearce
them
.
Then
set
that
powder
a
second
time
in
the
same
Furnace
to
reverberate
during
four
days
longer
;
and
you
will
have
little
Balls
of
a
black
Colour
,
which
you
must
pound
and
searce
again
,
and
then
put
them
the
third
time
into
the
Reverberatory
;
and
after
four
other
days
reduce
them
to
powder
as
before
;
thus
it
will
be
prepared
with
less
Expence
,
and
as
good
to
colour
Glass
,
which
will
be
easy
to
see
by
making
tryal
on
melted
Glass
:
For
if
it
makes
it
rise
when
you
cast
it
on
,
it
is
right
.
CHAP.
XXXV
.
Another
Calcination
of
Copper
call'd
Aes
ustum
.
THe
best
and
finest
Aes
ustum
we
have
in
France
is
brought
from
Holland
;
but
several
curious
persons
make
it
themselves
far
finer
.
That
which
makes
the
Beauty
of
the
Dutch
is
the
Sea-Salt
,
that
they
add
to
the
Sulphur
,
and
which
they
mix
together
in
Powder
to
stratifie
the
Copper
in
a
Crucible
covered
and
luted
as
we
have
shewn
;
they
take
⅔
of
Sulphur
and
one
third
of
Sea-water
Salt
;
then
they
put
the
crucible
on
a
hot
fire
of
Coals
,
where
they
leave
it
till
the
Sulphur
be
wholly
consumed
▪
After
that
they
take
it
out
and
it
is
of
an
Iron-gray
,
and
reddish
within
:
the
Tincture
it
gives
Glass
is
very
fine
,
and
it
is
also
serviceable
for
other
Uses
.
CHAP.
XXXVI
.
Another
better
way
of
making
Aes
ustum
.
CUrious
Gentlemen
who
employ
themselves
sometimes
in
Chymistry
,
and
do
not
grudge
their
time
and
charge
as
the
Workmen
doe
who
get
thereby
their
lively-hood
;
have
far
finer
and
more
Ingenious
preparations
of
aes
ustum
,
which
render
it
of
greater
virtue
,
and
more
Power
to
tinge
,
We
will
only
give
the
reader
one
of
them
.
Take
thin
Plates
of
the
Reddest
Copper
which
is
the
hardest
sort
,
make
it
red-hot
in
a
Crucible
or
otherwise
,
then
extinguish
it
in
a
Lee
of
Urine
,
wherein
common
Salt
has
been
dissolved
;
and
reiterate
this
process
till
the
Copper
become
of
the
colour
of
Gold
both
within
and
without
.
After
that
you
must
cement
those
Plates
with
two
parts
of
Sulphur
,
two
parts
of
Salt-Petre
,
and
one
part
of
Vitriol
calcin'd
ad
rubedinem
,
the
whole
reduc'd
to
powder
,
wherewith
you
must
stratifie
those
Plates
in
a
Crucible
,
pressing
close
each
Layer
or
Row
;
then
you
must
cover
it
with
another
Crucible
mouth
to
mouth
,
the
upper
having
a
hole
bored
at
bottom
,
then
lute
them
well
together
.
The
Lute
being
dry
put
the
Crucible
in
a
*
Round
Fire
during
six
hours
,
and
hot
ashes
underneath
.
The
first
two
hours
the
fire
must
be
one
foot
distant
from
the
Crucible
the
two
second
hours
one
half
foot
nearer
;
and
the
two
last
hours
quite
close
covering
the
Crucible
;
You
must
take
special
care
that
the
matter
does
not
melt
,
and
that
the
fire
be
not
too
great
,
for
that
would
spoil
all
.
The
Crucible
being
cold
,
you
must
take
it
out
,
and
emptying
the
matter
pound
it
well
;
this
is
what
we
call
Aes
ustum
.
To
make
it
fit
for
use
you
must
wash
it
,
to
take
away
the
Sulphur
,
and
then
dry
it
and
keep
it
in
a
close
Vessel
.
There
are
other
curious
Persons
who
make
an
Aes
ustum
yet
finer
than
this
,
and
more
penetrating
in
Colours
;
but
the
preparation
is
more
costly
and
requires
more
time
;
for
instead
of
Brimstone
and
Salt-Petre
they
make
use
of
a
purified
Sulphur
and
fixed
with
Sal
Armoniac
;
and
instead
of
ordinary
red
Vitriol
they
use
Roman
Vitriol
which
they
prepare
with
Lee
of
Urine
,
and
a
fusil
Salt
,
which
afterwards
they
put
in
a
reverberatory
.
But
since
the
others
serve
well
enough
for
colouring
Glass
,
and
are
easier
to
make
,
we
shall
not
here
give
you
the
preparation
of
this
last
which
would
be
too
long
,
and
being
more
serviceable
to
several
other
purposes
which
Experience
testifies
.
CHAP.
XXXVII
.
The
way
to
make
Crocus
Veneris
.
SInce
we
have
shewn
the
way
to
make
Crocus
Martis
,
it
is
but
reasonable
we
should
now
shew
you
how
to
make
Crocus
Veneris
.
We
cannot
pass
by
in
silence
the
Crocus
which
may
be
made
of
the
Aes
ustum
,
we
have
taught
in
the
Precedent
Chap.
tho'
we
are
certain
the
Glass-Makers
will
not
make
use
of
it
,
by
reason
of
the
length
of
time
requir'd
for
preparing
it
:
But
the
curious
who
are
Ignorant
of
it
will
be
glad
to
know
it
,
wherefore
we
here
shew
it
to
oblige
them
.
Take
as
much
aes
ustum
of
the
Precedent
Chap.
as
you
please
,
add
to
it
its
weight
of
good
Verdigrease
,
and
as
much
Sal
Armoniac
fix'd
and
fusil
;
pound
the
whole
together
well
,
and
dry
them
over
the
fire
in
an
Iron
Fire-shovel
:
Then
pour
into
the
shovel
Lee
of
Urine
,
and
make
the
whole
boil
till
the
Lee
be
entirely
consum'd
;
Then
put
on
more
of
the
same
Lee
;
boil
it
till
the
Lee
be
consumed
as
before
,
and
reiterate
it
a
third
time
.
Then
pound
or
grind
the
Matter
and
put
it
in
a
Reverberatory
to
Calcine
well
,
then
pound
it
again
into
an
impalpable
Powder
,
and
put
it
into
an
Earthen
glazed
Pot
;
pour
upon
the
same
Lee
of
Urine
,
wherein
you
dissolve
it
,
viz.
to
each
pound
of
Lee
,
four
ounces
of
Sal
Armoniack
fix'd
and
fusil
.
Then
boil
the
whole
over
a
little
fire
in
ashes
for
a
quarter
of
an
hour
,
then
decant
off
that
Lee
into
some
fit
Vessel
,
for
that
will
contain
the
Tincture
of
the
aes
ustum
,
and
of
the
Green
which
it
has
Extracted
.
Put
more
Lee
upon
the
Matter
,
and
boil
it
yet
a
quarter
of
an
hour
over
the
same
Fire
,
then
decant
off
that
Lee
to
the
former
;
thus
continue
to
water
it
with
fresh
Lee
and
decant
it
off
to
the
former
as
long
as
it
will
extract
any
Tincture
from
the
matter
.
Then
take
all
these
tinctured
Lees
,
and
filter
them
thro'
whited
brown
paper
,
then
Evaporate
three
quarters
over
a
gentle
Fire
.
And
put
the
remainder
into
an
Alembick
,
with
the
Helm
(
or
head
)
on
,
and
the
Receiver
,
and
distil
it
till
it
be
dry
:
Then
you
will
find
at
bottom
of
the
Alembick
a
Crocus
Veneris
,
of
a
very
wonderfull
Virtue
for
colouring
Glass
and
other
Chymical
Operations
,
and
some
Medicinal
Uses
.
CHAP.
XXXVIII
.
Another
way
more
easie
to
make
Crocus
Veneris
.
AS
those
who
apply
themselves
to
this
Art
,
are
not
all
equally
curious
in
their
Work
,
and
good
husbandry
being
in
fashion
in
this
Age
;
we
will
shew
some
more
easie
ways
,
and
more
ready
to
make
Crocus
Veneris
,
whereof
this
is
one
.
Take
very
thin
Plates
of
Copper
,
put
them
into
an
earthen
Pot
with
common
Salt
,
S.
S.
S.
and
put
this
pot
on
the
Furnace
,
where
let
it
stand
till
the
matter
be
very
red
:
Then
put
the
Plates
with
the
Salt
into
cold
Water
,
and
wash
them
well
to
take
away
all
Blackness
.
Reiterate
the
stratification
of
these
plates
with
common
Salt
,
calcining
them
at
the
fire
,
and
washing
them
as
before
,
as
often
as
you
please
.
After
the
last
time
pour
warm
water
on
that
where
the
Plates
have
been
extinguished
,
and
then
let
it
stand
still
some
time
,
then
empty
it
,
and
you
will
find
at
the
bottom
of
the
vessel
a
Crocus
Veneris
red
as
blood
.
You
must
wash
it
well
several
times
to
cleanse
it
,
then
dry
it
well
with
a
linen
cloth
,
and
keep
it
for
use
to
colour
Glass
.
There
are
some
who
content
themselves
to
take
Aes
ustum
,
prepared
with
Sulphur
and
common
Salt
,
as
we
have
shewn
heretofore
,
and
to
heat
it
red-hot
in
the
Fire
nine
times
,
and
quench
it
as
often
in
Linseed
Oil
;
then
dry
it
and
powder
it
.
CHAP.
XXXIX
.
Another
easy
way
of
making
Crocus
Veneris
.
WE
now
give
another
easie
way
of
making
Crocus
Veneris
.
Take
of
Copper
simply
calcin'd
one
part
,
of
Sulphur
vivum
eight
parts
well
powdered
;
mix
them
together
in
a
large
Crucible
,
which
then
set
on
a
Coal-fire
in
a
little
Furnace
,
stirring
the
Matter
continually
with
an
Iron
Rod
,
till
the
Sulphur
be
consumed
;
and
reiterate
this
Process
five
or
six
times
,
then
cast
it
thus
refin'd
into
an
Earthen
Pan
of
boiling
Water
,
stir
it
often
with
a
Stick
while
the
Calx
descends
to
the
bottom
,
then
the
Water
being
settled
and
clear
,
evaporate
¾
to
extract
the
Crystals
,
or
rather
evaporate
the
whole
,
and
you
'll
find
at
bottom
of
the
Vessel
a
Crocus
Veneris
very
fine
and
red
.
CHAP.
XL.
The
first
Colour
of
Sea-Green
for
a
Tincture
of
Glass
.
THE
Colour
of
Sea-Green
is
given
by
the
Italians
to
Beryl
,
which
is
a
Precious
Stone
found
at
the
Foot
of
Mount
Taurus
,
by
the
River
Euphrates
,
which
has
the
Green-blue
of
the
Sea.
It
is
found
in
the
Indies
of
a
Colour
somewhat
paler
,
which
makes
it
be
called
by
different
Names
,
and
when
the
Colour
is
deeper
,
they
commonly
pass
for
other
Precious
Stones
:
It
is
therefore
the
Water
expresses
its
Colour
.
We
will
treat
more
largely
of
it
in
our
fifth
Book
,
wherein
we
shall
shew
the
way
of
imitating
Precious
Stones
.
This
Colour
,
which
is
one
of
the
finest
Sky-Colours
,
ought
to
be
made
in
fine
and
well
purifi'd
Crystal
,
which
the
Italians
call
Bollito
,
for
if
you
make
it
in
common
Glass
it
is
not
so
fair
:
You
must
likewise
put
no
Manganese
in
this
Colour
.
To
make
it
therefore
very
fine
and
beautiful
,
Take
Crystal-Fritt
,
put
it
in
a
Pot
in
the
Furnace
,
where
being
well
melted
and
clear
,
you
must
skim
off
the
Salt
,
which
will
swim
on
the
top
like
Oil
,
with
an
iron
Ladle
:
for
if
you
should
not
take
it
off
,
the
Colour
would
be
foul
and
oily
.
The
Matter
being
well
purified
,
you
must
add
to
it
,
to
every
20
pounds
or
thereabouts
,
6
Ounces
of
the
Powder
of
Copper
calcin'd
,
as
we
have
taught
in
Chapt●●
XXX
.
with
a
fourth
part
of
Zaffer
prepar'd
,
also
in
Powder
,
and
well
mixed
both
together
;
in
p●●ting
both
these
Powders
into
the
Pot
on
the
Cr●stalline
Metal
,
you
must
do
it
little
by
little
,
for
fear
the
Crystal
rising
and
swelling
should
run
over
,
whereof
care
must
be
taken
,
stirring
it
well
all
the
while
.
This
being
done
,
let
the
Metal
stand
still
and
settle
for
the
space
of
three
hours
,
that
the
Colour
may
incorporate
,
then
stir
it
again
:
then
the
Workman
may
make
a
proof
of
the
Colour
.
Twenty
four
hours
after
the
mixing
of
the
Powders
it
may
be
wrought
,
for
by
that
time
it
will
be
well
coloured
;
but
the
Workman
must
first
well
mix
the
whole
,
for
fear
the
Colour
should
not
be
precipitated
to
the
Bottom
.
Which
must
always
be
well
observed
in
all
Vessels
wherein
there
are
Colours
,
and
the
Doses
of
the
Tinctures
rightly
proportioned
to
the
Crystalline
Metal
in
the
Pots
,
according
to
the
quantities
we
have
set
done
.
CHAP.
XLI
.
Another
Sky-Colour
,
or
Sea-Green
.
YOU
must
use
,
for
this
Colour
,
which
is
a
little
close
,
the
same
Crystal-Frit
as
in
the
precedent
,
made
with
Rochetta
or
Polverine
of
the
Levant
;
and
having
fill'd
a
Pot
of
it
,
let
it
be
well
purified
,
and
take
off
the
Salt
that
swims
on
the
top
;
then
put
to
it
20
Pound
of
Metal
,
six
Ounces
of
the
Powder
of
calcin'd
Copper
little
by
little
,
stirring
it
,
well
,
observing
the
same
Rules
we
gave
for
Sea-Green
before
.
Then
you
will
have
a
very
admirable
Colour
,
which
you
may
make
lighter
or
deeper
as
you
please
.
Two
hours
after
stir
it
again
well
,
and
you
will
see
if
the
Colour
pleases
you
;
in
which
case
let
it
stand
still
24
hours
without
any
stirring
,
and
then
it
may
be
wrought
as
before
.
CHAP.
XLII
.
Another
Sea-green
colour
in
Artificial
Crystal
,
which
the
Italians
call
Bollito
.
THese
colours
are
not
to
be
made
without
a
great
deal
of
Precaution
,
which
this
needs
as
much
as
any
.
To
succeed
well
,
you
must
have
in
the
Furnace
a
Pot
filled
with
40
pound
of
good
Crystall●Fritt
,
carefully
skimm'd
,
boil'd
,
and
purifi'd
,
without
any
Manganese
:
having
arrived
thus
far
,
you
must
take
12
Ounces
of
the
Powder
of
Small
leaves
of
Copper
thrice
calcin'd
,
as
we
have
shewn
chap.
XXX
.
And
half
an
ounce
of
Zaffer
in
Powder
,
prepared
as
in
chap.
XVII
.
Mix
these
Powders
together
,
then
put
them
at
four
times
into
the
Pot
,
that
they
may
the
better
mix
with
the
Glass
,
stirring
them
at
each
time
well
,
as
you
put
them
in
,
for
fear
it
should
swell
too
much
,
and
run
over
.
Two
hours
after
the
whole
is
incorporated
,
well
mixed
,
and
pretty
well
settled
,
try
if
your
colour
is
deep
enough
then
let
it
rest
,
tho'
the
Sea-green
or
sky
colour
seems
at
first
Greenish
you
need
not
be
concerned
at
that
:
For
the
Salt
in
the
Glass
will
consume
all
that
Greenness
,
and
change
it
into
Blue
.
After
your
Metal
has
stood
at
rest
24
hours
,
it
may
be
wrought
,
and
you
'll
have
the
colour
deeper
or
lighter
,
according
to
the
quantity
of
Powder
you
have
used
in
it
.
There
is
no
other
Rule
in
that
,
but
the
Phancy
of
the
Workman
,
which
is
the
reason
it
cannot
be
ascertained
;
besides
the
Matter
we
use
to
tinge
Glass
,
makes
it
have
some
more
colour
,
some
less
,
which
proceeds
from
the
Preparation
of
it
.
CHAP.
XLIII
.
A
fine
Sky-Colour
or
Sea-Green
in
Crystal
.
THis
fine
Colour
requires
a
Crystal
Fritt
well
purified
from
its
Salt
,
as
we
have
noted
before
;
and
which
has
not
been
put
into
Water
.
Put
60
Pounds
in
a
Pot
,
and
having
well
prepared
it
,
put
in
one
Pound
and
half
of
Scales
of
Copper
in
Powder
,
the
Preparation
whereof
we
have
shewn
in
Chapter
XXXIV
.
with
four
Ounces
of
Zaffer
prepared
and
mixed
together
;
and
stir
the
whole
well
with
the
Glass
for
the
space
of
two
hours
.
Then
see
whether
you
like
the
Colour
,
then
let
it
stand
at
rest
24
hours
;
then
stir
the
whole
again
,
as
before
,
that
it
be
well
mixed
with
the
Glass
and
the
Colour
incorporated
with
it
;
then
it
may
be
wrought
.
It
will
give
a
very
fine
Blue
,
as
has
been
often
experimented
.
The
Colour
may
be
heightened
as
you
please
;
but
take
care
you
do
not
make
it
too
high
.
If
you
mix
with
Fritt
of
Rochetta
,
as
much
Crystal
Fritt
,
you
'll
have
as
fine
a
Blue
as
can
be
wished
.
CHAP.
XLIV
.
Another
Sky-Colour
or
Sea-Green
,
made
with
less
charge
,
to
colour
Glass
.
THough
,
this
Colour
be
inferiour
to
the
last
,
yet
it
has
its
Beauties
sufficient
to
satisfie
both
the
Sight
,
and
pay
the
Pains
of
the
Workman
.
He
must
take
the
same
Preparation
of
Scales
of
Copper
,
we
have
mention'd
in
the
precedent
Chapter
,
and
the
same
Dose
of
Zaffer
,
with
as
much
Crystal
made
of
Rochetta
of
the
Levant
,
and
Barillia
of
Spain
,
without
any
Manganese
either
in
the
one
or
other
,
and
which
has
not
been
cast
into
Water
,
but
well
purified
from
its
Salt
;
observing
in
this
place
all
we
have
noted
to
be
done
in
the
other
Preparations
of
Crystal
and
Sea-Green
in
the
preceding
Chapters
,
and
you
'll
have
a
fine
Sky-Colour
or
Sea-Green
,
fit
for
any
Use.
CHAP.
XLV
.
Another
Sea-green
far
finer
than
the
rest
.
NEri
seems
to
be
the
Inventor
of
this
new
Sea-green
,
and
to
have
first
Experimented
it
.
It
is
made
with
Caput
Mortuum
of
*
Vitriol
of
Venus
without
any
Corrosive
,
which
is
a
very
curious
preparation
,
we
will
shew
it
at
the
End
of
the
7th
Book
.
This
Caput
Mortuum
ought
to
be
exposed
to
the
Air
for
some
days
,
in
a
place
where
the
Sun
cannot
come
,
where
(
by
a
Magnetical
Virtue
)
it
will
attract
the
Universal
Spirit
;
which
will
restore
to
it
again
Part
of
that
it
has
lost
by
Extraction
it
has
Suffered
,
and
will
become
of
a
whitish
green
Colour
.
Then
pound
it
with
the
same
dose
of
Zaffer
prepared
as
in
Chap.
43.
put
the
whole
into
a
Pot
fill'd
with
Crystal
Metal
,
very
fine
and
well
purified
from
its
Salt
,
observing
all
we
have
noted
on
this
Subject
;
and
it
will
make
an
extraordinary
fine
Sea-green
.
CHAP.
XLVI
.
To
make
a
green
Emerald-Colour
in
Glass
.
WE
will
pass
from
Blue
to
Green
,
and
from
Venus
to
Mars
,
which
enters
into
the
preparation
of
this
.
For
making
this
Emerald
Colour
,
take
common
Glass
well
purified
from
its
Salt
,
without
Manganese
,
as
we
have
shewn
in
Chap.
12.
Put
it
in
a
Pot
in
the
Furnace
,
and
when
it
is
well
melted
and
purified
,
add
to
it
(
for
Example
)
to
100
Pounds
of
Glass
,
3
ounces
of
Crocus
Martis
Calcined
with
Vinegar
as
in
Chap.
25.
mix
well
the
Glass
at
the
same
time
to
make
it
Incorporate
with
the
Crocus
,
then
let
it
rest
an
hour
,
that
it
may
throughly
take
the
Colour
.
This
way
nothing
will
come
out
Yellowish
,
and
it
will
lose
that
Foulness
and
Blueness
which
the
common
Metal
always
hath
,
and
it
will
become
Green.
Then
add
to
the
same
dose
of
100
Pounds
of
Glass
2
Pound
of
the
Scales
of
Copper
thrice
calcin'd
as
in
Chap.
34.
And
put
it
in
at
Six
divers
times
,
Mixing
it
well
each
time
with
the
Glass
,
then
let
it
stand
2
hours
to
imbibe
the
Tincture
.
After
2
hours
stir
it
again
,
and
see
if
it
be
as
you
would
have
it
;
if
the
Colour
be
too
Blue
you
must
add
to
it
some
Crocus
Martis
prepared
as
before
and
you
will
have
a
very
fine
Emerald
Colour
.
Twenty
four
hours
after
,
mix
it
as
before
;
and
then
you
may
work
it
as
you
Please
.
CHAP.
XLVII
.
Another
Emerald
green
more
fair
than
the
preceeding
.
THe
more
pure
the
matter
is
,
the
finer
the
work
will
be
that
is
made
with
it
:
Thus
to
make
a
more
fair
Emerald
green
than
the
preceeding
,
take
Crystal
Fritt
without
Manganese
,
which
has
been
twice
washed
in
water
to
take
out
all
the
Salt
;
and
put
it
in
a
Pot
in
the
Furnace
:
Then
add
to
it
half
of
common
White
Metal
also
without
Manganese
.
These
two
matters
being
well
melted
,
mixed
,
and
purified
,
put
to
100
pound
of
metal
2
pound
and
a
half
of
powder
of
Copper
Plates
thrice
calcin'd
,
prepared
as
in
Chap.
33.
with
2
ounces
of
Crocus
Martis
Calcined
and
Reverberated
with
Sulphur
as
in
Chap.
24.
After
having
mixed
them
well
together
:
You
must
put
in
those
Powders
at
six
different
times
,
stiring
well
the
matter
each
time
,
and
Moreover
observe
all
we
have
said
in
the
Preced
.
Chap.
You
may
make
the
Colour
Lighter
on
Deeper
,
as
you
please
,
adding
Crocus
Martis
if
it
be
too
Blue
,
and
Calcin'd
Powder
of
Venus
if
it
be
not
enough
so
;
you
will
have
from
this
a
surprizing
Burnet
Green.
CHAP.
XLVIII
.
Another
wonderfull
Green.
ALtho'
this
Colour
is
very
admirable
,
yet
we
only
make
use
of
it
in
common
Glass
,
made
with
Polverine
and
without
Manganese
.
Being
well
melted
and
purified
,
you
must
put
in
equal
parts
of
Powder
of
Scales
of
Copper
thrice
calcin'd
,
and
Scales
of
Iron
which
fall
from
the
Smith's
Forge
,
without
any
other
preparation
than
well
washing
them
,
to
cleanse
them
from
Ashes
and
Coals
that
mingle
with
them
;
afterwards
well
dry
them
,
and
Pound
them
as
fine
as
you
can
and
searce
them
:
These
Scales
serve
in
room
of
Crocus
Martis
.
You
must
observe
the
doses
and
way
of
Proceeding
as
we
have
heretofore
noted
,
in
Emerald
Colours
:
These
Scales
of
Iron
will
give
an
admirable
Green
;
and
they
will
drive
out
all
the
dull
naturall
Green
which
is
in
common
Glass
,
and
make
it
become
Yellowish
,
or
will
give
it
a
yellow
Green
,
very
Bright
and
Fair.
CHAP.
XLIX
.
Another
Oriental
Emerald
Green
finer
than
the
rest
.
TO
make
this
fine
Emerald
colour
;
put
into
a
Pot
4
pounds
of
common
Fritt
of
Polverine
,
5
pound
of
common
white
Glass
Pulveriz'd
,
5
pound
of
Crystal
Fritt
well
washed
;
add
to
this
Composition
3
pound
of
Minium
or
Red-Lead
,
mix
them
all
together
,
and
in
a
little
time
they
will
be
pretty
well
purified
.
After
that
,
cast
all
that
metal
into
water
to
Purifie
it
more
,
taking
care
that
no
part
of
the
Lead
sink
to
the
bottom
of
the
Pot
wherein
it
is
cast
,
for
it
will
break
it
,
if
Speedy
care
be
not
taken
to
take
up
again
what
is
Precipitated
.
This
Glass
thus
washed
,
and
after
dryed
ought
to
be
put
in
the
Pot
again
,
to
be
melted
and
Purified
during
the
space
of
one
day
;
then
you
must
add
a
little
of
the
Caput
Mortuum
of
Vitriol
of
Venus
without
Corrosive
,
whereof
we
have
spoken
Chap.
45.
with
a
little
Crocus
Martis
:
stirring
the
metal
,
and
moreover
proceeding
as
we
have
shewn
in
the
Preceding
Chapter
.
Then
you
will
have
an
admirable
Oriental
Emerald
Green
,
which
may
be
wrought
as
you
please
.
The
Minium
or
Red-Lead
,
we
speak
of
may
be
had
at
any
Drugsters
;
yet
you
may
make
it
with
common
mineral
Lead
,
which
is
better
in
this
Operation
than
that
in
Pigs
,
and
cheaper
.
Pound
it
well
,
then
calcine
it
at
a
good
Fire
,
and
it
will
be
reduced
to
a
Red
Powder
.
CHAP.
L.
The
way
of
making
Turcois
blue
,
a
particular
Colour
in
this
Art.
WE
ought
to
have
put
this
Colour
of
Turcois
after
the
Blue
,
and
before
the
Green
,
but
because
it
is
a
particular
and
principal
Colour
,
we
thought
it
would
not
be
amiss
to
conclude
this
book
with
it
.
For
this
colour
take
a
pot
full
of
Crystal
Fritt
tinged
of
an
Aqua-Marina
Colour
or
Blue
,
whereof
we
have
given
several
preparations
;
which
colour
must
be
fair
and
full
,
for
all
depends
on
that
.
It
being
well
melted
put
into
it
little
by
little
sea-salt
decrepitated
,
white
and
reduced
to
Powder
,
mixing
it
well
and
softly
as
we
have
noted
in
speaking
of
other
Metalline
Colours
;
and
the
Blue
from
clear
and
transparent
will
become
thick
,
for
the
Salt
penetrating
the
Glass
takes
away
its
Transparency
,
and
causes
a
Paleness
;
hence
alone
comes
the
Turcois
Colour
used
in
Glass
.
When
the
Colour
is
right
to
the
Workman's
Fancy
,
it
must
be
presently
wrought
,
for
the
Salt
will
evaporate
,
and
make
the
Glass
transparent
and
disagreeable
.
If
in
working
this
Metal
the
Colour
fades
or
goes
off
,
you
must
add
a
little
more
of
the
same
decrepitated
Salt
as
before
,
and
the
Colour
will
return
.
We
will
here
advertise
the
Workman
,
that
he
must
take
care
that
his
Salt
be
well
decrepitated
,
otherwise
it
will
always
crackle
,
and
be
apt
to
fly
in
his
Eyes
,
and
endanger
his
Sight
.
You
must
(
as
I
have
said
)
put
in
the
Salt
by
Intervals
,
till
the
Colour
Pleases
you
.
It
will
suffice
for
this
use
,
that
the
Fritt
tinged
Aqua-Marina
or
Blue
,
be
made
of
one
half
Crystal
Metal
,
and
the
other
of
Rochetta
,
and
the
Colour
will
be
very
fair
and
good
.
The
End
of
the
First
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
II.
CHAP.
LI.
Wherein
is
shown
the
art
of
making
Chalcedony
of
the
Colour
of
Agats
and
Oriental
Jasper
;
with
the
way
to
prepare
all
Colours
for
this
purpose
.
To
make
Aqua-Fortis
and
Regalis
,
necessary
in
this
business
.
The
way
of
preparing
and
calcining
Tartar
,
and
uniting
it
with
the
Red
Colour
of
its
own
kind
called
by
the
Italians
Rosichiero
,
which
produceth
Glass
of
many
Colours
with
undulations
in
them
very
pleasant
to
behold
,
and
gives
it
an
Opacity
like
Oriental
Stones
.
BEfore
I
proceed
to
the
Explication
of
these
preparations
,
it
will
be
necessary
to
shew
those
of
some
Minerals
used
for
such
Compositions
.
And
although
one
may
buy
several
of
them
Publickly
,
ready
made
,
yet
our
design
being
to
make
this
work
as
perfect
as
we
can
,
it
will
be
necessary
that
we
shew
the
Chymical
way
of
preparing
them
after
the
best
manner
,
by
which
the
curious
in
this
Art
may
do
it
themselves
for
less
charge
than
they
can
buy
them
.
There
is
no
doubt
,
but
that
the
Metalline
matters
made
use
of
to
tinge
Glass
,
may
give
it
several
colours
more
lively
and
brighter
than
any
it
receives
in
the
ordinary
Furnaces
,
when
these
matters
are
artfully
prepared
,
and
their
Metalline
Colours
are
choicely
pick'd
out
and
Collected
,
and
well
purified
from
Heterogeneous
matters
which
hinder
the
communication
of
their
Tincture
to
the
Glass
.
The
colour
of
Chalcedony
,
or
rather
the
matter
whereof
it
is
made
,
is
nothing
but
an
Amassement
of
Several
Colours
which
may
be
made
in
Glass
,
and
which
many
are
not
acquainted
with
.
We
will
shew
the
whole
process
and
the
way
of
well
succeeding
in
it
.
It
is
most
certain
that
all
the
Colours
we
can
extract
will
never
give
that
Beauty
and
Splendor
to
Glass
which
is
desired
,
if
they
be
not
well
prepared
.
You
must
therefore
for
this
purpose
well
calcine
and
dissolve
the
metals
with
Aqua
Fortis
.
You
must
open
the
Copper
,
Sulphur
,
Vitriol
and
Sal
Armoniac
and
other
minerals
with
a
great
deal
of
patience
,
and
prepare
them
at
a
gentle
Fire
,
the
violence
of
the
fire
being
very
noxious
in
this
affair
as
well
as
in
others
,
which
very
often
renders
Operations
defective
,
which
otherwise
would
succeed
well
,
among
those
who
are
impatient
or
ignorant
.
You
must
observe
Regularity
in
all
those
Cases
we
shall
treat
of
,
and
exact
proportions
of
the
Doses
,
and
put
them
in
,
in
fit
and
due
time
,
otherwise
the
Process
will
miscarry
;
especially
in
the
Red
Colour
whereof
we
treat
in
the
8th
Book
,
and
in
the
Tartar
that
it
may
be
perfectly
Calcin'd
.
You
must
yet
further
observe
that
the
Metal
be
well
Boiled
,
well
Purified
,
and
made
fit
for
Working
;
then
proceed
in
it
as
diligent
Workmen
ought
to
do
.
Thus
you
may
perfectly
imitate
Agat
,
oriental
Chalcedony
,
with
the
Fairest
and
most
Beautifull
Colours
,
and
wavings
,
so
lively
and
full
,
that
it
will
seem
as
if
nature
her self
could
not
arrive
to
the
like
perfection
,
or
art
imitate
it
.
Yet
experience
shews
us
that
in
several
things
,
and
in
particular
in
this
Art
of
Colouring
Glass
,
that
Art
cannot
only
imitate
nature
,
but
also
far
surpass
her
.
The
Eye
and
Phancy
shall
be
judge
,
in
the
three
ways
which
we
will
shew
,
where
every
thing
shall
appear
so
distinctly
,
that
the
curious
shall
easily
understand
it
,
and
all
that
will
apply
themselves
to
it
may
succeed
therein
,
if
they
do
not
deviate
from
these
precepts
.
If
they
are
well
put
in
practice
,
you
'll
find
more
than
we
can
tell
you
.
CHAP.
LII
.
The
way
to
prepare
Aqua-Fortis
,
which
dissolves
Silver
and
Quicksilver
.
THERE
are
several
sorts
of
Aqua-Fortis's
,
prepared
after
different
manners
,
appropriated
to
the
different
Uses
they
are
design'd
for
;
but
all
of
them
always
with
Salt-Petre
or
Nitre
,
which
is
the
principal
ingredient
in
Aqua-Fortis
.
That
we
shall
here
Treat
of
being
not
an
Ordinary
one
,
may
pass
for
one
of
those
that
have
a
peculiar
Composition
.
For
this
Water
,
take
1
pound
of
Nitre
or
Salt-Petre
refined
,
three
Pound
of
Roch-Allom
calcined
on
the
Fire-Shovel
;
and
four
Ounces
of
Crystalline
Arsenick
,
the
whole
reduced
into
Powder
,
to
which
add
seven
Ounces
of
*
fine
Sand
;
and
having
well
mixed
the
whole
Composition
,
put
it
into
a
Glass
Cucurbit
,
always
leaving
⅓
part
of
it
Empty
,
⅔
being
filled
,
lute
the
Cucurbit
well
with
a
strong
lute
,
whereof
we
will
give
you
the
preparation
at
the
end
of
this
Chapter
.
But
before
you
put
the
Cucurbite
or
Body
on
,
you
must
lay
Sand
four
Inches
deep
,
and
thick
Iron-Bars
to
bear
the
weight
,
then
fit
a
head
,
and
lute
the
joints
well
,
with
a
lute
made
of
fine
Flour
and
Lime
powdered
,
and
mixt
with
whites
of
Eggs
:
then
put
on
the
Joints
roulers
of
fineLinen
,
then
lute
it
again
and
then
put
on
Linen
roulers
again
,
three
or
four
times
,
each
time
letting
it
dry
before
you
put
on
the
next
rouler
.
And
then
this
will
bear
the
Violence
of
the
Fire
,
and
the
penetrating
force
of
the
Spirits
of
the
Aqua-Fortis
.
After
that
,
you
must
put
this
Body
of
the
Alembick
in
a
deep
Earthen-Pan
,
made
of
the
same
Earth
as
Crucibles
,
filled
with
Sand
,
so
that
it
be
buried
in
the
Sand
to
within
two
Inches
of
the
joints
;
then
set
it
in
a
Wind
Furnace
fit
,
and
capable
to
maintain
an
equal
Fire
.
We
here
give
you
the
figure
of
it
,
this
Furnace
may
serve
for
several
uses
,
as
we
will
hereafter
Explain
.
Your
Alembic
being
thus
fitted
,
you
must
put
to
the
head
a
Glass
Receiver
very
capacious
,
the
better
to
resist
the
force
of
the
Spirits
,
otherwise
all
may
break
.
Lute
it
well
to
the
Mouth
of
the
Alembic
,
as
you
did
the
joints
before
,
and
with
the
same
precaution
of
letting
it
dry
each
time
in
the
Air
,
taking
care
not
to
kindle
the
Fire
in
the
Furnace
,
till
the
lute
of
all
the
joints
be
dry
,
for
that
is
very
necessary
.
The
whole
being
thus
in
right
order
,
kindle
a
small
coal
Fire
for
the
space
of
three
hours
,
during
which
time
the
windy
humour
that
is
in
the
Materials
,
and
which
would
break
them
will
be
drawn
of
into
the
Receiver
.
So
continue
a
moderate
Fire
for
six
hours
,
then
encrease
it
little
by
little
,
putting
on
at
last
billets
of
dry
Oaken-Wood
to
the
coals
,
for
six
hours
more
,
till
the
Alembic
or
head
begin
to
be
tinged
yellow
,
and
the
Spirits
begin
to
rise
.
Observe
to
continue
this
Regimen
or
degree
of
Fire
,
till
the
head
and
receiver
begin
to
grow
red
;
then
augment
it
till
the
Alembic
become
of
a
deep
red
;
continue
this
degree
of
the
Fire
as
long
as
that
Colour
lasts
,
till
all
the
Spirits
are
drawn
of
,
and
the
Head
and
Receiver
begin
by
degrees
to
grow
clear
,
and
reassume
their
common
Colour
in
cooling
;
which
sometimes
will
be
two
days
first
.
Notwithstanding
you
must
continue
the
Fire
some
time
afterward
;
then
let
the
Furnace
cool
of
its
self
;
taking
care
,
that
whilst
the
Alembic
and
Receiver
are
still
red
,
and
the
Fire
in
force
,
that
you
admit
no
cool
Air
into
the
place
,
and
that
nothing
cold
touch
them
,
which
would
break
them
.
When
all
is
cold
,
cover
the
head
and
receiver
with
wet
Linen
cloaths
,
that
the
Spirits
(
which
are
about
the
Head
and
Receiver
)
may
the
better
sink
to
the
bottom
of
the
Receiver
,
and
let
it
stand
so
twelve
hours
.
Then
bath
the
joints
and
the
luting
with
warm
Water
,
that
you
may
the
better
loosen
the
bandage
,
and
so
take
off
the
head
from
the
Receiver
,
otherwise
it
would
be
difficult
to
do
it
;
then
you
may
break
the
body
which
will
be
good
for
nothing
,
and
take
out
the
Faeces
which
reduce
again
into
Powder
:
add
to
each
Pound
of
that
Powder
,
four
Ounces
of
refin'd
Nitre
,
and
put
the
whole
into
a
Cucurbit
(
or
Body
)
whereon
pour
all
the
Aqua-Fortis
before
distill'd
;
then
put
on
the
Head
and
Receiver
,
and
lute
it
and
dry
it
well
as
you
did
before
;
having
put
it
on
the
same
Sand
Furnace
,
during
the
first
four
hours
make
a
gentle
Fire
,
which
afterwards
may
be
encreased
little
by
little
,
till
the
Head
and
Receiver
begin
to
grow
clear
and
all
the
Spirit
is
drawn
over
.
After
which
let
all
cool
,
covering
the
Head
and
Receiver
with
wet
Cloaths
;
then
let
it
stand
twelve
hours
as
before
.
Then
unlute
the
joints
again
with
warm
Water
,
and
put
the
Aqua-Fortis
into
Glass
Vessels
well
stopt
,
that
the
Spirits
may
not
exhale
,
and
keep
it
so
for
uses
hereafter
to
be
mentioned
.
This
is
the
Aqua-Fortis
which
is
commonly
called
Water
of
separation
,
and
the
best
that
can
be
made
.
There
are
some
that
instead
of
Roch-allom
take
the
best
Roman
Vitriol
,
or
the
like
.
You
may
know
whether
the
Vitriol
be
proper
for
this
use
or
not
by
rubbing
it
on
a
piece
of
well
polished
Iron
;
if
it
be
it
will
leave
a
Copper
Colour
on
it
;
Then
this
Vitriol
,
the
purification
whereof
we
will
give
in
the
next
Chapter
,
will
make
an
Aqua-Fortis
far
more
penetrating
than
the
former
.
Now
we
come
to
shew
how
to
make
the
lute
which
we
promised
,
which
tho'
common
is
very
usefull
in
this
Case
.
You
must
take
one
Part
of
Lome
(
a
fat
Earth
)
which
is
found
in
Rivers
,
3
Parts
of
Sand
,
of
common
Wood
Ashes
well
sifted
,
and
of
the
Shearings
of
woollen
Cloath
each
one
half
;
mix
the
whole
well
together
,
and
putting
water
to
them
make
a
soft
past
,
to
which
add
one
third
part
of
common
Salt
Powder'd
,
and
work
them
all
well
together
,
then
use
them
in
luting
your
vessels
.
Here
follows
the
description
of
a
usefull
Furnace
,
which
may
serve
instead
of
several
others
,
the
Number
whereof
would
be
troublesome
,
it
being
proper
for
several
Operations
.
To
render
this
Furnace
more
Intelligible
to
those
who
are
not
acquainted
with
it
,
we
have
here
given
a
Cut
of
it
,
whereon
we
have
marked
A.
B.
C.
the
places
made
use
of
,
with
their
Names
,
that
they
may
by
the
same
Letters
here
set
down
again
be
the
better
understood
.
A.
is
the
Ash-hole
,
into
which
all
the
Ashes
,
on
the
Iron
Grates
which
go
cross
it
,
fall
down
,
and
which
are
taken
out
with
a
little
Iron
shovel
,
or
a
sort
of
Iron
Peel
.
B.
is
the
space
or
whole
room
of
the
Ash-hole
.
C.
Is
the
Fire-Grate
which
ought
to
be
of
square
Iron
Bars
lying
with
the
Edges
upwards
that
the
Ashes
may
not
lie
thereon
,
which
they
would
do
if
the
flats
were
upwards
.
D.
is
the
place
where
the
Fire
is
made
of
Coal
or
Wood.
E.
is
the
Door
of
it
.
F.
is
several
holes
wherein
are
put
Iron
Bars
which
go
cross
from
one
side
to
the
other
,
to
keep
up
the
vessels
wherein
the
matters
to
be
worked
are
contained
,
stopping
up
the
other
holes
that
are
not
used
with
Lute
.
G.
is
the
Work
hole
,
or
little
Laboratory
of
the
Furnace
.
H.
is
a
semicircular
opening
with
the
like
hole
in
the
Cover
to
put
the
neck
of
the
Retort
through
,
when
you
distil
in
a
Reverberatory
,
or
otherwise
.
I.
is
the
inner
part
of
the
Work-hole
of
the
Furnace
.
K.
is
two
Registers
.
L.
is
the
Cover
of
the
Furnace
for
8
Registers
.
M.
is
a
round
hole
which
serves
for
a
Register
to
Reverberate
,
and
to
pass
the
neck
of
the
Matrasses
through
which
are
in
Balneo
,
whether
in
digestion
or
otherwise
.
N.
is
the
Registers
which
are
to
be
opened
or
shut
to
augment
or
diminish
the
heat
of
the
Fire
of
the
Reverberatory
.
2.
For
a
Reverberatory
Furnace
,
if
you
cover
the
work-hole
with
its
cover
,
or
door
,
and
shut
the
Registers
,
the
vessel
containing
the
Materials
being
exposed
to
the
naked
flame
.
3.
For
a
Balneum
Mariae
,
if
you
put
into
the
hole
a
Copper
Vessel
of
the
same
Diameter
,
in
shape
of
a
Copper
,
the
bottom
whereof
must
be
strong
and
flat
,
and
fill
it
with
hot
water
,
wherein
you
may
put
the
Vessel
that
contains
your
matter
:
Which
if
it
be
a
Matrass
or
Bolt-head
,
you
may
let
the
Neck
out
at
the
hole
at
the
middle
of
the
Cover
,
which
covers
the
Balneum
(
or
vessel
full
of
water
.
)
4.
For
a
Balneum
Vaporosum
,
by
putting
in
the
same
hole
,
a
vessel
full
of
water
that
shall
rise
in
vapours
:
And
in
that
vessel
,
another
which
shall
contain
the
materials
two
Inches
above
the
water
,
shutting
this
vessel
with
a
fit
cover
least
the
vapours
Exhale
.
5.
For
a
Balneum
Aereum
,
or
dry
bath
,
by
putting
in
the
same
hole
a
vessel
filled
with
hot
Air
shut
close
,
and
therein
also
another
vessel
with
the
Materials
.
6.
For
a
Sand
or
Ash
Furnace
,
and
with
filings
of
Iron
,
if
the
vessel
put
in
the
hole
,
and
which
is
exposed
to
the
naked
Fire
be
filled
with
Sand
,
Ashes
,
or
Filings
of
Steel
,
and
that
you
pu●
in
the
one
or
the
other
,
the
vessel
that
contains
the
matter
you
are
to
work
on
.
7.
For
a
Lamp
Furnace
,
if
in
place
of
the
Bars
below
you
put
a
Porringer
full
of
Ashes
,
to
contain
the
Vessel
wherein
your
matter
is
;
provided
you
put
also
a
Glass
Bell
on
that
Vessel
to
cover
it
that
must
stand
on
the
Brim
or
Ledges
of
the
Porringer
,
well
sitted
to
it
,
to
preserve
the
heat
that
arises
:
and
then
put
under
that
Porringer
the
Lamp
on
a
little
Trevet
.
In
short
,
this
Furnace
may
serve
for
almost
all
Chymical
Operations
whatsoever
,
which
would
be
too
long
here
to
mention
.
CHAP.
LIII
.
The
way
of
purifying
Vitriol
to
make
Aqua-Fortis
stronger
and
more
penetrative
.
WE
have
promised
in
the
preceding
Chapter
,
to
shew
the
way
of
purifying
Vitriol
,
which
consists
in
taking
away
its
Yellowness
,
which
alone
hinders
the
good
effects
it
is
capable
of
producing
.
Take
Roman
Vitriol
,
the
best
you
can
get
;
dissolve
it
in
common
warm
Water
,
then
let
it
stand
three
days
;
then
filter
it
,
and
fling
away
the
yellow
Faeces
;
then
evaporate
in
Glass
Bodies
two
thirds
of
the
Water
,
and
put
the
Remainder
into
Earthen
glaz'd
Pans
,
and
set
it
in
a
cool
place
for
the
Crystals
of
it
to
shoot
,
which
in
12
hours
time
they
will
do
,
about
the
Brims
of
the
Pans
in
little
transparent
pieces
,
like
natural
Crystal
of
an
Emerald-Colour
;
and
at
bottom
there
will
remain
a
sulphureous
Sediment
,
which
must
be
carefully
separated
,
and
cast
away
.
Then
you
must
take
all
those
little
green
Crystals
,
and
dissolve
them
again
in
warm
Water
,
as
before
,
and
then
filter
and
evaporate
them
in
the
same
Glass
Bodies
:
And
set
them
again
to
crystallize
,
as
before
,
in
a
cool
place
,
taking
care
to
separate
all
the
yellow
Faeces
you
find
.
Reiterate
this
Process
of
disolving
,
and
filtering
,
evaporating
,
and
crystallizing
the
third
time
;
then
you
will
have
a
well
purified
and
refined
Vitriol
.
We
will
here
add
for
the
sake
of
the
curious
,
that
those
who
make
use
of
Vitriol
instead
of
Roach-Allum
,
to
make
Aqua-Fortis
,
the
Preparation
whereof
we
have
shewn
in
the
precedent
Chap.
ought
to
take
a
special
care
in
the
Distillation
,
that
assoon
as
the
Red
Fumes
are
passed
,
all
the
Spirits
of
Nitre
are
raised
,
and
that
then
the
Fire
must
be
extinguished
;
for
that
which
follows
after
,
is
only
Spirit
of
Vitriol
,
which
hinders
the
Operation
of
the
Spirit
of
Nitre
in
the
Solution
of
Metals
.
You
may
also
draw
a
parting
Water
in
12
hours
time
,
(
as
some
Refiners
do
)
during
which
time
,
but
little
Spirit
of
Vitriol
can
arise
with
their
fires
.
CHAP.
LIV.
The
way
to
make
Aqua
Regalis
for
the
solution
of
Gold
and
other
Metals
,
except
Silver
.
AQua
Regalis
,
is
nothing
but
a
common
Aqua-Fortis
,
wherein
you
dissolve
¼
of
its
weight
of
Sal-Armoniac
.
But
to
have
a
good
and
strong
Aqua-Regalis
you
must
take
one
pound
of
Aqua-Fortis
prepared
as
in
Chap.
52.
put
it
in
a
Glass
Matrass
,
and
add
to
it
only
2
Ounces
of
Sal
Armoniac
,
then
put
the
Matrass
into
a
warm
Bath
or
Pan
,
of
warm
Water
,
and
stir
it
often
,
that
the
Sal
armoniac
may
be
well
dissolved
in
the
Aqua-Fortis
,
which
will
be
tinged
of
a
yellow
Colour
.
Then
you
must
add
as
much
Sal-Armoniac
to
it
as
the
Aqua-Fortis
can
dissolve
,
then
let
it
settle
a
little
;
and
the
Sal-Armoniac
will
leave
at
the
bottom
all
its
Terrestreity
.
After
that
decant
it
gently
off
into
another
Vessel
,
so
that
you
don't
trouble
the
settling
at
bottom
,
or
rather
filter
it
through
whited-brown
Paper
.
This
Water
will
dissolve
Gold
and
other
Metals
,
far
better
than
the
common
Aqua
Regalis
,
except
Silver
,
which
it
toucheth
not
at
all
,
for
reasons
which
Chymists
are
acquainted
with
.
CHAP.
LV.
Another
way
of
making
Aqua-Regalis
far
stronger
than
the
former
.
OUr
Design
being
not
only
to
shew
Operations
and
Processes
proper
for
Glass
,
but
also
for
the
sake
of
Gentlemen
chymically
inclin'd
,
whose
Curiosities
are
not
contented
with
what
's
common
,
or
with
ordinary
Preparations
;
those
which
we
here
give
of
Aqua-Regalis
are
among
the
number
of
those
,
whose
Virtues
are
far
above
the
common
Preparations
,
they
more
intimately
penetrating
and
dissolving
Gold
and
other
Metals
than
others
,
rendring
them
more
volatile
,
and
consequently
more
proper
to
be
drawn
over
in
Distillations
.
The
first
is
that
which
some
Philosophers
call
the
Water
of
the
two
Champions
,
which
is
made
with
two
parts
of
purified
Sulphur
,
two
parts
of
purified
Sal-Armoniac
,
and
one
part
of
calcin'd
Flints
,
all
reduced
to
powder
,
and
mixed
well
together
.
Then
take
an
earthen
Retort
,
which
must
have
a
little
hole
on
the
back
(
or
Curvature
)
on
the
upper
side
,
through
which
you
may
put
in
the
Ingredients
.
For
the
more
safety
sake
,
you
may
lute
the
Body
of
the
Retort
over
well
,
and
let
it
dry
;
then
put
it
in
the
Furnace
we
have
describ'd
chap.
LII
.
and
fit
to
it
a
great
Glass
Recipient
(
by
reason
of
the
violence
of
the
Spirits
)
wherein
you
may
put
a
little
common
Water
to
attract
them
;
lute
the
Joints
of
them
as
you
do
for
Aqua-Fortis
,
and
let
them
be
well
dry'd
before
you
kindle
the
fire
,
for
Reasons
we
have
elsewhere
assigned
.
The
Lute
being
dry
,
and
all
in
right
Order
,
you
must
begin
by
a
gentle
fire
,
that
the
Retort
may
grow
warm
by
degrees
,
and
afterwards
gradually
encrease
it
till
it
grow
red-hot
.
Then
put
in
at
the
Hole
of
the
Retort
four
Ounces
at
a
time
of
the
Ingredients
you
have
prepared
,
and
stop
it
again
presently
.
Doing
thus
you
will
see
in
a
little
time
▪
great
quantities
of
cloudy
Vapours
arise
,
and
pass
into
the
Receiver
,
and
fill
it
,
which
will
dissolve
little
by
little
,
mixing
themselves
with
the
common
Water
,
and
the
Receiver
will
grow
clear
.
Assoon
as
you
perceive
this
,
you
must
put
four
Ounces
more
of
your
Ingredients
into
the
Retort
,
and
give
time
for
the
Vapours
(
arising
again
)
to
dissolve
as
before
;
then
reiterate
this
Process
till
all
your
Ingredients
are
distill'd
off
.
Then
unlute
your
Receiver
,
and
pour
the
Liquor
into
an
Alembick
,
and
draw
off
the
Phlegm
in
Balneo
Mariae
,
and
rectifie
it
in
an
Ash-Fire
:
Then
your
Water
will
be
made
,
and
fit
to
dissolve
any
Metal
but
Silver
.
CHAP.
LVI
.
Another
way
of
making
Aq.
Reg.
more
easie
,
and
with
less
precaution
.
THIS
second
way
of
making
Aq.
Reg.
will
be
more
easie
than
the
former
,
and
the
Water
of
as
much
force
.
Take
1
pound
of
good
Salt-Petre
,
powder
it
,
and
mix
it
with
3
Pound
of
Potters
Clay
,
or
Flints
calcined
to
Powder
;
put
the
whole
into
a
Glass
Retort
well
luted
,
and
sit
to
it
a
great
Receiver
,
lute
the
Joints
well
,
then
put
it
in
a
reverberatory
Furnace
,
and
distil
it
according
to
Art
in
a
gradual
Fire
.
When
all
the
red
Spirits
are
passed
over
,
as
we
have
explained
in
speaking
of
Aq.
fortis
in
the
52
Chapter
.
Then
draw
off
the
Phlegm
in
Balneo
Mariae
(
which
the
Chymists
and
we
hereafter
will
note
by
the
two
Letters
B.
M.
)
then
rectifie
it
in
an
Ash
Furnace
,
and
keep
it
for
use
.
Then
take
a
Pound
of
Sal
Armoniac
,
well
powder'd
,
and
mix
it
with
four
Pound
of
Wood-Ashes
,
(
out
of
which
you
have
before
extracted
all
the
Salt
with
warm
Water
)
then
put
the
whole
into
a
Retort
,
sit
a
Receiver
to
it
,
and
distil
it
in
a
Sand-Furnace
,
and
the
Spirit
of
the
Sal
Armoniac
will
pass
over
into
the
Receiver
.
Then
unlute
your
Receiver
,
and
take
off
that
Phlegm
of
the
Spirit
in
B.
M.
and
rectifie
it
in
Ashes
.
This
done
,
take
equal
parts
of
each
of
these
Spirits
;
then
mix
them
together
and
distil
them
in
an
Ash-Furnace
.
Then
you
'll
have
a
strong
Menstruum
for
dissolving
Gold.
I
can't
here
omit
,
that
the
Spirit
of
Sea-water
Salt
distill'd
as
Salt-petre
,
has
the
same
effects
as
the
Water
of
the
2
Champions
whereof
we
have
given
the
Preparation
in
the
preced
.
Chap.
and
as
that
we
have
just
now
treated
of
;
and
in
the
mean
while
is
not
so
sharp
nor
corrosive
.
You
must
,
to
make
it
succesfully
,
take
3
parts
of
Spirits
of
Sea-water
Salt
,
and
add
to
it
one
part
of
Salt-petre
,
then
distil
it
together
in
an
Ash-Furnace
,
the
better
to
unite
them
.
Then
you
'll
have
an
Aqua
Regalis
,
which
will
dissolve
Gold
sooner
than
the
Spirit
of
Sal-Armoniac
,
and
which
will
make
it
rise
and
pass
over
in
the
Receiver
;
thus
you
may
this
easie
way
make
it
more
fit
for
the
use
you
design
it
for
.
But
notwithstanding
this
,
you
must
not
imagine
that
this
Solution
of
Gold
is
a
radical
and
total
one
,
because
it
will
pass
over
in
an
Alembic
,
and
that
so
it
is
reduc'd
into
a
Species
of
Aurum
potabile
:
For
there
is
nothing
but
the
one
Sovereign
Menstruum
of
the
Philosophers
,
which
has
that
virtue
,
as
being
homogeneous
to
it
,
and
formed
of
it
.
That
is
the
only
Liquor
in
which
it
can
putrisie
and
be
totally
resolved
,
and
regenerated
again
after
the
manner
of
the
Phoenix
,
to
become
a
Spiritual
and
Glorious
Body
,
capable
of
performing
all
those
wonderful
Effects
ascrib'd
to
it
.
CHAP.
LVII
.
The
way
to
Calcine
Tartar.
WE
have
already
given
one
Preparation
of
Tartar
in
Chap.
15.
both
for
the
Calcination
of
it
,
and
to
extract
the
Salt
;
and
we
have
largely
shewn
in
Chap.
5.
of
what
importance
it
is
to
dry
it
throughly
:
For
that
reason
we
will
not
repeat
it
here
,
but
refer
the
Reader
thither
.
To
make
this
Calcination
,
which
is
easie
,
Take
Tartar
in
great
lumps
,
the
thickest
and
most
shining
you
can
get
,
blow
away
all
the
Powder
,
then
put
it
in
new
Earthen
Pots
upon
live
Coals
,
or
in
a
little
Furnace
,
where
you
must
leave
it
till
it
smoaks
no
more
,
and
all
its
humidity
be
exhaled
,
and
it
be
reduc'd
into
Lumps
of
a
black
purplish
colour
;
then
it
is
calcin'd
and
well
prepared
.
Tartar
may
also
be
calcin'd
by
wrapping
it
in
pieces
of
brown
Paper
;
then
lay
a
Bed
of
live
Coals
,
and
lay
a
bundle
of
it
upon
them
,
then
another
Layer
or
Bed
of
Coals
,
and
on
them
another
parcel
of
Tartar
;
continue
thus
to
do
S.
S.
S.
till
all
your
parcels
of
Tartar
are
laid
on
,
observing
that
the
upper
Layer
be
always
of
Coals
;
and
leave
the
whole
in
that
State
till
the
Tartar
be
well
calcined
and
leaves
off
smoaking
;
then
take
it
off
and
blow
away
the
Ashes
.
CHAP.
LVIII
.
A
way
to
make
a
fair
Chalcedony
in
Glass
.
ALtho
Chalcedony
is
not
so
dear
as
it
has
been
heretofore
,
since
it
is
found
in
Europe
;
yet
People
have
not
left
off
counterfeiting
it
by
help
of
Art
,
to
make
several
Works
of
it
no
less
beautiful
than
the
true
,
and
much
cheaper
.
We
will
shew
three
different
ways
to
prepare
this
Chalcedony
,
which
will
make
three
different
Species
of
it
,
all
of
them
very
fair
,
but
whose
Beauty
may
be
also
augmented
by
the
number
of
Ingredients
we
compose
them
of
,
and
which
cause
those
Diversities
of
Colours
,
which
that
Stone
ought
to
have
.
Among
the
rest
of
the
Ingredients
we
employ
in
this
Subject
,
there
are
some
that
give
no
colour
to
Glass
,
as
Tartar
,
Soot
,
Sal-Armoniac
and
Mercury
.
Those
that
are
of
an
unctuous
Nature
,
as
Lead
,
Soot
,
Tartar
,
the
Azure-stone
often
hinder
the
Union
of
the
Ingredients
,
by
reason
of
the
Separation
which
may
happen
by
the
cooling
the
Metal
;
which
does
not
happen
to
those
who
know
how
to
observe
the
degree
of
heat
,
wherein
the
principal
knowledge
of
this
Art
consists
.
To
make
the
first
sort
of
Chalcedony
:
Put
two
Pound
of
Aqua
fortis
(
whereof
we
have
given
the
Preparation
in
Chap.
52.
)
into
a
Glass
Body
with
a
long
Neck
,
four
Ounces
of
fine
Silver
in
small
and
thin
Plates
,
or
granulated
,
put
the
Body
in
an
Ash
Furnace
over
a
soft
Fire
,
or
in
warm
Water
,
and
the
Silver
will
be
presently
dissolv'd
.
At
the
same
time
take
another
Body
and
dissolve
in
it
6
Ounces
of
Quick-silver
in
a
Pound
and
half
of
the
same
Aqua
fortis
.
After
that
pour
both
the
Solutions
together
into
a
greater
Body
,
which
put
in
the
same
Bath
,
or
warm
Water
,
or
Ash-Furnace
:
then
add
to
it
six
Ounces
of
Sal-Armoniac
,
which
dissolve
over
a
gentle
Fire
;
then
put
to
it
one
Ounce
of
Zaffer
,
and
half
an
Ounce
of
Manganese
prepared
,
little
by
little
,
with
as
much
Ferretto
of
Spain
also
little
by
little
,
for
fear
the
Matter
coming
to
swell
too
much
should
break
the
Vessel
.
Add
to
all
these
Ingredients
one
Ounce
of
Crocus
Martis
calcined
with
Sulphur
;
as
much
Scales
of
Copper
thrice
calcined
,
which
ought
to
boil
like
Manganese
;
as
much
blue
Lake
that
the
Painters
use
;
and
the
same
quantity
of
Red
Lead
,
the
whole
reduc'd
into
Powder
.
In
putting
in
these
Powders
you
must
gently
stir
the
Glass
Body
,
that
they
may
the
better
incorporate
with
the
Aqua
fortis
,
nevertheless
take
care
there
be
not
too
much
heat
;
then
you
must
well
stop
the
Matras
(
or
Glass
Body
)
stirring
it
well
every
Day
for
ten
Days
,
that
the
Powders
may
well
incorporate
,
and
that
they
may
always
appear
as
separated
from
the
Water
.
After
that
put
the
great
Glass
Body
in
a
Sand-Furnace
in
a
temperate
heat
,
or
rather
empty
it
into
a
GlassCucurbit
,
after
having
luted
it
at
the
bottom
,
and
put
it
over
the
same
Fire
,
so
that
the
Aqua
fortis
may
evaporate
in
24
Hours
,
and
at
bottom
of
the
Vessel
you
will
have
a
yellow
Powder
,
which
keep
safely
in
Glasses
for
use
.
When
you
are
to
make
Chalcedony
,
take
white
Crystal
in
Glass
,
well
purified
,
and
that
has
been
often
melted
;
for
Crystal
new
made
is
not
fit
for
that
Operation
,
because
the
Colours
will
not
stick
to
it
,
but
are
consumed
by
the
Frit
.
Put
about
twenty
Pound
of
this
sort
of
Crystalline
Glass
into
a
Pot
;
and
being
well
melted
,
put
in
about
three
Ounces
of
your
Yellow
Powder
at
three
different
times
,
mix
the
Glass
well
with
it
each
time
,
that
the
Powder
may
incorporate
with
it
,
the
Glass
being
thus
well
mixed
,
let
it
stand
an
Hour
,
then
mix
it
once
more
and
let
it
stand
during
24
Hours
:
Then
mix
it
again
for
the
last
time
,
and
make
an
Essay
of
it
,
it
will
give
a
yellowish
Azure
colour
.
Having
made
your
Essay
,
and
found
your
Matter
right
,
you
may
take
your
Pot
out
of
the
Furnace
,
and
when
it
is
cold
you
'll
have
colours
which
shall
represent
Wavings
of
the
Sea
,
and
other
fine
things
.
But
to
have
a
very
fair
Chalcedony
,
you
must
make
a
second
Operation
to
join
to
the
first
,
by
taking
eight
Ounces
of
Tartar
calcined
,
as
we
have
shewn
Chap.
41.
Two
Ounces
of
Soot
of
the
Chimney
well
purified
,
half
an
Ounce
of
Crocus
Martis
calcined
with
Sulphur
:
Mix
the
whole
well
together
,
then
put
it
into
the
melted
Metal
at
five
or
six
different
times
;
otherwise
the
Impetuous
Swelling
of
the
Materials
would
break
the
Pot
,
and
the
whole
would
be
lost
;
which
may
be
avoided
by
putting
it
in
little
by
little
,
stirring
it
each
time
well
,
that
the
Matters
may
incorporate
:
Make
the
Pot
also
boil
,
then
let
it
stand
twenty
four
Hours
.
After
which
you
may
work
it
into
what
you
please
,
which
put
in
the
Furnace
to
whiten
,
and
see
if
the
Glass
please
you
;
if
it
be
green
without
,
and
blue
,
white
,
red
,
yellow
and
of
other
Colours
like
Jasper
and
Oriental
Agat
.
If
looking
on
it
obliquely
it
be
red
like
Fire
,
and
held
to
the
Sun
it
shew
the
Colours
of
the
Rain-bow
by
reflection
of
the
Rays
;
if
so
,
then
it
is
fit
to
make
all
sorts
of
Vessels
which
may
be
polished
at
the
Wheel
.
If
it
be
pale
and
clear
,
you
must
add
to
it
more
calcined
Tartar
and
Soot
as
before
,
stirring
it
well
to
make
it
incorporate
;
then
let
the
Glass
stand
and
purifie
several
Hours
,
and
afterwards
work
it
as
you
please
.
Chalcedony
is
much
used
for
the
Effigies
of
Kings
and
Princes
,
for
Heads
,
Cups
,
and
many
other
Vessels
;
principally
for
making
Seals
,
because
it
may
be
graved
easily
,
and
the
Wax
will
not
stick
to
it
.
CHAP.
LIX
.
A
second
Species
of
Chalcedony
.
THE
second
sort
of
Chalcedony
ought
to
be
finer
than
the
former
:
The
Preparations
are
as
follow
.
Put
into
a
Glass
Body
a
Pound
of
Aqua
fortis
,
and
three
Ounces
of
coppel'd
Silver
granulated
,
the
better
to
dissolve
.
In
another
Glass
Body
put
also
a
Pound
of
Aqua
fortis
,
with
five
Ounces
of
Mercury
well
purified
and
passed
through
the
Glove
,
and
close
it
well
.
Take
likewise
another
Glass
Vessel
,
and
put
into
it
also
a
Pound
of
Aqua
fortis
,
with
two
Ounces
of
Sal-Armoniac
to
dissolve
in
it
.
After
it
is
dissolv'd
add
to
it
Crocus
Martis
prepared
,
as
in
Chap.
27.
Feretto
of
Spain
,
of
Chap.
22.
Copper
calcined
as
in
Chap.
32.
Leaves
of
Copper
calcin'd
by
means
of
Sulphur
,
as
in
Chap.
31.
of
each
half
an
Ounce
,
the
whole
reduced
into
Powder
;
taking
care
to
put
them
in
one
after
another
,
and
little
by
little
,
for
fear
the
Vessel
should
break
.
Then
put
in
another
Earthen
Body
,
one
Pound
of
Aqua
fortis
,
with
two
Ounces
of
Sal-Armoniac
;
and
the
whole
being
dissolv'd
,
add
successively
as
before
of
good
crude
Antimony
,
of
blue
Enamel
which
the
Painters
use
;
of
red
Lead
,
and
of
Vitriol
well
purified
of
each
one
half
Ounce
;
the
whole
well
powder'd
,
and
put
in
little
by
little
,
as
we
have
said
,
for
fear
of
breaking
the
Vessel
,
then
close
it
well
.
Take
also
another
Glass
Body
,
wherein
put
one
Pound
of
Aqua
fortis
,
and
two
Ounces
of
Sal-Armoniac
;
being
dissolv'd
,
add
to
it
two
Ounces
of
prepared
Zaffer
,
as
we
have
shewn
in
Chap.
17.
a
quarter
of
an
Ounce
of
Manganese
of
Piedmont
also
prepared
,
as
in
Chap.
18.
half
an
Ounce
of
thrice
calcined
Copper
,
as
in
Chap.
33.
with
an
Ounce
of
Cinnabar
;
the
whole
being
well
pounded
,
put
it
by
little
and
little
into
the
Vessel
;
taking
care
(
as
we
have
said
)
that
the
Powders
don't
by
too
much
swelling
break
the
Vessel
;
then
close
it
well
.
You
must
have
a
sixth
Vessel
of
the
same
bigness
with
the
rest
,
wherein
likewise
put
a
Pound
of
Aqua
fortis
,
and
two
Ounces
of
Sal-Armoniac
;
as
soon
as
it
is
dissolved
,
cast
in
two
Ounces
of
Ceruse
little
by
little
,
for
that
will
cause
a
great
fermentation
.
Then
add
the
like
weight
of
Painters
red
Lake
,
and
as
much
of
Iron
Scales
from
the
Anvil
,
putting
it
in
little
by
little
,
as
we
have
heretofore
admonish'd
,
and
for
the
same
Reasons
;
and
lastly
proceed
very
slowly
in
all
these
Operations
;
then
stop
your
Vessel
well
.
All
your
six
Vessels
being
on
a
gentle
fire
of
Ashes
,
or
in
a
warm
Bath
,
to
hasten
the
Solution
of
your
Materials
,
you
must
stir
them
at
least
six
times
a
Day
,
during
the
twelve
in
which
you
leave
them
in
that
heat
,
that
the
Aqua
fortis
may
the
better
penetrate
the
Powders
,
and
they
communicate
their
Tinctures
the
better
to
the
Glass
.
The
twelve
Days
being
past
,
take
a
great
Glass
Crucible
that
will
hold
the
whole
,
and
lute
it
well
for
fear
of
breaking
;
let
the
lute
dry
,
then
pour
in
gently
your
Materials
in
the
six
Matras's
one
after
the
other
,
after
having
well
stirred
each
of
them
beforehand
;
then
put
your
Cucurbite
on
a
gentle
Ash
Fire
,
and
fit
to
it
a
Head
and
Receiver
,
and
lute
well
the
Joints
;
then
distil
gently
all
the
Aqua
fortis
for
the
space
of
Twenty
four
Hours
,
that
is
in
the
Body
,
making
a
very
gentle
Fire
towards
the
end
,
otherwise
the
Powders
may
be
spoiled
by
too
much
heat
,
and
the
Spirits
which
ought
to
remain
in
the
Powder
would
pass
into
the
Receiver
.
Then
they
will
remain
at
the
bottom
of
the
Vessel
of
a
yellowish
red
colour
,
which
keep
in
a
Glass
well
stopped
,
for
tinging
Glass
,
or
Crystal
,
which
is
yet
better
,
as
I
have
shewn
in
the
preceding
Chapter
.
CHAP.
LX.
The
third
and
last
way
of
Chalcedony
.
THIS
third
way
surpasses
the
other
two
in
Beauty
;
it
is
something
tedious
,
but
the
Learned
know
that
what
is
most
perfect
,
requires
most
time
.
To
make
this
Preparation
,
you
must
use
the
Aqua
fortis
of
Chap.
52.
putting
one
Pound
in
a
Glass
Matrass
,
with
four
Ounces
of
Leaf-Silver
to
dissolve
,
and
stop
the
Matras
.
Take
another
Matras
,
wherein
put
a
Pound
of
the
same
Aqua
fortis
,
with
five
Ounces
of
Mercury
purified
with
Salt
and
Vinegar
after
this
manner
.
Take
common
Salt
,
sprinkle
it
with
Vinegar
in
a
Wooden-dish
,
where
add
to
it
a
little
common
fair
Water
to
make
it
dissolve
,
put
in
your
Mercury
,
and
stir
it
well
with
a
Wooden-Pestle
to
draw
out
the
Blackness
;
repeat
washing
them
often
with
fresh
Salt
and
Vinegar
,
till
there
be
no
more
Blackness
;
then
dry
them
with
warm
Linen
or
Cotton
,
and
pass
it
thro'
the
Glove
,
then
it
will
be
purified
,
and
fit
to
put
in
your
Aqua
fortis
.
When
it
is
dissolved
,
stop
the
Matras
and
keep
it
.
Take
another
Glass
Body
,
wherein
put
a
Pound
of
Aqua
fortis
with
three
Ounces
of
fine
Silver
calcined
.
Amalgamate
the
Silver
with
the
Mercury
,
as
the
Goldsmiths
usually
do
,
and
put
it
into
a
Crucible
,
with
its
weight
of
common
Salt
purified
,
as
we
have
heretofore
shewn
:
Then
put
the
Crucible
on
hot
Coals
,
that
the
Mercury
may
evaporate
,
and
that
only
the
Silver
remain
at
bottom
,
which
will
be
purified
and
calcined
.
Then
add
to
that
calcined
Silver
,
an
equal
weight
of
common
Salt
purified
as
before
,
mix
them
well
together
,
and
put
them
over
the
Fire
in
a
Crucible
to
calcine
them
afresh
;
then
wash
them
well
with
warm
Water
to
take
out
the
Salt
;
then
put
this
Silver
into
a
Glass
Vial
fill'd
with
common
Water
,
which
boil
till
one
fourth
part
be
consumed
,
then
let
it
cool
and
settle
to
the
bottom
,
then
decant
off
the
Water
,
and
put
more
upon
it
:
Reiterate
this
Process
with
fresh
Water
three
times
,
and
at
the
fourth
dry
the
Silver
,
and
put
it
into
your
Aqua
fortis
,
and
stir
it
well
,
and
stop
the
Matras
.
We
have
promised
to
give
the
way
of
purifying
common
Salt
,
which
is
this
.
Take
what
quantity
you
will
of
Sea-Salt
,
dissolve
it
in
a
convenient
quantity
of
common
Water
,
boiling
it
for
the
space
of
two
Hours
,
then
let
the
Water
rest
,
that
the
earthy
part
of
the
Salt
may
settle
to
the
bottom
:
Then
filter
the
Water
,
and
evaporate
it
in
an
Earthen
Vessel
,
or
rather
in
a
Glass
Cucurbit
,
till
the
Salt
remain
dry
at
the
bottom
.
Dissolve
this
Salt
again
,
making
the
Water
boil
,
then
let
it
stand
for
the
Dregs
to
settle
,
after
which
filter
it
and
evaporate
it
as
before
;
which
you
must
continue
to
do
,
till
it
leave
no
more
Faeces
or
Dregs
,
and
it
will
be
well
purified
and
prepared
.
To
continue
our
Preparation
of
the
Materials
,
you
must
put
into
a
Glass
Matras
a
Pound
of
Aqua
fortis
,
with
three
Ounces
of
purified
Sal-Armoniac
;
that
is
to
say
,
filter'd
and
whitened
till
it
leave
no
Faeces
or
Dregs
,
as
we
have
shewn
in
common
Salt
:
Then
dissolve
in
that
Water
a
quarter
of
an
Ounce
of
Silver
,
and
stop
the
Vessel
well
.
Take
another
Glass
Matras
,
and
put
into
it
also
a
Pound
of
Aqua
fortis
,
with
two
Ounces
of
Sal-Armoniac
;
being
dissolv'd
,
put
into
that
Water
,
of
Cinnabar
,
of
Crocus
Martis
calcined
with
Sulphur
as
above
;
of
Vltramarine
,
and
of
Ferretto
of
Spain
,
prepared
as
in
Chap.
22.
of
each
half
an
Ounce
,
the
whole
well
pounded
into
Powder
;
you
must
do
this
little
by
little
as
we
have
heretofore
hinted
for
fear
of
breaking
the
Vessel
,
by
the
fermentation
which
they
make
with
the
Aqua
fortis
;
then
stop
the
Matras
.
Put
into
another
Matras
a
Pound
of
Aqua
fortis
,
and
dissolve
in
it
two
Ounces
of
Sal-Armoniac
as
before
;
add
to
it
of
Crocus
Martis
calcined
,
as
in
Chap.
25
,
with
calcined
Tin
,
known
among
the
Glass-Men
,
of
Zaffer
described
in
Chap.
17.
and
of
Cinnabar
,
of
each
half
an
Ounce
,
the
whole
well
powder'd
,
and
cast
little
by
little
into
your
Matras
,
for
the
Reasons
before
assigned
,
which
require
that
great
precaution
;
then
stop
the
Matras
.
Take
another
Glass
Body
,
wherein
put
one
Pound
of
Aqua
fortis
,
and
dissolve
in
it
two
Ounces
of
Sal-Armoniac
;
then
add
one
Ounce
of
small
Leaves
of
Copper
calcined
,
as
in
Chap.
31
,
half
an
Ounce
of
Scales
of
Copper
thrice
calcined
,
as
describ'd
in
Chap.
34
,
half
an
Ounce
of
Manganese
of
Piedmont
prepared
,
as
in
Chap.
18
,
and
half
an
Ounce
of
Scales
of
Iron
which
fall
from
the
Smiths
Anvil
,
the
whole
well
pounded
,
which
cast
little
by
little
into
your
Matras
for
fear
of
breaking
it
,
then
stop
it
well
.
Put
into
another
Glass
Body
one
Pound
of
Aqua
fortis
,
and
two
Ounces
of
Sal-Armoniac
:
The
dissolution
being
made
,
put
to
it
little
by
little
half
an
Ounce
of
red
Lead
,
one
Ounce
of
Scales
of
Copper
of
Chap.
34
,
half
an
Ounce
of
crude
Antimony
,
and
as
much
Caput
Mortuum
of
Vitriol
purified
,
the
whole
well
pulveriz'd
;
then
stop
the
Matras
.
Take
another
Glass
Matras
,
put
into
it
one
Pound
of
Aqua
fortis
with
two
Ounces
of
Sal-Armoniac
;
add
to
that
Water
of
Orpiment
,
of
white
Arsnick
,
of
Painters
Lake
,
half
an
Ounce
of
each
;
the
whole
being
well
powder'd
,
and
put
into
a
Matras
with
the
same
precaution
as
before
,
stop
it
well
.
We
have
not
repeated
at
each
Operation
,
that
you
must
put
your
Matras
on
an
Ash
Furnace
over
a
gentle
heat
,
or
in
a
warm
Bath
to
hasten
the
Solution
of
the
Materials
;
because
we
have
told
you
it
must
be
always
done
in
Chap.
58
,
in
speaking
of
the
Preparation
of
those
things
which
serve
to
tinge
the
first
Species
of
Chalcedony
;
which
may
suffice
for
the
instruction
of
those
who
employ
themselves
in
this
Art.
We
will
add
,
that
all
the
nine
Matrasses
mentioned
in
this
Chapter
,
must
remain
fifteen
Days
in
the
same
heat
,
stirring
them
often
every
Day
,
that
the
Water
may
the
better
operate
on
the
Materials
subtilizing
them
,
and
well
opening
their
Tinctures
.
Then
put
all
these
Materials
,
with
the
Aqua
fortis
,
into
a
great
Glass
Body
,
little
by
little
,
that
they
may
unite
well
together
.
Close
the
Body
and
set
it
in
the
same
heat
,
stirring
it
well
for
six
Days
.
After
that
,
take
a
great
Glass
Cucurbit
well
luted
half
way
up
the
Body
of
it
,
put
it
on
an
Ash
Furnace
,
put
into
it
all
the
Materials
out
of
your
Body
,
fit
to
it
a
Head
and
Receiver
,
lute
well
all
the
Joints
,
then
distil
it
during
the
space
of
twenty
four
Hours
,
over
a
very
gentle
Fire
,
for
fear
the
Colours
should
be
spoil'd
,
that
the
Water
pass
gently
over
,
and
the
Spirits
remain
in
the
Powder
,
which
of
green
will
become
yellow
.
Thus
putting
that
Powder
in
the
requisite
Dose
(
as
we
have
taught
in
the
first
Species
of
Chalcedony
)
into
purified
Glass
Metal
,
made
of
broken
pieces
of
Crystal
,
and
not
of
Fritt
;
and
adding
to
it
in
its
due
time
,
calcined
Tartar
,
Soot
of
Chimney
,
Crocus
Martis
made
with
Vinegar
,
observing
all
we
have
on
this
Subject
remarked
,
these
Materials
will
give
an
opacity
to
Glass
,
which
may
be
worked
twenty
four
Hours
afterwards
,
managing
it
well
with
proper
Tools
,
and
often
heating
it
;
and
you
'll
have
things
made
of
an
extraordinary
Beauty
,
greater
then
can
be
imagin'd
.
The
End
of
the
Second
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
III.
CHAP.
LXI
.
The
Way
of
making
Glass
of
the
colour
of
Gold
Yellow
,
of
Granat
,
Amethist
,
Saphir
,
Velvet
Black
,
Milk
White
,
Marble
,
Peach
Flower
,
and
deep
Red
:
Also
to
make
Fritt
with
Natural
Crystal
,
to
colour
Glass
of
a
Pearl
Colour
,
Viper
,
Ruby
,
Topaz
,
Opal
,
Sun-flower
and
others
,
with
several
other
particulars
in
this
Art.
THERE
are
several
Ways
of
giving
Glass
the
Colour
of
Gold
,
of
Amethist
,
of
Saphir
and
others
;
which
are
not
unknown
to
the
Curious
in
this
Art
;
and
as
there
is
generally
some
one
way
more
particular
and
finer
than
the
rest
,
several
may
be
ignorant
of
that
;
for
that
reason
this
Third
Book
is
destin'd
to
that
end
,
viz.
to
shew
the
best
,
and
also
to
make
Fritt
of
Natural
(
or
Rock
)
Crystal
,
the
way
and
Process
whereof
we
will
lay
down
so
distinctly
,
that
it
shall
be
impossible
for
any
one
to
miss
his
aim
in
doing
it
,
that
observes
these
Rules
:
To
that
end
we
caution
those
who
employ
themselves
in
making
them
,
that
they
must
be
very
punctual
in
the
Dose
,
Time
,
and
Circumstances
,
and
Materials
:
For
if
you
err
in
any
one
,
the
whole
will
be
spoil'd
and
come
to
nothing
,
for
you
will
have
quite
different
Colours
from
what
you
proposed
to
your self
.
We
will
endeavour
to
make
our
Descriptions
in
the
following
Chapters
,
so
clear
and
plain
,
that
we
hope
they
will
prove
to
the
Reader
's
Satisfaction
.
CHAP.
LXII
.
To
make
a
Gold-Yellow
in
Glass
.
GOld-colour
being
one
of
the
most
noble
and
finest
we
can
make
,
by
reason
of
its
imitating
the
most
perfect
Metal
in
Nature
,
as
we
have
said
in
Chap.
8.
must
be
made
with
the
purest
Materials
,
and
great
precaution
.
Take
two
parts
of
Crystal
Fritt
,
made
with
Tarso
,
and
not
with
Sand
,
which
is
not
so
good
;
and
one
part
of
Fritt
composed
of
two
thirds
of
Tarso
,
and
one
third
of
fine
Salt
of
Polverine
,
prepared
as
in
Chap.
7
,
pound
and
mix
them
well
,
and
to
each
hundred
Pound
of
this
Composition
,
add
one
Pound
of
Tartar
purified
,
pounded
and
searced
fine
;
and
one
Pound
of
Manganese
of
Piedmont
,
prepared
as
in
Chap.
18
,
mixing
well
these
Powders
with
the
two
Fritts
,
because
you
must
not
cast
them
on
the
melted
Glass
as
in
other
Colours
:
Then
put
the
whole
little
by
little
into
a
Pot
,
and
put
them
into
a
Furnace
,
wherein
let
them
stand
at
an
ordinary
Fire
four
Days
,
for
fear
the
Glass
rising
,
should
run
over
.
When
that
Matter
is
well
purified
,
you
may
use
it
for
making
Vessels
,
and
what
other
Works
you
please
,
which
will
be
of
a
fair
colour
.
If
you
would
have
the
Colour
yet
clearer
,
you
must
add
more
Powder
,
and
you
will
have
a
very
fine
Golden-colour
.
If
you
would
have
it
yet
finer
,
take
fine
Crystal
Fritt
made
of
Polverine
of
Rochetta
,
and
the
Golden-colour
will
be
yet
more
fair
.
CHAP.
LXIII
.
Granat-Colour
in
Glass
.
THE
beauty
of
this
Colour
is
to
express
the
Yellowish-red
of
Fire
,
when
it
is
exposed
to
the
Sun
:
We
will
treat
more
largely
of
it
in
the
fifth
Book
,
in
shewing
the
way
to
counterfeit
this
Stone
,
as
also
several
others
.
To
give
Granat-colour
to
Glass
:
Take
of
Crystal
Frit
,
of
Fritt
of
Rochetta
,
each
an
equal
quantity
,
mix
them
well
,
and
to
an
hundred
Pound
of
these
Materials
,
add
one
Pound
of
Manganese
of
Piedmont
,
prepared
as
in
Chap.
18
,
one
Ounce
of
Zaffer
,
prepared
as
in
Chap.
17
,
mix
them
well
with
the
Fritts
,
then
put
them
little
by
little
into
an
Earthen
Pot
made
red-hot
in
the
Furnace
,
because
the
Glass
is
apt
to
rise
and
run
over
.
After
four
Days
the
Glass
being
well
tinged
and
purified
,
you
may
work
it
;
you
may
encrease
or
diminish
the
Colour
as
much
as
you
please
,
that
depends
on
the
Discretion
of
the
Workman
who
puts
in
the
Powders
,
which
ought
to
be
orderly
put
in
,
that
the
Matter
be
not
spoiled
.
CHAP.
LXIV
.
To
make
an
Amethist-Colour
in
Glass
.
AMethist
being
of
a
Violet
Colour
,
proceeding
from
Red
and
Blue
,
must
be
well
imitated
to
look
beautiful
.
For
this
Colour
,
take
Crystal
Fritt
well
made
,
with
Tarso
and
not
Sand
,
this
Colour
requiring
no
other
;
to
which
add
to
each
Pound
one
Ounce
of
the
following
Powder
,
which
mix
well
together
before
they
be
put
into
the
Pot.
After
that
you
must
set
the
Pot
to
the
Fire
in
the
Furnace
little
by
little
,
otherwise
the
violence
of
the
Powder
would
cause
it
to
break
.
When
this
Glass
has
been
well
purified
for
the
space
of
four
Days
,
and
it
has
the
colour
of
Amethist
,
you
may
work
it
.
This
Colour
may
be
augmented
or
diminished
by
means
of
the
Fritt
,
or
Powder
,
according
to
the
Discretion
of
the
Workman
.
This
is
the
Powder
which
produces
the
Amethist
Colour
in
Glass
.
Take
one
Pound
of
Manganese
of
Piedmont
,
prepared
as
in
Chap.
18
,
and
an
Ounce
and
half
of
Zaffer
,
prepared
as
in
Chap.
17
;
mix
them
well
together
,
and
put
the
Dose
we
have
shewn
to
each
Pound
of
Fritt
,
to
have
a
true
Amethist-Colour
.
Porta
in
his
sixth
Book
,
Chap.
5.
only
allows
one
Drachm
of
Manganese
to
each
Pound
of
Metal
,
to
make
the
Glass
of
an
Amethist
Colour
;
but
that
Dose
is
too
weak
,
and
you
must
follow
that
we
have
shewn
.
CHAP.
LXV
.
To
make
Glass
of
a
Saphir-Colour
.
TO
imitate
the
Colour
of
Saphir
in
Glass
,
which
is
of
a
clear
and
transparent
Blue
;
you
must
put
to
each
hundred
Pound
of
Fritt
of
Rochetta
,
one
Pound
of
Zaffer
prepared
,
with
an
Ounce
of
Manganese
of
Piedmont
,
also
prepared
as
we
have
shewn
.
Well
mix
these
Powders
with
the
Fritt
,
then
put
the
whole
into
a
Pot
in
a
Furnace
,
letting
the
Glass
be
well
melted
and
purified
:
For
the
longer
it
remains
on
the
Fire
it
becomes
so
much
the
siner
,
if
you
take
care
to
take
it
out
from
time
to
time
.
Then
mix
it
very
well
,
and
make
an
Essay
of
the
Colour
,
and
if
it
be
not
full
enough
,
augment
or
diminish
it
as
much
as
you
think
fit
;
then
the
Glass
may
be
wrought
,
and
you
will
have
a
Saphir
of
the
Colour
of
the
Double
Violet
of
Constantinople
,
which
the
small
Dose
of
Manganese
produces
.
CHAP.
LXVI
.
Another
way
of
giving
Glass
a
finer
Saphir-Colour
.
GLASS
will
have
a
far
fairer
Saphir-Colour
,
if
in
room
of
Fritt
of
Rochetta
,
you
take
good
Crystal
Fritt
,
and
add
to
it
the
same
Dose
of
Powder
,
as
in
the
preceding
Chapter
.
Of
this
Glass
thus
tinged
you
may
make
what
Works
you
please
.
You
must
not
put
the
Powder
of
Manganese
and
Zaffer
on
the
melted
Glass
,
but
mix
it
with
the
Fritt
as
we
have
noted
:
For
the
Colour
the
melted
Glass
takes
,
is
not
so
fine
as
when
the
Materials
are
first
mixed
.
CHAP.
LXVII
.
To
give
Glass
a
Velvet
Black.
ALTHO'
this
Black
Colour
look
mournful
,
yet
it
is
not
without
its
Beauty
:
To
make
it
,
take
pieces
of
Glass
of
several
Colours
,
to
which
add
a
little
less
than
half
the
quantity
of
Manganese
as
Zaffer
,
and
put
the
whole
into
a
Pot
in
the
Furnace
.
This
Glass
being
well
purify'd
may
be
wrought
,
and
it
will
give
a
Black
like
Velvet
,
fit
for
many
things
.
CHAP.
LXVIII
.
Another
Way
of
giving
Glass
a
much
fairer
Velvet
Black.
ANOTHER
Way
of
giving
a
Black
Velvet
Colour
to
Glass
,
much
fairer
than
the
former
,
is
to
take
twenty
Pound
of
Crystal
Fritt
in
Powder
,
with
four
Pound
of
Calx
of
Lead
and
Tin
,
of
each
an
equal
quantity
;
mix
the
whole
well
together
,
and
put
them
into
a
Pot
heated
in
the
Furnace
;
and
when
this
Glass
is
well
melted
and
purified
,
you
must
cast
in
three
Ounces
of
Steel
calcined
and
powder'd
,
and
three
Ounces
of
Scales
of
Iron
from
the
Smiths
Forge
,
powder'd
and
mixed
with
the
Steel
;
mix
the
whole
well
as
you
cast
them
in
,
that
the
Glass
may
not
rise
,
and
the
better
to
incorporate
them
.
Then
let
all
rest
twelve
Hours
,
during
which
time
,
stir
them
sometimes
;
then
you
may
work
it
:
And
you
will
have
a
Velvet
Black
Colour
very
fair
,
wherewith
you
may
work
as
you
please
.
CHAP.
LXIX
.
Another
Velvet
Black
fairer
than
the
precedent
.
THIS
last
Way
of
making
a
Black
,
surpasses
in
Beauty
the
preceding
.
Take
one
hundred
Pound
of
Rochetta
Fritt
,
two
Pound
of
Tartar
,
six
Ounces
of
Manganese
prepared
,
reduce
all
to
Powder
,
mix
them
together
,
put
them
into
a
Pot
,
which
you
must
put
into
the
Furnace
leisurely
,
that
the
Matter
don't
rise
too
much
.
Then
let
it
melt
and
purifie
during
the
space
of
four
Days
or
thereabouts
;
mix
the
Materials
well
,
cast
them
into
Water
the
better
to
purifie
,
and
then
melt
them
again
;
and
you
'll
have
a
Black
of
an
extraordinary
Beauty
,
which
may
be
wrought
as
you
please
.
CHAP.
LXX
.
To
make
a
Milk
White
Colour
in
Glass
.
THE
Milk
White
to
be
done
well
,
requires
no
less
exactness
than
the
Blue
.
To
succeed
in
it
,
take
twelve
Pound
of
good
Crystal
Fritt
,
two
Pound
of
Calx
of
Lead
and
Tin
,
one
of
each
,
and
half
an
Ounce
of
Manganese
of
Piedmont
prepared
,
as
we
have
shewn
:
The
whole
pulverized
and
mixed
together
,
and
put
them
into
a
Pot
heated
in
the
Furnace
,
where
let
them
stand
twelve
Hours
,
then
mix
the
whole
well
,
and
make
an
Essay
of
it
.
If
the
Colour
don't
please
you
,
add
to
it
some
Calx
of
the
two
Metals
before
mentioned
,
which
incorporate
with
the
Glass
,
well
mixing
it
.
Eight
Hours
after
the
Glass
will
be
fit
to
work
,
and
white
as
Milk.
CHAP.
LXXI
.
Another
Fairer
and
Whiter
Colour
.
THIS
second
way
of
giving
Milk
White
to
Glass
,
is
much
better
than
the
precedent
,
and
the
Working
more
exquisite
.
We
only
make
use
of
the
Calx
of
Tin
,
without
mixing
any
Lead
;
and
we
put
sixty
Pound
of
that
Calx
,
to
four
hundred
Pound
of
pure
Crystal
Fritt
,
with
two
Pounds
and
an
half
of
Manganese
of
Piedmont
prepared
;
the
whole
being
well
pulverized
and
mixed
,
must
be
put
in
a
Pot
heated
in
the
Furnace
,
there
to
purifie
during
eight
Days
:
Then
cast
the
Matter
into
the
Water
the
better
to
purifie
it
,
then
put
it
to
melt
again
in
the
same
Pot
,
after
having
dry'd
it
.
If
it
be
transparent
,
you
must
add
to
it
fifteen
Pound
of
the
same
Calx
of
Tin
as
before
,
mixing
it
well
with
the
melted
Metal
,
to
make
it
the
better
incorporate
;
twenty
four
Hours
afterward
,
it
will
be
finer
and
whiter
than
Snow
,
and
ready
to
work
.
CHAP.
LXXII
.
The
Way
to
give
Glass
the
Colour
of
Lapis
Lazuli
.
LAPIS
LAZVLI
,
which
is
a
fine
Blue
,
and
full
of
Veins
of
Gold
,
will
not
be
easie
to
imitate
,
without
a
great
deal
of
Care
and
Industry
in
its
Preparation
.
To
make
this
fine
Colour
,
we
must
make
use
of
the
same
Matter
of
the
fine
White
in
the
preceding
Chapter
,
and
when
it
is
in
fusion
in
the
Pot
,
you
must
add
to
it
little
by
little
the
Blue
Enamel
in
Powder
,
that
the
Painters
make
use
of
,
mixing
well
the
whole
together
each
time
,
and
that
as
often
as
there
is
occasion
to
make
this
Colour
.
Then
try
if
it
please
you
,
and
when
it
is
to
your
Mind
,
let
it
stand
two
full
Hours
,
then
stir
it
well
and
make
a
second
Essay
of
it
.
If
the
Colour
be
perfect
,
let
it
stand
ten
Hours
and
then
mix
it
again
.
If
it
keeps
in
the
same
State
without
changing
colour
,
you
may
employ
it
in
making
what
Vessels
you
please
,
which
will
be
of
the
true
colour
of
Lapis
Lazuli
.
If
in
working
this
Glass
it
chances
to
rise
,
you
may
cast
in
a
little
Leaf-Gold
,
which
will
make
the
Glass
approach
yet
nearer
to
Lapis
Lazuli
,
and
which
will
in
a
moment
stop
the
rising
of
the
Metal
,
as
Sugar
will
do
in
boiling
Oyl
.
CHAP.
LXXIII
.
The
Way
to
make
a
Marble-Colour
in
Glass
.
WHITE
Marble
being
very
simple
,
it
is
easie
to
imitate
,
the
way
of
doing
it
only
requires
Crystal
Fritt
,
which
must
be
worked
as
soon
as
it
is
melted
,
before
it
be
purified
,
for
so
it
will
give
a
very
fair
Marble
Colour
.
CHAP.
LXXIV
.
The
Way
of
making
a
Peach-Colour
in
Glass
.
TO
make
this
Colour
,
which
is
a
very
agreeable
one
,
take
Glass
prepared
,
and
tinged
of
a
Milk
White
,
whereof
we
have
spoken
in
the
precedent
Chapters
;
and
when
it
is
in
good
fusion
,
put
in
some
Manganese
of
Piedmont
,
prepared
as
in
Chap.
18
,
and
that
little
by
little
,
stirring
the
Matter
well
at
each
time
,
till
the
Colour
become
as
fine
and
perfect
as
you
desire
it
;
but
you
must
work
the
Glass
in
time
,
otherwise
the
Colour
will
be
lost
;
and
you
will
have
a
very
fair
Peach
Colour
.
CHAP.
LXXV
.
The
Way
of
tinging
Glass
of
a
deep
Red.
OPAQUE
Colours
have
a
Body
,
but
the
Transparent
ones
none
;
wherefore
this
deep
Red
must
be
mixed
with
Matters
that
give
it
one
,
as
we
will
shew
.
You
must
take
twenty
Pound
of
Crystal
Fritt
,
one
Pound
of
pieces
of
White
Glass
,
and
two
Pounds
of
calcined
Tin
;
mix
the
whole
well
together
,
and
put
it
in
a
Pot
in
a
Furnace
that
it
may
purifie
.
That
being
well
melted
,
cast
in
an
Ounce
of
calcin'd
Steel
well
pounded
;
and
an
Ounce
of
Skales
of
Iron
from
the
Anvil
,
well
pulveriz'd
and
mixed
together
,
stirring
well
the
Glass
with
an
Iron
Stirrer
,
when
you
are
putting
in
the
Powder
,
to
hinder
it
from
rising
too
much
.
You
must
take
care
not
to
put
in
too
much
of
the
Powder
,
for
that
would
make
the
Glass
black
,
whereas
it
ought
to
be
clear
,
shining
,
and
of
an
obscure
yellow
Colour
.
Then
take
about
six
Drachms
of
calcined
Copper
,
prepared
as
in
Chap.
32
,
cast
it
upon
the
melted
Glass
,
often
mixing
it
,
to
three
or
four
times
,
and
the
Glass
will
be
as
red
as
Blood.
If
the
Workman
like
the
Colour
,
he
must
presently
work
it
,
for
fear
it
should
become
black
,
and
the
Colour
be
lost
,
wherein
you
must
take
great
care
.
If
notwithstanding
this
the
Colour
comes
to
be
lost
,
you
must
add
more
Scales
of
Iron
in
Powder
,
and
it
will
return
.
This
Work
seems
somewhat
wearisom
,
but
you
must
not
think
of
that
,
but
prepare
and
finish
the
business
carefully
,
otherwise
you
will
not
succeed
.
CHAP.
LXXVI
.
The
Way
of
Calcining
Natural
(
or
Rock
)
Crystal
,
to
make
an
Extraordinary
Fritt
.
ALTHO'
we
may
imitate
Natural
Crystal
by
help
of
Art
,
and
make
as
fine
with
the
Materials
we
have
shewn
how
to
prepare
;
yet
the
way
we
are
going
now
to
describe
,
of
making
a
Fritt
of
Natural
Crystal
,
will
make
one
so
extraordinary
,
that
it
will
surpass
in
beauty
all
we
have
yet
shewn
the
Preparations
of
.
Make
Natural
Crystal
red
hot
in
a
Crucible
covered
close
,
then
extinguish
it
in
Water
,
and
reiterate
the
same
eight
times
.
Then
dry
it
well
,
and
grind
it
on
a
Porphyry
Stone
to
an
impalpable
Powder
.
Often
purifie
this
Powder
of
Crystal
,
after
the
same
way
we
have
shewn
to
purifie
Polverine
of
Rochetta
,
in
Chap.
7
,
observing
all
we
have
said
on
that
Subject
.
Then
mix
that
Crystalline
Matter
,
with
about
one
third
part
of
Salt
extracted
from
Polverine
of
Rochetta
,
prepared
as
in
Chap.
7
,
make
a
Fritt
of
it
,
then
put
it
into
a
Pot
well
heated
in
the
Furnace
,
and
when
it
is
in
good
fusion
add
to
it
a
proportionable
Dose
of
prepared
Manganese
of
Chap.
17.
After
that
often
cast
it
into
the
Water
to
purifie
,
as
we
have
noted
in
ordinary
Crystal
,
and
purifie
it
very
well
at
the
Fire
before
you
work
it
,
as
we
have
elsewhere
hinted
.
Then
you
will
have
a
Crystal
more
beautiful
and
shining
,
than
you
have
otherwise
ever
seen
.
CHAP.
LXXVII
.
To
make
Pearl
Colour
in
Crystal
.
TRUE
Pearl
Colour
is
so
fine
and
shining
,
that
it
might
seem
difficult
to
give
it
to
Crystal
;
yet
it
is
so
easie
that
Tartar
alone
does
it
.
Those
who
have
a
mind
to
perform
this
Process
,
must
calcine
their
Tartar
till
it
become
White
,
as
we
have
shewn
at
the
end
of
Chap.
5
,
then
having
well
purified
the
Fritt
of
the
Natural
Crystal
,
whereof
we
have
spoke
in
the
preceding
Chapter
,
and
being
in
a
good
fusion
in
the
Furnace
,
you
must
cast
into
it
this
white
Tartar
at
several
times
,
mixing
the
whole
well
each
time
,
which
must
be
continued
to
be
done
till
the
Glass
becomes
of
a
Pearl
Colour
;
for
there
is
no
other
Rule
in
this
Case
than
Experience
to
guide
your self
by
.
When
the
Colour
is
come
to
perfection
,
and
the
Workman
likes
it
,
he
must
presently
work
it
,
because
it
will
be
soon
lost
,
as
Experience
testifies
;
and
you
may
make
of
it
Works
of
an
extraordinary
Beauty
.
CHAP.
LXXVIII
.
The
Way
to
tinge
Natural
Crystal
of
a
Viper
colour
.
THE
Green
Viper
Colour
is
not
disagreeable
,
but
it
is
very
dangerous
to
make
,
by
reason
of
the
Materials
whereof
it
is
composed
,
if
you
are
not
very
careful
in
making
it
.
Take
two
Ounces
of
Rock
Crystal
of
a
good
Water
,
two
Ounces
of
crude
Antimony
,
and
as
much
Orpiment
,
with
one
Ounce
of
Sal-Armoniack
;
reduce
these
three
last
into
Powder
:
Stratifie
with
these
Powders
the
Pieces
of
Crystal
,
in
a
good
Crucible
;
cover
it
with
another
that
is
bored
through
the
bottom
,
lute
them
well
together
,
and
when
the
Lute
is
dry
,
put
them
in
the
middle
of
the
Coals
in
a
Furnace
,
let
them
be
gently
lighted
that
the
Crucible
may
grow
hot
by
degrees
.
It
will
smoak
very
much
when
it
first
grows
hot
,
wherefore
this
Operation
must
be
made
in
a
large
Chimney
,
that
the
Smoak
may
fly
away
,
and
you
must
go
out
of
the
Laboratory
,
because
it
is
very
dangerous
and
may
prove
Mortal
.
Let
the
Fire
kindle
of
it self
,
and
the
Crucible
grow
cold
;
then
take
out
the
Pieces
of
Crystal
which
lie
on
the
top
of
the
Crucible
,
which
will
have
the
Colour
of
Rubies
,
and
be
marked
with
fine
Spots
;
and
those
which
are
at
the
bottom
will
for
the
most
part
have
the
Colour
of
Vipers
.
Separate
the
other
pieces
from
them
,
which
will
be
of
other
Colours
,
and
polish
the
whole
at
the
Wheel
like
other
Stones
,
then
with
Foils
you
may
set
them
in
Gold.
These
Stones
will
be
of
a
very
agreeable
colour
.
You
might
tinge
a
great
number
together
,
but
that
would
be
more
chargeable
.
CHAP.
LXXIX
.
To
make
in
Natural
Crystal
the
Colour
of
Rubies
,
Topaz
,
Opal
,
Gyrasol
and
others
.
IT
seems
something
strange
that
Crystals
mixed
with
Matters
that
tinge
it
,
should
in
the
same
Vessel
receive
so
many
different
Colours
.
But
if
you
consider
that
the
Spirits
of
these
Matters
,
have
Virtues
different
from
those
of
their
Bodies
,
you
will
not
so
much
wonder
at
such
Diversities
.
The
Pieces
which
lie
highest
,
are
the
most
penetrated
by
these
tinging
Spirits
which
always
ascend
,
and
so
give
them
more
vivacity
and
colour
;
and
so
to
the
others
in
proportion
to
your
Orders
.
For
this
Operation
,
take
two
Ounces
of
Orpiment
of
a
yellow
Colour
approaching
Gold
or
Saffron
,
and
as
much
White
Arsenick
;
one
Ounce
of
crude
Antimony
,
and
the
same
weight
of
Sal-Armoniac
;
the
whole
reduced
to
Powder
and
mixed
together
.
With
this
Powder
stratifie
pieces
of
Natural
Crystal
in
a
great
Crucible
,
putting
the
least
pieces
to
the
bottom
,
and
the
greatest
at
the
top
which
ought
to
be
fine
and
without
Spots
.
The
Crucible
being
fill'd
with
the
Powder
and
Crystal
,
cover
it
with
another
bored
at
the
bottom
,
lute
them
well
and
let
the
lute
dry
.
This
last
Crucible
must
(
as
we
have
said
)
be
bored
at
bottom
,
that
the
smoak
of
the
Materials
ascending
through
the
Hole
,
may
better
tinge
the
Crystals
in
passing
,
which
it
would
not
do
so
well
if
it
passed
out
of
the
sides
.
When
the
Lute
is
dry
,
put
it
in
the
Furnace
,
and
cover
it
with
Coals
up
to
the
middle
of
the
Crucible
on
the
top
,
then
put
some
live
Coals
to
them
,
that
they
may
kindle
●y
themselves
little
by
little
,
they
ought
to
be
great
Coals
,
and
made
of
Oak
.
You
must
take
care
of
the
Smoak
,
it
being
very
dangerous
,
as
we
said
before
;
and
order
it
so
that
they
kindle
well
,
that
the
Business
may
succeed
,
and
that
the
Fire
may
go
out
of
it self
,
taking
care
that
no
Air
can
get
in
at
the
Mouths
of
the
Crucibles
,
for
that
would
make
the
Crystals
break
,
and
then
they
are
good
for
nothing
.
The
Crucibles
being
cold
unlute
them
,
and
take
the
Crystals
out
,
the
greatest
parts
of
which
will
be
tinged
with
the
colours
we
have
mentioned
:
Polish
the
best
colour'd
at
the
Wheel
,
which
will
also
brighten
their
Colours
,
and
make
them
look
like
Oriental
Stones
,
and
they
'll
be
fair
and
hard
as
they
are
.
All
the
Success
of
this
Secret
consists
in
the
Orpiment
,
which
must
be
of
the
colour
of
Gold
;
and
if
you
don't
succeed
the
first
time
,
you
must
try
a
second
;
and
observing
well
what
we
have
said
,
you
may
be
assured
to
succeed
.
The
End
of
the
Third
Book
.
OF
THE
ART
OF
GLASS
.
BOOK
IV.
CHAP.
LXXX
.
The
Way
of
making
Glass
of
Lead
,
commonly
called
Vitrum
Saturni
:
To
calcine
Lead
,
and
extract
from
it
the
Colours
of
Emerald
,
Topaz
,
Sea-green
or
Azure
,
Granate
,
Sapphire
,
Gold
,
and
other
Colours
.
GLASS
of
Lead
,
known
to
few
Artists
in
this
way
,
because
they
make
no
use
of
it
by
reason
of
its
brittleness
,
is
beyond
doubt
,
the
fairest
and
noblest
Glass
of
any
other
.
In
this
Glass
you
may
imitate
all
the
Colours
of
Oriental
precious
Stones
;
and
if
this
Glass
were
as
tough
as
Crystal
,
it
would
far
surpass
it
in
beauty
.
It
is
true
,
if
you
don't
work
it
with
great
care
,
no
Pots
nor
Crucibles
will
hold
it
,
for
it
will
crack
them
and
run
out
.
I
will
here
give
all
the
Methods
of
preparing
it
,
and
that
so
distinctly
,
that
the
unexperienced
may
succeed
in
it
.
The
Business
principally
consists
in
knowing
well
how
to
calcine
the
Lead
,
and
re-calcine
it
again
,
which
is
commonly
known
,
notwithstanding
in
the
next
Chapter
we
will
shew
how
to
do
it
for
the
sake
of
those
that
do
not
know
it
.
The
better
the
Lead
is
calcined
,
the
less
apt
it
is
to
turn
into
Lead
again
,
and
break
the
Pots
in
this
Operation
.
We
will
also
shew
,
that
you
must
always
drop
the
Glass
into
Water
when
it
is
melted
,
for
the
least
Lead
remaining
in
it
,
breaks
out
the
bottoms
of
the
Vessels
,
and
s●
you
lose
your
Matter
,
which
may
be
avoided
by
carefully
minding
what
we
have
said
,
and
which
we
shall
note
again
in
the
following
Chapters
.
It
is
our
Opinion
,
and
that
not
without
reason
,
that
that
subtilty
whereby
the
Lead
so
easily
in
this
case
pierces
the
Pots
when
it
is
not
wholly
calcin'd
,
comes
from
a
certain
unctuous
yellow
Matter
like
Oyl
,
that
is
seen
to
swim
on
the
top
sometimes
in
a
violent
fusion
.
For
we
have
often
observed
,
That
if
that
unctuous
Matter
be
not
taken
off
as
soon
as
it
appears
on
the
top
,
it
will
pierce
the
Pot
,
and
so
all
run
out
among
the
Coals
.
This
unctuous
Matter
has
strange
and
infinite
Virtues
known
to
the
Adepti
,
both
in
curing
Diseases
,
and
other
Operations
.
He
who
knows
how
to
make
it
Transparent
,
and
give
it
the
Jacynth
Colour
in
Ezekiel
,
which
is
that
Electrum
spoken
of
in
the
first
Chapter
,
may
boast
he
has
a
Material
,
from
which
may
be
extracted
a
lac
Virginis
,
in
great
esteem
among
the
Philosophers
.
But
let
this
suffice
,
we
are
not
here
to
instruct
the
ignorant
in
those
Arcana
,
but
remit
them
to
the
Writings
of
the
Adepti
.
Kircher
assures
us
,
that
if
Mercury
congealed
with
the
Vapour
of
Lead
,
be
heated
in
a
Brass-Spoon
over
live
Coals
,
it
will
exhibit
a
strange
variety
of
Colours
,
that
you
cannot
imagine
the
like
.
And
Zibav
.
speaking
of
Lead
in
his
seventh
Book
,
C.
20.
de
Transmut
.
Metall
.
That
the
Melters
and
Tryers
of
Metals
daily
turn
Lead
into
Glass
,
and
that
this
Glass
is
Black
,
Red
,
Yellow
,
Green
,
or
otherwise
coloured
,
according
as
the
Lead
is
differently
calcined
.
CHAP.
LXXXI
.
To
Calcine
Lead
.
LEAD
is
easie
to
be
calcined
,
because
it
is
so
to
melt
;
for
this
purpose
you
may
make
use
of
the
Furnace
described
in
Chap.
52
,
or
in
a
Kiln
:
You
must
put
in
a
good
quantity
of
Lead
at
a
time
;
for
in
two
or
three
Days
may
be
calcined
several
Hundred
Weight
.
The
Fire
ought
to
be
hot
enough
to
melt
Glass
,
and
not
hotter
;
for
if
it
be
hotter
it
will
not
calcine
the
Lead
.
As
soon
as
the
Lead
is
melted
,
and
it
yields
on
top
a
yellowish
Matter
;
begin
to
draw
forward
the
calcined
part
with
an
Iron
fit
for
the
purpose
,
always
spreading
it
in
the
internal
Extremity
of
the
Furnaces
or
Kilns
bottom
.
This
Lead
being
well
calcined
for
the
first
time
,
ought
to
be
put
again
into
the
Furnace
moderately
hot
to
reverberate
.
You
must
spread
it
with
the
Iron
,
and
stir
it
continually
for
several
Hours
,
and
at
this
second
calcination
it
will
become
Yellow
;
then
searce
it
through
a
fine
Sieve
,
and
that
which
does
not
go
through
,
must
be
put
with
other
Lead
to
calcine
afresh
;
always
taking
care
,
that
the
Furnace
have
just
a
moderate
heat
,
and
be
not
too
hot
.
There
are
several
other
ways
of
calcining
Lead
which
we
will
not
mention
here
,
because
this
we
have
shewn
is
the
best
and
most
easie
,
and
will
dispatch
a
great
quantity
in
a
short
time
.
All
the
Potters
know
how
to
calcine
it
,
because
they
make
use
of
it
in
their
Glasing
.
CHAP.
LXXXII
.
The
Way
to
make
Glass
of
Lead
.
WE
have
told
you
the
Beauty
of
this
Glass
,
in
Chap.
77
,
which
may
be
tinged
of
several
Colours
,
as
Black
,
White
,
Green
,
and
Red
,
which
are
natural
to
it
,
the
degrees
of
the
Fire
only
making
it
take
those
different
Colours
.
This
Glass
being
well
made
,
besides
the
Beauty
it
has
,
which
it
communicates
to
Glass
,
and
to
Tinctures
of
precious
Stones
wherein
it
is
employ'd
,
it
has
other
great
Virtues
in
Metallick
Operations
,
which
are
not
known
to
all
the
World
,
whereof
we
could
largely
treat
,
if
it
were
not
besides
our
Subject
.
To
make
Vitrum
Saturni
:
Take
fifteen
Pound
of
calcined
Lead
,
as
we
have
shewn
in
the
preceding
Chapter
,
and
twelve
Pound
of
Crystal
or
Rochetta
Fritt
,
according
to
what
colour
you
would
have
;
mix
them
well
together
,
and
put
them
in
a
Pot
in
the
Furnace
,
where
ten
Hours
after
it
will
be
in
good
fusion
;
then
cast
the
whole
into
Water
,
and
take
out
speedily
the
remaining
Lead
at
bottom
of
the
Vessel
,
for
fear
it
should
break
;
then
take
it
out
of
the
Water
and
dry
it
,
and
put
it
into
the
same
Pot
to
melt
again
:
Take
care
not
to
put
in
the
Grains
of
Lead
(
if
there
by
any
)
which
were
in
the
Water
,
and
which
will
be
loosened
from
the
Matter
.
After
your
Matter
has
been
again
in
fusion
six
Hours
,
you
may
work
it
.
You
may
also
make
a
Glass
of
Lead
,
by
taking
three
parts
of
Lead
,
one
of
fine
Sand
,
and
change
them
into
Glass
in
the
Furnace
:
As
also
of
three
parts
of
calcined
Litharge
,
and
one
part
of
calcin'd
Flint
,
melted
and
vitrified
in
the
Furnace
together
.
CHAP.
LXXXIII
.
The
Way
how
to
Work
Glass
of
Lead
.
IT
is
not
enough
to
shew
how
to
make
Glass
of
Lead
,
if
we
don't
shew
how
to
work
it
too
.
If
any
one
would
make
Vessels
of
it
for
use
of
any
Figure
;
he
must
take
a
Glass
Workman's
Iron
they
use
to
take
the
Metal
out
of
the
Pots
with
,
and
take
what
quantity
of
Glass
of
Lead
with
it
he
pleases
,
when
it
is
in
fusion
,
and
let
it
a
little
cool
,
then
work
it
after
the
manner
we
have
shewn
Chap.
3.
You
must
clean
well
the
Marble
you
make
use
of
,
and
while
the
Glass
is
cooling
,
you
must
wet
the
Marble
with
cold
Water
;
for
otherwise
the
Glass
would
scale
it
,
and
part
of
the
Marble
would
stick
to
it
.
If
the
Marble
be
hard
,
you
have
so
much
the
less
to
fear
,
for
it
will
not
break
so
easily
,
nor
stick
to
the
Glass
.
CHAP.
LXXXIV
.
To
make
Glass
of
Lead
of
a
fair
Emerald
Colour
.
THE
easiness
of
tinging
Glass
of
Lead
of
any
colour
,
is
the
reason
,
you
may
be
sure
,
of
giving
it
an
excellent
Emerald-Green
,
especially
because
Green
is
also
Natural
to
it
.
Take
twenty
Pound
of
Crystal
Fritt
powder'd
and
searced
,
and
sixteen
Pound
of
Galx
of
Lead
also
sifted
;
mix
them
well
together
,
then
put
them
little
by
little
into
a
Pot
heated
in
a
Furnace
,
and
eight
or
ten
Hours
afterwards
it
will
be
melted
;
then
cast
the
melted
Matter
into
Water
,
and
carefully
take
the
remaining
Lead
from
it
;
then
put
the
Matter
after
it
is
dried
into
the
same
Pot
again
,
and
seven
or
eight
Hours
after
it
will
be
again
melted
.
Reiterate
this
process
of
casting
the
melted
Matter
into
the
Water
,
and
separating
the
Lead
that
sticks
to
the
Pot
,
as
before
;
then
this
Glass
will
be
cleansed
and
purified
from
all
the
foulness
and
unctuosity
the
Calx
and
Powder
would
leave
in
it
and
be
very
resplendent
.
You
must
put
it
again
in
the
Pot
,
where
it
will
melt
and
purifie
in
a
little
time
.
When
it
is
melted
,
put
to
it
six
Ounces
of
Scales
of
Copper
thrice
calcin'd
in
Powder
,
as
in
Chap.
34
,
with
twenty
four
Grains
of
Crocus
Martis
,
made
with
Vinegar
,
as
in
Chap.
25
,
also
in
Powder
,
and
mix
them
together
.
This
Powder
must
be
cast
in
at
six
times
,
always
mixing
well
the
Glass
,
and
taking
at
each
time
the
interval
of
saying
the
Creed
:
Let
it
rest
one
Hour
,
and
then
stir
it
again
,
and
see
if
the
Colour
pleases
you
:
If
it
be
as
you
would
have
it
,
let
it
stand
eight
Hours
,
that
the
whole
may
well
incorporate
.
Then
stir
it
well
,
and
let
it
rest
a
little
,
that
the
Faeces
may
precipitate
to
the
bottom
of
the
Pot
;
then
it
may
be
wrought
,
and
the
colour
can
scarce
be
distinguished
from
true
Emerald
.
CHAP.
LXXXV
.
Another
Way
of
making
Glass
of
Lead
of
a
fairer
Emerald
than
the
former
.
FOR
this
colour
,
which
will
be
far
fairer
than
the
precedent
,
you
must
change
one
Ingredient
of
the
other
Chapter
,
and
instead
of
Scales
of
Copper
thrice
calcined
,
put
the
same
Dose
of
Caput
Mortuum
,
of
Vitriolum
Veneris
,
prepared
as
at
the
end
of
the
seventh
Book
;
then
proceed
exactly
as
in
the
former
Chapter
,
and
you
'll
have
a
very
exquisite
Green.
CHAP.
LXXXVI
.
To
make
a
Glass
of
Lead
,
of
the
Colour
of
Topaz
.
TOPAZ
is
a
lighter
colour
than
Emerald
,
and
casts
Rays
the
colour
of
Gold
,
wherefore
the
colour
can't
be
well
imitated
except
this
way
.
Take
fifteen
Pound
of
Crystal
Fritt
in
Powder
,
and
ten
Pound
of
Calx
of
Lead
also
in
Powder
,
mix
them
well
,
and
searce
them
very
fine
,
then
put
them
in
a
Pot
heated
at
the
Furnace
,
where
leave
it
eight
Hours
,
that
it
may
be
melted
.
Then
cast
the
Matter
into
Water
,
and
take
out
of
the
Pot
all
the
Lead
(
if
there
be
any
)
that
remains
.
Put
the
Matter
again
into
the
Pot
to
be
melted
,
and
cast
it
by
intervals
into
the
Water
.
Add
to
that
Matter
half
its
weight
of
Glass
tinged
of
a
Golden
colour
,
as
in
Chap.
62.
incorporate
and
purifie
well
the
whole
together
,
and
you
'll
have
a
Glass
of
the
true
colour
of
Oriental
Topaz
,
fit
to
be
wrought
.
CHAP.
LXXXVII
.
To
make
a
Sky
,
or
Sea-Green
,
in
Glass
of
Lead
.
WE
have
shewn
several
Ways
in
the
first
Book
to
tinge
Glass
of
a
Sky-colour
,
or
Sea-Green
,
which
would
be
needless
to
repeat
here
.
That
we
now
shew
which
is
made
in
Glass
of
Lead
,
has
no
less
Beauty
.
Take
sixteen
Pound
of
Crystal
Fritt
,
ten
Pound
of
Calx
of
Lead
,
mix
them
together
,
and
put
them
gently
into
a
Pot
heated
in
the
Furnace
,
where
they
will
be
in
good
fusion
in
twelve
Hours
time
.
Then
cast
that
Matter
into
Water
,
as
I
have
shewn
before
,
and
take
the
remaining
Lead
out
of
the
Pot
,
and
put
yout
Matter
in
again
to
melt
.
Eight
Hours
after
cast
it
again
into
Water
,
taking
the
remaining
Lead
out
of
the
Pot
,
then
it
will
be
well
purified
.
Put
it
in
again
to
melt
in
the
same
Pot
,
and
when
it
is
in
good
fusion
,
cast
in
at
four
different
times
,
four
Ounces
of
small
Copper
Leaves
,
prepared
as
in
Chap.
30
,
with
a
quarter
of
an
Ounce
of
Zaffer
,
prepared
as
in
Chap.
17.
After
having
mixed
these
Powders
well
together
,
and
the
Matter
at
each
casting
of
it
in
:
Two
Hours
after
stir
the
Matter
well
in
the
Pot
with
an
Iron
Rod
,
and
make
an
Essay
to
see
if
the
Colour
be
full
enough
,
then
let
it
stand
ten
Hours
to
purifie
,
and
to
give
the
Colour
time
to
incorporate
with
the
Glass
:
Then
it
may
be
wrought
to
the
Uses
you
design
it
,
stirring
it
well
,
and
letting
it
rest
a
little
to
settle
,
before
you
Work
it
.
CHAP.
LXXXVIII
.
To
make
a
Granat
Colour
in
Glass
of
Lead
.
THE
Vivacity
of
this
Colour
appears
no
less
in
Glass
of
Lead
than
in
Crystal
,
if
it
be
made
carefully
.
To
make
it
,
take
twenty
Pound
of
Crystal
Frit
,
with
sixteen
Pound
of
Calx
of
Lead
;
and
after
having
added
three
Ounces
of
Manganese
of
Piedmont
to
it
,
and
half
an
Ounce
of
Zaffer
,
both
prepared
as
we
have
shewn
;
put
the
whole
into
a
Pot
heated
in
the
Furnace
:
Twelve
Hours
after
,
cast
that
melted
Matter
into
the
Water
,
and
take
out
the
Lead
that
remains
behind
in
the
Pot.
Then
put
the
Matter
again
in
the
same
Pot
,
where
it
will
be
purified
ten
Hours
after
.
You
must
mix
it
well
with
the
Iron
,
and
let
the
Faeces
precipitate
;
then
see
if
the
Colour
pleases
you
;
then
work
it
to
what
Uses
you
please
,
and
you
'll
have
a
Glass
of
Lead
of
a
fine
Granat-colour
.
CHAP.
LXXXIX
.
To
make
a
Sapphire-Colour
in
Glass
of
Lead
.
THE
Beauty
of
Sapphire
is
no
less
imitable
in
Glass
of
Lead
,
than
the
Colours
of
other
Precious
Stones
;
and
its
clear
Blue
Transparent
Colour
will
have
as
much
Splendour
.
To
make
it
,
mix
together
fifteen
Pound
of
Crystal
Frit
in
Powder
,
and
twelve
Pound
of
Calx
of
Lead
,
then
searce
it
,
pounding
again
what
does
not
pass
through
the
Sieve
.
Add
to
that
two
Ounces
of
prepared
Zaffer
,
twenty
four
Grains
of
Manganese
of
Piedmont
also
well
prepared
,
mix
the
whole
well
together
,
put
it
in
a
Pot
heated
in
the
Furnace
,
and
let
it
stand
to
melt
during
the
space
of
twelve
Hours
.
Then
cast
the
vitrified
Matter
into
Water
,
and
carefully
take
away
the
Lead
that
remains
in
the
Pot
;
then
put
the
Matter
again
into
the
same
Pot
,
and
let
it
stand
to
be
re-purified
Twelve
Hours
.
Then
see
if
the
Colour
pleases
you
,
and
you
may
Work
it
.
You
'll
have
a
Colour
like
the
true
Oriental
Sapphire
.
CHAP.
XC
.
The
Way
to
make
a
Golden-colour
in
Glass
of
Lead
.
THIS
Colour
is
as
fine
in
Glass
of
Lead
,
as
in
Crystal
:
It
takes
that
Colour
both
from
the
Lead
,
and
the
Ingredients
mixed
with
it
.
Take
sixteen
Pound
of
good
Crystal
Fritt
in
Powder
,
to
which
add
the
same
weight
of
Calx
of
Lead
also
in
Powder
,
and
well
searced
;
then
add
six
Ounces
of
Copper
Scales
thrice
calcin'd
,
as
in
Chap.
34
,
and
forty
eight
Grains
of
Crocus
Martis
,
made
with
Vinegar
,
as
in
Chap.
25
,
the
whole
mixed
well
together
,
put
it
in
a
Pot
heated
in
the
Furnace
:
Twelve
Hours
after
cast
the
Glass
in
Water
,
and
take
the
remaining
Lead
out
of
the
Pot
,
and
then
put
the
Matter
again
into
the
same
Pot
,
to
be
well
purified
during
Twelve
other
Hours
.
After
that
,
stir
it
well
,
and
see
if
the
Colour
pleases
you
;
if
it
chance
to
be
greenish
,
add
to
it
some
Crocus
Martis
,
and
the
Greenness
will
vanish
;
then
you
will
have
a
Golden-colour
very
fine
,
which
may
be
Wrought
.
These
are
all
the
Colours
we
can
give
to
Glass
of
Lead
alone
.
We
shall
augment
the
Number
in
a
Past
of
Lead
,
whereof
we
shall
shew
the
Preparation
in
the
following
Book
,
because
it
is
useful
for
imitating
Precious
Stones
,
as
we
shall
shew
in
the
same
Book
;
which
is
the
Reason
we
have
not
done
it
in
this
.
The
End
of
the
Fourth
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
V.
CHAP.
XCI
.
Shewing
the
Way
to
prepare
Natural
Crystal
,
and
to
make
a
very
fine
Salt
of
Tartar
,
and
several
sorts
of
Pasts
,
for
Emerald
,
Topaz
,
Chrysolite
,
Iacinth
,
Granat
,
Sapphire
,
Beryl
or
Egmarine
,
Carbuncles
,
Rubies
,
and
several
other
Colours
,
of
so
great
Beauty
that
they
surpass
the
Natural
Stones
themselves
in
every
thing
but
Hardness
.
WITHOUT
doubt
it
will
seem
surprizing
to
several
,
that
Art
should
be
capable
of
imitating
the
Natural
Colour
of
Precious
Stones
in
so
great
Perfection
,
as
that
the
Beauty
of
the
Artificial
should
surpass
that
of
the
Natural
Oriental
ones
,
in
every
thing
excepting
their
hardness
,
which
they
have
been
many
ages
in
acquiring
:
and
I
doubt
not
but
several
Ingenious
Men
are
this
day
searching
after
means
to
give
them
that
too
.
The
Curious
will
find
in
this
Book
all
that
is
necessary
to
attain
this
Art
,
nay
,
and
to
do
something
more
than
I
mention
.
For
since
Art
can
easy
imitate
Nature
,
it
is
not
to
be
doubted
but
that
Ingenious
Men
may
some
time
or
other
arrive
to
give
the
same
perfection
to
Crystals
that
precious
Stones
have
acquired
in
the
Bowels
of
the
Earth
.
The
Natural
,
or
Rock
Crystal
,
which
we
make
use
of
,
as
the
Basis
of
our
Artificial
Gems
,
is
the
only
Stone
that
does
not
proceed
from
any
Metal
,
being
the
first
substratum
of
others
,
only
made
of
a
congealed
Water
,
with
a
subtil
Earth
,
as
other
precious
Stones
.
It
s
Virtue
proceeds
from
Mercury
,
and
the
Spirit
of
Raphael
,
having
also
a
great
Sympathy
with
Saturn
and
Iupiter
,
whence
it
is
proper
for
healing
several
Diseases
.
All
the
diversities
of
Gems
proceed
only
from
a
sulphur
or
an
unctuous
Substance
,
which
insinuates
its
self
in
their
Composition
,
which
fixes
them
more
or
less
and
also
tinges
them
.
This
Sulphur
is
an
Exhalation
of
Metalline
and
Mineral
Spirits
,
forced
up
by
the
Central
Fire
,
which
virtually
contains
divers
Colours
,
and
which
are
determin'd
and
brought
into
act
by
proper
Subjects
.
Thus
Granat
and
other
precious
Stones
agree
with
Crystal
,
as
Mercury
does
with
Saturn
,
their
harmony
in
the
Heavens
assures
us
of
these
reasons
and
proportions
here
on
Earth
.
Precious
Stones
derive
their
Origin
from
the
Stars
and
the
Primum
Mobile
,
as
do
the
Metals
both
perfect
and
imperfect
,
of
the
colour
of
Sulphur
,
and
the
qualities
whereof
they
partake
,
and
wherein
they
agree
with
the
Stars
.
Great
and
wonderful
Operations
might
be
performed
with
these
Precious
Stones
,
if
they
were
separated
from
the
Impurity
of
their
terra
damnata
,
and
reduc'd
by
the
universal
Menstruum
into
their
first
principles
.
It
is
only
by
this
Menstruum
,
or
mundane
Spirit
,
that
Metals
and
Minerals
can
also
be
so
dissolv'd
,
that
being
full
of
their
Attractive
Virtues
.
We
can
boldly
assert
that
this
universal
Spirit
contains
in
it self
all
the
secrets
of
Alchymy
;
and
that
without
it
,
it
is
impossible
to
have
the
Tincture
,
Water
,
and
Salt
of
Precious
Stones
,
or
to
make
use
of
the
admirable
Virtues
God
has
imparted
to
them
.
Yet
I
don't
dispute
but
that
there
is
a
certain
Acid
Water
Extracted
from
a
Simple
,
wherein
a
dissolution
of
Gems
may
be
made
,
and
an
admirable
Magisterium
,
and
a
Precious
Treasure
for
the
Health
,
being
prepar'd
secundum
Artem.
That
Water
will
also
extract
the
Tincture
of
Gold
,
the
Virtue
of
which
is
not
less
for
preservation
of
Life
,
and
curing
several
Malignant
Fevers
.
As
to
Artificial
Gems
,
which
are
the
Subject
of
this
Book
;
all
the
Art
consists
in
rightly
imitating
the
Tinctures
of
those
that
are
fine
,
which
must
be
extracted
from
Subjects
that
resist
the
Fire
.
The
Tinctures
we
give
them
are
fixed
in
the
Crystals
though
volatile
,
without
altering
their
Colour
.
As
for
example
Verdigrease
being
put
on
the
Fire
,
becomes
of
another
Colour
,
but
being
in
fusion
with
the
Crystal
it
fixes
and
changes
not
its
Colour
;
for
natural
Colours
always
return
to
their
principle
,
and
the
great
quantity
of
fixed
,
always
retains
some
of
the
volatile
.
You
must
therefore
for
this
end
take
permanent
Colours
which
change
not
,
being
mixed
one
with
another
.
For
example
Blue
and
Yellow
make
Green
,
you
must
therefore
take
a
Blue
that
cannot
be
altered
by
the
Yellow
you
mix
with
it
;
and
a
Yellow
that
cannot
be
altered
by
the
Blue
▪
and
so
of
others
.
Isaac
Hollandus
,
who
has
writ
much
on
the
Art
of
making
Gems
,
shews
us
a
very
fine
way
,
by
which
he
has
performed
things
almost
incredible
.
We
will
give
you
some
of
his
Preparations
,
among
those
we
de●●gn
to
treat
of
,
and
add
several
curious
Matters
to
wha●
he
has
said
of
them
,
both
for
Pasts
,
Tinctures
,
and
t●
Fabrick
of
Gems
,
to
Encourage
the
Lovers
of
this
Art
to
set
their
Hands
to
work
at
it
.
It
is
true
the
way
is
troublesome
and
tedious
,
but
any
one
that
will
diligently
apply
himself
to
it
,
will
find
himself
sufficiently
rewarded
for
his
pains
,
both
by
the
Pleasure
of
seeing
so
fine
Productions
,
and
the
Profit
he
may
get
by
a
thing
of
so
small
charge
.
CHAP.
XCII
.
The
Way
of
preparing
Natural
Crystal
.
WE
have
already
given
a
very
fine
Preparation
of
Natural
Crystal
in
the
second
Book
,
Chap.
76
,
yet
we
will
give
you
here
the
principal
one
,
which
is
its
Calcination
,
and
which
we
will
explain
at
large
.
To
perform
this
Calcination
well
,
Take
Natural
Crystal
the
fairest
you
can
get
,
since
that
is
the
Basis
for
Artificial
Gems
,
it
is
no
matter
whether
it
be
in
great
or
small
pieces
.
Fill
with
these
Pieces
of
Crystal
a
large
Crucible
,
cover
it
with
a
Cover
made
of
the
●ame
Earth
,
which
must
be
somewhat
broader
than
the
Mouth
of
the
Crucible
,
for
fear
Ashes
or
Coals
tumble
in
,
which
you
must
take
particular
care
of
.
Then
set
your
Crucible
in
burning
Coals
in
a
little
Furnace
,
and
when
your
Crystal
is
well
heated
,
cast
it
into
a
Vessel
of
cold
Water
,
the
more
Water
there
is
,
so
much
the
better
will
the
Calcination
be
performed
,
because
the
cold
of
it
is
so
much
the
greater
.
Then
take
it
out
of
the
Water
,
and
dry
it
in
an
Earthen
Ladle
,
then
put
it
into
the
same
Crucible
to
be
heated
again
,
taking
care
to
cover
it
well
:
Then
cast
it
again
●nto
fresh
cold
Water
,
and
repeat
heating
it
and
quenching
it
thus
twelve
times
,
changing
each
time
the
Water
.
You
may
know
if
your
Crystal
be
well
calcined
,
for
it
will
easily
break
and
crumble
:
If
there
appear
in
it
any
black
Veins
,
you
must
take
care
to
take
them
all
clean
out
,
by
breaking
them
,
and
do
this
till
only
the
White
remains
behind
;
then
it
is
well
prepared
.
After
you
have
well
dried
your
Crystals
thus
calcined
,
grind
them
to
an
impalpable
Powder
on
a
Marble
or
Porphyry
Stone
,
by
putting
a
little
on
at
a
time
,
and
fearce
it
well
through
a
fine
Silken
Sieve
.
And
since
we
use
this
Powder
of
Crystal
for
all
Artificial
Gems
whereof
we
are
going
to
treat
,
your
best
way
will
be
to
keep
a
good
quantity
by
you
,
which
you
may
always
have
recourse
to
in
Working
.
If
you
design
to
succeed
in
this
Art
very
well
you
must
not
use
ordinary
Fritt
of
Crystal
,
how
good
and
fair
soever
it
be
,
nor
Chalcedony
,
nor
Tarso
,
nor
any
other
Stones
;
for
the
Glass
made
of
them
is
far
less
fàir
and
resplendent
than
that
made
of
Natural
Crystal
,
which
has
the
most
lustre
,
and
approaches
nearest
precious
Stones
,
as
we
have
already
remarked
in
the
preceding
Chapter
.
CHAP.
XCIII
.
The
Way
of
making
a
very
sine
and
pure
Salt
of
Tartar.
NERI
makes
use
of
no
Salt
of
Tartar
,
in
all
his
Preparations
of
Artificial
Gems
;
notwithstanding
this
Salt
being
prepared
after
a
certain
manner
,
we
shall
here
relate
,
for
the
sake
of
the
Curious
.
It
serves
in
a
great
measure
to
work
the
Crystal
,
being
a
true
Vehicle
,
for
the
better
introducing
the
Colours
that
are
to
be
given
,
and
which
is
of
use
for
the
Tinctures
several
ways
.
Those
,
who
in
their
Operations
of
Artificial
Gems
,
have
made
no
use
of
Salt
of
Tartar
,
have
without
doubt
been
ignorant
of
this
fine
Preparation
of
it
;
for
if
you
use
ordinary
Salt
of
Tartar
,
there
is
a
Sulphur
and
Foulness
in
it
,
which
renders
Crystal
obscure
,
and
consequently
would
be
hurtful
in
these
Operations
.
To
make
this
Salt
,
you
must
first
calcine
your
Tartar
,
till
it
become
Grey
,
and
not
to
perfect
Whiteness
;
and
then
dissolve
it
in
warm
Water
to
extract
the
Salt
,
filter
that
Water
,
and
then
evaporate
it
over
the
Fire
;
then
you
'll
have
remaining
at
the
bottom
of
the
Vessel
,
a
White
Salt.
To
take
away
all
Foulness
from
this
Salt
,
dissolve
it
again
in
warm
Water
,
then
evaporate
it
again
over
a
gentle
Fire
;
take
it
off
the
Fire
,
and
cast
it
into
cold
Water
,
and
you
'll
find
it
will
leave
on
the
surface
of
the
Water
a
thick
Froth
,
which
you
must
skim
off
with
a
Skimmer
that
has
little
Holes
no
bigger
than
a
small
Pins
Head
:
Put
the
Vessel
again
on
the
Fire
,
and
evaporate
the
Water
as
before
,
then
take
it
off
the
Fire
,
and
cast
upon
it
fresh
cold
Water
,
and
skim
it
well
as
before
.
Reiterate
this
Process
till
you
find
no
more
Froth
;
then
Evaporate
the
whole
over
a
gentle
Fire
till
it
be
dry
,
and
you
will
have
a
Salt
of
Tartar
well
purified
,
which
is
not
so
fusil
as
the
other
,
because
it
is
free
from
all
that
Unctuosity
which
causes
the
Fusion
.
Keep
this
Salt
of
Tartar
in
a
Vessel
well
stopped
,
and
use
of
it
in
Crystal
with
your
Colours
when
you
set
them
to
melt
.
Altho'
this
Salt
of
Tartar
be
very
fine
and
pure
,
yet
it
is
not
that
of
the
Philosophers
,
which
has
far
more
Virtue
,
and
opens
more
powerfully
the
Metals
and
Minerals
where
it
is
employ'd
,
tho'
it
be
of
the
same
Nature
as
this
,
and
extracted
from
the
same
Principle
.
The
Philosophers
have
moreover
another
Salt
of
Tartar
extracted
from
Metalline
Matters
;
and
this
last
is
far
more
Excellent
than
any
others
.
We
will
treat
thereof
at
large
in
the
Treatise
we
have
promised
,
where
we
will
explain
the
Virtues
both
of
the
one
and
the
other
,
as
well
in
Medicine
as
in
the
Business
of
Metals
,
and
shew
several
very
Curious
Effects
performed
by
their
means
.
CHAP.
XCIV
.
To
make
a
Past
for
Oriental
Emerald
.
WE
have
already
shewn
the
way
of
tinging
Crystal
and
Glass
of
Lead
,
of
a
very
fair
Emerald-colour
,
but
not
to
make
a
Stone
that
shall
imitate
a
true
Natural
Gem
,
which
may
be
used
in
Rings
,
or
otherwise
,
which
now
we
come
to
do
.
There
are
divers
sorts
of
Emeralds
,
but
at
present
,
they
are
all
distinguished
into
either
oriental
or
Occidental
,
the
Orientals
are
more
hard
,
and
the
others
less
.
We
will
shew
several
ways
of
Imitating
t●e
Emerald
more
or
less
full
,
which
will
be
all
Beautyful
.
This
is
the
first
.
Take
two
Ounces
of
natural
Crystal
prepared
,
as
we
have
shewn
in
Chap.
92.
and
4
Ounces
of
common
Minium
or
Read-Lead
,
powder'd
and
Searced
,
add
48
Grains
of
Verdigrease
well
pounded
and
of
a
good
Colour
,
with
8
Grains
of
Crocus
Martis
prepared
with
Vinegar
as
we
have
shewn
Chap.
25.
Mix
the
whole
well
together
,
and
put
it
into
a
good
Crucible
that
will
resist
the
fire
,
in
it
you
must
leave
an
Inch
empty
.
Then
cover
the
the
Crucible
with
an
Earthen
Cover
,
lute
it
well
,
and
dry
it
,
then
put
it
in
the
hottest
place
of
a
Potters
Furnace
where
they
make
their
Earthen
Vessels
,
and
let
it
stand
as
long
as
their
Pots
.
Being
cold
break
the
Crucible
and
you
'll
find
within
a
matter
of
the
Colour
of
a
very
fine
Emerald
.
If
you
afterwards
set
it
in
Gold
,
it
will
surpass
in
Beauty
the
true
Oriental
Emerald
.
If
it
happens
that
your
Matter
is
not
enough
resin'd
and
purified
,
you
must
put
it
in
again
a
second
time
in
the
same
Furnace
,
where
it
will
be
purified
as
much
as
needs
be
;
which
you
may
know
by
lifting
up
the
Cover
,
if
the
Matter
appears
shining
.
If
it
is
not
so
,
lute
the
Cover
on
again
,
and
put
the
whole
in
the
Furnace
.
You
may
take
notice
once
for
all
,
that
you
must
not
break
the
Crucible
,
before
the
Matter
be
throughly
baked
and
purified
,
for
if
you
do
,
and
so
are
obliged
to
put
the
Matter
into
another
Crucible
,
the
Past
will
be
painted
and
full
of
Blisters
.
If
you
cannot
easily
come
to
a
Potter's
Furnace
,
you
may
make
one
your self
with
little
Charge
,
wherein
you
may
put
twenty
Crucibles
at
once
,
each
of
different
Colours
,
so
one
Baking
may
serve
for
a
great
deal
of
Matter
.
You
must
make
use
of
dry
and
hard
Wood
to
heat
the
Furnace
,
as
we
have
said
before
in
baking
Glass
,
and
continue
the
Fire
twenty
four
Hours
,
in
which
time
your
Matters
ought
to
be
baked
and
purified
enough
,
but
for
more
Surety
you
may
continue
the
Fire
six
Hours
longer
,
and
they
will
be
certainly
baked
enough
.
Your
Matter
being
thus
rig●tly
baked
,
you
may
polish
it
at
the
Wheel
,
as
we
have
said
;
and
set
it
with
a
Foil
in
Gold
,
as
is
done
with
true
Gems
,
and
you
'll
have
a
brighter
Emerald
than
the
Oriental
.
CHAP.
XCV
.
Another
deeper
Emerald-Colour
.
THAT
which
makes
Emerald
deeper
than
the
precedent
,
proceeds
from
the
smaller
quantity
of
Crystal
employ'd
in
it
,
with
more
of
the
other
Materials
,
which
make
it
more
fair
,
but
also
more
brittle
.
You
must
Bake
it
at
least
six
Hours
longer
than
the
precedent
,
to
take
away
that
Imperfection
which
Lead
usually
gives
.
The
Dose
of
this
Past
,
is
one
Ounce
of
Natural
Crystal
prepared
,
as
we
have
shewn
,
six
Ounces
and
an
half
of
Red-Lead
,
seventy
five
Grains
of
Verdigrease
,
ten
Grains
of
Crocus
Martis
made
with
Vinegar
,
the
whole
pulverized
and
well
mixed
together
;
then
follow
the
Method
we
have
shewn
,
in
the
preceding
Chapter
,
which
would
be
too
tedious
to
repeat
here
,
and
on
every
occasion
,
so
we
will
avoid
it
;
only
observing
to
let
your
Matter
stand
longer
in
the
Fire
,
as
we
have
said
,
and
you
'll
have
an
admirable
Oriental
Emerald-colour
,
which
being
set
in
Gold
with
a
Foil
of
the
same
Metal
underneath
,
will
be
inexpressibly
fair
.
CHAP.
XCVI
.
Another
Way
to
make
a
fairer
Paste
for
Emeralds
.
THIS
Paste
will
be
as
brittle
as
the
precedent
,
for
the
Reasons
we
have
said
;
for
you
must
take
seven
Ounces
of
Minium
,
to
two
Ounces
of
Natural
Crystal
prepared
:
To
which
add
full
eighteen
Grains
of
Verdigrease
,
ten
Grains
of
Crocus
Martis
,
the
whole
pulverized
and
well
mixed
.
Then
proceed
as
we
have
shewn
in
Chap.
94
,
and
you
'll
have
an
Emerald
fit
for
all
small
Works
,
but
not
so
hard
as
the
former
,
by
reason
of
the
great
quantity
of
Lead
in
it
.
Wherefore
you
ought
to
keep
it
longer
in
the
Fire
,
that
the
pale
'
Colour
of
the
Lead
may
vanish
.
CHAP.
XCVII
.
Another
fairer
Paste
for
Emeralds
.
THE
Colour
of
this
Paste
will
surpass
the
others
in
Beauty
,
if
the
Workman
takes
care
.
Take
two
Ounces
of
Natural
Crystal
prepared
,
six
Ounces
of
Minium
in
Powder
,
and
eight
Grains
of
Verdigrease
also
in
Powder
,
mix
the
whole
well
together
,
then
put
them
into
a
large
Crucible
covered
and
well
luted
,
in
the
same
Furnace
as
before
.
Moreover
do
all
as
in
Chap.
94
,
and
you
'll
have
an
extraordinary
fair
Emerald-colour
.
CHAP.
XCVIII
.
Another
very
fair
Emerald-Colour
.
THIS
Stone
will
be
far
harder
and
finer
than
the
precedent
,
because
it
contains
less
Lead
.
To
make
it
,
take
four
Ounces
of
Natural
Crystal
,
prepared
as
in
Chap.
92
,
the
fourth
part
of
an
Ounce
of
Red-Lead
,
and
the
same
quantity
of
Verdigrease
,
the
whole
pulverized
and
sifted
fine
,
which
put
together
in
a
Crucible
well
closed
and
luted
,
in
the
same
Furnace
as
before
,
proceeding
as
in
Chap.
94
,
leaving
the
Crucible
in
the
Fire
thirty
six
Hours
.
After
which
,
if
you
will
you
may
cast
your
melted
Matter
into
a
Marble
Mould
heated
,
putting
it
near
the
Fire
to
cool
gently
,
and
you
'll
have
a
very
fine
Emerald
.
CHAP.
XCIX
.
To
make
a
Paste
for
an
Oriental
Topaz
.
THE
Topaz
of
the
Ancients
,
is
the
same
which
the
Moderns
call
a
Chrysolite
,
whereof
we
shall
treat
in
Chap.
101
,
and
their
Chrysolite
,
that
which
Modern
Jewellers
call
a
Topaz
,
which
is
a
Stone
of
a
Golden-colour
.
Such
are
the
Oriental
Topaz's
which
are
the
most
hard
of
all
Stones
next
the
Diamond
.
Their
Colour
is
like
Water
tinged
with
Saffron
or
Rhubarb
,
but
shining
and
pure
.
There
are
some
found
in
Europe
,
but
as
soft
as
Crystal
,
and
approach
somewhat
on
Black
with
a
Golden-colour
;
if
there
is
any
one
found
of
the
Colour
of
pure
Gold
,
it
is
extraordinary
,
and
not
distinguishable
from
the
Oriental
ones
,
but
in
hardness
.
To
imitate
the
Oriental
ones
,
take
two
Ounces
of
Natural
Crystal
of
Chap.
92
,
seven
Ounces
of
Red-Lead
in
●ine
Powder
and
searced
;
mix
the
whole
well
together
,
put
them
into
a
good
Crucible
,
wherein
you
leave
an
empty
space
of
about
an
Inch
deep
,
for
fear
the
Matter
should
run
over
in
Baking
,
or
stick
to
the
Cover
of
the
Crucible
in
rising
,
and
spoil
the
Work.
Then
proceed
as
in
Chap.
94
,
observing
the
same
Circumstances
of
Time
and
Fire
,
and
you
'll
have
an
admirable
Topaz-colour
.
CHAP.
C.
Another
fine
Topaz-Colour
.
TAKE
two
Ounces
of
Natural
Crystal
prepared
,
as
we
have
shewn
;
two
Ounces
of
Native
Cinnabar
,
two
Ounces
of
Aes●ustum
,
the
whole
powdered
,
four
times
as
much
calcined
Tin
also
pulverized
,
put
the
whole
in
a
Crucible
well
covered
and
luted
,
into
a
Furnace
as
before
,
wherein
let
them
stand
twenty
four
or
thirty
Hours
at
a
Fire
not
too
violent
,
and
which
shall
always
retain
the
same
degree
of
heat
,
for
this
Powder
will
easily
melt
.
Then
you
'll
have
a
fine
Topaz-colour'd
Paste
.
A
very
fine
Topaz-colour
may
be
made
by
putting
to
four
Ounces
of
the
same
Natural
Crystal
half
a
Dram
of
Crocus
Martis
,
and
a
very
little
Minium
,
observing
the
same
Circumstances
for
Baking
it
as
before
.
CHAP.
CI.
To
make
a
Paste
for
an
Oriental
Chrysolite
.
WE
have
told
you
that
the
Modern
Jewellers
call
that
a
Chrysolite
which
the
Ancients
called
a
Topaz
,
or
Chrysopas
,
which
is
a
Precious
Stone
,
Green
and
Diaphanous
,
some
whereof
cast
a
Lustre
of
Gold
:
This
Stone
is
so
hard
,
that
it
will
easily
endure
the
File
,
and
sometimes
there
are
pieces
of
them
found
big
enough
to
make
Statues
of
;
witness
that
related
by
Iuba
King
of
Mauritania
,
which
was
made
in
Honour
of
the
Queen
Arsinoe
,
Wife
of
Ptolomaeus
Philadelphus
,
of
the
height
of
four
Cubits
.
To
imitate
this
Stone
,
take
two
Ounces
of
Natural
Crystal
prepar'd
,
eight
Ounces
of
Minium
in
small
Powder
,
add
to
it
12
Grains
of
Crocus
Martis
made
with
Vinegar
,
as
in
Chap.
25.
mixing
the
whole
well
together
.
Then
put
the
whole
into
a
Crucible
in
the
same
Furnace
as
before
,
leaving
it
there
a
little
longer
than
the
others
,
that
it
may
have
time
to
purifie
from
the
Lead
.
Then
you
'll
have
a
Paste
for
the
Oriental
Chrysolite
,
which
will
appear
very
admirable
set
with
a
Foil
in
Gold.
CHAP.
CII
.
To
make
a
Paste
for
Sky-colour
,
to
imitate
the
Beryl
,
called
also
Aqua-Marina
.
WE
have
already
treated
of
this
Colour
in
Chap.
40
,
wherein
we
have
taken
notice
how
this
Name
of
Beryl
came
to
be
given
it
by
the
Italians
,
because
it
has
the
Blewish-green
of
the
Sea
,
and
also
whence
this
Stone
is
gotten
.
To
imitate
this
Stone
,
take
two
Ounces
of
Natural
Crystal
prepared
,
five
Ounces
of
Minium
,
twenty
one
Grains
of
Zaffer
,
prepared
as
in
Chap.
17
,
the
whole
reduced
to
a
fine
Powder
,
put
it
in
a
Crucible
covered
and
luted
,
proceed
as
in
Chap.
94
,
and
you
'll
have
a
delicate
Sky-colour
.
This
Colour
may
be
also
imitated
by
taking
half
a
Dram
of
Aes
ustum
to
eight
Ounces
of
Natural
Crystal
prepared
,
and
putting
the
whole
in
a
Crucible
to
bake
in
the
Furnace
as
before
.
CHAP.
CIII
.
To
make
a
Paste
for
Sapphire-Colour
.
THE
Sapphire
is
very
much
esteemed
for
its
Beauty
,
which
is
a
very
clear
Sky-colour
,
and
pleasant
to
behold
.
There
are
some
that
are
whitish
like
Diamonds
,
others
very
Blue
,
and
some
Violet-colour
;
the
Stone
is
soft
,
but
easie
to
harden
.
To
make
this
Paste
,
take
two
Ounces
of
Natural
Crystal
prepared
,
four
Ounces
and
an
half
of
Minium
,
twenty
six
Grains
of
the
Blue
Smalts
the
Painters
use
;
the
whole
being
well
pulverized
,
put
them
in
a
Crucible
,
and
cover
and
lute
them
well
,
then
put
them
in
the
Furnace
to
Bake
as
long
time
as
before
prescribed
;
and
you
'll
have
a
fine
Violet-colour
approaching
blue
.
CHAP.
CIV
.
Another
Oriental
Sapphire
.
THE
Past
for
this
Sapphire
will
be
nearer
the
Oriental
Colour
than
the
former
.
Take
two
Ounces
of
Natural
Crystal
prepared
,
six
Ounces
of
Minium
;
to
which
add
two
Scruples
of
Zaffer
,
prepared
as
in
Chap.
17
,
and
six
Grains
of
Manganese
also
prepared
as
by
Chap.
18
,
the
whole
reduced
to
fine
Powder
;
mix
them
well
together
,
and
put
them
in
a
Crucible
,
and
cover
and
lute
it
well
;
then
put
them
in
the
Furnace
to
bake
the
same
space
of
time
as
before
shewn
,
and
you
'll
have
an
Oriental
Sapphire
of
a
very
fine
Violet-colour
.
CHAP.
CV
.
Another
deeper
Oriental
Sapphire
.
THIS
Past
for
Sapphire
,
will
be
of
a
deeper
Colour
than
the
former
,
you
must
put
to
two
Ounces
of
Natural
Crystal
,
prepared
as
in
Chap.
92
,
five
Ounces
of
Minium
,
forty
two
Grains
of
prepared
Zaffer
,
and
eight
Grains
of
Manganese
of
Piedmont
also
prepared
;
the
whole
reduced
to
an
impalpable
Powder
,
and
mixed
well
together
.
Moreover
,
proceed
as
in
Chap.
94
,
observing
well
all
Circumstances
,
and
you
'll
have
a
Sapphire
deeper
than
the
preceding
,
somewhat
tending
to
a
Violet-Colour
,
which
you
may
Work
,
and
Polish
,
and
Set.
CHAP.
CVI.
To
make
a
Paste
for
an
Oriental
Granat
.
THE
Granat
is
very
like
the
Carbuncle
,
for
both
being
exposed
to
the
Sun
,
they
exhibit
the
Colour
of
live
burning
Coals
,
being
between
Red
and
Yellow
,
which
is
the
true
Colour
of
Fire
.
There
are
several
sorts
of
Granats
,
both
Oriental
and
Occidental
,
some
deeper
,
others
less
so
;
but
the
Jewellers
know
how
to
make
them
appear
,
by
setting
them
on
Silver
Foils
.
We
will
not
trouble
the
Reader
with
all
that
might
be
said
concerning
them
,
several
Authors
having
largely
treated
thereof
,
we
shall
content
our selves
with
shewing
here
the
way
how
to
imitate
them
by
our
Art.
Take
two
Ounces
of
Natural
Crystal
prepared
,
and
six
Ounces
of
Minium
,
with
sixteen
Grains
of
Manganese
of
Piedmont
,
and
two
Grains
of
Zaffer
,
prepared
as
we
have
shewn
in
the
first
Book
,
the
whole
pulverized
,
and
well
mixed
together
,
and
put
in
a
Crucible
into
the
Furnace
,
with
it's
Cover
well
luted
,
there
to
Bake
,
with
the
same
Precaution
we
heretofore
have
given
;
and
you
'll
have
a
very
fine
Granat
,
●as
resplendent
as
the
Oriental
.
CHAP.
CVII
.
A
deeper
Oriental
Granat
.
THIS
Colour
will
be
not
only
deeper
,
but
also
far
fairer
than
the
precedent
.
To
make
it
,
take
two
Ounces
of
Natural
Crystal
prepared
,
five
Ounces
and
an
half
of
Minium
;
to
which
add
fifteen
Grains
of
Manganese
of
Piedmont
prepared
,
having
pulverized
it
,
mix
the
whole
well
together
:
Moreover
proceed
as
in
Chap.
94.
for
Baking
this
Paste
,
only
take
notice
you
must
here
leave
more
empty
space
in
the
Crucible
,
because
this
Matter
rises
more
than
the
others
,
wherein
care
must
be
taken
.
Then
you
'll
have
a
deeper
Oriental
Granat
than
the
former
,
which
you
may
polish
,
&c.
CHAP.
CVIII
.
Another
fairer
Granat
.
THE
Paste
for
Granat
will
be
yet
much
fairer
than
the
Precedents
,
if
you
take
to
two
Ounces
of
Natural
Crystal
calcined
and
prepared
as
in
Chap.
92
,
6
Ounces
of
Vermillion
or
Minium
,
in
fine
Powder
,
thirty
five
Grains
of
Manganese
of
Piedmont
prepared
,
and
four
Grains
of
prepared
Zaffer
,
as
in
Book
I.
which
being
well
pulveriz'd
mix
together
in
a
Crucible
,
leaving
a
greater
empty
space
than
in
the
others
,
by
reason
the
Matter
rises
more
;
then
lute
the
Cover
well
,
let
it
dry
,
and
put
it
in
the
Furnace
to
Bake
,
as
we
have
shewn
Chap.
94
,
observing
the
same
Circumstances
we
have
noted
on
that
Subject
,
and
you
'll
have
a
very
fine
Granat
fairer
than
the
rest
.
CHAP.
CIX
.
Observations
for
Pasts
and
their
Colours
.
WE
might
have
inserted
this
Discourse
in
Chap.
91
,
as
being
the
first
of
this
Book
;
but
we
thought
it
better
to
place
it
here
,
where
we
will
shew
divers
ways
of
making
Pasts
,
no
less
fair
than
curious
,
and
where
it
will
be
necessary
to
give
some
little
Instruction
to
those
who
undertake
to
make
them
,
as
also
concerning
the
degrees
of
the
Colours
that
may
be
therein
imitated
.
The
making
of
these
Pasts
is
the
essential
point
of
the
Business
;
because
on
it
depends
the
beauty
of
our
artificial
Gems
:
But
the
baking
also
is
not
of
less
Consequence
,
forasmuch
as
without
that
you
cannot
Succeed
.
It
is
not
Enough
to
well
Regulate
the
Fire
during
the
time
we
have
Noted
in
Chap.
92.
whilst
the
matter
is
to
stand
in
the
Furnace
,
but
you
must
also
take
care
that
the
Crucibles
don't
break
before
the
matter
is
well
baked
and
purified
:
For
if
the
Crucible
breaks
and
you
are
forced
to
pour
out
the
matter
into
another
Crucible
,
the
whole
Work
will
be
spoiled
and
the
matter
full
of
Pustles
and
Blisters
.
You
had
much
better
let
the
Crucible
Cool
,
if
it
be
not
quite
broken
;
then
Lute
it
well
,
and
put
it
in
the
Furnace
again
to
make
an
end
of
baking
.
You
must
also
take
Notice
not
to
break
the
Crucible
to
take
out
the
matter
before
it
be
perfectly
baked
.
The
curious
may
avoid
these
inconveniences
,
if
in
room
of
ordinary
Crucibles
they
make
them
of
the
same
Earth
that
the
Pots
for
making
Glass
are
made
of
,
which
will
resist
the
Fire
longer
than
we
have
occasion
here
for
baking
,
and
bear
a
more
violent
Fire
than
we
have
occasion
for
.
Those
of
Germany
also
will
do
very
well
for
this
business
because
they
endure
the
Fire
better
than
the
ordinary
ones
.
But
I
will
yet
abridge
all
these
precautions
,
by
shewing
an
easy
way
to
prepare
the
common
Crucibles
,
which
I
have
seen
tryed
,
and
resist
the
Fire
a
long
time
.
Take
an
ordinary
Crucible
or
rather
one
of
Germany
:
Heat
it
a
little
in
the
Fire
,
then
dip
it
into
Olive
Oyl
,
and
let
it
soak
a
little
of
it
in
.
Then
take
Glass
reduced
to
an
impalpable
Powder
,
and
strow
it
all
over
the
Crucible
,
both
without
and
within
,
as
thick
as
you
can
,
then
put
it
into
a
Furnace
in
a
small
heat
,
and
then
increase
the
Fire
to
a
melting
Heat
;
then
the
Glass
will
Melt
and
Vitrifie
so
well
with
the
Crucible
,
that
it
will
endure
the
Fire
far
longer
than
is
required
for
our
Business
.
We
will
also
further
remark
that
the
Colours
we
here
shew
for
Pasts
are
proportional
to
the
Doses
we
give
them
;
but
those
who
would
have
them
deeper
or
lighter
,
must
regulate
themselves
accordingly
:
If
they
make
small
Stones
for
Rings
,
the
Colour
must
be
deeper
by
reason
of
their
smallness
:
If
they
make
greater
,
the
Colour
must
be
lighter
,
but
deeper
for
Pendants
than
any
other
.
The
whole
depends
much
on
the
Fancy
of
the
Workman
,
who
is
to
proportion
the
Doses
of
the
Colouring
to
the
Work
he
designs
.
In
speaking
of
these
Colours
in
this
Chapter
,
our
design
is
only
to
shew
more
easie
ways
to
those
who
exercise
themselves
herein
,
for
otherwise
we
have
sufficiently
discours'd
of
them
in
the
precedent
Chapter
,
as
we
shall
continue
to
do
in
the
following
.
We
shall
say
nothing
further
here
of
calcined
Copper
,
or
Verdigrease
,
or
Zaffer
,
or
Manganese
,
having
sufficiently
done
it
before
;
but
only
advertise
the
Curious
,
that
there
may
be
extracted
from
Gold
a
very
fine
Red
,
and
one
a
little
more
obscure
from
Iron
;
an
excellent
Green
from
Copper
;
a
Golden
Colour
from
Lead
;
Blue
from
Silver
,
but
a
much
fairer
from
Granats
of
Bohemia
;
which
are
low
priz'd
by
reason
of
their
smallness
,
but
give
a
very
fine
Colour
.
The
same
may
be
done
with
Rubies
,
Sapphire
,
and
other
precious
Stones
,
as
Chymists
well
know
.
If
I
should
treat
of
all
those
Colours
in
this
Tract
,
it
would
make
it
half
as
big
again
as
I
design
it
,
and
would
be
too
prolix
for
our
present
Purpose
;
what
we
have
shewn
already
,
is
sufficient
to
make
very
fine
Works
.
CHAP.
CX
.
To
make
Sulphur
Saturni
,
to
be
used
in
Pasts
for
all
Artificial
Gems
.
ISAAC
HOLLANDVS
has
so
well
shewn
us
the
way
to
imitate
the
Colour
of
all
Precious
Stones
,
that
I
cannot
pass
by
in
silence
this
following
Method
of
his
extracted
from
his
Works
.
As
it
is
not
common
,
nor
his
Book
seen
by
every
one
,
and
that
there
may
be
some
that
cannot
understand
him
,
we
thought
the
Reader
might
be
glad
to
have
it
,
since
it
is
the
most
curious
way
that
can
be
made
use
of
for
this
Work.
The
way
to
make
his
Sulphur
for
it
is
this
.
Take
Ceruss
,
or
White-Lead
,
ground
very
small
,
put
it
into
a
great
Glass
Body
,
and
pour
thereon
as
much
distill'd
Vinegar
as
will
rise
a
Palm
above
it
;
and
as
the
Vinegar
will
rise
and
swell
very
much
at
first
pouring
on
,
you
must
take
care
to
pour
it
on
gently
,
till
all
the
fury
and
noise
be
gone
.
Then
set
this
Body
on
a
hot
Furnace
in
Sand
,
there
to
evaporate
the
eighth
part
of
it
away
.
Then
let
it
cool
and
decant
off
the
remainder
of
the
Vinegar
,
which
will
be
well
coloured
and
full
of
Salt
,
which
keep
in
another
Glass
Vessel
.
Then
pour
fresh
distill'd
Vinegar
on
the
remainder
of
the
Ceruss
;
set
it
again
on
the
Furnace
to
evaporate
as
before
,
and
decant
off
that
Vinegar
as
the
former
.
Reiterate
this
Process
of
putting
fresh
Vinegar
on
your
Matter
,
and
evaporating
it
,
and
decanting
it
off
till
it
have
no
further
Colour
nor
Sweetness
,
which
commonly
happens
about
the
sixth
time
.
Take
all
your
coloured
Vinegars
,
and
carefully
filter
them
off
,
then
take
one
or
more
Glass
Cucurbits
,
and
evaporate
all
the
Vinegars
over
a
gentle
Fire
,
and
you
'll
find
remaining
at
bottom
a
Salt
of
Saturn
of
Lead
,
very
White
.
Then
take
a
Glass
Matras
,
lute
it
well
down
to
the
middle
of
the
Body
,
and
put
your
Salt
of
Lead
in
it
,
and
put
it
on
a
Sand
Furnace
over
a
gentle
Fire
,
for
the
Space
of
twenty
four
Hours
,
covering
it
with
Sand
up
to
the
Neck
.
Then
take
out
your
Salt
,
which
ought
to
be
as
red
as
Cinnabar
,
and
grind
it
fine
on
a
Marble
;
if
it
be
Yellow
,
you
must
put
it
on
the
Fire
again
for
twenty
four
Hours
longer
,
and
take
care
it
don't
melt
,
for
then
all
is
spoil'd
.
When
your
Salt
of
Lead
is
perfect
,
as
we
have
shewn
,
you
must
put
it
again
into
a
Glass
Cucurbit
,
and
pour
distill'd
Vinegar
on
it
as
before
,
and
decant
it
off
when
it
is
enough
coloured
,
and
put
fresh
Vinegar
on
the
remaining
Salt
,
and
continue
this
process
till
all
the
Salt
be
dissolved
,
and
the
Faeces
or
Dregs
all
separated
.
After
that
,
put
all
these
coloured
Vinegars
into
Glass
Vessels
,
and
let
them
stand
six
Days
to
settle
,
then
filter
them
carefully
and
separate
all
the
Faeces
.
Then
put
all
these
filter'd
Vinegars
into
a
great
Glass
Body
to
evaporate
as
before
,
and
you
'll
find
at
the
bottom
a
very
white
Salt
of
Lead
,
sweet
as
Sugar
.
This
Salt
being
well
dried
,
dissolve
it
afresh
in
common
Water
,
and
let
it
stand
six
Days
,
that
all
the
Faeces
may
precipitate
to
the
bottom
.
Then
filter
that
Water
,
and
evaporate
it
in
a
Glass
Cucurbite
over
a
gentle
Fire
,
as
we
have
said
,
and
you
'll
have
at
bottom
a
Salt
more
white
than
Snow
,
and
as
sweet
as
Sugar
.
Reiterate
this
Method
of
dissolving
in
fair
Water
●iltering
,
and
evaporating
till
three
times
;
then
take
your
Saccharum
Saturni
,
and
put
it
in
a
Glass
Body
in
a
Sand
Furnace
over
a
temperate
heat
,
where
leave
it
for
several
Days
without
augmenting
the
Fire
;
then
it
will
become
redder
than
Cinnabar
,
and
give
a
Calx
finer
than
Wheaten
Flour
.
It
is
this
Calx
thus
purified
from
all
its
Terrestreity
,
which
is
called
Sulphur
of
Saturn
.
Now
in
making
Pasts
for
Emerald
,
Sapphire
,
Granat
,
Topaz
,
Chrysolite
,
Blue
and
other
Colours
;
you
must
employ
it
instead
of
Minium
,
in
the
same
Doses
we
have
shewn
in
the
precedent
Chapter
of
this
fifth
Book
.
Observing
all
we
have
noted
in
the
Subject
of
Baking
,
and
proceeding
as
in
Chap.
94.
Then
you
'll
have
Stones
of
different
Colours
,
far
fairer
than
the
Natural
ones
,
and
which
can
scarcely
be
distinguished
from
them
.
The
Pasts
made
with
this
Sulphur
,
will
not
have
that
Grease
and
Yellowness
which
others
have
,
and
will
not
be
so
apt
to
spot
by
the
Breath
:
Upon
this
account
the
Curious
will
have
no
cause
to
repent
of
the
trouble
of
making
this
Sulphur
,
tho'
the
Work
be
very
laborious
.
They
also
know
that
all
fine
Works
require
very
pure
Matters
,
and
that
they
cannot
have
that
purity
without
the
great
time
and
care
of
those
who
undertake
them
.
I
may
also
here
say
,
that
this
Work
well
carried
on
,
is
more
precious
than
it
seems
to
be
,
except
to
those
who
are
acquainted
with
it
.
For
the
sweetness
this
Lead
has
acquired
,
by
the
Preparation
we
have
shewn
,
is
a
true
sign
of
its
Purity
,
that
it
is
fit
to
make
a
Medicine
very
homogeneous
to
Nature
.
I
don't
say
that
this
Preparation
alone
,
we
have
here
shewn
,
is
sufficient
for
so
elevated
a
Mystery
as
that
whereof
we
speak
;
but
I
cannot
also
conceal
that
it
is
the
chief
part
of
the
Work
,
especially
if
you
observe
some
little
Circumstances
which
Isaac
Hollandus
has
omitted
to
mention
,
whether
he
was
ignorant
of
them
,
or
thought
them
not
necessary
to
his
Preparation
,
I
can't
tell
.
The
Learned
will
easily
penetrate
into
this
Mystery
,
and
others
that
have
a
true
desire
to
know
it
,
will
find
Subject
to
exercise
their
Wits
on
,
in
embracing
so
serious
a
Study
to
penetrate
into
the
depths
of
it
.
CHAP.
CXI
.
The
Way
to
make
very
hard
Pasts
with
Sulphur
of
Saturn
,
and
to
give
them
all
the
Colours
of
Precious
Stones
.
THIS
Paste
is
a
Consequent
of
the
precedent
Operation
,
because
we
employ
therein
the
same
Sulphur
of
Saturn
,
we
just
now
mentioned
;
and
that
which
chiefly
causes
its
Beauty
,
is
that
all
the
Ingredients
we
use
in
it
are
perfectly
purified
.
To
do
this
,
take
ten
Pound
of
Natural
Crystal
prepared
,
with
six
Pound
of
Salt
extracted
from
Polverine
of
Rochetta
,
purified
,
pounded
,
and
well
searced
,
as
we
have
shewn
in
Chap.
7
,
whereunto
add
two
Pound
of
Sulphur
of
Saturn
chymically
prepared
,
as
in
the
preceding
Chapter
;
then
mix
these
three
Powders
well
together
,
and
put
them
into
an
Earthen
glazed
Pan
,
and
cast
on
them
a
little
common
fair
Water
to
reduce
these
Powders
into
a
Lump
something
hard
.
Afterwards
divide
them
into
several
Parcels
of
about
three
Ounces
each
,
making
a
hole
in
the
middle
the
better
to
dry
them
at
the
Sun
;
being
well
dry'd
,
put
them
into
an
Earthen
Pot
well
luted
,
then
calcine
them
in
a
Potters
Furnace
,
then
pound
and
grind
them
well
on
a
Marble
,
and
searce
them
through
a
fine
Sieve
.
This
being
done
,
put
this
Powder
into
a
Glass
Furnace
,
there
to
melt
and
purifie
for
three
Days
;
then
cast
the
Matter
into
the
Water
,
as
we
have
elsewhere
shewn
;
and
after
you
have
dried
it
,
put
it
again
into
the
Pot
in
the
same
Oven
,
there
to
melt
and
repurifie
for
fifteen
Days
,
that
it
may
be
without
spot
,
and
that
it
becomes
of
the
colour
of
Precious
Stones
.
This
Crystalline
Matter
may
be
tinged
of
several
Colours
,
viz.
Emerald
by
means
of
Copper
thrice
calcined
;
Topaz
by
means
of
prepared
Zaffer
;
and
so
of
others
whereof
we
shall
not
treat
here
,
having
largely
done
it
elsewhere
.
To
succeed
,
you
must
put
into
the
Furnace
as
many
Pots
as
you
design
to
make
different
Colours
,
add
to
each
as
much
Chrystalline
Matter
as
you
please
,
and
regulate
according
to
the
weight
of
the
tinging
Materials
which
you
add
to
them
,
and
proportionate
them
to
those
we
have
described
in
the
precedent
Chapters
of
this
Book
.
This
Paste
will
have
finer
Colours
than
the
true
Natural
Stones
,
and
approach
near
to
their
hardness
;
particularly
that
of
the
Emerald
,
which
the
Curious
will
find
by
Experience
.
CHAP.
CXII
.
The
Way
to
make
Saturnus
(
called
)
Glorificatus
.
THIS
is
a
Preparation
we
hold
in
no
less
esteem
for
Pasts
for
Gems
,
than
that
of
Isaac
Hollandus
,
and
whereof
we
have
spoken
in
Chap.
110
,
they
have
some
likeness
,
yet
this
last
is
more
easie
to
make
,
and
more
short
,
and
has
no
less
Virtue
.
Take
a
good
Litharge
,
or
rather
good
Ceruss
of
Venice
,
what
quantity
you
please
.
That
which
you
choose
,
grind
into
a
subtile
Powder
,
in
a
great
Glass
Cucurbite
,
whereunto
pour
good
distill'd
Vinegar
,
as
much
as
shall
swim
on
the
top
of
the
Matter
a
Hand
high
▪
Then
put
this
Vessel
on
a
soft
Ash-Fire
,
and
when
the
Vinegar
is
well
colour'd
and
impregnated
with
Salt
of
Saturn
,
decant
it
off
into
another
Vessel
;
then
continue
to
put
new
Vinegar
on
your
Matter
,
which
stir
well
with
a
Stick
,
to
facilitate
the
Solution
of
the
Salt
;
and
do
it
so
often
,
that
your
Vinegar
shall
have
extracted
all
the
Tincture
from
the
Salt
,
and
that
colour
it
no
more
.
Then
take
all
your
coloured
Vinegar
,
rectifie
it
four
times
on
Tartar
calcined
to
Whiteness
,
then
filter
it
carefully
,
and
put
it
in
a
Glass
Cucurbite
,
on
a
Sand
or
Ash-Fire
,
where
gently
evaporate
it
till
it
be
just
skin'd
over
.
Then
put
the
Vessel
into
a
cold
place
,
having
taken
care
to
cover
it
,
for
fear
of
any
foulness
tumbling
into
it
;
and
in
a
little
time
you
'll
find
your
Matter
in
little
Stones
,
Pure
,
Chrystalline
,
and
Fusible
,
which
you
must
take
out
of
your
Vessel
with
a
Skimmer
full
of
Holes
.
Then
put
your
Vessel
on
the
same
Fire
to
evaporate
the
remaining
Vinegar
till
it
be
just
skin'd
over
,
and
then
set
it
in
a
cold
place
to
Crystallize
as
before
.
When
you
have
taken
out
all
the
Crystals
,
dry
them
well
,
and
reduce
them
into
a
subtile
Powder
,
and
keep
them
in
a
Vessel
well
stopped
,
taking
care
to
make
at
least
ten
Pounds
.
Thus
you
have
Saturnus
Glorificatus
.
CHAP.
CXIII
.
Another
Way
of
making
Paste
for
Precious
Stones
,
with
Saturnus
Glorificatus
.
THERE
are
some
who
use
transparent
Flints
calcined
,
to
add
to
Saturnus
Glorificatus
,
and
make
Paste
for
Artificial
Gems
;
but
as
we
esteem
Natural
Chrystal
prepared
much
more
proper
for
that
Work
,
we
should
employ
it
before
calcined
Flints
.
Take
therefore
of
Natural
Chrystal
prepared
ten
Pounds
,
of
Saturnus
Glorificatus
ten
Pounds
,
the
whole
reduced
to
fine
Powder
,
which
mix
well
together
;
then
put
it
in
a
Pot
in
a
Glass-house
Furnace
,
there
to
be
melted
and
purified
three
Days
:
Then
cast
it
into
a
great
Wooden
Vessel
full
of
cold
Water
,
then
dry
it
,
and
put
it
in
the
Furnace
in
the
same
Pot
,
the
better
to
purifie
.
When
this
Chrystalline
Matter
is
well
melted
,
and
clear
,
take
out
the
Pot
;
and
when
it
is
cool
,
pound
it
to
an
impalpable
Powder
on
a
Marble
,
then
keep
it
in
a
Glass
Vessel
well
stopped
,
for
fear
of
Dust
falling
in
;
and
that
Matter
will
serve
for
a
Basis
or
Stuff
to
make
all
sorts
of
Artificial
Gems
of
.
We
need
not
here
repeat
the
Way
of
making
them
of
this
Past
,
because
we
have
shewn
it
before
in
several
others
;
but
for
sake
of
the
Curious
who
are
never
weary
of
Learning
,
we
will
do
it
;
besides
that
there
are
some
who
may
take
pleasure
in
reading
it
,
as
we
do
in
writing
it
;
particularly
we
will
treat
of
some
Species
of
Stones
we
have
,
as
yet
,
not
at
all
mentioned
.
CHAP.
CXIV
.
To
make
a
very
fair
Carbuncle
.
THE
Carbuncle
is
a
very
Precious
Stone
,
whereof
several
Authors
have
written
,
but
I
don't
know
one
that
says
he
has
seen
it
.
They
attribute
to
this
Stone
the
Property
of
giving
Light
in
the
Dark
,
like
a
burning
Coal
,
or
a
kindled
Lamp.
Ludovicus
Verromannus
reports
that
the
King
of
Pegu
,
carried
one
about
him
of
such
a
bigness
,
and
so
much
Splendor
,
that
those
who
saw
that
Prince
when
it
was
Dark
,
saw
him
shining
as
if
encircled
with
the
Sun
;
but
this
Author
,
as
well
as
the
rest
,
says
he
never
saw
one
.
Pliny
pretends
there
are
several
sorts
of
Carbuncles
,
some
Male
ones
more
hard
and
brighter
,
and
other
Females
more
languid
.
But
this
Author
is
so
confused
,
and
so
little
assured
of
it
,
that
we
cannot
take
his
Testimony
as
Authentick
.
Yet
among
all
those
Species
which
he
describes
,
those
seem
to
approach
nearest
Carbuncles
,
which
he
calls
Lithizontes
and
Sandastri
.
The
first
discovers
strongly
its
splendour
at
the
Fire
or
Sun
;
being
in
the
Shade
it
appears
of
a
Purplish
Colour
;
being
exposed
in
the
open
and
clear
Day
,
it
sparkles
as
it
were
at
the
Sun-beams
,
and
hides
as
it
were
bright
Stars
within
it
.
The
second
is
curious
by
reason
of
Golden
Sparkles
appearing
and
glittering
within
like
Stars
,
which
are
always
seen
across
it
within
side
,
but
never
near
the
Surface
,
imitating
the
Hyades
by
their
number
and
Disposition
and
Order
.
This
Author
says
lastly
,
that
the
Chaldaeans
held
this
last
Stone
in
great
Veneration
,
and
used
it
in
all
their
Ceremonies
.
As
for
me
I
am
apt
to
think
that
the
Carbuncle
,
is
that
Stone
the
Ancients
have
related
to
give
Light
by
Night
like
a
flaming
Fire
,
and
by
Day
like
a
twinkling
Star
,
which
is
now
no
more
to
be
found
as
we
have
hinted
in
the
first
Chapter
,
and
that
their
Carbuncle
is
the
Stone
only
known
to
the
Adepti
,
the
Matter
whereof
is
so
pure
and
Spiritual
,
that
Evil
Spirits
dare
not
look
on
it
,
much
less
come
near
it
.
Whether
the
Carbuncle
be
a
precious
Stone
found
in
the
Bowels
of
the
Earth
or
not
,
we
can
imitate
the
Properties
these
Authors
give
it
by
help
of
our
Art.
And
we
will
shew
you
two
Ways
of
doing
it
in
this
Chapter
.
For
the
first
take
ten
Ounces
of
Matter
prepared
with
Saturnus
Glorificatus
,
and
Natural
Crystal
,
reduced
to
impalpable
Powder
,
as
we
have
shewn
in
the
preceding
Chapter
,
whereunto
add
half
an
Ounce
of
Crocus
Martis
,
in
fine
Powder
prepared
as
in
Cha●
.
27.
After
having
well
mixed
these
Powders
together
,
put
them
into
a
good
Crucible
,
which
cover
and
lute
well
,
then
put
it
into
a
Glass-house
Fire
for
three
Days
,
by
putting
it
nearer
and
nearer
the
strength
of
the
Fire
by
degrees
.
Then
take
out
your
Crucible
,
and
put
the
Matter
into
a
Marble
Mortar
,
then
pound
and
grind
it
very
small
,
with
its
weight
of
Sa●
Gemmae
,
and
put
it
into
another
Crucible
,
which
cover
and
lute
as
before
.
Being
dry
,
put
it
into
the
same
Glass-house
Furnace
,
approaching
it
to
the
Fire
little
by
little
,
and
letting
it
stand
twenty
Hours
in
good
Fusion
.
Then
take
it
out
,
and
put
it
again
into
the
Furnace
to
bake
again
,
as
you
do
Glass
,
where
leave
it
twelve
Hours
,
that
it
may
cool
gently
.
Your
Crucible
being
cold
,
take
it
out
of
the
Furnace
to
bake
again
,
then
break
it
,
and
you
'll
find
in
it
the
Matter
tinged
of
a
very
fine
Carbuncle
Colour
,
which
you
may
cut
of
what
Form
and
Greatness
you
please
,
and
then
cut
and
polish
them
at
the
Wheel
,
and
they
will
be
perfect
.
There
is
a
certain
Slight
,
which
I
shall
not
mention
here
,
which
several
Artists
may
know
,
whereby
these
Carbuncles
may
be
made
to
undergo
all
Trials
.
It
is
a
Point
which
will
deserve
the
Study
of
all
those
who
are
ignorant
of
it
;
to
discover
it
to
every
one
,
would
be
a
Profanation
of
the
Secrets
of
Art
,
and
would
make
the
Ignorant
as
knowing
in
one
Moment
,
as
those
who
have
employed
all
their
Lives
in
Searches
after
the
profoundest
Knowledge
.
CHAP.
CXV
.
Another
Carbuncle
more
noble
and
fairer
,
called
,
Carbunculus
nocte
illuminans
.
THERE
is
a
second
way
of
making
a
Carbuncle
,
called
,
Carbunculus
nocte
illuminans
,
which
is
far
more
resplendent
and
fairer
than
the
former
.
Those
who
have
written
that
it
shone
in
the
Night
,
and
made
the
Possessors
of
it
always
very
lucky
,
only
spoke
by
way
of
allusion
to
the
Philosophers
Stone
,
to
which
alone
that
vertue
can
be
attributed
;
that
is
,
the
Stone
and
Carbuncle
which
is
not
to
be
found
,
that
is
,
except
in
the
Hands
of
the
Adepti
,
who
alone
can
make
and
possess
it
.
We
may
here
boldly
say
,
That
the
Carbunculus
nocte
illuminans
,
is
not
a
Stone
any
where
formed
by
Nature
,
but
made
by
Art
;
for
Nature
cannot
purifie
the
Matters
she
furnishes
us
with
,
and
this
Stone
cannot
be
made
of
them
,
except
when
they
are
purified
in
the
utmost
perfection
,
which
Art
alone
can
do
.
Thus
this
Master-piece
of
Work
,
this
Carbuncle
,
this
Phoenix
,
or
this
Stone
so
famous
among
the
Philosophers
,
is
far
more
precious
than
any
Nature
can
form
,
since
by
means
of
it
,
you
may
in
two
Hours
time
make
simple
Crystals
as
valuable
as
any
Stones
Nature
spends
so
many
Ages
in
bringing
to
perfection
.
If
there
are
any
Carbuncles
in
the
World
,
or
Precious
Stones
that
have
their
Beauty
,
we
are
perswaded
that
they
must
be
the
products
of
Art
rather
than
Nature
,
and
that
they
are
only
made
by
that
pure
and
incomparable
Matter
of
the
Philosophers
,
exalted
in
colour
and
virtue
to
the
highest
degree
:
We
are
perswaded
by
all
the
Authors
we
have
read
,
that
there
is
no
such
Natural
Stone
;
so
that
there
is
only
the
precious
Elixir
of
the
Adepti
,
whereof
a
Stone
of
the
Qualities
given
to
the
Carbuncle
can
be
formed
,
which
far
surpasses
in
Beauty
,
Rubies
,
Granats
,
Jacynths
,
&c.
But
now
we
come
to
the
way
of
imitating
this
second
Carbuncle
,
or
rather
the
Beauty
which
Authors
attribute
to
it
,
not
with
the
Elixir
of
the
Adepti
,
whereof
we
know
nothing
but
the
vertues
,
but
with
the
ordinary
Matters
known
to
all
the
Students
in
this
Art.
Take
ten
Ounces
of
Matter
prepared
with
Natural
Crystal
,
and
Saturnus
Glorificatus
,
and
reduced
to
an
impalpable
Powder
;
add
to
it
an
Ounce
of
Gold
calcined
,
as
we
shall
shew
hereafter
;
then
mix
the
whole
well
together
,
and
put
it
in
a
good
Crucible
,
which
must
not
be
above
half
full
,
cover
it
and
lute
it
well
,
let
it
dry
,
then
put
it
into
a
Glass-house
Furnace
for
three
Days
,
by
bringing
it
little
by
little
nearer
to
the
strongest
Fire
,
as
we
have
said
before
After
three
Days
take
out
your
Crucible
,
and
put
the
Matter
into
a
Marble
Mortar
,
which
pound
to
an
impalpable
Powder
,
to
which
add
its
weight
of
Sal
Gem
also
in
fine
Powder
,
which
mix
well
together
,
and
searce
through
a
fine
Sieve
,
the
better
to
incorporate
.
Put
this
Powder
into
a
new
Crucible
,
which
also
fill
but
half
way
,
which
cover
,
lute
,
and
dry
as
before
:
Then
put
it
in
the
same
Glass-house
Furnace
,
bringing
it
nearer
little
by
little
,
where
let
it
stand
ten
Hours
.
After
which
take
your
Crucible
out
of
the
Furnace
,
and
put
it
into
that
where
they
set
their
Glasses
to
anneal
,
whence
take
it
out
ten
or
twelve
Hours
after
,
and
having
broken
it
,
you
'll
find
the
Matter
tinged
of
a
Carbuncle-colour
,
the
most
lively
and
resplendent
that
can
be
made
by
this
Art
,
whereof
you
may
make
what
Stones
or
Works
you
please
.
We
have
promised
the
Calcination
of
Gold
,
which
may
be
performed
several
ways
,
but
as
fine
Works
cannot
be
made
without
the
most
pure
Matters
,
we
will
pretermit
the
more
common
ones
,
to
shew
you
the
following
,
which
is
very
fine
and
proper
for
this
Art.
Dissolve
an
Ounce
of
Gold
in
three
Ounces
of
Aqua
Regalis
;
then
add
to
it
four
Ounces
of
common
Mercury
purified
,
and
pass'd
through
Wash-Leather
,
which
will
precipitate
your
Gold
to
the
bottom
of
the
Matras
joyning
it self
to
it
.
Then
your
Aqua
Regalis
will
grow
clear
,
which
when
it
is
,
and
seems
to
have
no
more
Gold
in
it
,
decant
it
off
,
then
wash
your
Matter
with
warm
Water
to
dulcifie
it
,
and
take
off
all
the
Saltness
.
Add
to
this
Matter
,
being
dry'd
,
its
weight
of
Flour
of
Brimstone
,
then
pound
the
whole
well
together
,
put
them
in
a
Crucible
,
to
which
fit
another
on
the
top
,
which
must
be
bored
on
the
bottom
,
with
a
hole
big
enough
to
put
a
Quill
through
,
which
lute
well
together
,
and
dry
them
.
Then
put
them
in
a
round
Fire
,
which
you
must
give
them
by
degrees
for
four
Hours
,
the
Crucible
being
the
last
Hour
wholly
covered
over
with
Coals
,
which
let
kindle
and
cool
again
.
Then
open
the
Crucible
,
and
you
'll
find
your
Gold
calcined
,
which
amalgamate
with
four
Ounces
of
fresh
Mercury
;
to
which
add
five
Ounces
more
of
Flour
of
Brimstone
,
pounding
them
well
together
as
before
,
then
put
the
whole
in
your
Crucibles
,
which
lute
and
give
them
the
same
round
Fire
as
before
,
which
reiterate
a
third
time
,
the
better
to
calcine
and
open
your
Gold
;
then
put
it
into
a
glazed
Earthen
Pan
,
pretty
deep
,
and
pour
on
it
good
Spirit
of
Wine
that
may
swim
two
Inches
above
,
then
put
Fire
to
it
,
and
when
it
is
burnt
,
you
'll
have
a
very
fine
Gold
,
in
an
impalpable
Calx
,
well
opened
,
which
edulcorate
with
warm
Water
distill'd
,
and
dry
it
gently
.
There
is
yet
another
way
to
calcine
Gold
more
perfectly
,
by
means
of
which
you
may
make
a
good
Ceruss
,
and
afterwards
a
perfect
Vitriol
or
Salt
,
whereof
the
Principles
may
be
separated
,
and
you
may
perform
Wonders
with
them
in
Medicine
and
Metallick
Chymistry
;
but
that
Calcination
would
be
too
long
to
describe
here
,
besides
it
is
foreign
to
our
Business
,
the
Gold
of
that
being
too
much
opened
.
CHAP.
CXVI
.
To
make
Oriental
Rubies
.
THE
true
Ruby
,
which
is
a
precious
Stone
,
diaphanous
and
very
radiant
,
ought
to
have
the
colour
of
Blood
,
and
Scarlet
,
and
clear
Lacca
,
and
shew
about
the
edges
of
its
Fire
,
a
little
Azure-colour
.
This
Stone
is
found
in
the
Isle
of
Ceilen
,
and
in
the
River
of
Pegu
,
in
a
Rocky
Matter
of
a
Rosiecolour
,
which
is
the
Matrix
wherein
it
is
generated
and
nourished
;
and
if
that
Rocky
Matter
be
transparent
,
it
yields
the
Balass
Ruby
,
whereof
we
will
treat
in
the
following
Chapter
.
Sometimes
there
are
found
such
fine
and
large
Rubies
,
that
some
have
mistook
them
for
Carbuncles
.
If
any
Ruby
ever
merited
that
Name
,
it
was
that
of
Queen
Elizabeth
of
Austria
,
Dowager
of
Charles
IX
,
which
after
her
Death
she
left
to
the
Emperor
Rodolphus
II
,
her
Brother
.
It
had
been
purchased
long
before
for
sixty
thousand
Ducats
,
which
was
then
a
very
considerable
Sum.
Queen
Mary
de
Medicis
had
also
one
of
an
inestimable
Value
,
and
Bigness
,
but
I
cannot
learn
what
the
Purchase
was
,
or
what
became
of
it
.
To
imitate
this
fine
Colour
,
take
four
Ounces
of
our
Matter
prepared
with
Natural
Crystal
,
and
Saturnus
Glorificatus
,
two
Ounces
of
Crocus
Martis
prepared
as
in
Chap.
25
,
one
Ounce
of
Verdigrease
,
two
Ounces
of
Mercury
calcin'd
ad
rubedinem
,
and
two
Ounces
of
Sal-Gem
,
the
whole
reduced
to
fine
Powder
,
well
mixed
together
,
put
into
a
Crucible
covered
and
luted
and
set
in
a
Glass-house
Furnace
for
three
Days
,
then
take
it
out
and
put
it
in
the
Furnace
where
Glasses
are
set
to
Anneal
,
there
to
cool
by
degrees
for
twelve
Hours
.
Then
break
your
Crucible
,
and
you
'll
find
your
Matter
tinged
of
a
fine
Ruby-colour
,
which
you
may
divide
,
cut
,
and
polish
,
as
we
have
said
before
.
We
could
shew
a
way
of
imitating
Rubies
with
only
Orpiment
,
which
are
very
fine
,
but
so
brittle
,
that
we
thought
it
better
to
say
nothing
of
it
,
rather
than
give
occasion
for
an
Expence
that
would
turn
to
no
Profit
.
CHAP.
CXVII
.
To
make
Balass
Ruby
.
THIS
Precious
Stone
is
of
the
Nature
of
a
Ruby
,
since
it
is
found
in
the
same
Matter
as
that
.
It
s
very
bright
colour
resembles
a
Vermillion
Rose
and
Crimson
,
being
mixt
of
a
Natural
Red
and
of
a
Sky-colour
:
We
will
now
shew
the
way
to
imitate
it
.
Take
six
Ounces
of
Saturnus
Glorificatus
,
mixed
with
Natural
Crystal
,
as
in
Chap.
113
,
half
an
Ounce
of
Crocus
Martis
,
half
an
Ounce
of
Mercury
calcin'd
ad
Rubedinem
,
and
two
Drams
of
Sal
Gem
,
the
whole
reduc'd
to
an
impalpable
Powder
,
and
mixed
well
together
.
Then
put
it
in
a
Crucible
covered
close
and
luted
,
and
so
into
a
Glass-house
Furnace
for
three
Days
,
proceeding
moreover
as
in
the
preceding
Chapter
,
and
you
'll
have
a
very
fine
Matter
,
the
colour
of
Balass
Ruby
.
CHAP.
CXVIII
.
To
make
Oriental
Sapphire
.
WE
will
not
repeat
here
the
Nature
or
Colour
of
the
Sapphire
,
having
done
it
before
:
But
we
will
add
,
that
from
the
true
Sapphire
,
may
be
extracted
the
three
Principles
,
which
are
of
infinite
vertue
in
Medicine
,
whether
united
,
or
separate
.
To
imitate
this
Precious
Stone
,
with
our
Matter
prepared
with
Saturnus
Glorificatus
,
and
Natural
Crystal
,
take
ten
Ounces
,
add
two
Drams
of
the
Calx
of
Gold
,
mix
these
Powders
well
together
,
put
them
in
a
Crucible
covered
with
another
,
let
them
dry
,
then
put
them
in
a
Glass-house
Furnace
for
three
Days
.
Moreover
do
all
we
have
ordered
in
Chap.
116
,
and
that
Mass
will
be
of
a
very
fair
Oriental
Sapphirecolour
,
which
cut
and
polish
at
the
Wheel
.
CHAP.
CXIX
.
The
Way
to
make
an
Oriental
Emerald
.
THE
Chapters
wherein
we
have
shewn
how
to
imitate
this
Precious
Stone
,
contain
also
its
Nature
and
Colours
;
and
all
we
design
to
say
here
,
our
Intent
being
not
to
enlarge
on
all
the
Properties
of
Precious
Stones
,
but
only
to
shew
the
Means
of
imitating
them
,
as
we
shall
go
on
to
do
.
To
make
this
Oriental
Emerald
,
take
ten
Ounces
of
our
Matter
prepared
,
of
Saturnus
Glorificatus
,
and
Natural
Crystal
,
half
an
Ounce
of
prepared
Verdigrease
,
half
a
Dram
of
Foretto
of
Spain
also
prepared
,
as
in
Chap.
20
,
the
whole
reduced
into
fine
Powder
,
and
well
mixed
together
,
and
put
it
into
a
Crucible
covered
with
another
,
lute
it
and
dry
it
;
then
set
it
in
a
Glass-house
Furnace
for
three
Days
,
and
after
in
the
Annealing
Furnace
twelve
Hours
.
After
which
break
the
Crucible
,
and
you
'll
find
the
Matter
tinged
of
a
very
fine
Oriental
Colour
,
which
cut
and
polish
as
before
.
CHAP.
CXX
.
The
Way
to
make
Turcois
.
WE
have
shewn
the
way
to
give
a
Turcois-colour
to
Glass
,
in
Chap.
50
,
but
we
have
not
yet
spoken
of
its
Colour
or
Nature
,
which
obliges
us
to
do
it
in
this
Chapter
.
The
Name
of
Turcois
,
which
this
Precious
Stone
bears
,
comes
from
the
place
where
it
is
found
,
viz.
in
Turky
,
altho'
this
Stone
also
comes
from
Persia
and
the
East-Indies
,
where
it
is
found
in
abundance
,
the
Colour
whereof
approaches
nearer
to
Blue
than
Green
,
which
also
distinguishes
them
from
those
that
come
out
of
the
West
,
which
are
more
Green
and
Whitish
.
They
call
the
first
by
the
Name
of
the
Stone
of
the
Old
Rock
,
and
the
other
by
that
of
the
New.
The
Turcois
is
the
finest
and
noblest
of
all
Opaque
Precious
Stones
:
Its
colour
is
composed
of
Green
,
White
and
Blue
,
and
imitates
that
of
Verdigrease
.
They
attribute
great
Properties
to
this
Stone
,
such
as
bringing
good
or
evil
Luck
to
People
,
and
to
denote
things
to
come
to
them
,
either
by
their
breaking
or
changing
Colour
,
which
we
omit
discoursing
of
,
to
shew
the
manner
of
imitating
them
.
Take
ten
Ounces
of
our
Matter
prepared
,
of
Natural
Crystal
,
and
Saturnus
Glorificatus
;
half
an
Ounce
of
purified
Verdigrease
,
and
one
Ounce
of
prepared
Zaffer
,
the
whole
in
fine
Powder
;
which
mix
well
together
in
a
Crucible
covered
with
another
,
well
luted
and
dried
,
which
afterwards
put
into
a
Glass-house
Furnace
,
where
leave
it
for
three
Hours
,
then
twelve
Hours
in
the
Annealing
Furnace
,
that
it
may
cool
gently
.
Then
take
out
your
Crucible
and
break
it
,
and
take
out
the
Matter
,
and
cut
and
polish
it
,
and
you
'll
have
Turcois
colour'd
Stones
,
like
those
of
the
Old
Rock
.
CHAP.
CXXI
.
To
make
Oriental
Topaz
.
IT
will
be
needless
here
to
repeat
the
Quality
of
the
Topaz
,
since
we
have
done
it
already
in
this
Book
:
So
we
shall
content
our selves
to
shew
the
manner
of
imitating
it
,
with
our
Paste
composed
of
Natural
Crystal
,
and
Saturnus
Glorificatus
,
whereof
take
ten
Ounces
,
of
very
good
Orpiment
one
Ounce
reduced
to
fine
Powder
.
After
having
mixed
them
well
together
,
put
them
into
a
Crucible
covered
with
another
,
which
lute
and
dry
well
,
then
put
it
into
a
Glass-house
Furnace
for
three
Hours
,
and
then
let
it
cool
gently
,
in
the
Annealing
Furnace
.
Having
taken
your
Matter
out
of
the
Crucible
,
you
may
cut
and
polish
it
as
you
please
,
and
you
'll
have
a
very
fine
Oriental
Topaz
.
CHAP.
CXXII
.
The
Way
to
make
Chrysolite
.
WE
have
also
describ'd
the
Nature
and
Properties
of
the
Chrysolite
in
this
Book
,
as
well
as
of
the
Topaz
and
other
Gems
,
wherefore
we
will
only
shew
the
way
here
to
imitate
its
Colour
.
Take
ten
Ounces
of
our
Powder
of
Natural
Crystal
,
and
Saturnus
Glorificatus
,
to
which
add
one
Ounce
of
Crocus
Martis
prepared
,
the
whole
reduced
to
fine
Powder
,
well
mixed
,
and
put
into
a
Crucible
covered
and
luted
,
as
we
have
said
:
Observing
moreover
what
we
have
remarked
for
the
Baking
,
and
you
'll
have
a
fine
Chrysolite-colour
,
which
will
be
of
the
Native
Green.
CHAP.
CXXIII
.
Another
Way
of
making
all
sorts
of
Precious
Stones
much
harder
,
to
turn
Iargons
of
Avernia
into
Diamonds
,
to
make
Diamonds
of
Alanson
,
and
harden
them
,
to
make
white
and
fine
Sapphires
as
hard
as
true
Diamonds
,
&c.
HERE
we
give
another
way
of
making
Precious
Stones
,
different
from
those
we
have
given
before
,
which
will
be
much
harder
,
and
consequently
approach
nearer
the
Nature
of
fine
ones
,
because
we
employ
no
Saturn
therein
,
which
always
makes
Stones
softer
and
heavier
,
what
Preparation
soever
you
use
of
it
.
We
shall
only
make
use
of
Natural
Crystal
,
and
some
Materials
added
to
it
,
to
give
it
the
Colours
of
all
sorts
of
Precious
Stones
.
We
also
use
in
the
Composition
of
the
Materials
of
these
Gems
,
fine
and
pure
Salt
of
Tartar
prepared
,
as
in
Chap.
93
,
which
ought
to
open
our
Crystal
,
and
make
it
the
better
imbibe
the
Colour
of
the
Tinctures
which
we
give
it
,
which
will
make
the
Stones
appear
more
fine
and
shining
.
To
prepare
our
Crystal
,
you
must
first
calcine
it
,
as
we
have
shewn
in
Chap.
92
;
that
is
,
by
heating
it
red
hot
in
a
Crucible
,
and
quenching
it
often
in
cold
Water
,
changing
the
Water
each
time
.
But
instead
of
grinding
it
to
an
impalpable
Powder
upon
a
Marble
,
as
we
have
shewn
in
the
same
Chapter
,
you
must
pound
it
in
a
Brass
Mortar
with
a
Pestle
of
the
same
,
and
not
use
Iron
no
more
than
Marble
,
then
searce
the
Crystal
through
a
fine
Sieve
;
and
this
is
the
Basis
of
all
our
following
Gems
:
We
should
have
desired
to
have
put
down
all
our
Preparations
in
one
Chapter
,
since
there
are
only
the
Doses
and
the
Colours
to
be
changed
,
the
more
to
abridge
this
Work
;
but
the
fear
such
a
Mixture
should
breed
confusion
,
obliges
us
to
continue
our
Work
as
we
have
begun
it
,
which
is
to
make
a
Chapter
of
each
sort
of
Stone
,
and
of
the
difference
of
their
Colours
.
After
that
,
we
will
give
the
true
manner
of
turning
Jargons
of
Avernia
into
Diamonds
,
to
make
Diamonds
of
Alanson
,
to
harden
them
,
and
make
them
exceeding
Sparkling
;
to
give
hardness
to
white
and
fine
Sapphires
;
so
that
it
will
be
difficult
to
distinguish
them
from
true
Diamonds
.
Finally
we
may
chance
to
add
something
further
,
for
the
sake
of
the
Curious
.
CHAP.
CXXIV
.
The
Way
to
make
a
fair
Emerald
.
WE
will
abridge
as
much
as
possible
all
the
Processes
of
these
Chapters
,
that
we
may
not
trouble
the
Reader
with
dull
Repetitions
.
The
change
of
Materials
for
this
Work
making
great
differences
in
it
,
we
could
not
explain
in
one
Chapter
,
all
the
different
Ways
of
making
one
and
the
same
Stone
,
because
such
a
Mixture
would
occasion
confusion
.
To
make
a
fine
Emerald
of
our
Crystal
:
Take
two
Ounces
of
it
,
and
add
to
it
forty
eight
Grains
of
Crocus
Martis
,
and
two
Ounces
and
forty
eight
Grains
of
pure
Salt
of
Tartar
,
prepared
as
in
Chap.
93
,
the
whole
reduced
into
fine
Powder
in
a
Brass
Mortar
,
which
put
into
a
Crucible
covered
with
another
,
and
luted
well
together
;
then
put
it
into
the
Glass-house
Fire
,
there
to
bake
twenty
four
Hours
,
and
then
in
the
Annealing
Furnace
for
twelve
Hours
,
that
the
Matter
may
cool
little
by
little
,
which
then
take
out
of
the
Crucible
,
cut
and
polish
,
and
you
'll
have
a
perfect
Emerald
.
CHAP.
CXXV
.
The
Way
to
make
a
Violet
-
Sapphire
.
WE
shall
shew
several
ways
of
making
Sapphires
of
our
Crystal
of
different
Colours
.
To
make
this
,
take
one
Ounce
of
our
Powder
of
Crystal
,
one
Dram
of
Salt
of
Vitriol
,
and
nine
Drams
of
fine
Salt
of
Tartar
,
the
whole
in
fine
Powder
.
Then
proceed
further
as
we
have
shewn
in
the
preceding
Chapter
;
and
you
'll
have
a
Sapphire
of
a
very
fine
Violet-colour
.
CHAP.
CXXVI
.
Another
Violet
-
Sapphire
of
a
deeper
Colour
.
THIS
Sapphire
will
be
very
fine
,
but
of
a
very
deep
Colour
,
and
if
any
Person
desire
it
to
be
lighter
,
he
may
easily
make
it
so
,
by
diminishing
one
fourth
part
of
the
tinging
Ingredients
which
we
add
to
Crystal
.
Take
to
make
this
,
two
Ounces
of
our
Powder
of
Crystal
,
two
Ounces
,
five
Drams
,
and
twenty
four
Grains
of
Verdigrease
,
thirty
two
Grains
of
Azure
,
and
two
Drams
of
Sublimate
,
the
whole
in
very
fine
Powder
.
As
to
the
baking
of
it
observe
what
we
have
said
in
Chap.
124.
CHAP.
CXXVII
.
Another
very
fine
Blue
-
Sapphire
.
THE
Blue
Colour
of
Sapphire
,
is
no
less
agreeable
than
the
Violet
,
and
it
is
the
Male
of
its
Kind
.
To
make
it
,
take
one
Ounce
of
our
Crystal
in
Powder
,
add
to
it
a
Dram
of
Salt
of
Vitriol
,
three
Grains
of
Verdigrease
,
one
Grain
of
Azure
,
and
one
Ounce
,
one
Dram
,
four
Grains
of
our
fine
Salt
of
Tartar
,
the
whole
in
fine
Powder
;
put
it
into
a
Crucible
covered
and
luted
,
to
be
baked
and
purified
,
as
we
have
heretofore
shewn
,
and
you
'll
have
a
very
fine
Blue
-
Sapphire
,
&c.
CHAP.
CXXVIII
.
Another
fine
Sapphire
.
THE
Colours
of
these
Sapphires
being
different
,
by
the
Dose
and
mixture
of
the
Ingredients
,
we
will
shew
each
in
a
Chapter
by
it self
.
Take
two
Ounces
of
our
Powder
of
Crystal
,
two
Ounces
of
our
fine
Salt
of
Tartar
,
five
Drams
,
twenty
four
Grains
of
Verdigrease
,
and
thirty
two
Grains
of
Arure
,
the
whole
reduced
to
impalpable
Powder
,
which
you
must
set
to
bake
and
purifie
in
a
covered
Crucible
in
a
Glass-house
Furnace
,
aswe
have
said
before
,
and
you
'll
have
a
very
fine
Sapphire
.
CHAP.
CXXIX
.
Another
Admirable
Blue
.
TO
arrive
to
this
fine
Colour
,
take
one
Ounce
of
our
Powder
of
Crystal
,
one
Dram
,
fifty
six
Grains
of
our
fine
Salt
of
Tartar
,
the
whole
reduced
to
a
fine
Powder
,
put
it
into
a
Crucible
covered
and
luted
,
which
bake
and
purifie
twenty
four
Hours
in
a
Glass-house
Furnace
,
then
set
it
to
cool
gently
twelve
Hours
in
the
Annealing
Furnace
.
Then
you
'll
have
an
admirable
Blue
,
which
you
may
cut
and
polish
,
&c.
CHAP.
CXXX
.
The
Way
to
make
Beryl
,
or
Egmarine
.
THIS
Beryl-colour
will
be
very
fine
Sky-colour
,
if
you
take
one
Ounce
of
our
Powder
of
Crystal
,
one
Ounce
of
our
fine
Salt
of
Tartar
,
and
six
Ounces
of
Salt
of
Vitriol
,
the
whole
reduced
to
fine
Powder
in
a
Brass
Mortar
,
and
searced
through
a
fine
Sieve
;
farther
proceeding
as
in
Chap.
124.
CHAP.
CXXXI
.
Another
deeper
Egmarine
.
THIS
deeper
Colour
we
give
Beryl
,
is
no
less
fine
than
the
first
.
Take
nine
Drams
,
forty
eight
Grains
of
our
Powder
of
Crystal
,
three
Drams
,
twenty
four
Grains
of
Verdigrease
,
and
one
Ounce
,
five
Drams
,
twenty
four
Grains
of
our
fine
Salt
of
Tartar
,
the
whole
reduced
into
fine
Powder
in
a
Brass
Mortar
,
and
then
baked
,
as
we
have
shewn
in
the
preceding
Chapter
.
CHAP.
CXXXII
.
To
make
a
fair
Jacynth
.
IT
is
scarce
possible
to
make
Iacynth
,
without
Lead
in
its
composition
,
wherefore
you
must
put
upon
an
Ounce
of
our
Powder
of
Crystal
,
two
Ounces
and
an
half
of
Minium
,
with
twenty
four
Grains
of
Verdigrease
,
two
Drams
of
Sublimate
,
and
five
or
six
Leaves
of
Silver
;
the
whole
reduc'd
to
fine
Powder
in
a
Brass
Mortar
,
and
searced
through
a
fine
Sieve
,
mix
them
well
together
,
and
put
them
in
a
Crucible
covered
with
another
,
and
well
luted
,
then
bake
and
purifie
it
in
a
Glass-house
Furnace
for
twelve
Hours
.
Then
take
it
off
the
Fire
,
then
pound
it
again
in
a
Brass
Mortar
to
a
fine
Powder
,
sifting
it
through
a
fine
Sieve
.
Then
put
it
in
a
new
Crucible
,
which
cover
and
lute
well
,
which
set
again
in
the
Glass-house
Furnace
for
twenty
four
Hours
,
and
twelve
more
in
the
Annealing
Furnace
.
The
Crucible
being
cold
,
take
out
the
Matter
which
will
be
of
a
fine
Iacynth-colour
,
which
cut
and
polish
.
CHAP.
CXXXIII
.
Another
fairer
Jacynth-Colour
.
IF
this
Iacynth
be
fairer
,
it
is
also
more
brittle
than
the
other
,
because
it
has
more
Lead
in
it
.
To
make
it
,
take
an
Ounce
of
our
Crystal
in
Powder
,
three
Ounces
of
Minium
,
and
forty
five
to
forty
six
Grains
of
Verdigrease
.
Mix
well
these
Matters
together
,
after
having
pounded
them
well
in
a
Brass
Mortar
,
and
searced
them
through
a
fine
Sieve
.
Then
put
them
into
a
Crucible
covered
and
luted
in
a
Glass-house
Furnace
,
where
let
it
stand
twelve
Hours
.
Then
take
out
the
Matter
,
which
pound
and
sift
well
;
then
put
that
Powder
into
another
Crucible
covered
and
luted
,
which
put
into
the
same
Glass-house
Furnace
for
twenty
four
Hours
,
and
the
Matter
will
be
well
baked
.
Then
take
out
the
Crucible
,
to
put
it
in
the
Annealing
Furnace
;
and
twelve
Hours
afterwards
take
your
Matter
out
of
the
Crucible
,
which
will
be
of
a
fine
Iacynth-colour
,
and
may
be
Wrought
.
CHAP.
CXXXIV
.
Another
Oriental
Iacynth-Colour
.
THIS
Colour
will
be
of
a
very
fine
reddish
Yellow
,
such
as
is
the
true
Oriental
Iacynth
:
To
make
it
,
take
one
Ounce
of
our
Crystal
in
Powder
,
three
Ounces
of
Minium
,
one
Ounce
of
Arsnick
prepared
as
for
the
Topaz
,
and
one
Ounce
of
Vitriol
calcined
ad
rubedinem
.
The
whole
reduced
to
a
fine
Powder
in
a
Brass
Mortar
,
proceeding
moreover
as
in
the
preceding
Chapter
.
CHAP.
CXXXV
.
The
Way
of
making
a
true
and
very
fine
PeridorColour
.
THE
Peridor
,
whereof
we
have
as
yet
made
no
mention
,
is
a
sort
of
a
clear
Topaz
,
of
a
Gold-colour
Light
,
but
which
is
notwithstanding
beautiful
.
To
imitate
it
well
,
take
two
Ounces
of
our
Natural
Crystal
in
Powder
,
six
Ounces
of
Minium
,
an
Ounce
of
our
fine
Salt
of
Tartar
,
and
eight
Grains
of
Verdigrease
;
the
whole
reduced
to
impalpable
Powder
,
pounded
in
a
Mortar
,
and
searced
through
a
fine
Sieve
.
You
must
observe
the
same
Circumstances
for
baking
this
Stone
,
as
for
the
Iacynth
,
by
reason
of
the
Minium
that
enters
into
the
one
and
the
other
,
and
you
'll
have
a
very
fine
Peridor
.
CHAP.
CXXXVI
.
Another
Colour
of
Peridor
.
THIS
Peridor
ought
to
be
harder
and
more
fixed
than
the
precedent
,
because
there
is
no
Minium
in
it
,
but
it
will
not
be
so
Vivacious
.
Take
one
Ounce
of
our
Natural
Crystal
in
Powder
,
a
Dram
of
Salt
of
Vitriol
,
two
Drams
of
Vitriol
calcined
ad
rubedinem
,
four
Grains
of
Verdigrease
,
and
of
our
fine
Salt
of
Tartar
,
as
much
as
equals
the
whole
in
weight
,
i.
e.
one
Ounce
,
three
Drams
,
and
four
Grains
.
All
these
Matters
being
reduc'd
into
fine
Powder
in
a
Brass
Mortar
,
mix
them
well
together
,
then
put
them
into
a
Crucible
covered
with
another
,
and
well
luted
,
twelve
Hours
after
take
your
Crucible
and
break
it
to
take
out
the
Matter
,
which
cut
and
polish
at
the
Wheel
,
then
let
it
be
Wrought
by
a
good
Workman
.
We
will
not
speak
here
of
other
sorts
of
Gems
,
which
may
be
imitated
by
this
same
way
,
adding
the
Doses
of
their
Tinctures
.
CHAP.
CXXXVII
.
Of
Iargons
of
Avernia
,
and
the
Way
to
make
those
Red
which
are
of
a
Gridelin-Colour
.
WE
have
promised
to
treat
of
the
Jargons
of
Auvergne
,
which
are
little
Stones
commonly
found
in
that
Country
,
and
several
other
places
of
France
:
They
are
red
and
shining
like
Iacynth
;
which
has
gain'd
them
the
Name
of
false
Iacynths
,
because
they
much
imitate
that
Precious
Stone
.
There
are
found
,
notwithstanding
,
many
of
these
small
Stones
,
which
are
not
of
a
red
Colour
,
but
of
a
kind
of
Gridelin
.
You
may
give
these
last
a
Red
Tincture
,
with
as
much
ease
as
you
can
take
it
away
from
the
former
to
convert
them
into
Diamonds
,
as
we
will
shew
in
the
following
Chapter
.
To
give
a
Red
Colour
to
Jargons
that
are
of
a
Gridelin
,
you
must
take
equal
parts
of
purified
Sal-Armoniac
,
and
of
Tartar
calcined
to
Whiteness
,
as
we
have
otherwise
shewn
:
Mix
these
Matters
well
in
fine
Powder
,
then
stratifie
your
Jargons
in
a
Crucible
S.
S.
S.
beginning
and
ending
with
the
Powders
.
Then
put
the
Crucible
in
a
good
Coal-Fire
,
but
not
hot
enough
for
the
Stones
to
melt
,
but
only
to
grow
red
hot
,
that
they
may
be
the
better
penetrated
by
the
Tincture
the
Materials
will
give
it
,
then
let
it
cool
,
and
by
this
Method
they
'll
take
as
fine
and
shining
a
Red
Tincture
,
as
the
true
and
finest
Natural
Jargons
of
this
colour
have
.
CHAP.
CXXXVIII
.
The
Way
of
Extracting
a
Tincture
of
Iargons
d'Auvergne
,
and
to
make
very
fair
and
hard
Diamonds
thereof
.
THOSE
Stones
may
be
made
white
and
hard
like
the
true
Diamonds
,
by
taking
away
their
Tincture
,
which
is
no
contemptible
Secret.
There
have
been
made
Rose-Diamonds
of
them
so
fine
and
curious
,
that
the
best
Goldsmiths
have
been
mistaken
in
them
,
and
thought
them
true
Diamonds
.
You
must
boil
your
Jargons
in
a
Balneum
of
Mutton-Suet
,
wherein
they
will
lose
all
their
Red
Colour
and
become
White
.
Then
take
equal
parts
of
Emery
of
Spain
,
Rock-Crystal
,
Pumice-Stone
,
and
Sulphurous
Trepoly
,
the
whole
reduced
into
fine
Powder
,
and
searced
through
a
fine
Sieve
,
make
a
Paste
of
it
with
Aqua
Vitae
,
wherewith
cement
your
Jargons
in
a
great
Crucible
S.
S.
S.
then
cover
it
with
another
,
and
lute
them
well
,
then
set
it
in
a
Furnace
over
a
gentle
Fire
for
half
an
Hour
,
then
augment
your
Fire
till
it
be
hot
enough
for
Fusion
,
wherein
leave
the
whole
for
fourteen
Hours
,
then
let
the
Fire
go
out
,
and
the
Crucible
cool
of
its
self
;
wherein
,
after
you
have
broke
it
,
you
'll
find
your
Stones
of
a
very
fine
Diamond
Colour
,
hard
,
shining
,
and
sparkling
like
the
true
ones
,
which
you
may
polish
and
work
up
as
the
Goldsmiths
.
This
Sulphurous
Trepoly
,
which
enters
into
the
Composition
of
this
Paste
,
being
not
commonly
known
,
we
will
shew
the
way
of
making
it
,
that
we
may
leave
nothing
imperfect
,
which
might
be
any
Obstruction
to
the
Proceedings
of
the
Curious
.
Take
equal
parts
of
Trepoly
,
of
crude
Antimony
and
common
Sulphur
,
and
grind
them
to
a
fine
Powder
on
a
Porphyry
Stone
,
and
make
them
into
a
Paste
with
Vinegar
,
which
being
dry
will
easily
crumble
.
This
is
the
Sulphurous
Trepoly
which
we
make
use
of
.
Some
Persons
in
making
the
same
Process
of
taking
away
the
colour
from
Jargons
,
and
giving
them
the
hardness
and
whiteness
of
Diamonds
,
have
made
use
of
Barly-meol
,
wherewith
they
make
a
Paste
with
distill'd
Vinegar
impregnated
with
Lead
,
wherewith
they
stratifie
their
Stones
,
or
Jargons
,
in
a
Crucible
,
covered
with
another
,
and
well
luted
,
which
they
afterwards
put
in
a
gradual
,
round
,
or
Wheel
Fire
,
for
six
Hours
.
But
this
way
they
could
not
give
them
the
true
Diamond-colour
.
Wherefore
I
advise
those
who
would
try
this
Experiment
,
to
follow
our
first
Process
,
which
has
several
times
succeeded
.
There
are
moreover
some
who
stratifie
their
Stones
with
pounded
Coal
,
which
they
put
in
a
Crucible
covered
and
luted
,
which
they
set
on
the
Fire
six
Hours
,
so
that
the
Crucible
be
always
red
hot
.
I
don't
approve
of
this
way
,
because
the
Coals
may
dry
the
Humour
of
the
Stone
,
and
calcine
it
.
CHAP.
CXXXIX
.
The
Way
to
make
Diamonds
.
THE
Quality
and
Colour
of
the
Diamond
being
so
well
known
,
we
shall
not
enlarge
upon
them
in
this
Chapter
,
but
only
shew
the
way
to
counterfeit
them
,
make
them
endure
the
Fire
,
and
harden
them
.
Take
of
good
Natural
Crystal
,
calcined
and
reduced
to
subtile
Powder
,
what
Quantity
you
please
;
fill
a
Pot
with
it
,
and
set
it
in
a
Glass-house
Furnace
twelve
Hours
to
be
melted
and
purified
:
Then
drop
the
melted
Matter
into
cold
Water
,
then
dry
it
,
and
reduce
it
again
to
Powder
;
add
to
that
Powder
its
weight
of
our
fine
Salt
of
Tartar
,
of
Chap.
93.
Mix
these
two
Powders
well
,
and
make
little
Pills
of
them
with
common
Water
.
Then
wipe
these
Pills
,
and
put
them
into
an
Earthen
Pot
on
a
strong
Fire
,
there
to
grow
red
hot
for
twelve
Hours
space
without
melting
.
Then
put
them
into
a
Pot
in
a
Glass-house
Furnace
,
where
leave
them
two
Days
,
to
be
well
melted
and
purified
,
then
put
the
Matter
twelve
Hours
in
the
Annealing
Furnace
to
cool
little
by
little
.
Then
break
the
Crucible
,
and
you
'll
have
a
fine
Material
for
Diamonds
,
which
cut
and
polish
at
the
Wheel
.
CHAP.
CXL
.
Another
Way
of
making
the
Diamond
of
Alanson
.
HERE
follows
a
way
of
making
Diamonds
of
Alanson
,
which
is
not
quite
so
fine
as
the
precedent
,
but
has
,
notwithstanding
,
several
Advantages
which
attend
it
;
besides
it
is
more
easie
,
since
there
only
needs
an
ordinary
Fire
to
succeed
in
it
.
Take
an
Earthen
glazed
Pot
,
set
it
on
a
little
Furnace
,
put
in
it
Filings
of
Steel
,
with
some
Vine-Ashes
at
discretion
,
wherein
place
by
one
another
Crystals
cut
and
polished
;
then
pour
common
Water
gently
on
it
,
which
warm
and
boil
during
the
space
of
twelve
Hours
,
taking
care
to
add
boiling
Water
fresh
into
the
Vessel
,
as
the
Water
in
it
consumes
by
boiling
,
and
take
care
it
boil
continually
.
Then
see
if
your
Crystals
have
acquired
the
colour
and
hardness
you
expected
:
If
not
,
continue
the
Fire
some
Hours
longer
,
and
they
will
be
like
the
true
Diamonds
of
Alanson
;
taking
care
to
repolish
them
again
at
the
Wheel
,
to
give
them
colour
and
brightness
.
CHAP.
CXLI
.
The
Way
to
give
the
true
Colour
and
Hardness
of
a
Diamond
,
to
Crystals
and
Diamonds
of
Alanson
.
THERE
is
nothing
in
Nature
which
Art
cannot
imitate
,
and
oftentimes
those
things
which
seem
most
difficult
,
prove
to
be
most
easie
when
managed
with
Judgment
;
or
when
he
that
undertakes
to
do
them
has
experimented
any
thing
of
the
like
Nature
before
,
and
knows
the
Nature
,
and
Properties
,
and
Powers
of
his
Subject
.
Although
the
Imperfect
Metals
be
immature
,
or
unripe
,
they
contain
,
notwithstanding
,
a
great
deal
of
fixed
and
volatile
Gold
,
which
may
be
easily
separated
,
or
attracted
out
by
means
of
Art.
Imperfect
Metals
may
be
very
much
meliorated
by
Fire
,
by
a
proportionable
and
agreeable
coction
.
There
are
also
Crystals
and
Precious
Stones
,
which
have
no
Natural
hardness
,
which
may
be
given
them
by
Art
,
having
all
the
Natural
Dispositions
thereunto
required
,
since
they
have
the
same
Principle
as
the
most
fine
,
and
that
they
only
want
a
little
Sulphur
,
which
hinder'd
their
thorough
coction
.
Thus
this
Defect
may
be
obviated
in
Precious
Stones
,
as
well
as
Metals
,
by
giving
them
a
due
coction
,
and
so
changing
them
for
the
better
.
We
will
begin
to
give
the
most
simple
way
of
attaining
it
,
before
we
shew
those
that
are
more
exalted
.
You
may
give
the
colour
and
hardness
of
Diamonds
to
Crystals
and
Diamonds
of
Alanson
,
by
taking
good
Dutch
Trepoly
and
making
a
Paste
of
it
with
Water
out
of
the
Smiths
Forge
,
wherein
you
must
wrap
up
the
quantity
you
design
of
Crystals
,
or
Diamonds
of
Alanson
cut
and
polished
;
then
set
it
in
a
Crucible
covered
and
luted
on
a
gradual
Fire
,
where
let
it
stand
till
the
Crucible
become
red
hot
.
A
little
time
after
take
it
out
,
and
take
out
the
Stones
,
then
polish
them
again
at
the
Wheel
to
give
them
their
colour
.
To
set
them
in
Works
,
take
Indian
Paper
,
with
Leaves
of
Tin
,
like
those
you
put
behind
Looking-glasses
,
then
let
them
be
set
by
some
good
Goldsmith
,
and
they
can
scarce
be
distinguished
from
fine
one●
,
except
by
very
nice
Discerners
.
CHAP.
CXLII
.
Another
Way
to
harden
Crystals
and
Diamonds
of
Alanson
.
CRYSTALS
also
acquire
hardness
in
the
Paste
we
are
now
going
to
describe
,
because
their
Humidity
exhales
,
and
they
become
more
fixt
.
Take
Barly-Meal
well
sifted
,
with
Petroleum
,
or
Rock-Oyl
;
then
cut
that
Paste
in
the
middle
,
and
put
all
your
Stones
in
order
,
so
that
they
may
not
touch
one
another
.
Then
cover
your
Stones
with
the
other
half
of
the
Paste
,
then
put
it
in
a
Crucible
covered
with
another
,
and
luted
well
together
,
and
let
it
dry
.
Then
set
this
Crucible
in
a
gradual
Wheel-Fire
from
five
to
six
Hours
,
a
small
Fire
the
two
first
Hours
,
which
en●rease
from
two
to
two
Hours
,
till
the
end
of
the
six
;
then
let
the
whole
cool
of
it self
.
Then
break
your
Crucibles
,
and
you
'll
find
your
Stones
very
fine
,
shining
,
and
sparkling
like
fine
Diamonds
,
which
repolish
at
the
Wheel
,
and
set
by
a
skilful
Workman
.
CHAP.
CXLIII
.
A
Way
to
harden
Crystals
and
Diamonds
of
Alanson
,
and
to
make
them
sparkle
as
much
as
Natural
Oriental
Diamonds
.
ALTHOUGH
this
be
an
important
Secret
,
and
ill
People
may
commit
Cheats
by
it
,
yet
I
will
here
give
it
,
for
the
sake
of
the
Curious
,
who
only
seek
for
their
own
Satisfaction
.
Take
one
Pound
of
Load-stone
,
a
Pound
of
Quick-Lime
,
and
half
a
Pound
of
common
Sulphur
,
the
whole
reduced
to
powder
,
and
well
mixed
.
With
this
powder
cement
your
Crystals
and
Diamonds
of
Alanson
well
cut
,
in
a
Crucible
covered
and
luted
well
:
Being
dry
,
set
it
in
a
Glass-house
Furnace
three
Days
,
in
a
place
where
the
Matters
may
be
continually
red
hot
without
Fusion
,
if
you
have
not
a
Furnace
ready
at
hand
for
that
purpose
;
and
take
care
not
to
take
out
the
Crucible
all
at
once
,
but
let
it
cool
gently
,
otherwise
the
Stones
might
break
.
Having
broken
the
Crucible
,
you
'll
find
your
Stones
very
fine
,
and
shining
,
and
which
will
resemble
Diamonds
of
the
Old
Rock
,
which
repolish
at
the
Wheel
to
give
it
colour
,
then
work
it
;
and
they
can
scarce
be
distinguished
from
fine
ones
.
CHAP.
CXLIV
.
The
Way
to
turn
White
Sapphire
into
true
Diamond
.
THE
White
Sapphire
being
fine
and
fixed
,
is
only
imperfect
,
by
reason
of
its
wanting
colour
and
hardness
,
which
may
be
remedied
by
means
of
Art
,
and
be
made
to
surpass
Nature
,
because
she
on●y
would
have
made
it
a
perfect
Sapphire
,
but
Art
can
●urn
it
into
a
true
Diamond
.
Only
Fire
can
cause
this
Effect
,
in
changing
its
Natural
colour
,
and
giving
it
that
of
a
Diamond
.
Thus
take
very
fine
Sand
,
wash
it
in
several
Waters
●o
clean
it
,
till
the
Water
become
clear
,
and
then
dry
it
.
Of
this
Sand
fill
a
Crucible
half
full
,
then
●ut
in
your
Sapphire
,
and
fill
it
up
with
the
same
Sand.
Then
cover
your
Crucible
with
a
cover
of
the
same
Earth
,
or
with
another
Crucible
;
lute
the
whole
with
a
good
lute
,
as
we
have
heretofore
shewn
,
lay
it
on
an
Inch
thick
,
and
let
it
dry
in
the
shade
.
Being
dry
,
set
it
in
a
Glass-house
Furnace
,
approaching
it
nearer
the
Fire
by
degrees
,
and
leaving
it
twelve
Hours
in
the
same
degree
of
heat
.
Then
withdraw
it
little
by
little
for
the
space
of
six
Hours
,
and
let
it
cool
gently
.
The
Crucible
being
cold
,
break
it
,
and
you
'll
find
your
Sapphire
within
,
which
will
have
all
the
Qualities
of
a
fine
Diamond
;
that
is
,
its
shining
and
hardness
.
Repolish
it
at
the
Wheel
,
and
work
it
.
CHAP.
CXLV
.
Another
Way
of
turning
the
White
Sapphire
into
a
true
Diamond
.
HERE
follows
another
noble
Method
of
converting
the
Sapphire
into
a
Diamond
,
which
will
be
easier
to
those
who
have
not
the
opportunity
of
a
Glass-house
Furnace
,
for
it
may
be
done
with
a
Wind
Furnace
,
in
twelve
Hours
time
.
The
Materials
we
are
going
to
shew
,
which
are
used
in
this
Operation
,
will
at
first
seem
very
expensive
;
but
if
you
consider
it
diminishes
not
,
but
you
find
it
all
again
,
you
'll
easily
see
,
that
the
only
Expence
is
in
the
Fire
.
You
must
therefore
begin
,
by
well
wrapping
your
White
Sapphire
,
in
a
thin
Iron
Plate
,
that
it
may
be
easily
managed
.
Then
take
fine
Gold
,
purified
by
Antimony
,
to
the
highest
,
put
it
in
a
Crucible
in
a
Wind-Furnace
,
melt
it
,
and
when
it
has
a
good
fine
Gloss
,
put
the
Sapphire
,
covered
with
the
Iron-Plate
,
into
the
Bath
,
so
that
it
may
float
on
the
Gold
on
every
side
;
then
give
it
a
strong
Fire
for
twelve
Hours
,
so
that
the
Gold
may
be
all
the
while
in
Fusion
.
Take
out
your
Sapphire
with
a
little
pair
of
Tongues
,
shaking
out
the
Gold
that
may
chance
to
stick
in
the
Leaf-Iron
;
then
let
it
cool
by
the
Fire
gently
,
for
fear
it
should
break
.
Being
cold
,
take
away
the
Plate
or
Leaf
of
Iron
,
and
you
'll
have
your
Sapphire
of
an
admirable
.
Beauty
,
it
having
acquired
by
that
coction
all
the
Qualities
and
Perfections
of
the
Natural
Diamond
.
Polish
it
at
the
Wheel
,
and
Work
it
.
CHAP.
CXLVI
.
Another
way
to
turn
the
White
Sapphire
into
a
true
Diamond
.
THIS
Way
will
be
found
,
by
several
,
to
be
more
easie
and
better
,
because
it
does
not
oblige
to
such
an
Expence
in
Gold
,
so
that
People
cannot
purchase
it
.
This
is
the
Reason
we
shew
it
here
,
tho'
others
have
spoke
of
it
,
and
among
the
rest
Ioh.
Bapt.
de
Porta
,
who
has
writ
of
this
Art.
Take
Filings
of
Iron
or
Steel
,
put
them
in
a
Crucible
,
then
put
in
your
White
Sapphire
,
so
that
it
may
be
wholly
covered
with
the
Filings
:
Set
the
Crucible
in
the
Furnace
,
and
give
it
a
good
Fire
,
that
the
Filings
may
be
red
hot
without
melting
.
After
it
has
been
some
time
in
this
Fire
,
take
it
out
with
a
little
pair
of
Iron-Tongues
,
to
see
if
it
be
of
the
colour
of
Diamond
;
if
not
,
put
it
into
the
Filings
again
,
and
reiterate
this
till
it
be
perfect
.
You
may
do
the
same
thing
with
that
filing
of
Steel
,
and
an
equal
part
of
White
Enamel
in
Powder
.
Having
well
mixed
them
together
,
put
them
in
a
Crucible
,
and
put
your
Sapphire
in
the
middle
of
them
;
after
having
first
pasted
them
,
with
your
Powder
of
Enamel
wetted
with
Spittle
,
and
well
dried
it
at
the
Fire
.
When
your
Matter
is
red
,
and
it
has
remained
some
time
in
that
condition
,
take
out
the
Sapphire
with
your
Tongs
,
to
see
if
it
have
taken
the
colour
of
the
Diamond
:
If
it
has
not
,
put
it
in
again
as
before
,
and
continue
to
do
this
till
it
be
perfect
.
Then
polish
it
and
work
it
.
This
is
all
we
design'd
to
say
concerning
the
Make
and
Perfections
of
Gems
,
tho'
there
are
other
ways
of
doing
them
,
and
several
other
curious
things
might
be
said
on
this
Subject
;
but
that
would
require
a
large
Volume
,
which
perhaps
we
may
do
in
the
next
Edition
,
if
we
find
the
Curious
take
any
Satisfaction
in
this
.
The
End
of
the
Fifth
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
VI.
CHAP.
CXLVII
.
Wherein
proper
Rules
and
Matter
for
all
sorts
of
Enamel
are
prescribed
,
with
Directions
for
qualifying
the
Fire
,
in
order
to
succeed
well
.
How
to
make
Goldsmiths
Enamel
of
several
Colours
for
Gold.
A
neat
Preparation
of
the
Magnese
.
A
Spirit
of
Saturn
,
a
fixt
Sulphur
,
and
a
mild
Vitriol
of
Venus
,
of
most
sovereign
Vertue
and
Vse
.
THIS
most
agreeable
way
of
enriching
Gold
by
Enamel
,
which
proceeds
from
the
beauful
Variety
of
Colours
which
may
be
apply'd
,
being
an
Art
no
less
painful
than
necessary
for
Ornament
.
We
proceed
to
lay
down
such
Methods
in
this
Book
,
as
shall
equally
answer
the
Benefits
of
the
Publick
,
and
satisfaction
of
the
more
Curious
.
For
should
we
omit
this
our
Intention
,
the
Work
would
be
deficient
,
and
this
Art
of
Glass
deprived
of
one
of
its
most
excellent
and
principal
Beauties
;
therefore
we
propose
in
the
first
place
,
to
give
direction
for
the
Choice
of
Matter
to
be
used
,
and
thence
shew
the
Preparations
for
all
sorts
,
and
how
to
make
and
suit
the
Colours
most
convenient
on
Enamel
.
The
Method
not
only
used
by
the
Goldsmiths
,
but
by
such
as
form
Pourtraitures
with
it
of
all
sorts
,
as
Man
,
Beasts
,
Fowl
,
and
other
Curiosities
,
very
naturally
,
by
a
just
disposure
of
the
Colours
,
is
most
admirable
;
to
effect
which
no
more
is
required
than
a
lighted
Taper
,
and
a
hollow
Pipe
of
Metal
for
that
purpose
,
to
blow
the
Blaze
to
the
Matter
,
and
make
it
malleable
and
soft
,
and
thence
the
several
Figures
are
drawn
or
impressed
thereon
.
And
this
may
be
so
far
improv'd
and
heightned
,
as
to
admit
of
Performances
rather
to
be
thought
the
Essay
of
a
Divine
than
Human
Artist
.
Witness
that
notable
Piece
of
Chariot
drawn
by
two
Oxen
,
of
which
Cardan
takes
notice
in
the
fifty
second
Chapter
of
his
tenth
Book
,
which
was
so
completely
done
in
Little
,
that
the
whole
might
be
covered
with
the
Wing
of
a
Fly.
The
Ship
rigg'd
and
Man
arm'd
which
Howel
says
he
saw
.
Those
little
Statues
of
Men
,
with
several
other
Curiosities
of
Figure
Vormicus
also
assures
of
.
Not
to
omit
the
Church
of
St.
Mark
at
Venice
,
where
the
Mosaick-Work
is
plentifully
interlaced
with
History
of
all
Sorts
,
distinguishable
by
the
Variety
of
Colours
,
and
Gildings
,
and
all
consisting
of
several
different
Subjects
.
In
short
,
what
Account
Agricola
has
left
us
of
these
Matters
,
in
his
twelfth
Book
,
gives
us
no
less
cause
to
admire
this
Art
than
he
had
,
when
he
saw
such
notable
Pieces
of
which
he
makes
mention
,
and
which
he
assures
us
was
deservedly
very
great
.
The
use
of
Enamel
is
very
ancient
,
however
that
of
working
on
Metal
is
more
modern
;
and
for
the
great
Perfection
to
which
it
is
arrived
,
we
are
obliged
to
this
present
Age
,
as
we
shall
further
shew
in
the
Seventh
Book
,
where
we
will
also
endeavour
to
discover
further
,
and
make
greater
Improvements
therein
.
CHAP.
CXLVIII
.
To
prepare
the
Matter
for
Enamel
.
NOW
we
proceed
to
shew
the
Ingredients
by
which
the
principal
Matter
for
Enamel
is
prepared
,
before
the
Colours
can
be
applied
,
of
which
we
shall
give
Directions
in
the
following
Chapters
.
Take
Lead
in
Piggs
thirty
pound
,
Plate-Tin
of
Cornwall
,
thirty
three
pounds
;
mix
and
calcine
them
as
directed
for
Lead
in
Chap.
LXXXI
.
precisely
observing
the
Directions
there
laid
down
.
This
done
,
fearce
the
Calx
,
and
put
it
all
into
a
glazed
Earthen
Pot
,
fill'd
with
Water
,
put
it
over
a
fire
,
and
let
it
boil
a
little
;
then
take
it
off
,
and
pour
the
Water
gently
into
another
Vessel
,
which
will
carry
along
with
it
the
more
subtile
Calx
.
Repeat
this
until
no
more
of
the
Calx
can
be
subtiliz'd
;
which
you
may
discover
by
the
Pureness
of
the
Water
in
pouring
it
out
of
one
Vessel
into
the
other
.
After
this
calcine
the
Remains
of
what
is
in
the
first
Pot
,
as
before
,
and
thus
continue
to
calcine
and
subtilizetill
you
can
get
no
more
of
the
subtile
Calx
.
Lastly
,
put
the
Waters
out
of
all
your
Receivers
into
larger
,
and
set
it
on
a
slow
Fire
to
evaporate
.
The
Fire
must
be
very
gentle
for
this
Reason
,
that
the
Calx
do
not
founder
or
fall
to
the
bottom
,
but
continue
more
fine
and
subtile
,
than
when
it
was
first
calcin'd
.
Your
Calx
being
thus
prepared
,
take
thereof
about
fifty
pound
,
and
as
much
Fritt
of
white
Tarso
beaten
and
searced
,
as
directed
Chap.
VI.
To
these
add
eight
Ounces
of
Salt
of
Tartar
,
finely
searced
and
prepared
as
in
Chap.
XV.
Mix
all
these
Powders
very
well
together
in
a
Pot
,
and
let
it
stand
in
the
Glass-house
Furnace
or
Oven
about
ten
hours
to
digest
and
purifie
.
Then
take
them
out
,
and
reducing
them
to
an
impalpable
Powder
,
keep
it
in
a
close
dry
place
for
use
.
Thus
must
your
Matter
for
Enamel
be
prepared
to
receive
the
Colours
,
but
of
that
more
hereafter
.
CHAP.
CXLIX
.
To
make
Enamel
of
a
Milk-white
Colour
.
THIS
Colour
of
all
others
is
the
purest
;
't
is
used
for
the
Ornaments
of
Virginity
,
the
Emblem
of
Innocence
,
as
also
the
Symbol
of
Candour
and
Chastity
.
Nay
more
,
we
may
even
from
it
form
a
pretty
and
impressive
Idea
of
the
Brightness
and
Excellency
of
Faith
;
and
't
is
what
has
ever
been
esteemed
and
revered
by
all
Nations
.
We
have
already
shew'd
how
to
tinge
Glass
of
this
Colour
,
in
Chap.
LXX
.
of
the
Third
Book
,
and
now
we
will
shew
how
to
perform
the
like
on
Enamel
with
no
less
Beauty
,
and
very
easily
;
thus
:
Take
six
pound
of
our
prepared
Powder
,
in
the
former
Chapter
,
and
forty
eight
Grains
of
Magnese
of
Piedmont
,
prepared
as
in
Chap.
XVIII
.
put
them
will
together
into
one
of
your
Furnace-Pots
to
melt
and
purifie
over
a
very
swift
Fire
,
which
will
be
done
in
a
little
time
.
The
Matter
being
thus
melted
,
take
it
out
of
the
Pot
,
and
throw
it
into
very
fair
Water
,
and
being
afterwards
dryed
,
put
it
again
into
the
Pot
to
melt
;
do
thus
with
it
thrice
,
changing
the
Water
.
When
you
have
thus
purified
it
,
if
you
find
it
justly
white
,
't
is
good
;
but
if
it
be
greenish
,
add
a
little
more
Magnese
,
and
't
will
become
white
as
Milk
,
and
fit
Enamel
for
Gold
,
or
other
Metal
.
Take
it
off
the
Fire
,
and
make
it
up
into
Cakes
,
and
keep
them
for
use
.
CHAP.
CL.
A
Turcoise-blue
Enamel
.
THIS
Colour
of
the
Turcois
,
or
Turkey-stone
,
is
very
fine
for
Enamel
,
but
withal
very
difficult
to
make
well
,
and
requires
a
great
deal
of
Experience
.
Now
't
is
sufficiently
known
,
that
Practice
will
at
length
make
the
most
uneasie
Beginners
Masters
of
their
Trade
,
therefore
we
must
not
be
discouraged
if
we
fail
in
our
first
Tryals
,
because
by
continuing
to
repeat
them
,
we
shall
at
length
be
sure
to
perform
well
:
'T
is
always
supposed
you
understand
your
Undertaking
,
and
are
sufficiently
qualified
to
distinguish
when
you
are
in
the
right
or
wrong
,
or
you
can
never
hope
to
succeed
.
For
this
cause
we
ought
not
to
stand
dozing
on
every
Unsuccess
,
for
Nature
,
which
never
fails
,
will
still
be
ready
to
inform
us
,
provided
we
have
Judgment
enough
to
determine
her
Precepts
.
Though
we
have
taken
occasion
from
the
Turcois
,
to
make
this
Digression
here
,
it
may
nevertheless
be
a
convenient
enough
Consideration
in
Cases
of
a
sublimer
Nature
,
even
in
all
the
Undertakings
of
Man.
Since
we
are
so
naturally
apt
to
be
impatient
and
disturbed
if
we
can't
effect
those
Matters
in
(
as
it
were
)
a
moment
of
Time
,
which
Nature
it self
takes
a
whole
Age
to
perform
:
And
this
is
what
mostly
arrests
the
Accomplishments
of
our
greatest
Designs
,
and
imposes
on
us
a
seeming
Impossibility
in
the
most
easie
things
:
Thus
Obscurity
interposes
in
the
brightest
Essays
of
the
Sun
,
and
we
can't
enjoy
one
day
,
though
never
so
serene
and
fair
,
that
is
not
more
or
less
over-shadowed
with
Clouds
.
Thus
far
I
have
made
my
Attempt
on
this
Thought
,
which
I
hope
the
Learned
will
freely
pardon
,
because
I
have
discoursed
nothing
but
Truth
,
and
what
they
already
are
much
more
familiar
with
,
and
satisfied
of
.
But
now
for
our
Enamel
,
which
to
make
of
this
Turcois
〈◊〉
you
must
put
of
our
prepared
Powder
,
Chap.
CXL●●●●
.
six
pound
,
into
a
white
glazed
Pot
to
melt
and
purifie
it
;
then
cast
it
into
Water
,
and
when
dry
put
it
again
into
the
Pot
,
and
being
melted
over
again
,
add
to
it
at
four
times
,
this
Composition
,
Scales
of
Copper
thrice
calcin'd
,
as
in
Chap.
XXXIV
.
three
Ounces
of
prepared
Zaffer
,
eighty
six
Grains
of
〈◊〉
,
prepared
as
in
Book
I.
forty
eight
Grains
,
all
these
mixt
and
reduced
into
a
very
fine
Powder
,
stir
the
Matter
very
well
each
time
with
your
Iron
Hook
,
that
the
Powders
may
incorporate
,
and
for
Reasons
by
us
given
elsewhere
before
.
Thus
when
your
Matter
is
fully
and
well
tinged
,
take
the
Approbation
of
a
Goldsmith
on
some
of
it
,
as
to
the
Colour
,
that
you
may
have
the
more
assurance
before
you
proceed
to
empty
your
Pot.
Your
own
Experience
must
shew
you
how
to
proportion
the
Ingredients
for
tinging
the
Matter
more
or
less
.
If
you
perceive
that
the
Tinging-powders
are
too
predominant
,
add
the
more
principal
prepared
Powder
;
if
it
be
too
faint
,
add
the
greater
quantity
of
the
Tinging-powders
:
And
thus
do
to
improve
or
lessen
the
Colour
until
it
be
compleat
or
to
Satisfaction
.
CHAP.
CLI
.
To
make
a
very
fine
blue
Enamel
.
FEW
Persons
but
are
much
taken
with
this
Colour
,
as
being
the
most
sightly
agreeable
of
all
others
,
both
from
the
esteem
of
its
natural
Beauty
,
which
makes
it
eminent
above
the
rest
of
Colours
,
as
it
has
resemblance
to
that
of
the
Heavenly
Arch
,
and
is
taken
for
the
Symbol
of
Generosity
.
You
may
make
Enamel
of
this
Colour
with
four
pound
of
our
principal
prepared
Powder
in
Chapter
CXLVIII
.
two
Ounces
of
prepared
Zaffer
,
forty
eight
Grains
of
Copper
thrice
calcined
,
mentioned
in
the
precedent
Chapter
;
these
reduc'd
to
a
mixt
impalpable
Powder
,
must
be
put
into
a
white
glazed
Pot
;
when
the
Metal
is
well
melted
,
cast
it
into
Water
,
and
when
't
is
dry
return
it
to
the
Pot
;
after
that
let
it
stand
upon
the
Fire
until
it
be
well
digested
and
incorporate
:
Then
take
it
off
,
and
you
have
a
very
fine
Enamel
for
Goldsmiths
,
which
make
into
Cakes
,
and
keep
for
use
,
as
before
.
CHAP.
CLII.
Another
blue
Enamel
.
THis
Enamel
is
altogether
as
gay
as
the
former
,
only
the
Colour
is
not
the
same
,
for
which
reason
we
prescribe
it
here
,
which
else
would
be
unnecessary
.
To
make
it
,
take
Principle
Powder
of
Chap.
148.
four
pound
,
Plates
of
Copper
calcined
,
as
in
Chap.
30.
two
Ounces
,
prepared
Zaffer
,
as
in
Chap.
17.
forty
eight
Grains
,
mix
and
reduce
'em
to
an
impalpable
Powder
,
put
this
into
your
white
glazed
Pot
,
and
having
melted
the
Metals
until
they
incorporate
,
cast
it
into
Water
,
whence
being
dry
,
return
it
to
your
Pot
,
and
let
it
remain
therein
until
it
purifie
;
when
the
Colour
is
well
mixt
and
even
so
as
to
satisfie
you
,
take
it
off
,
and
Cake
it
as
usual
.
CHAP.
CLIII
.
To
make
a
pretty
Green
Enamel
.
THE
Gaiety
of
the
Spring
being
conceived
by
this
Colour
,
renders
it
exceeding
pleasant
to
the
Eye
;
't
is
an
Idea
of
Nature
revived
,
a
Triumph
over
its
Death
,
and
the
Symbole
of
its
Victory
.
It
may
be
very
perfectly
imitated
if
you
put
four
Pound
of
the
Principal
Powder
in
your
White
glazed
Pot
,
and
let
it
melt
and
purifie
ten
or
twelve
Hours
in
the
Furnace
,
afterwards
cast
it
into
Water
,
dry
it
and
put
it
again
into
the
Pot
,
and
let
it
be
fully
refined
;
then
take
Scales
of
Copper
thrice
calcined
as
in
Chap.
34.
two
Ounces
,
Scales
of
Iron
at
the
Smith's
Forge
on
the
Anvil-Block
,
forty
eight
Grains
,
mix
and
reduce
them
to
an
impalpable
Powder
,
and
throw
it
at
three
several
times
and
Portions
into
your
Pot
of
Principal
Matter
,
stirring
the
Metal
very
well
that
it
may
be
equally
tinged
by
the
mixture
of
the
Colours
;
if
it
be
to
your
Fancy
,
and
of
a
pleasant
colour
,
let
it
stand
a
while
in
the
Fire
,
until
it
be
throughly
incorporated
;
thus
take
it
off
,
and
you
'll
have
a
delicate
Green
Enamel
very
proper
for
all
sort
of
Goldsmiths
Work.
CHAP.
CLIV.
Another
Green
Enamel
.
THE
colour
of
this
following
,
is
something
different
from
the
former
,
but
no
less
excellent
:
Take
six
Pound
of
Principal
Powder
,
two
Ounces
of
Feretto
of
Spain
,
prepared
as
in
Chap.
23.
forty
eight
Grains
of
Crocus
Martis
,
prepared
with
Vinegar
according
to
direction
in
Chap.
25.
make
these
into
an
impalpable
Powder
,
and
mix
'em
well
,
and
put
them
into
your
White
glazed
Pot
;
let
it
remain
in
the
Furnace
to
melt
and
refine
the
Matter
;
cast
it
after
this
into
Water
,
and
again
into
your
Pot
,
having
dryed
it
before
,
until
it
refine
very
well
;
when
't
is
melted
,
observe
whether
the
colour
be
satisfactory
,
and
let
it
stand
some
hours
longer
to
refine
,
and
when
't
is
taken
off
,
you
'll
have
a
very
fine
Green
Enamel
for
Goldsmiths
.
If
the
colour
be
too
faint
,
add
more
tinging
Powder
proportionably
enough
to
perfect
it
.
CHAP.
CLV
.
Another
Green
Enamel
.
THERE
is
another
way
to
make
Green
Enamel
after
this
manner
:
Put
into
a
White
glazed
Earthen
Pot
,
four
Pounds
of
Principal
Powder
,
and
let
it
refine
in
the
Furnace
a
little
while
,
cast
the
Metal
afterwards
into
Water
,
and
(
being
dryed
)
again
into
the
Pot
;
then
add
at
three
equal
Portions
,
this
Powder
compounded
of
Scales
of
Copper
thrice
calcined
two
Ounces
,
Crocus
Martis
prepared
with
Vinegar
,
forty
eight
Grains
,
these
well
mixt
and
powdered
together
,
stirring
the
Metal
with
the
Iron
Hook
,
to
incorporate
it
,
let
it
remain
until
it
be
well
refined
on
the
Fire
,
and
when
't
is
well
and
perfectly
colour'd
to
satisfaction
,
take
it
off
,
and
keep
it
for
use
.
CHAP.
CLVI
.
The
Way
to
make
▪
Black
Enamel
.
THO
this
Colour
be
mournful
,
and
representing
the
Image
of
Death
and
Darkness
,
yet
't
is
the
Symbole
of
Constancy
,
Prudence
,
and
Resolution
;
the
Life
of
Silence
and
Secresie
,
and
,
in
short
,
of
all
things
which
are
lasting
.
'T
is
most
necessary
in
this
Art
,
and
can
least
of
all
be
spared
,
because
it
has
a
peculiar
Beauty
which
sets
it
off
among
the
more
splendid
and
sparkling
Pieces
;
you
may
make
a
very
fair
Velvet-colour
with
4
Pound
of
the
Principal
Powder
in
Chap.
148.
two
Ounces
of
prepared
Zaffer
,
and
two
Ounces
of
Manganese
of
Piedmont
prepared
as
directed
before
;
mix
and
pulverize
them
altogether
very
well
,
and
put
them
into
a
glazed
Earthen
Pot
in
the
Furnace
for
some
Hours
;
the
Pot
must
be
more
than
ordinary
large
,
because
the
Metal
will
rise
very
much
:
When
't
is
purified
,
cast
it
into
Water
and
dry
it
,
and
return
it
into
the
pot
to
be
refined
over
again
,
which
will
be
in
a
little
time
;
then
see
whether
the
Colour
be
to
your
Fancy
,
and
accordingly
as
you
find
it
,
put
in
more
or
less
of
the
former
Ingredients
,
and
having
thus
perfected
it
,
take
it
off
and
cake
it
;
this
Enamel
will
be
a
good
Velvet-black
for
Goldsmiths
.
CHAP.
CLVII
.
Another
Black
Enamel
.
THIS
second
sort
is
distinct
from
the
other
by
the
difference
of
the
Quantities
and
the
tinging
Ingredients
.
Take
six
pound
of
Principal
Powder
,
two
Ounces
of
Zaffer
prepared
according
to
Chap.
17.
two
Ounces
of
Crocus
Martis
,
prepared
with
Vinegar
as
in
Chap.
25.
two
Ounces
of
Feretto
of
Spain
assigned
in
Chap.
23.
pound
and
mix
them
very
well
together
,
making
an
impalpable
powder
,
and
put
it
into
your
glazed
pot
in
the
Furnace
to
melt
and
purifie
,
when
●t
is
well
digested
cast
it
into
Water
,
dry
it
,
and
put
●t
again
into
the
pot
,
where
let
it
remain
a
while
to
●efine
;
when
't
is
for
your
purpose
take
it
off
and
cake
●t
as
usual
,
and
you
'll
have
a
very
good
and
most
con●enient
Enamel
for
the
Goldsmiths
to
set
in
Colours
,
●nd
Enamel
with
.
CHAP.
CLVIII
.
Another
Black
Enamel
.
HERE
is
a
third
Way
of
making
the
Velvet-black
Enamel
much
fairer
and
of
a
finer
gloss
,
sur●assing
the
former
.
To
make
which
,
you
must
take
four
pound
of
●rincipal
Powder
,
four
Ounces
of
red
Ta●tar
,
two
Ounces
of
Manganese
of
Piedmont
prepared
,
reduce
these
to
very
fine
powder
,
and
put
them
into
a
glazed
pot
bigger
than
ordinary
,
because
the
Metal
will
rise
;
let
it
melt
and
digest
in
the
Furnace
,
and
cast
it
into
Water
,
and
(
after
it
is
dry
)
again
into
the
pot
,
there
to
remain
until
it
melt
and
refine
anew
;
when
you
find
the
Colour
sufficient
for
your
use
,
make
it
up
into
Cakes
,
and
keep
it
for
the
Goldsmiths
.
CHAP.
CLIX.
To
make
Purple-coloured
Enamel
.
PURPLE
is
a
Colour
highly
in
request
with
all
Grave
Philosophers
,
as
if
it
did
express
the
End
of
their
Expectation
,
the
Fulness
of
their
Delight
and
Desire
;
it
was
so
mightily
esteemed
by
the
Ancients
,
that
among
the
Romans
the
Emperors
,
the
Princes
,
the
Renowned
Chiefs
,
and
other
Magistrates
of
that
Puissant
Empire
only
made
use
thereof
:
And
the
Lacedemonians
,
who
looked
upon
themselves
to
be
the
most
Ancient
People
on
Earth
,
cloathed
themselves
with
it
,
that
they
might
be
the
more
eminently
distinguished
,
so
great
an
Affection
they
bore
to
this
Noble
Colour
:
The
Emperors
of
Greece
had
so
much
value
and
regard
for
Purple
,
that
they
sought
out
the
choicest
and
most
exquisite
to
have
the
young
Princes
of
the
Blood
Born
in
,
intimating
by
this
a
Glorious
Omen
of
their
Generosity
,
the
Colour
truly
implying
a
perfect
Symbole
of
Heroick
Vertue
,
and
by
which
their
Illustrious
Parentage
,
and
Royal
Descent
from
Kings
and
Princes
,
was
most
eminently
shewn
.
The
Art
of
Dying
in
this
Rich
and
Noble
Colour
was
formerly
so
very
considerable
among
the
Ancients
,
that
such
as
practised
it
in
the
City
of
Tyre
,
were
ex●mp●●
(
as
well
as
the
Nobility
or
Members
of
the
Government
)
from
all
manner
of
Taxes
and
Contrib●●ions
;
which
Priviledges
and
Advantage
have
a
very
near
resemblance
to
those
which
our
Art
of
Glass
have
received
;
and
this
costly
Colour
is
equally
estimable
in
both
;
and
besides
,
the
Employment
of
this
latter
admits
only
of
Gentlemen
,
by
whom
alone
●uch
Priviledges
are
enjoyed
without
derogation
from
their
Nobility
,
as
we
have
shewn
in
Chap.
3.
The
grand
Prerogatives
of
these
two
Gentile
Arts
,
are
Arguments
which
may
serve
easily
to
convince
us
that
they
have
nothing
in
the
practice
of
them
either
Mean
or
Vulgar
,
but
have
in
them
always
something
of
Elevation
and
Sublimity
beyond
all
other
Occupations
:
And
't
is
observable
,
that
such
as
wrought
in
the
first
,
enjoy'd
the
Priviledges
of
Nobility
,
and
that
such
of
the
Nobility
as
Exercise
themselves
in
the
latter
,
may
do
it
without
prejudice
to
their
Birth
.
Now
to
make
Enamel
of
a
Purple-colour
,
you
must
take
four
pound
of
Principal
Powder
,
as
prepared
in
Chap.
148.
add
to
this
two
Ounces
of
Manganese
of
Piedmont
,
prepared
as
we
shall
direct
in
Chap.
164.
put
these
into
a
White
glazed
Earthen
pot
,
allowing
it
large
enough
to
bear
with
the
Ebullitions
and
raising
of
the
Metal
:
When
it
's
throughly
melted
,
cast
it
into
Water
,
dry
it
,
and
put
it
again
into
the
pot
to
refine
;
then
consider
whether
it
be
well
enough
coloured
,
and
accordingly
make
it
up
into
Cakes
,
and
keep
it
for
use
as
before
.
CHAP.
CLX
.
Another
Purple
Enamel
.
WE
will
give
you
another
Way
to
make
Enamel
of
this
Colour
,
no
less
delicate
than
the
former
,
for
all
manner
of
Goldsmiths
Work.
Take
six
pound
of
our
Principal
Powder
,
three
Ounces
of
Manganese
of
Piedmont
prepared
,
six
Ounces
of
thrice
calcined
Scales
of
Copper
,
as
we
have
before
prescribed
,
reduce
all
these
to
an
impalpable
Powder
,
and
let
them
dissolve
and
refine
in
the
White
glazed
pot
in
your
Furnace
;
afterwards
cast
the
Metal
into
Water
,
dry
it
well
,
and
return
it
into
the
pot
to
refine
over
again
;
examine
the
Colour
,
if
it
be
right
,
take
it
off
and
cake
it
up
for
use
as
before
.
CHAP.
CLXI
.
To
make
Enamel
of
Violet-colour
.
THIS
Colour
as
it
is
the
nearest
to
it
,
succeeds
the
Purple
,
and
is
a
mixture
of
Red
and
Blue
,
't
is
worn
by
the
Fathers
of
the
Church
Militant
,
for
their
proper
Livery
,
as
being
altogether
Heavenly
,
and
by
which
the
Character
which
they
bear
is
best
signified
.
To
make
it
,
take
six
pound
of
Principal
Powder
,
as
in
Chap.
148.
two
Ounces
of
Manganese
of
Piedmont
prepared
,
and
forty
eight
Grains
of
thrice
calcined
Scales
of
Copper
,
make
'em
all
into
a
very
fine
powder
,
and
being
well
mixt
put
them
together
into
your
White
glazed
Earthen
Pot
in
the
Furnace
,
let
it
melt
and
digest
,
then
cast
it
into
Water
,
and
dry
it
,
put
it
again
into
the
Pot
,
and
let
it
refine
very
well
;
try
its
Colour
,
and
if
't
is
agreeable
,
take
it
and
cake
it
,
and
you
'll
have
a
very
fine
Violet-colour'd
Enamel
,
proper
for
all
manner
of
Goldsmiths
Work
of
that
sort
.
CHAP.
CLXII
.
The
Way
to
make
Yellow
Enamel
.
YELLOW
is
the
Colour
of
Gold
,
and
may
therefore
deserve
all
its
Commendations
,
which
are
so
extraordinary
great
,
that
they
require
a
whole
Volume
to
contain
'em
;
but
we
'll
only
satisfie
our selves
to
intimate
,
that
it
bears
the
likeness
of
the
first
and
more
perfect
Body
,
which
rouls
under
the
Heavenly
Arch
:
And
can
there
be
any
other
so
great
Comparison
?
'T
is
likewise
the
Symbole
of
true
Nobility
,
and
of
all
excellent
Causes
.
You
may
make
this
rich
Colour
with
six
pound
of
Principal
Powder
,
three
Ounces
of
Tartar
,
seventy
two
Grains
of
prepared
Manganese
,
the
whole
reduced
to
an
impalpable
Powder
,
well
mixt
and
put
into
a
glazed
Earthen
pot
large
enough
to
dispense
with
the
Ebullition
and
raising
up
of
the
Metal
;
let
it
stand
in
your
Glass-house
Furnace
to
melt
and
incorporate
;
after
cast
it
into
Water
,
dry
it
,
and
leave
it
in
the
pot
again
to
refine
very
well
;
then
try
the
Colour
,
and
if
it
be
sufficient
,
make
it
up
into
Cakes
as
before
directed
,
and
you
'll
have
a
very
taking
Yellow
Enamel
for
all
sorts
of
Metal
but
Gold
,
which
by
its
resemblance
it
would
only
dull
and
spoil
the
Beauty
,
unless
it
were
placed
among
other
Colours
,
as
the
Goldsmiths
already
are
very
well
acquainted
withal
.
CHAP.
CLXIII
.
The
Way
to
make
a
Crystal-Ground
for
our
Red
Enamel
.
THE
Red
requires
a
Chrystal
more
lasting
than
any
of
the
former
,
therefore
we
will
give
you
a
Composition
here
sufficient
for
that
purpose
.
Take
twenty
four
Pound
of
Salt
of
Polverine
,
Rochetta
,
or
Soda
prepared
as
directed
in
Chap.
5.
and
six
pound
of
Frit
,
as
in
Chap.
6.
these
mixt
and
finely
powder'd
,
must
be
steept
in
Water
to
bring
the
Mass
into
a
Body
like
Paste
;
and
then
make
it
up
into
small
thin
Cakes
,
lay
them
on
Tiles
in
a
Lime-kiln
,
or
Potters-Furnace
for
six
Hours
to
calcine
,
or
near
the
Glass-house
Furnace
Vault
,
or
on
the
Upper
Vault
,
taking
special
care
that
they
don't
melt
,
let
them
remain
there
for
three
or
four
Days
,
or
until
they
be
very
well
calcined
.
This
done
resolve
them
into
an
impalpable
powder
,
adding
thereto
four
pound
of
Calx
of
Lead
and
Tin
prepared
and
calcined
according
to
directions
in
Chap.
148.
and
Chap.
81.
four
pound
of
White
calcined
Tartar
,
prescribed
in
Chap.
5.
and
elsewhere
.
These
being
all
mixt
and
very
finely
pulverized
,
put
them
them
into
your
glazed
pot
at
the
Glass-house
Furnace
to
melt
and
refine
;
thence
throw
the
Metal
into
Water
,
and
again
(
when
dry
)
into
the
pot
to
melt
;
cast
it
a
second
time
into
the
Water
,
and
dry
it
,
let
it
melt
and
refine
over-again
in
the
pot
for
some
Hours
,
and
't
will
be
fit
for
use
.
Consider
always
the
Lead
which
is
among
the
other
Ingredients
,
and
be
very
careful
that
you
let
none
of
it
remain
in
the
pot
when
you
throw
the
Matter
out
into
the
Water
,
for
it
will
be
apt
to
precipitate
to
the
bottom
,
and
this
for
several
Reasons
elsewhere
given
,
too
tedious
and
needless
to
be
here
repeated
.
CHAP.
CLXIV
.
An
Excellent
Preparation
of
Fusible
Manganese
to
be
used
in
making
of
our
Red
Enamel
.
WE
have
already
given
sufficient
direction
to
prepare
Manganese
of
Piedmont
,
in
Chap.
18.
for
tinging
these
Matters
,
of
which
we
have
already
discours'd
,
but
for
Red
and
Rose-colour
Enamel
,
there
are
some
more
exquisite
Ingredients
and
Preparations
required
,
which
we
think
proper
to
give
account
of
here
,
before
we
speak
of
the
Enamel
it self
.
Any
other
than
Manganese
of
Piedmont
,
will
not
serve
your
turn
,
for
that
only
is
fit
for
our
use
to
contribute
to
the
Fairness
and
Life
of
the
Colour
;
take
therefore
equal
Quantities
of
this
Manganese
and
Salt-petre
,
as
much
as
you
please
,
and
let
them
reverberate
and
calcine
in
an
Earthen
pot
in
your
Furnace
twenty
four
Hours
;
take
it
off
and
wash
it
well
in
warm
Water
to
separate
the
Salt-petre
,
dry
it
well
,
and
the
Mass
will
be
of
a
red
Colour
:
To
this
add
an
equal
quantity
of
Sal-Armoniack
,
grind
these
on
a
Marble
with
distilled
Vinegar
,
as
Painters
do
their
Colours
;
dry
it
,
and
reduce
it
to
Powder
,
putting
it
afterwards
into
a
strong
Matrass
or
Bolt-head
of
Glass
,
big-belly'd
and
long-neck'd
,
there
to
sublimate
about
twelve
Hours
;
break
your
Matrass
,
mix
all
the
volatile
and
fixed
parts
together
,
adding
the
same
quantity
of
Sal-Armoniack
,
as
there
are
Flowers
,
and
take
care
to
weigh
them
before
Composition
;
grind
,
pulverize
,
and
sublime
as
before
,
repeating
this
until
your
Manganese
remain
fusible
in
the
bottom
of
the
Matras
,
and
this
is
that
which
you
must
preserve
to
tinge
Crystal
with
,
and
make
it
ruddy
and
diaphanous
,
or
transparent
as
a
Ruby
.
CHAP.
CLXV
.
The
Way
to
make
a
Fixt
Sulphur
,
to
be
used
in
Compositions
for
Enamel
.
THIS
Fixt
Sulphur
serves
for
several
uses
in
Chymistry
,
and
very
convenient
for
obliging
young
Artists
.
Now
,
tho'
it
be
not
so
unavoidably
necessary
for
making
Red
Enamel
,
yet
we
will
not
omit
it
here
,
because
it
contributes
to
our
prescribing
two
sorts
of
ways
for
it
,
as
well
as
to
satisfie
the
more
curious
Goldsmiths
.
Put
Flowers
of
Sulphur
,
as
much
as
you
please
,
into
a
Glass
Cucurbite
luted
at
bottom
,
pouring
thereto
Oyl-Olive
as
much
as
will
drown
the
Matter
by
two
Inches
,
set
the
Cucurbite
on
a
violent
Sand-Furnace
,
for
a
full
Hour
,
then
take
it
off
,
and
pour
in
strong
Vinegar
,
and
the
Sulphur
will
soon
precipitate
,
and
the
Oyl
ascend
on
the
Surface
of
the
Vinegar
,
decant
this
from
the
Sulphur
into
another
Vessel
,
and
put
in
more
fresh
Oyl
as
before
,
do
thus
thrice
,
and
you
'll
have
at
length
a
fixt
Sulphur
to
make
use
of
for
Enamel
.
CHAP.
CLXVI
.
Another
fixt
Incombustible
Sulphur
.
THERE
is
yet
another
way
for
fixation
of
Sulphur
for
the
same
use
,
and
several
Chymical
Operations
,
wherein
it
has
very
great
Vertue
.
Make
strong
Lye
of
Quick-Lime
and
harsh
Oak-Ashes
,
put
therein
Flowers
of
Sulphur
until
the
liquid
Surface
be
four
Inches
upmost
;
boil
it
for
a
considerable
while
over
the
Fire
,
this
will
cleanse
and
purge
the
Sulphur
from
its
Unctuosity
and
Corruption
,
and
qualifie
it
for
your
purpose
;
separate
the
Lye
from
the
Sulphur
,
and
drying
it
,
you
'll
have
it
white
,
fixt
,
and
incombustible
,
exceeding
proper
for
the
Goldsmiths
to
make
use
of
on
Gold.
We
cou'd
prescribe
several
ways
more
to
make
Sulphur
fixt
and
fusible
,
but
these
two
already
given
are
sufficient
for
our
purpose
;
we
reserve
them
therefore
for
some
other
place
to
be
discovered
among
Matters
more
excellent
,
and
of
greater
Curiosity
,
for
the
Advantage
of
such
Persons
who
Study
the
improvement
and
profounder
parts
of
Chimistry
.
CHAP.
CLXVII
.
To
Extract
Spirit
of
Saturn
,
an
Excellent
Ingredient
for
Enamel
and
Glass-work
.
WE
think
fit
to
propose
all
the
Preparations
proper
for
making
a
Red
Enamel
,
before
we
shew
the
way
to
make
it
,
because
the
Ingredients
to
be
used
must
first
be
provided
,
or
we
can't
proceed
regularly
to
our
Business
.
Among
the
rest
,
this
Spirit
of
Saturn
is
not
to
be
laid
aside
,
which
tho
considered
here
as
useful
only
in
Enamel
and
Glass-work
,
may
have
other
Vertues
familiar
to
the
Learned
;
but
for
our
Business
't
is
such
as
does
very
nobly
heighten
and
much
improve
the
Matter
for
our
Work
,
and
for
any
other
not
immediately
relating
to
us
here
,
we
pass
over
in
silence
.
Reduce
good
Litharge
,
as
much
as
you
please
,
to
an
impalpable
powder
,
and
set
it
in
a
glazed
Earthen
Vessel
over
a
still
Fire
;
add
to
this
good
distilled
Vinegar
,
till
four
Inches
above
it
,
mix
'em
well
together
,
and
then
let
them
settle
until
the
Vinegar
become
Milk-coloured
,
which
will
be
in
a
little
time
;
decant
this
Vinegar
off
gently
,
and
put
on
fresh
,
continuing
to
do
thus
until
it
admits
of
no
more
colouring
;
then
put
all
the
Milk-coloured
Vinegar
into
a
glazed
Earthen
Vessel
,
and
let
it
stand
until
the
Lead
precipitate
to
the
bottom
;
from
whence
pour
of
the
clear
Vinegar
,
which
will
be
at
top
,
and
that
Milk-coulour'd
Sediment
which
remains
,
is
what
we
call
Spirit
of
Saturn
,
tho
improperly
,
and
that
which
we
'll
make
use
of
for
the
Enamel
and
Glass
.
If
it
do
not
precipitate
well
to
your
liking
,
and
that
the
Vinegar
at
top
be
not
very
clear
,
cast
among
it
some
cold
Water
;
if
that
won't
do
,
and
that
your
Vinegar
still
continues
muddy
,
set
all
the
Water
and
Vinegar
together
over
a
gentle
Fire
to
evaporate
,
and
thus
you
'll
have
the
more
Spirituous
part
of
your
Vinegar
a
Sediment
in
the
bottom
of
the
Vessel
,
which
is
exceeding
useful
for
Glass-work
;
keep
it
together
with
the
rest
of
the
Saturn
for
use
.
This
Noble
Preparation
which
we
call
Spirit
of
Saturn
,
does
indeed
contain
it
,
but
you
must
have
skill
to
extract
it
thereout
;
to
say
that
't
is
all
Spirit
of
Saturn
is
untrue
,
for
't
is
that
wherein
the
Spirit
is
contained
,
and
from
whence
it
may
be
more
easily
and
better
separated
,
than
from
the
Mass
of
Lead
,
I
propose
this
first
step
towards
extracting
it
as
such
,
whereby
the
Curious
may
succeed
with
small
trouble
.
CHAP.
CLXVIII
.
The
Way
to
make
Enamel
of
a
Blood-colour
Red.
SINCE
we
have
given
a
small
Elogy
to
every
other
Colour
,
't
is
unjust
for
us
not
to
continue
the
like
on
this
,
which
is
a
true
Symbole
of
Blood
,
by
which
the
Glory
of
the
Martyrs
,
who
with
so
much
Generosity
and
Courage
shed
theirs
for
the
Faith
of
Christ
,
may
be
represented
as
well
as
of
those
many
Brave
and
Heroick
Persons
,
who
have
interposed
for
the
Preservation
and
Support
of
Church
and
State
,
't
is
therefore
an
Illustrious
Badge
of
Eminent
Courage
.
Thus
Alexander
,
Hannibal
,
Scipio
,
and
very
many
other
Great
and
Noble
Princes
,
chose
this
Colour
for
their
Livery
,
and
for
their
Shields
.
To
stain
Enamel
of
this
Colour
,
take
ten
pound
of
common
Frit
,
mentioned
in
Chap.
12.
add
thereto
six
pound
of
Glass
of
Saturn
,
prepared
as
in
Chap.
82.
the
whole
made
into
a
very
fine
powder
,
must
be
put
into
a
glazed
Earthen
pot
at
the
Glass-house
Furnace
,
to
melt
,
boil
and
refine
;
after
this
cast
thereon
powder
of
thrice
calcined
Copper
,
as
in
Chap.
34.
at
discretion
,
stirring
it
all
about
that
they
may
incorporate
together
with
powder
of
red
Tartar
,
until
the
Mass
become
red
as
Blood
,
observing
whether
the
Colour
be
too
pale
,
and
if
so
,
continue
to
put
in
more
of
these
Powders
of
Copper
and
Tartar
,
until
it
be
perfectly
stained
;
and
thus
you
'll
have
a
delicate
deep
Sanguine
Enamel
fit
for
all
manner
of
Work
you
can
desire
to
apply
it
.
CHAP.
CLXIX
.
Another
Blood-colour
Enamel
.
THIS
Enamel
will
be
very
beautiful
,
and
may
serve
instead
of
the
Rose-colour
Enamel
hereafter
prescribed
.
To
make
it
,
put
ten
pound
of
Frit
for
Crystal
,
Chap.
6.
and
six
pound
of
Glass
of
Saturn
before
mentioned
,
into
one
of
the
Glass-house
Furnace
pots
,
let
it
melt
and
purge
well
;
after
this
cast
it
into
Water
,
dry
it
,
and
return
it
into
the
pot
;
when
't
is
well
melted
again
,
throw
in
at
several
times
,
five
or
six
Ounces
of
powder
of
thrice
calcin'd
Copper
,
stirring
the
whole
with
the
Iron
Crook
to
mix
and
incorporate
them
well
together
,
and
also
a
like
quantity
of
powder
of
red
Tartar
,
still
stirring
it
;
this
being
well
boil'd
and
refined
,
observe
whether
the
Colour
be
perfect
,
if
not
,
add
equal
parts
of
the
Powders
of
Copper
and
Tartar
,
according
to
your
Judgment
,
as
much
as
you
find
necessary
,
to
bring
it
to
a
perfection
;
let
it
remain
to
boil
and
purifie
,
trying
it
again
and
again
,
until
you
find
it
compleatly
coloured
.
CHAP.
CLXX
.
Another
Red
Enamel
of
a
very
Splendid
Ruby-colour
.
THE
Beauty
of
this
Enamel
is
very
surprising
,
and
of
as
lively
a
Lustre
as
the
Ruby
it self
,
which
it
communicates
to
all
the
Work
wherein
't
is
used
.
For
this
fine
Effect
we
must
have
recourse
to
the
fusible
Manganese
in
Chap.
164.
add
twenty
Ounces
thereof
to
each
pound
of
Crystal
ground
,
mentioned
Chap.
163.
let
the
whole
be
well
purified
,
then
try
the
Colour
,
and
according
as
you
find
it
,
add
the
greater
or
lesser
quantity
of
Manganese
,
or
Crystal
ground
respectively
,
until
it
be
brought
to
its
just
degree
of
perfection
,
as
a
Ruby
,
and
which
ought
to
be
very
admirable
.
CHAP.
CLXXI.
Another
Ballas-Ruby-colour
Enamel
.
THE
same
Manganese
must
be
had
to
make
this
fine
Colour
;
put
ten
Pound
of
Crystal
ground
,
●n
Chap.
163.
in
a
glazed
pot
to
melt
and
purge
at
the
Glass-house
Furnace
;
throw
the
Matter
into
Water
,
dry
and
melt
over
again
;
do
thus
thrice
,
and
when
the
Mass
is
afterwards
well
melted
,
tinge
it
with
the
fusible
Manganese
as
before
,
and
't
will
become
Purple-colour'd
.
Add
to
it
at
eight
times
impalpable
Powder
of
Alom
to
bring
it
to
a
Red.
Be
very
careful
that
the
Alom
do
not
blacken
it
,
but
rather
make
it
Yellowish
,
and
the
Manganese
dissipating
't
will
become
Red
,
and
so
make
the
Colour
most
perfect
and
just
of
a
fine
Ballas-Ruby
.
CHAP.
CLXXII
.
Another
Enamel
of
a
Rose-colour
for
Gold.
NOTHING
is
fairer
and
of
greater
Gaiety
than
this
,
for
all
Work
where
it
may
be
used
,
and
therefore
we
'll
give
you
several
ways
for
its
Preparation
.
Take
ten
Pound
of
Crystal
ground
,
in
Chap.
163
▪
melt
it
at
the
Glass-house
Furnace
in
a
glazed
Pot
;
add
to
it
at
four
times
five
Ounces
of
red
calcined
Copper
,
as
in
Chap.
33.
stirring
the
Metal
every
time
,
then
put
into
it
Crocus
Martis
,
Chap.
26.
and
Manganese
as
before
prepared
;
then
let
it
alone
to
cleanse
for
six
Hours
,
and
if
the
Colour
is
not
true
,
put
in
by
little
and
little
more
Crocus
Martis
,
until
it
come
to
your
liking
,
and
be
of
a
fine
Rose-colour
.
CHAP.
CLXXIII
.
Another
very
fine
Rose-colour
.
AMONG
our
Rose-colour
Enamels
this
seems
the
finest
;
to
make
which
,
take
four
Pound
of
Crystal
ground
,
of
Chap.
163.
let
it
melt
in
a
glazed
Pot
at
the
Glass-house
Furnace
,
cast
it
afterwards
into
Water
,
and
melting
it
over
again
,
add
by
little
and
little
an
Ounce
and
half
of
Calx
,
prepared
as
in
Chap.
148.
stirring
the
Metal
every
time
to
incorporate
,
then
let
it
alone
for
a
little
while
,
until
you
perceive
it
of
an
Ash-colour
;
when
it
comes
to
that
forbear
putting
in
any
more
Calx
,
lest
you
make
it
too
white
;
then
refine
the
Mass
,
and
after
add
to
it
Minium
two
Ounces
,
purge
,
refine
,
and
throw
it
out
into
Water
,
and
putting
it
into
the
Pot
,
let
it
stand
to
melt
and
purifie
over
again
about
eight
Hours
,
then
put
in
an
Ounce
and
half
of
red
thrice
calcin'd
Copper
,
and
as
much
crude
white
Tartar
,
with
a
Dram
of
Blood-stone
,
and
the
like
quantity
of
fixt
Sulphur
,
in
Chap.
165.
these
pulverized
very
fine
and
mixt
together
,
stir
the
Metal
and
incorporate
them
very
well
together
;
afterwards
see
if
the
Colour
answers
your
expectation
;
if
it
be
too
deep
,
add
a
little
more
Manganese
to
weaken
it
,
if
it
be
too
pale
,
improve
it
with
some
more
of
the
last
Composition
of
Copper
,
Tartar
,
Blood-stone
and
Sulphur
,
until
it
be
to
purpose
:
And
thus
you
have
an
Enamel
of
an
exceeding
fair
Rose-colour
.
CHAP.
CLXXIV
.
Another
Rose-colour
Enamel
.
PRACTICE
has
already
experienc'd
so
many
ways
to
bring
this
fine
Enamel
to
the
most
advanced
Improvements
,
that
't
is
impossible
to
expect
any
greater
;
and
for
such
as
wou'd
make
it
,
they
may
proceed
boldly
thus
.
Set
six
Pound
of
Crystal
ground
,
as
in
Chap.
163.
in
a
glazed
Pot
at
the
Glass-house
Furnace
to
melt
and
cleanse
;
then
cast
into
it
at
four
several
times
intermitting
,
four
Ounces
of
Calx
,
as
prepared
of
Lead
and
Tin
,
in
Chap.
148.
stir
the
Matter
very
well
at
each
time
until
it
incorporate
,
then
let
it
all
purge
for
a
while
,
and
cast
it
Ladle-full
by
Ladle-full
into
Water
,
and
again
put
all
into
the
Pot
to
melt
and
refine
anew
;
after
this
add
to
it
an
Ounce
and
half
of
red
Copper
pulverized
and
calcined
,
as
in
Chap.
33.
which
will
tinge
the
whole
of
a
deep
Colour
,
but
cast
it
in
at
three
Intervals
,
and
stir
it
very
well
to
incorporate
;
two
Hours
after
,
add
to
it
at
thrice
,
an
Ounce
and
half
of
Crocus
Martis
,
given
in
Chap.
24.
mix
it
well
as
before
,
and
let
it
remain
to
refine
about
three
Hours
,
then
throw
on
it
six
Ounces
of
Tartar
calcined
,
as
in
Chap.
57.
Chimney-Soot
vitrified
one
Ounce
,
Crocus
Martis
again
one
Ounce
and
half
pulverized
,
and
all
well
mixt
at
four
several
Intermissions
,
and
Quantities
,
stirring
the
Metal
always
with
the
Iron-Crook
,
lest
it
swell
or
boil
over
:
After
this
let
it
repose
and
purifie
about
three
Hours
,
stir
it
again
and
try
the
Colour
,
if
it
be
red
as
Blood
it
's
right
,
if
not
,
add
at
discretion
,
a
little
more
of
each
of
these
Powders
of
Tartar
,
Soot
,
and
Crocus
Martis
,
until
the
Colour
be
full
and
true
,
and
so
let
it
stand
for
a
whole
Hour
,
and
try
it
again
;
if
you
find
it
perfect
,
proceed
no
further
,
but
keep
it
for
use
,
't
is
very
proper
to
apply
to
Gold
for
Enamel
.
CHAP.
CLXXV
.
Another
Splendid
Enamel
of
a
Carbuncle-colour
.
NOT
to
particularize
any
farther
on
the
Carbuncle
,
which
we
have
sufficiently
enough
discoursed
of
already
,
we
will
shew
how
to
imitate
the
Colour
ascribed
to
it
with
Enamel
,
and
which
will
be
of
a
wonderful
fine
Beauty
,
as
has
been
often
experimented
.
Now
the
whole
Secret
of
this
Operation
consists
in
calcining
the
Gold
perfectly
,
and
bringing
it
to
an
absolute
and
just
fineness
,
which
must
create
this
precious
Colour
.
Take
very
pure
Gold
,
and
for
the
better
assurance
refine
it
your self
,
and
dissolve
an
Ounce
of
it
in
three
Ounces
of
Aqua
Regalis
,
as
directed
in
Chap.
55.
let
the
Solution
distil
over
a
gentle
Fire
until
the
Gold
precipitates
,
and
thus
repeat
an
Exhalation
and
Cohobation
six
times
,
and
the
last
time
take
out
the
Gold
,
powder
and
put
it
into
a
Crucible
covered
and
luted
,
on
a
Reverberatory
to
calcine
;
let
it
remain
until
it
become
of
a
very
excellent
and
Scarlet
Red
,
which
will
not
be
without
a
considerable
allowance
of
many
Hours
.
This
done
,
take
of
our
Crystal
ground
,
and
melt
a
quantity
of
it
in
a
glazed
Pot
at
the
Furnace
of
the
Glass-house
,
and
being
well
purged
,
throw
in
a
twentieth
part
of
the
Powder
of
Gold
,
in
proportion
as
the
quantity
of
Metal
,
stirring
the
whole
very
well
,
let
it
alone
for
some
time
,
then
try
it
,
and
according
as
you
find
the
Colour
,
put
in
more
Powder
until
you
bring
it
to
a
true
transparent
Carbuncle-colour
.
We
have
given
another
way
to
calcine
Gold
in
Chap.
115.
no
less
sufficient
than
this
,
together
with
a
way
to
make
a
fine
Carbuncle
,
and
this
rare
Colour
may
as
well
be
given
to
the
Stone
as
the
Enamel
by
the
Directions
for
preparing
the
Gold
in
either
Chapter
,
the
Curious
may
choose
which
they
will
,
they
being
equally
sufficient
.
CHAP.
CLXXVI
.
The
Way
to
calcine
Copper
for
making
Vitriol
of
Venus
,
without
Corrosive
.
WE
promised
in
Chap.
45.
to
shew
this
fine
Essay
,
which
is
certainly
the
Noblest
Preparation
can
be
made
of
Copper
,
so
the
Learned
may
take
notice
of
it
:
If
the
Caput
Mortuum
of
Vitriol
has
many
excellent
Vertues
for
tinging
of
Glass
,
this
Vitriol
it self
,
or
rather
Spirit
,
must
have
far
greater
and
more
extraordinary
in
Matters
of
a
more
sublime
Nature
:
A
famous
Philosopher
,
very
eminently
recommendable
and
Judicous
,
was
never
weary
of
dwelling
on
the
Praise
of
this
hidden
Treasure
,
and
extolling
its
Vertues
to
the
highest
.
Tho
this
Vertue
be
known
to
many
of
the
Learned
,
yet
we
may
boldly
say
,
't
is
unknown
to
very
many
indifferently
so
,
who
as
soon
as
they
have
run
over
the
Writings
of
some
Sage
Virtuoso
,
pretend
to
be
acquainted
with
all
the
Secrets
of
Nature
,
and
which
they
undertake
to
disclose
and
unravel
as
soon
as
they
can
force
'em
to
any
sense
comformable
to
their
weak
Capacity
,
tho
never
so
different
from
the
Author's
meaning
,
to
which
they
are
altogether
Strangers
,
and
this
gives
us
Authority
enough
to
condemn
them
for
truly
ignorant
.
Nature
is
veiled
,
and
her
Vertues
not
so
plainly
disclosed
to
all
the
World
,
she
has
those
secret
Recluses
for
them
as
can
be
opened
by
no
other
than
her
own
Key
,
which
can't
be
match'd
,
and
therefore
not
to
be
found
in
the
Hands
of
every
Man
;
besides
that
,
one
must
be
lead
by
the
same
Genius
as
he
that
forged
it
,
before
one
can
truly
find
and
distinguish
it
,
and
we
may
assure
our selves
that
none
but
the
Wise
are
in
possession
of
this
rare
and
precious
Treasure
.
The
greatest
of
those
who
have
writ
on
this
Art
,
have
always
held
this
Key
as
the
last
Secret
;
all
the
profound
Arguments
they
have
alledged
,
and
Pains
they
have
been
at
to
screen
those
obscure
Avenues
,
were
designed
to
make
them
inaccessible
to
the
Base
and
Unworthy
,
and
preserve
these
All-Divine
Secrets
from
being
prophaned
by
the
Hands
of
such
as
wou'd
abuse
them
.
This
Sacred
Mystery
does
not
only
consist
(
as
many
fansie
)
in
the
making
of
Gold
and
Silver
,
which
is
Ambitiously
suggested
by
the
meer
Avarice
of
the
major
part
of
all
Mankind
,
but
is
indeed
the
meanest
Excellency
thereof
;
for
Health
,
which
it
contains
,
is
beyond
all
the
Treasure
in
the
World
;
besides
,
the
Knowledge
it
affords
us
of
an
Omnipotency
in
the
true
God
,
and
of
all
the
other
Most
Holy
Mysteries
of
Religion
,
wherein
it
gives
an
opportunity
to
make
a
perfect
Discovery
:
Are
not
those
much
more
sublime
and
eminent
Vertues
which
lead
us
to
a
Blessed
Eternity
?
Whereas
on
the
contrary
,
all
the
Transitory
Wealth
on
Earth
has
nothing
in
it
but
Imposture
,
and
serves
only
to
precipitate
us
into
the
Bottomless-Pit
.
We
'll
leave
this
lofty
Subject
to
be
discoursed
on
by
the
Learned
,
and
go
on
to
the
calcining
of
Copper
,
which
is
the
first
Preparation
to
be
made
in
making
the
Vitriol
of
Venus
without
Corrosive
,
which
is
known
to
very
few
,
and
whereof
we
have
already
given
an
Elogy
.
Take
thin
Leaves
of
red
Copper
,
and
put
them
into
Crucibles
,
stratifying
'em
lay
upon
lay
with
Powder
of
common
Sulphur
,
filling
your
Crucibles
until
all
the
Copper
Leaves
be
put
in
,
as
in
Chap.
22.
then
cover
well
and
lute
the
Crucibles
,
let
the
lute
dry
,
and
put
them
into
the
Furnace
of
Chap.
52.
continuing
a
good
Charcoal-Fire
for
two
Hours
;
afterwards
let
them
stand
and
cool
,
then
take
off
the
Crucibles
,
and
you
'll
find
your
Copper
calcin'd
and
blackish
,
inclining
to
a
deep
Purple
Powder
;
searce
it
,
and
to
each
Pound
add
six
Ounces
of
Powder
of
Sulphur
,
mix
and
put
them
into
a
round
flat-bottom
Earthen
Pot
,
strong
enough
to
bear
the
Fire
,
lay
upon
the
Furnace
a
strong
Earthen-Dish
,
fill
it
with
very
live
Coals
,
and
place
your
Pot
thereon
with
the
Copper
;
when
the
Pot
grows
hot
,
and
the
Sulphur
takes
Fire
,
stirring
it
with
your
long
Iron
Crook
,
lest
it
should
stick
to
the
Pot
,
or
become
concrete
,
continue
thus
till
the
Sulphur
be
all
consumed
and
smoaks
no
more
;
take
the
Pot
hot
off
the
Fire
,
and
empty
the
Copper
out
with
an
Iron-Ladle
;
pound
it
well
in
a
Brass
Mortar
,
and
searce
it
all
finely
,
and
you
'll
have
a
blackish
Powder
,
reiterate
this
Calcination
thrice
,
with
the
like
proportion
of
Sulphur
as
before
,
and
the
third
time
let
it
remain
until
the
Copper
become
Red
and
Yellow
;
then
take
it
off
,
and
pound
it
in
a
Brass-Mortar
,
and
searce
it
finely
,
pounding
what
remains
over
again
,
untill
all
be
searced
,
and
you
'll
have
a
very
well
coloured
Calx
of
Copper
,
most
effectual
and
proper
for
extracting
this
fair
Vitriol
of
Copper
,
whereof
we
will
give
the
Preparation
in
the
next
Chapter
.
CHAP.
CLXXVII
.
To
make
Vitriol
of
Venus
without
Corrosive
.
THOSE
who
make
Vitriol
of
Venus
,
have
not
all
one
and
the
same
method
,
most
of
them
dissolve
the
Copper
in
distilled
Vinegar
,
Spirit
of
Nitre
,
or
some
other
Corrosive
,
for
our
part
Water
alone
is
the
Dissolvent
,
or
rather
Agent
to
extract
the
Tincture
,
as
we
shall
shew
.
Take
Glass
Cucurbits
as
many
as
will
serve
your
turn
,
to
contain
all
your
Calx
of
Copper
,
and
put
six
Pound
of
fair
running
Water
to
a
Pound
of
Calx
,
into
each
Cucurbite
;
place
them
on
a
moderate
Sand-Furnace
for
four
Hours
,
to
evaporate
until
one
third
of
the
Water
go
off
;
let
the
Furnace
cool
,
and
afterwards
decant
the
remainder
of
the
Water
into
other
Glass
Vessels
,
and
dry
the
Sediment
in
a
Crucible
on
the
Furnace
;
let
this
Water
settle
for
two
Days
,
and
then
you
'll
find
in
the
bottom
of
the
Vessel
small
Grains
of
Copper
of
a
blackish
Colour
;
you
must
filtrate
,
or
strain
the
Water
,
and
preserve
all
the
Grains
together
,
to
add
to
the
former
Sediment
,
having
first
well
dried
them
,
and
keep
the
Water
.
Take
all
these
Sediments
,
and
to
each
Pound
add
six
Ounces
of
Powder
of
Sulphur
as
before
,
putting
it
into
your
flat-bottom'd
Earthen
Pot
to
calcine
as
in
the
former
Chapter
;
take
care
to
stir
it
well
as
long
as
the
Sulphur
fumes
,
and
it
stands
over
the
Fire
,
else
it
will
stick
to
the
Pot
and
not
calcine
;
take
it
off
and
powder
it
immediately
in
a
Brass-Mortar
,
searce
the
Powder
,
and
you
'll
find
it
black
;
mix
this
again
with
Sulphur
proportionably
six
Ounces
to
a
Pound
,
and
put
it
to
calcine
anew
,
stirring
it
very
well
as
before
directed
;
let
it
stand
a
while
on
the
Fire
to
alter
the
Matter
from
a
Russet
to
a
Yellow
;
then
take
it
off
and
pound
it
instantly
in
a
Brass-Mortar
before
it
cool
,
and
then
searce
it
all
finely
over
.
Put
a
Pound
of
this
Powder
with
six
Pound
of
Water
,
into
each
Cucurbit
,
and
these
Cucurbits
on
a
slow
Sand-Furnace
,
where
let
it
stand
four
Hours
to
the
consumption
of
one
third
of
your
Water
,
which
decant
into
other
Vessels
;
let
it
settle
two
Days
,
then
filtrate
these
Waters
,
and
pour
them
among
the
former
,
gathering
the
Sediments
that
remain
in
the
bottom
,
and
mix
them
with
these
in
the
Cucurbits
.
Dry
the
remaining
Sediments
as
before
,
and
repeat
the
calcination
anew
with
the
same
proportionable
quantity
of
Sulphur
;
then
extract
the
Tincture
,
filtrate
and
mix
the
filtrated
and
tinged
Waters
with
the
former
,
exactly
observing
the
Order
already
taught
,
and
continue
to
do
thus
six
times
,
so
will
the
Copper
remaining
in
the
bottom
of
your
Vessels
,
become
as
it
were
a
soft
impure
Earth
deprived
of
all
its
blueness
,
which
throw
away
as
fit
for
nothing
,
for
all
the
Vertue
of
the
Copper
is
contained
in
the
Waters
;
put
these
all
carefully
together
to
extract
from
them
this
precious
Vitriol
of
Venus
,
as
hereafter
directed
.
CHAP.
CLXXVIII
.
The
Way
to
extract
a
fair
Vitriol
of
Venus
from
our
our
Coloured
Waters
.
OF
all
the
Preparations
to
be
taught
for
this
rare
Work
,
this
is
the
most
easie
and
vulgar
,
there
being
no
more
required
,
than
to
evaporate
and
crystalize
the
Matter
;
but
as
we
are
to
leave
nothing
in
the
Dark
,
we
resolve
to
explain
every
circumstance
thereof
for
the
benefit
of
our
Readers
,
and
such
as
wou'd
know
it
.
We
have
said
you
must
mix
together
all
your
coloured
Waters
,
now
we
will
tell
you
what
must
be
done
with
them
;
you
must
have
a
low
Glass-Cucurbit
that
will
hold
two
*
Paris
Pints
,
or
more
,
which
put
into
a
moderate
Ash
or
Sand-Furnace
;
put
therein
three
Pound
of
the
Tincture
to
evaporate
gently
,
and
put
the
rest
into
Glass-Bottles
set
round
your
Furnace
,
so
that
they
may
be
heated
,
and
ready
to
fill
the
Cucurbit
as
fast
as
the
Exhalation
consumes
its
Tincture
,
which
may
be
done
with
a
Glass
Ladle
,
or
the
Bottles
themselves
,
lest
the
Waters
being
cold
might
cause
the
Cucurbit
to
burst
,
and
so
all
would
be
lost
.
Reduce
ten
Pound
of
this
by
evaporation
to
two
and
half
,
or
three
at
most
,
which
will
be
a
very
high
Tincture
,
pour
it
into
two
or
three
glazed
Earthen
Vessels
,
and
place
them
all
Night
in
a
moist
cold
place
,
and
you
'll
find
the
Vitriol
at
bottom
,
and
sticking
to
the
sides
of
the
Vessels
,
like
little
long
Icicles
,
which
will
have
the
true
colour
of
Oriental
Emeralds
,
pour
all
the
remaining
Waters
into
the
Cucurbit
,
and
dry
the
Vitriol
that
it
may
not
stick
,
preserving
it
in
a
close
Vessel
.
Place
your
Cucurbit
again
on
the
Furnace
to
evaporate
anew
at
the
consumption
of
half
the
Waters
,
and
crystalize
the
strong
Tincture
as
before
.
Thus
whilst
any
Water
remains
evaporate
and
crystalize
until
all
be
consumed
,
to
the
end
that
none
of
this
may
be
lost
,
whose
Vertues
are
infinitely
useful
,
not
only
in
the
Art
of
Glass
,
and
the
Metallick
,
but
in
Physick
too
,
for
the
curing
of
many
Chronick
Distempers
,
which
we
pass
over
in
silence
,
as
foreign
to
our
Subject
,
and
continue
to
prescribe
the
rest
of
this
rare
Work
,
to
conceal
nothing
from
the
Curious
,
but
give
them
entire
satisfaction
.
CHAP.
CLXXIX
.
The
Method
of
drawing
the
Spirit
of
the
Vitriol
of
Venus
,
which
has
a
wonderful
Blue
,
and
how
to
separate
the
Caput
Mortuum
for
tinging
of
Glass
.
THE
Caput
Mortuum
of
Vitriol
of
Venus
,
which
we
prescribe
to
tinge
Glass
of
a
Sea-green
,
and
whereof
we
discoursed
in
Chap.
45.
has
ingaged
us
to
give
this
most
excellent
and
hidden
Secret
of
Nature
,
which
the
Philosophers
have
never
explained
but
by
ambiguous
Riddles
,
and
veiled
Parables
to
conceal
the
Knowledge
thereof
from
the
Vulgar
.
We
confess
,
't
is
not
without
some
regret
we
condescend
to
it
in
this
Ungrateful
Age
,
wherein
very
few
deserve
to
be
instructed
,
or
truly
admire
,
and
so
perfectly
love
the
Mysteries
of
Sage
Philosophy
,
as
to
imitate
the
Vertue
and
Charity
of
its
devoted
Professors
;
't
is
however
in
consideration
,
and
for
the
sake
of
this
small
number
of
Votaries
that
we
have
explained
and
delivered
many
excellent
things
in
this
Book
,
which
we
might
(
but
out
of
regard
to
such
)
have
laid
aside
(
as
foreign
to
the
Art
of
Glass
)
but
our
desire
to
please
them
has
promoted
the
opening
these
intricate
Paths
,
and
leaving
them
in
a
condition
to
be
enlarged
by
our
small
Discovery
under
the
serious
Speculations
,
and
smart
issues
of
their
own
Wit.
Now
to
finish
our
precious
Essay
,
you
must
take
a
Pound
of
this
Vitriol
into
a
Glass
Retort
strongly
luted
,
as
directed
in
Chap.
52.
the
lute
being
dry
,
set
the
Retort
in
a
Sand-Furnace
,
fitting
to
it
a
very
large
Receiver
,
as
directed
for
Aqua
fortis
in
that
Chapter
;
this
done
,
kindle
the
Fire
,
and
continue
it
gen●e
for
four
Hours
to
prevent
a
too
excessive
heat
,
●hich
would
drive
out
the
Spirits
impetuously
,
and
〈◊〉
burst
the
Receiver
,
whereof
great
care
must
be
●●ken
not
to
spoil
all
:
As
soon
as
the
Spirits
ascend
like
●hite
Clouds
,
improve
your
Fire
by
degrees
,
until
●ey
disperse
and
your
Receiver
clears
again
and
●ols
,
and
all
the
Spirit
comes
together
:
Then
let
●e
Fire
go
out
of
it self
,
and
after
twenty
four
●ours
,
unlute
the
Joynts
,
take
away
your
Receiver
,
●d
put
the
Liquor
it
contains
into
Glass-Bottles
stopt
●ry
close
with
Glass
Stopples
to
prevent
Air
,
which
●hey
could
draw
,
would
disperse
it
all
by
Exhala●n
.
This
choice
Liquor
has
that
Noble
Blue
which
●ords
us
wonderful
Tinctures
,
and
other
inestima●●
Operations
,
as
well
as
such
surprizing
Effects
in
●ysick
,
as
cannot
be
equalled
.
The
strength
of
this
rich
Liquor
may
be
known
〈◊〉
its
very
penetrating
acid
smell
,
and
if
we
were
〈◊〉
afraid
to
prophane
so
sublime
a
Mystery
which
●rsons
much
more
Sage
and
Considerate
than
we
,
●e
kept
so
secret
:
We
would
enlarge
more
on
its
●●ellent
Qualities
,
and
disperse
those
Obscurities
,
●●
we
should
look
upon
our selves
unworthy
of
the
●ht
we
have
been
able
to
acquire
in
this
most
im●●●tant
Matter
,
if
we
abandoned
those
Treasures
to
〈◊〉
ravage
of
the
whole
Earth
,
which
ought
only
to
〈◊〉
possest
by
the
Sacred
,
Wise
,
and
Studious
Mem●●s
of
the
Hermetick
Science
and
Philosophy
.
But
to
return
to
our
Caput
Mortuum
of
this
preci
Vitriol
,
which
has
occasioned
us
to
give
its
Pre●ation
,
and
is
what
we
make
use
of
for
this
fine
●ter-colour
,
or
Egmarine
on
Glass
,
you
'll
find
it
●he
Retort
,
out
of
which
the
white
Spirit
was
di●ed
,
whereof
we
have
discoursed
already
;
to
get
●ou
must
break
the
Retort
,
then
reduce
it
to
Pow●
with
a
mixture
of
Zaffer
,
as
directed
in
Chap.
45.
and
so
tinge
your
Crystal
of
an
admirable
Sea-green-colour
.
We
were
mistaken
in
Chap.
45.
in
saying
that
the
Caput
Mortuum
must
be
exposed
to
the
Air
before
you
do
pound
it
with
the
Zaffer
,
for
that
is
not
altogether
incumbent
in
tinging
of
Glass
,
tho
this
exposing
of
it
cannot
but
add
something
to
the
lustre
,
for
it
draws
thereby
with
a
certain
Magnetick
Property
,
the
occult
Spirit
of
the
Air
,
and
so
from
a
Black
,
of
which
it
was
before
,
becomes
of
a
pale
Blue-colour
,
and
partly
assumes
what
it
lost
by
Distillation
and
Extraction
of
the
Spirits
,
so
you
may
save
a
great
deal
of
time
and
pains
by
this
Preparation
,
to
your
no
small
Advantage
,
in
expediting
the
Matter
.
Such
as
shall
comprehend
the
Vertues
of
those
things
we
have
shewn
in
the
four
last
Capters
,
ought
to
be
secret
,
for
many
will
read
these
things
,
and
not
apprehend
,
or
only
Laugh
at
them
,
whether
it
be
that
the
Divine
Power
,
for
Reasons
best
known
to
himself
,
will
not
let
them
discern
,
or
that
they
confide
in
a
false
Presumption
on
their
own
Knowledge
,
as
beyond
all
other
Mens
.
God
has
nevertheless
not
confined
to
one
only
Wit
,
the
whole
Knowledge
,
or
all
the
sublime
Excellencies
of
Nature
,
but
on
the
contrary
,
to
declare
his
great
and
unbounded
Charity
,
permits
it
to
be
communicated
to
many
for
his
greater
Manifestation
and
Glory
;
yet
he
reserves
those
more
important
Secrets
to
be
revealed
to
his
Faithful
Servants
,
that
such
as
would
be
acquainted
with
the
same
Mysteries
,
may
apply
to
this
Father
of
Light
,
who
alone
can
inspire
them
with
sufficiency
enough
for
penetrating
into
these
which
they
could
never
do
without
his
Assistance
.
Now
the
true
Method
thereof
is
obvious
to
all
the
World
,
a
Holy
and
Regular
Life
opens
the
Passage
,
and
continual
Study
and
Application
guides
us
through
;
but
we
must
add
to
these
an
upright
Intention
of
making
good
use
hereof
,
that
we
may
not
wander
;
a
Love
for
our
Neighbour
conformable
to
the
Will
of
God
,
to
bring
us
to
a
safe
Port
,
an
extended
Charity
to
the
Poor
,
to
lay
open
for
us
the
Gate
of
Heaven
;
and
in
a
Word
,
an
unlimited
and
immense
Love
for
this
Omnipotent
Creator
,
Eternal
,
and
Incomprehensible
,
to
Hand
us
to
his
very
Throne
:
This
is
the
prevailing
Attractive
,
which
all
the
Judicious
Philosophers
made
use
of
to
draw
down
this
Divine
Intelligence
,
and
which
I
most
heartily
wish
to
all
that
would
imitate
them
.
The
End
of
the
Sixth
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
VII
.
Containing
the
Way
to
Enamel
in
all
Sorts
of
Colours
on
Gold
and
other
Metals
:
The
Order
of
the
Fire
and
Furnace
:
The
Preparation
of
Colours
for
Pourtraying
with
Enamel
,
and
how
to
do
it
.
CHAP.
CLXXX
.
THO
this
Undertaking
depends
not
altogether
on
our
Art
of
Glass
,
being
no
more
than
an
Application
of
Matters
delivered
in
the
Sixth
Book
;
however
we
resolve
to
lay
down
this
Manner
of
Enameling
and
Pourtraying
on
Metals
,
to
bring
this
our
Work
to
an
higher
perfection
.
The
Ancient
Works
of
Enamel
on
Metals
,
were
only
of
Black
and
White
,
with
some
few
Tinges
of
Carnation
,
or
Flesh-colour
,
as
may
be
seen
in
the
Limoge
Enamel
;
in
Francis
the
First
's
Time
it
became
more
improv'd
,
and
they
made
use
of
Lights
and
Shadows
▪
but
the
Enamel
on
Gold
was
of
no
better
Stuff
than
that
on
Copper
,
and
all
the
Works
of
it
on
Gold
,
Silver
,
and
Copper
,
were
of
Transparent
Matter
;
such
as
wrought
it
on
thick
,
couched
each
Colour
by
it self
,
as
is
done
now
a
Days
in
Enameling
some
particular
Pieces
of
Relief
,
and
not
otherwise
.
Since
then
they
have
found
out
the
way
of
Enameling
with
opaque
,
and
thick
stuff
,
and
the
Art
of
compounding
the
Colours
,
is
much
more
improveing
and
handsomer
than
that
of
the
Ancients
,
as
is
visible
in
all
our
Modern
Works
;
but
we
must
without
all
Exception
,
own
the
fair
Works
upon
Gold
,
representing
Pourtraitures
,
and
entire
Histories
,
so
neatly
,
and
to
the
Life
,
and
coveted
as
much
as
Picture
done
in
Oyl
,
over
which
it
has
the
advantage
of
Natural
Lustre
and
Varnish
,
which
is
never
tarnished
,
to
be
the
Invention
of
this
latter
Age
,
and
the
Improvements
we
owe
to
the
Study
of
the
French
therein
.
All
sorts
of
Enamel
are
not
to
be
promiscuously
employed
on
all
sorts
of
Metal
;
Gold
which
perfectly
bears
with
as
well
all
the
Opaque
as
Transparent
,
cannot
agree
with
clear
Purple
,
its
Yellow
mightily
changing
the
Colour
thereof
,
and
produces
but
a
very
ill
Fancy
;
on
the
other
side
,
this
Purple
is
very
fine
on
Silver
;
so
the
Egmarine
,
the
Azure
,
and
Green
all
other
Colours
,
as
well
clear
as
Opaque
,
disagreeing
therewith
,
and
Copper
suits
with
every
thick
Enamel
,
but
cannot
endure
the
Limpid
,
unless
prepared
for
it
beforehand
,
as
shall
be
directed
in
due
place
.
Observe
that
good
Enamel
must
be
hard
and
lasting
,
such
as
is
soft
being
full
of
Lead
,
and
subject
to
change
Colour
,
easily
becoming
sullied
and
foul
;
of
the
clear
Enamel
some
is
harder
,
some
softer
;
the
hardest
is
always
best
,
however
even
of
them
there
is
choice
;
some
lose
colour
in
the
Fire
,
some
are
more
or
less
lively
and
sparkling
,
but
if
you
employ
constantly
such
as
we
have
prescribed
in
our
Sixth
Book
,
you
'll
never
be
exposed
to
those
Inconveniencies
;
for
the
Ingredients
being
perfectly
cleansed
,
will
endure
all
degrees
of
Fire
,
any
change
of
Colour
or
Quality
not
ensuing
.
CHAP.
CLXXXI
.
Of
the
Furnace
for
Enameling
and
Pourtraying
.
THE
Enameling
of
Metals
,
as
well
as
the
colouring
of
the
Stuff
,
cannot
be
effected
without
Fire
,
and
is
wholly
different
in
this
point
from
Painting
with
the
usual
Colours
in
Oyl
,
which
may
be
dried
in
the
Air
only
,
without
other
help
.
It
would
be
very
hard
to
believe
the
Fire
would
not
spoil
the
mixture
of
the
Colours
,
if
our
daily
experience
which
we
made
,
did
not
vouch
the
contrary
;
however
care
must
be
taken
not
to
let
the
Work
have
too
much
time
,
but
draw
it
out
as
soon
as
you
find
it
polisht
.
The
Fire
must
be
Reverberatory
,
or
rather
of
Suppression
,
and
never
to
be
under
the
Stuff
;
't
is
the
same
as
is
used
for
cleansing
of
Metals
,
whether
in
Mints
or
Goldsmiths
Shops
,
which
is
very
familiar
to
all
the
World.
You
must
have
a
Furnace
round
or
square
,
either
of
Iron
or
Earth
,
it
's
no
great
matter
,
how
(
or
whether
of
these
)
it
is
,
which
must
be
hollow
in
the
middle
,
to
contain
the
Work
with
a
good
Charcoal-Fire
all
about
,
and
over
it
,
to
make
it
melt
the
better
;
and
you
must
have
it
so
as
to
be
able
to
take
your
Stuff
out
,
and
put
it
in
again
,
as
occasion
requires
:
You
may
,
for
better
conveniency
,
make
use
of
a
Goldsmith's
Muffle
;
't
is
a
small
Arch
made
of
Crucible
Earth
,
in
the
shape
of
half
a
Crucible
,
cut
length-wise
,
and
they
place
it
on
the
Area
or
Floor
of
the
Furnace
,
the
Opening
of
it
lying
just
against
the
Mouth
of
the
Furnace
,
to
put
in
and
draw
out
the
Work
easily
;
and
for
more
conveniency
they
place
a
small
Grate
over
it
,
which
must
not
touch
it
,
for
fear
of
breaking
it
;
and
on
this
Grate
make
a
good
Fire
,
and
so
round
about
the
Muffle
,
to
heat
the
hollow
very
well
,
under
which
they
put
the
Work
to
be
Enamel'd
and
Painted
;
and
the
Essays
,
or
Trials
they
have
a
mind
to
make
on
a
little
IronShovel
,
to
draw
the
easier
out
;
but
for
making
Essays
of
Ingredients
for
Enamel
,
it
must
be
a
little
Blade
of
White
Enamel
,
which
ought
to
be
provided
purposely
for
that
use
.
CHAP.
CLXXXII
.
The
Way
to
Enamel
Gold.
WE
have
already
said
,
that
Gold
,
Silver
,
and
Red
Copper
may
be
Enamel'd
;
now
to
make
true
Work
,
you
must
use
only
pure
Gold
,
because
Silver
makes
White
Enamel
appear
Yellow
,
and
Copper
rises
in
Scales
,
and
makes
Vapours
;
for
tho
all
Enamel
sticks
to
it
,
yet
it
is
but
very
imperfectly
,
and
may
be
easily
divided
and
peeled
off
again
;
besides
,
the
Colours
are
so
wretched
on
it
,
and
lose
much
of
their
Charm
and
Lustre
by
the
Impurity
of
that
Metal
.
Therefore
,
if
you
would
have
good
Work
,
let
Gold
only
be
your
Subject
,
and
of
the
purest
,
if
you
employ
clear
Enamel
,
because
on
impure
Gold
they
grow
dull
,
and
become
imperfect
,
that
is
to
say
,
there
appears
with
this
a
certain
obscure
and
Cloudy
Vapour
in
the
Enamel
,
which
deadens
and
takes
away
the
Life
of
its
Colour
.
The
Gold
Plate
ought
to
be
rising
,
and
when
it
is
forged
very
even
,
the
Goldsmiths
apply
white
Enamel
over
and
under
it
,
tho
it
is
to
be
wrought
but
on
one
side
,
but
this
is
necessary
for
two
Reasons
:
First
,
Because
the
Work
is
neater
and
fairer
for
it
:
And
again
,
Because
if
it
were
only
Enamel'd
on
one
side
,
the
Fire
would
swell
it
,
and
so
make
it
rise
,
and
that
in
Bubbles
;
because
it
is
always
as
it
were
tormented
,
especially
when
the
Pieces
are
great
,
and
the
Enamel
carelesly
laid
on
;
this
makes
it
produce
Blisterings
,
which
disfigure
the
Work
;
the
French
Chymists
call
such
Vegoter
,
but
their
Goldsmiths
Petits
Ocuillets
:
This
disfiguring
of
the
Work
,
you
may
avoid
,
by
laying
Enamel
on
both
sides
of
the
Plate
of
Gold
,
and
thicker
over
than
under
,
this
will
keep
it
equal
and
even
on
both
sides
,
the
first
lay
of
White
Enamel
remaining
/
smooth
in
this
condition
,
serves
for
a
Field
to
place
all
your
other
Colours
on
as
we
will
further
discourse
of
in
the
Art
of
Pourtraying
.
Oyl
of
Spike
is
used
for
dissolving
thick
and
opaque
Enamel
before
it
can
be
applied
;
for
the
Transparent
you
need
use
nothing
but
fair
Water
,
as
we
shall
shew
in
Chap.
185.
and
then
't
is
couched
flat
and
bordered
with
the
Metal
,
and
sometimes
we
don't
border
at
all
,
the
Field
being
all
Enamel
,
but
this
is
troublesome
,
because
the
Limpid
Enamels
as
they
melt
,
often
mix
,
and
so
confound
the
Colours
which
constantly
happens
when
the
Pieces
〈◊〉
small
.
Red
Enamels
are
not
so
,
unless
by
chance
,
and
come
generally
Yellowish
out
of
the
Fire
;
assoon
as
't
is
applied
to
the
Gold
,
it
alters
the
Colour
;
one
may
soon
bring
it
to
a
perfect
Red
Enamel
,
by
turning
it
at
the
Mouth
of
your
Furnace
,
when
you
are
taking
it
out
from
the
Fire
;
and
then
it
is
that
the
Workmen
say
they
make
it
Red
,
and
give
it
its
compleat
Colour
.
Gold
,
as
we
have
already
said
,
admits
of
all
sorts
of
Enamel
,
clear
or
opaque
,
bright
Purple
excepted
,
which
is
altered
by
the
Yellow-colour
of
the
Gold
,
and
does
not
take
so
good
effect
there
,
as
on
Silver
,
on
which
it
ought
still
to
be
used
.
The
Way
of
working
every
sort
of
Enamel
,
is
alike
;
not
to
make
any
useless
Repetitions
,
we
will
satisfie
our selves
only
to
advise
you
to
employ
all
those
Enamels
prescribed
in
the
Sixth
Book
,
which
have
every
illustrating
and
convenient
Property
to
be
wished
for
in
this
Work.
CHAP.
CLXXXIII
.
To
Enamel
on
Silver
.
WE
have
already
taken
notice
in
our
former
Chapter
,
that
Silver
agrees
not
with
all
sorts
of
Enamel
,
as
Gold.
We
repeat
it
here
again
to
prevent
the
use
of
any
but
such
as
serve
to
produce
perfect
and
agreeable
Effects
.
You
are
to
make
least
use
of
White
Enamel
on
Silver
,
because
there
it
becomes
Yellowish
,
and
unpleasing
,
but
nothing
can
suit
better
with
it
,
than
bright
Purple
,
Green
,
Blue
,
and
Egmarine
,
because
the
Whiteness
of
the
Silver
is
then
clearly
eminent
,
and
gives
its
just
splendour
.
The
Work
and
manner
of
Enameling
on
Silver
,
is
no
way
different
from
that
of
Gold
,
in
forging
the
Plates
evenly
to
prepare
'em
for
the
Enamel
,
you
may
make
use
of
White
on
the
under
side
,
since
the
Enamel
there
serves
only
to
qualifie
the
Risings
and
Disturbings
of
the
Metal
in
the
Furnace
,
which
would
cause
unevenness
,
or
disagreements
in
the
surface
,
and
prevent
its
becoming
just
and
handsome
.
We
need
not
repeat
again
that
way
of
placing
the
Enamel
on
your
Plates
of
Gold
or
Silver
,
and
so
to
put
them
into
your
little
reverberatory
Furnace
spoken
of
in
Chap.
181.
to
melt
,
and
as
soon
as
polished
to
be
taken
from
the
Fire
.
CHAP.
CLXXXIV
.
To
Enamel
on
Copper
.
THO
we
have
before
touched
upon
the
way
of
Enameling
on
Copper
,
yet
lest
the
Reader
should
too
slightly
apprehend
it
,
as
not
in
order
,
or
a
distinct
Chapter
,
therefore
we
are
obliged
to
enter
it
here
to
avoid
Imperfection
.
The
less
use
is
made
of
this
Metal
in
this
Work
the
better
,
for
the
Enamel
never
sticks
to
it
perfectly
,
but
is
easily
scaled
,
divided
,
and
broke
off
,
which
never
happens
to
Gold
;
besides
,
the
Copper
is
so
impure
,
that
its
Fumes
destroy
the
Beauty
of
the
Enamel
so
much
in
the
Furnace
,
that
they
quite
lose
their
Charm
and
Splendour
by
the
Malignity
of
those
Vapours
.
Tho
the
Copper
receives
easily
all
thick
or
dark
Enamels
,
it
can't
be
brought
so
well
to
endure
the
clear
and
limpid
;
now
if
you
would
make
use
of
these
last
,
you
must
first
lay
a
lay
of
Green
,
or
Black
,
and
thereon
a
Leaf
of
Silver
to
receive
the
Enamel
suitable
for
that
Metal
mentioned
in
the
former
Chapter
;
so
that
in
the
main
't
is
much
better
to
make
use
of
Silver
for
the
Transparent
Enamels
,
since
the
Copper
is
so
apt
to
foul
,
and
the
charge
in
either
much
the
same
.
In
Enameling
on
Copper
,
you
must
take
a
Plate
of
red
Copper
forged
smooth
,
and
even
applying
your
Enamel
of
what
Colour
you
desire
above
and
under
the
Plate
as
before
;
then
put
this
into
the
reverberatory
Furnace
,
and
when
it
receives
its
polishing
,
draw
it
out
.
CHAP.
CLXXXV
.
To
prepare
the
Enamel
for
the
Metals
.
BEFORE
you
apply
your
Enamel
on
the
Metal
,
you
must
give
it
this
little
Preparation
,
which
is
the
easiest
,
and
best
approv'd
on
by
the
Goldsmith
;
we
will
instance
it
in
White
Enamel
,
because
that
is
more
generally
made
use
of
than
any
other
.
Take
White
Enamel
of
the
Sixth
Book
,
Chap.
149.
pulverize
it
very
fine
,
pour
on
it
a
little
Aqua
fortis
,
and
let
it
afterwards
purifie
and
refine
in
a
small
Glass
Cucurbit
.
Wash
it
afterwards
often
in
Fair-Water
,
dry
and
keep
it
in
a
close
Vessel
for
use
.
To
make
use
of
it
,
first
pound
a
quantity
thereof
in
a
Stone
Mortar
,
wetting
it
with
a
little
Water
,
and
so
spread
it
on
the
Plates
,
and
into
the
Furnace
with
it
as
before
.
Thus
do
with
all
your
clear
and
transparent
Enamels
,
and
you
'll
have
all
your
things
in
a
readiness
to
go
on
with
your
Work
as
you
think
convenient
.
CHAP.
CLXXXVI
.
To
prepare
the
Colours
for
Painting
on
Enamel
.
NOTHING
can
be
more
splendid
than
the
Paint
on
Enamel
,
and
for
this
use
must
be
chosen
the
liveliest
and
most
Noble
Colours
,
and
such
as
will
easily
vitrifie
and
melt
.
All
these
assigned
throughout
the
Sixth
Book
,
are
as
equally
sufficient
for
this
,
as
for
Enameling
;
if
you
grind
them
first
on
your
Marble
with
the
best
Oyl
of
Spike
,
or
mix'em
together
with
the
other
Ingredients
for
that
purpose
,
as
we
shall
give
a
fuller
account
in
the
next
Chapter
,
and
of
all
the
Matters
to
be
used
with
calcined
Enamels
,
which
serve
to
make
up
the
Paint
for
Enamel
mixing
them
well
together
as
Painters
do
on
their
Pallets
:
When
you
want
some
Colours
of
Enamel
,
you
may
with
Blue
and
Yellow
make
a
good
fair
Green
;
a
Blue
and
Red
mixt
,
will
produce
a
fine
Violet
;
a
Red
and
White
creates
a
Rose-colour
;
a
Black
and
White
forms
a
gallant
Gray
,
and
so
of
others
.
Every
Workman
has
his
own
Secret
,
and
peculiar
way
of
Working
,
but
most
of
them
make
use
of
Rocaille
for
varnishing
their
Colours
,
which
has
an
ill
effect
,
because
of
too
much
Lead
,
which
is
not
perfectly
purged
off
;
this
lessens
the
Life
and
Splendour
,
and
it
always
continues
as
it
were
tarnished
,
cloudy
,
and
dull
.
But
our
Enamel
being
well
refined
,
will
produce
Work
so
fine
and
agreeable
,
that
't
is
not
possible
to
find
any
thing
so
illustrious
and
accomplisht
;
and
such
as
for
their
one
private
diversion
,
would
work
herein
,
and
have
not
the
conveniency
of
a
Glass-house
,
may
easily
be
furnished
,
by
proceeding
to
make
one
according
to
the
directions
already
given
.
Notwithstanding
the
sufficiency
of
our
Enamel
for
affording
all
sorts
of
Colours
and
Tinges
in
painting
on
Enamel
,
we
will
yet
prescribe
other
means
for
this
,
no
way
inferiour
thereto
,
to
answer
the
Advantage
and
Curiosity
of
those
who
Work
at
this
Excellent
Art.
CHAP.
CLXXXVII
.
To
make
White
for
Painting
on
Enamel
.
THE
best
Workmen
,
for
the
most
part
,
use
the
White
Enamel
ground
,
which
they
can
manage
with
address
enough
to
heighten
and
illustrate
their
Lights
,
which
is
necessary
to
be
done
to
all
their
Colours
,
as
in
Miniature
:
But
as
it
is
difficult
to
preserve
the
Ground
justly
for
improving
those
other
Colours
,
and
ordering
the
Compositions
(
all
one
as
in
Carnation
)
you
must
take
of
our
Crystal
ground
prepared
with
Tin
and
Lead
purged
and
refined
as
in
Chap.
158.
or
rather
of
our
Milk-colour
Enamel
in
Chap.
159.
which
is
the
fairest
can
be
made
;
cleanse
it
with
Aqua
fortis
,
wash
,
dry
,
and
grind
it
afterwards
with
Oyl
of
Spike
.
Or
you
may
prepare
another
White
Ground
without
Lead
,
thus
:
Take
very
pure
Tin
calcined
,
as
in
the
Chapter
aforesaid
,
and
let
it
vitrifie
in
a
Glass-house
Pot
,
with
eight
times
as
much
Crystal
Frit
,
as
we
have
directed
the
Preparation
in
Chap.
6
,
pulverize
these
very
fine
,
and
proceed
precisely
according
to
Prescription
for
Purification
,
&c.
in
Chap.
158.
CHAP.
CLXXXVIII
.
To
make
a
Black
for
painting
on
Enamel
.
THO
the
Black
Enamels
prescribed
in
Chap.
156.
and
those
succeeding
it
may
serve
to
Paint
on
Enamel
with
this
Colour
,
without
any
other
Preparation
than
grinding
it
with
Oyl
of
Spike
;
yet
we
will
add
here
another
Black
no
less
excellent
and
fine
,
arising
from
equal
parts
of
Black-Enamel
,
and
Peregrine
well
calcined
,
mix
and
reduce
them
to
an
impalpable
Powder
,
and
then
apply
Oyl
of
Spike
,
and
you
'll
have
a
Colour
which
will
take
with
great
facility
on
the
Enamel
.
CHAP.
CLXXXIX
.
A
Yellow
for
Paint
on
Enamel
.
WE
will
only
make
use
of
our
Enamel
,
prepared
in
Chap.
162.
mixt
and
purified
with
Aqua
fortis
,
and
after
washed
in
clean
Water
,
as
in
Chap.
185.
dry
and
grind
this
Powder
with
Oyl
of
Spike
on
your
Marble
,
and
't
is
fit
for
use
.
With
this
Yellow
and
a
Blue
,
as
we
have
already
hinted
,
may
be
made
a
fair
Green
;
but
those
Enamels
described
in
Chap.
153.
and
the
succeeding
,
are
so
just
and
fine
,
that
't
is
needless
to
use
any
other
for
that
purpose
;
this
Preparation
for
the
Yellow
here
laid
down
is
sufficient
also
for
it
,
without
any
further
trouble
.
CHAP.
CXC
.
A
Blue
to
paint
on
Enamel
.
THE
Enamels
of
this
Colour
assigned
in
Chap.
151.
and
152.
are
the
Noblest
can
be
used
in
this
Work
,
purifie
them
with
Aqua
fortis
,
and
grind
them
with
Oyl
of
Spike
,
as
before
directed
for
the
other
Colours
.
You
may
because
it
is
vetrified
,
make
another
fine
enough
Blue
thus
.
Take
Painters
Enamel
prepared
,
add
to
this
(
put
into
a
Glass-Bottle
)
best
rectified
Aqua-Vitae
,
enough
to
drown
the
Stuff
by
four
Inches
,
stop
it
well
,
and
set
it
in
the
Sun-shine
for
five
or
six
Days
,
shaking
the
Bottle
well
three
or
four
times
a
Day
,
that
the
purer
Enamel
may
dissolve
,
and
the
grosser
fall
to
the
bottom
;
take
the
Enamel
out
of
your
Bottle
,
and
steep
the
Faces
,
letting
them
precipitate
as
useless
;
then
evaporate
your
Aqua-Vitae
,
and
dry
your
Azure
,
which
will
be
a
very
fine
well
cleansed
Matter
for
all
sorts
of
this
Work
;
grind
it
after
on
your
Marble
.
This
Enamel
so
prepared
,
is
most
proper
for
Painting
,
and
far
beyond
the
Vltra
Marine
,
so
much
made
use
of
.
We
shall
in
the
Tenth
Book
prescribe
some
other
excellent
Methods
to
make
Blues
very
fine
,
with
a
Receipt
for
Vltra
Marine
,
and
several
other
Colours
in
favour
of
those
who
affect
that
Noble
Art
of
Limning
.
CHAP.
CXCI.
A
Red
Paint
for
Enamel
.
THere
can
nothing
exceed
the
Perfection
of
our
Enamels
of
this
Colour
,
taught
in
eight
several
Chapters
of
the
Sixth
Book
;
the
like
may
be
said
of
our
Blood-colour
,
Rubies
,
Rose
and
Carbuncle
,
which
is
the
most
exalted
Ingredient
for
Enameling
Metal
,
or
making
Paint
on
Enamel
;
and
those
who
practise
this
fine
Art
,
use
no
other
than
that
of
the
Glass-house
,
or
such
as
they
make
accordingly
.
Now
this
Red
Enamel
is
prepared
as
the
other
Colours
with
Aqua-fortis
to
purifie
it
,
wash'd
,
dry'd
,
and
ground
with
Oyl
of
Spike
for
your
use
.
There
is
yet
another
tolerable
Red
,
which
they
Paint
with
on
Enamel
,
in
which
is
employed
calcined
Gold
;
but
this
would
be
much
more
improved
,
if
instead
of
their
Rocaille
they
made
use
of
our
Matter
made
of
Crystal
and
Saturnus
Glorificatus
in
Chap.
113.
or
of
our
principal
prepared
Powder
prescribed
all
along
the
Sixth
Book
,
for
these
are
exceeding
well
purified
,
whereas
the
Rocaille
has
too
great
a
Surcharge
of
Lead
,
the
Impurity
whereof
always
renders
the
Work
defective
.
See
here
their
way
of
calcining
Gold
,
which
is
not
near
so
fine
as
that
we
have
given
Chap.
115.
and
as
there
are
an
hundred
several
ways
,
so
every
Man
makes
use
of
his
own
as
most
excellent
,
and
thinks
it
better
than
another's
.
One
takes
an
Ounce
of
fine
Gold
in
very
thin
Plates
,
these
dissolved
in
eight
Ounces
of
Aqua-fortis
,
and
regulated
with
Sal-Armoniack
,
or
old
strong
Salt
,
in
a
small
Glass
Matrass
,
this
is
put
into
a
Glass-Cucurbit
,
wherein
was
already
pour'd
eight
Paris
Pints
of
Spring-Water
,
and
six
Ounces
of
Mercury
,
the
Cucurbit
is
placed
on
a
still
Fire
,
and
after
four
and
twenty
Hours
the
Gold
descends
to
the
bottom
in
a
light
Land-red
Powder
,
then
the
Water
is
poured
off
leisurely
into
an
earthen
glazed
Receiver
,
or
Pan
,
and
the
Powder
gathered
and
dryed
by
a
moderate
heat
,
and
with
a
Shamois
Skin
they
separate
the
Mercury
from
the
Gold
,
and
grind
this
Powder
with
twice
its
weight
of
Flowers
of
Sulphur
together
,
and
then
put
all
into
a
Crucible
over
a
small
Fire
,
where
the
Sulphur
will
communicate
it self
with
the
rest
,
and
then
evaporating
they
find
the
Powder
somewhat
ruddy
,
which
ground
with
Rocaille
,
is
what
they
make
use
of
on
the
Enamel
.
We
own
this
Calcination
to
be
tolerable
as
to
the
Gold
,
but
as
for
mixing
the
Calx
with
the
Rocaille
,
without
melting
them
together
to
incorporate
is
disputable
:
We
believe
that
in
grinding
them
together
with
Oyl
of
Spike
,
they
may
in
some
sort
incorporate
as
other
Colours
,
but
can
never
so
perfectly
unite
;
besides
,
the
Crystal
Matter
does
not
so
well
receive
the
Colour
of
the
Gold
this
way
,
as
if
it
were
done
by
fusion
.
Others
make
Red
inclining
to
Vermilion
,
which
they
use
in
Painting
after
this
manner
.
Take
Vitriol
calcined
in
two
Crucibles
well
luted
together
,
and
set
for
an
Hour
over
a
flow
Fire
;
then
purge
it
with
Aqua-fortis
,
wash
it
in
fair
Water
,
and
grind
it
with
Oyl
of
Spike
as
before
,
and
so
make
use
of
it
for
Enamel
.
All
Red
Enamel
which
is
good
,
ought
to
be
hard
,
and
not
easily
consumed
in
the
Fire
;
for
that
which
is
otherwise
,
contains
much
Lead
,
and
soon
becomes
dull
and
sullied
,
and
is
not
of
so
lasting
a
substance
,
which
the
Workmen
ought
to
be
cautious
of
.
To
finish
the
Preparation
of
Enamel
,
and
before
the
manner
of
painting
'em
is
prescribed
,
take
notice
,
that
all
the
Colours
before
mentioned
,
which
are
not
pure
Enamel
,
ought
to
be
incorporated
with
a
Crystalline
Matter
,
such
as
we
prescribed
in
Chap.
148.
to
the
end
they
may
vitrifie
the
better
,
which
else
they
'll
not
easily
do
,
the
most
Workmen
make
use
of
their
Rocaille
,
whether
to
avoid
the
trouble
of
making
(
or
that
they
are
ignorant
how
to
prepare
)
a
better
Matter
;
and
this
has
obliged
us
to
give
several
ways
very
good
and
true
for
their
purpose
to
make
fine
and
perfect
Work
by
.
CHAP.
CXCII
.
The
Way
to
Paint
on
Enamel
.
THIS
Art
is
revered
by
all
Nations
,
't
is
so
fine
and
so
excellent
,
that
the
first
and
Noblest
Persons
of
the
World
practise
in
it
,
as
we
have
said
elsewhere
:
It
is
certain
that
the
Art
of
painting
on
Enamel
is
modern
,
but
no
less
estimable
for
that
,
since
its
effects
are
so
wonderfully
beautiful
,
so
infinitely
lasting
,
of
so
Natural
a
Gloss
,
and
their
Splendour
never
to
be
defaced
.
If
it
were
possible
to
make
large
Works
of
Enamel
,
as
is
done
in
Picture
,
they
would
be
inestimable
because
of
their
Lustre
,
and
so
far
surpass
what
Antiquity
has
had
such
great
respect
for
,
and
which
these
latter
Ages
still
caress
with
extraordinary
esteem
.
This
way
of
painting
on
Enamel
,
seems
much
more
difficult
than
Limning
;
Practice
however
convinces
us
,
that
they
are
equally
easie
,
and
we
can
with
as
little
trouble
represent
any
History
on
Enamel
,
as
in
Limning
;
the
difference
lies
only
in
preparing
the
Colours
,
which
is
not
done
the
same
way
;
for
we
dry
and
varnish
our
Enamel-paint
by
Fire
,
whereas
that
in
Limning
is
done
by
the
Air.
To
paint
on
Enamel
,
you
must
have
a
Plate
of
Gold
enamel'd
with
White
,
on
which
delineate
and
pourtray
your
Design
.
This
done
,
draw
it
over
again
in
dark
Red
:
The
Piece
being
perfectly
done
off
,
and
the
Lines
compleat
to
the
Subject
,
set
the
Tablet
,
or
Piece
in
the
Muffle
,
on
a
reverberatory
Fire
,
to
settle
as
before
directed
.
Your
Tablet
being
taken
out
,
apply
the
Colours
in
a
just
order
as
in
Limning
,
with
this
difference
only
,
that
here
you
make
your
White
Ground
serve
for
filling
,
where
that
Colour
is
required
to
set
off
the
heightnings
and
lustre
of
the
Lights
as
is
done
in
Miniature
;
and
because
it
mightily
contributes
to
the
heightening
thereof
in
the
other
Colours
as
to
improving
their
Lights
,
we
have
given
a
most
excellent
Receipt
in
Chap.
187.
which
very
excellently
serves
upon
this
occasion
.
When
the
Piece
is
thus
finished
,
put
it
again
into
the
Furnace
to
fix
the
Colours
,
and
as
soon
as
you
perceive
it
varnish
or
polish
,
draw
it
out
least
the
Colours
mix
and
spoil
each
other
.
You
may
take
out
the
Work
again
,
and
revise
it
as
often
as
you
please
,
only
putting
it
still
into
the
Furnace
until
it
receives
its
just
Gloss
,
&c.
This
way
of
renewing
and
revising
the
Tables
,
is
done
in
Limning
with
Oyl
;
and
the
Painters
observe
that
the
Pieces
must
not
be
handled
until
they
are
well
dry'd
in
the
Air
,
so
those
in
Enamel
must
be
let
alone
until
they
receive
their
perfection
from
the
Fire
.
This
is
all
to
be
observed
in
Painting
on
Enamel
;
it
remains
only
for
us
to
shew
how
to
prepare
your
dark
Red
for
tracing
the
Design
;
you
may
have
it
thus
.
Take
the
Caput
Mortuum
which
remains
in
the
Retort
,
after
the
Aqua-fortis
is
made
of
your
Vitriol
and
Nitre
,
grind
it
with
Oyl
of
Spike
,
and
so
you
have
the
dark
Red
ready
for
your
use
;
or
you
may
make
it
with
Crocus
Martis
,
ground
with
Oyl
of
Spike
.
The
End
of
the
Seventh
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
VIII
.
Containing
the
Way
to
make
China
,
or
fine
Earthen
Ware
;
how
to
Enamel
,
Paint
,
and
Gild
them
.
CHAP.
CXCIII
.
POrcelaine
,
Fayence
,
China
,
or
fine
Earthen-Ware
,
is
enamel'd
with
our
White
Stuff
,
which
we
have
already
prescribed
for
Metals
;
and
its
Painting
the
same
,
and
of
such
Colours
as
we
have
proposed
for
Enamels
in
the
foregoing
Book
,
and
this
obliges
us
to
discourse
thereof
in
this
our
eight
Book
.
The
Custom
of
enameling
on
Ware
,
is
of
greater
Antiquity
than
that
on
Metals
,
for
in
the
time
of
Porcenna
,
who
generously
undertook
the
Restauration
of
Tarquin
to
the
Roman
Government
in
the
Consulate
of
Valer.
Publicola
and
Horat.
Pulvilius
Ann.
Mund.
3444
,
five
hundred
and
four
Years
before
the
coming
of
Jesus
Christ
,
or
thereabouts
,
the
practice
of
enameling
on
Were
was
used
in
the
Estates
of
that
Prince
;
and
what
gives
us
very
good
reason
to
believe
this
is
the
Name
Porcelaine
,
which
has
an
Affinity
to
Porcenna
,
tho
altered
by
the
corruption
of
Time
,
so
it
is
also
called
fayence
from
Fayence
in
the
Dutchy
of
Vrbin
,
where
in
the
Time
of
Michael
Ange
,
and
Raphael
Vrbain
,
this
Art
was
practised
.
And
as
the
Secrets
of
Nature
are
daily
more
and
more
discovered
,
so
has
time
employed
the
Invention
of
Man
to
improve
this
,
and
make
it
more
excellent
,
not
only
condescending
to
enameling
,
but
proceeding
also
to
Painting
and
pourtraying
thereon
several
Curiosities
,
to
which
at
length
is
added
the
Ornaments
of
Gilding
.
These
Pieces
of
Ware
are
of
a
very
general
use
over
all
the
World
,
as
for
Ornaments
over
Chimney-pieces
,
on
Cabinets
and
Tables
,
or
Boards
.
The
choicest
come
in
us
from
China
,
and
next
to
those
are
done
at
St.
Clowd
and
Rouen
;
but
there
are
very
good
made
in
Holland
,
at
〈◊〉
in
Italy
,
and
several
other
places
in
France
.
The
painting
and
enameling
on
these
,
is
what
we
are
properly
obliged
to
take
notice
of
in
our
Art
;
however
we
shall
slightly
touch
upon
the
Composition
and
Molding
the
Ware
,
and
for
this
we
will
prescribe
fine
and
delicate
Methods
sufficient
enough
to
answer
the
Satisfaction
of
such
as
employ
themselves
in
this
Art
,
and
of
those
Persons
whose
Curiosity
leads
them
to
enquire
after
things
,
whereof
they
are
not
already
informed
.
CHAP.
CXCIV
.
The
Furnace
for
making
of
China
,
MUST
be
large
,
with
an
Opening
proportioned
to
the
Vessel
you
are
to
place
therein
;
of
these
there
are
several
sorts
,
but
the
most
commodious
must
be
made
as
follows
.
You
may
shape
this
Furnace
round
or
square
,
but
the
square
is
best
,
because
of
the
Opening
;
it
must
be
made
of
good
Brick
and
such
Stuff
as
can
mostly
endure
the
Fire
,
of
what
bigness
you
please
,
with
three
Divisions
;
the
lowest
for
the
Ashes
must
be
a
Foot
high
,
that
the
Air
may
be
communicated
through
its
Opening
to
the
Fire
;
the
middle
Story
is
for
the
Fire
,
and
must
be
underlaid
with
a
very
good
Grate
to
separate
it
from
the
under
Story
,
with
an
Opening
for
the
Fuel
,
and
be
vaulted
above
about
a
Foot
in
heighth
:
According
to
the
Size
of
your
Furnace
this
Vault
must
be
made
like
that
of
an
Oven
,
and
have
an
Hole
in
the
middle
of
the
same
shape
as
the
Furnace
,
round
or
square
,
and
proportioned
to
its
bigness
,
through
which
the
Flame
may
transmit
it self
to
the
uppermost
Story
,
where
the
Vessels
are
put
to
bake
in
;
this
last
Story
is
to
be
at
least
two
Foot
high
,
and
its
Opening
fourteen
or
fifteen
Inches
,
to
put
and
draw
the
Vessels
easily
in
and
out
;
the
top
must
be
vaulted
too
with
such
a
round
or
square
hole
,
and
over
that
a
Funnel
,
for
the
conveniency
of
the
Flame
and
Smoak
which
it
draws
out
.
All
the
Opening
,
especially
the
two
uppermost
,
must
be
of
strong
Brick
,
or
Crucible
Earth
,
or
rather
of
Iron
,
well
luted
within
side
,
which
must
shut
and
open
easily
,
and
be
very
exact
and
sit
,
that
the
Fire
may
not
suck
in
any
cold
Air
,
which
might
break
the
Vessels
.
This
Furnace
will
serve
also
for
many
other
uses
,
as
to
Melt
,
Reverberate
,
Calcine
,
Cement
,
and
several
sorts
of
Works
in
the
Laboratory
of
Chimistry
;
because
in
it
all
the
degrees
of
Fire
may
be
found
by
the
help
of
the
lower
Opening
,
and
the
Funnel
of
the
Chimney
.
You
may
else
for
Baking
your
China
,
make
use
of
the
Furnace
hereafter
described
in
Chap.
202.
where
we
discourse
of
Painting
on
Glass
,
putting
thereinto
your
Vessel
of
Crucible-Earth
for
Baking
the
Ware
in
,
and
then
cover'd
over
with
a
vaulted
Coverlid
,
with
a
hole
at
top
to
let
out
the
Flame
and
Smoak
of
the
Reverberatory
Fire
;
for
this
reason
there
will
be
no
occasion
in
this
sort
of
Furnace
for
any
other
Opening
,
because
the
Baking
Vessels
with
your
Ware
,
are
put
in
a
top
before
the
Coverlid
is
laid
on
,
and
so
the
Fire
circulates
about
it
,
and
it
becomes
very
Red
,
whereby
the
China-Ware
is
Baked
,
as
is
done
in
Baking
of
Pipes
.
CHAP.
CXCV.
To
make
your
Stuff
for
China-Ware
.
THE
Composition
for
this
must
be
very
fine
,
because
of
the
Ware
,
and
not
such
as
is
used
for
ordinary
Vessels
,
we
will
therefore
prescribe
the
Manner
of
making
it
,
to
prevent
the
unsuccessful
Attempts
of
such
as
may
be
ignorant
.
For
this
you
must
take
of
Shells
of
every
sort
which
are
White
and
Transparent
,
grind
them
well
on
a
Marble
,
then
searce
and
reduce
them
to
an
impalpable
Powder
.
To
make
your
Paste
of
this
Powder
,
first
dissolve
an
Ounce
of
very
white
Gum-Arabick
in
a
Pail
of
Water
;
when
't
is
well
dissolved
and
mixt
with
the
Water
,
dissolve
therein
about
a
quarter
as
much
Quick-lime
as
your
Powder
weighs
,
then
stir
and
mix
it
very
well
,
and
afterwards
put
in
the
Powder
and
stir
all
together
,
and
knead
it
as
they
do
Mortar
;
of
this
Stuff
form
your
Vessels
according
to
the
different
sorts
you
desire
,
let
them
half
dry
,
or
more
,
in
the
Air
,
before
you
polish
them
with
your
smooth
Instrument
of
Copper
,
or
Iron
for
that
purpose
,
and
so
leave
'em
until
they
dry
throughly
:
Being
very
well
smoothed
and
dried
,
glaze
them
over
with
your
White
Enamel
,
prepared
as
we
'll
direct
in
the
next
Chapter
,
and
so
set
them
in
the
Furnace
to
Bake
and
finish
,
where
having
kept
them
a
convenient
time
,
let
the
Fire
go
out
of
its
self
:
When
the
Furnace
is
cold
,
take
'em
out
and
paint
them
and
put
them
in
again
to
Bake
a
second
time
,
observing
what
directions
we
have
already
given
concerning
these
Matters
,
and
when
the
Fire
is
gone
out
,
and
the
Furnace
cold
,
you
have
the
Ware
in
perfection
ready
to
take
out
for
use
.
You
may
make
your
China-Ware
also
of
pure
Earth
;
let
it
not
be
red
tho
,
but
White
or
Gray
;
you
may
try
the
sufficiency
of
it
after
't
is
prepared
,
by
Baking
some
beforehand
,
and
when
it
comes
out
of
the
Furnace
sound
and
uncracked
,
't
is
good
and
fit
for
your
purpose
.
The
Preparation
consists
in
drying
it
well
,
and
reducing
it
to
a
very
fine
Powder
;
then
put
it
into
fair
Water
,
wherein
has
been
already
dissolved
a
little
Gum-Arabick
;
but
most
of
those
that
make
it
,
employ
only
Water
without
Gum
;
after
this
you
may
make
your
Dishes
,
set
'em
to
dry
,
Polish
,
Dry
,
Glaze
,
Bake
,
Paint
,
and
finish
them
as
before
;
all
which
,
those
who
work
at
them
know
better
than
I
can
express
it
.
CHAP.
CXCVI.
How
to
Enamel
the
China
.
FOR
this
take
of
our
Milk-white
Enamel
Chap.
149.
grind
it
very
fine
,
as
Painters
do
their
Colours
;
put
the
Powder
afterwards
into
a
Glass-Cucurbit
,
pouring
some
Aqua-fortis
thereon
;
let
it
digest
a
little
to
cleanse
off
its
Impurities
,
and
become
fine
and
transparent
;
then
pour
off
the
Aqua-fortis
,
washing
the
Powder
in
Water
over
and
over
again
,
grind
it
afterwards
with
a
little
Gum-Water
on
your
Marble
,
and
so
glaze
the
Vessels
with
it
within
and
without
,
dry
them
in
the
Air
,
and
Bake
them
as
before
in
the
Furnace
.
Or
you
may
heat
the
Vessels
to
a
Redness
in
the
Furnace
,
and
melt
the
Enamel
;
when
it
is
in
a
perfect
Fusion
,
dip
the
smaller
Vessels
therein
,
and
pour
of
it
on
the
larger
,
for
they
will
take
no
more
on
them
than
will
serve
them
,
set
them
by
turns
in
the
Furnace
,
stopping
it
very
well
to
avoid
the
Air
:
Bake
,
cool
your
Furnace
,
and
finish
them
as
before
,
then
take
out
the
Dishes
,
Paint
and
Bake
them
over
again
,
observing
all
our
former
Directions
.
CHAP.
CXCVII
.
To
paint
the
China
.
THIS
is
done
as
the
Enamel
discoursed
of
in
Chap.
192.
but
much
more
easily
,
the
Figures
being
only
just
dasht
over
in
comparison
to
them
;
however
you
must
grind
your
Colours
with
Oyl
of
Spike
on
the
Marble
,
as
we
have
said
already
,
and
so
paint
on
the
Dishes
Story
,
Landscape
,
or
any
other
Fancy
,
but
you
must
never
expect
to
have
them
thereon
so
compleat
and
handsome
,
as
those
painted
on
the
enamel'd
Plates
,
because
the
former
are
finisht
standing
,
and
so
enlarge
in
length
or
breadth
,
whereas
the
other
are
done
on
flats
,
and
lying
;
besides
the
Dishes
are
for
the
most
part
round
,
and
not
so
easily
painted
;
for
if
they
cou'd
be
as
neatly
done
as
the
Enamel
,
they
would
be
excessive
dear
.
CHAP.
CXCVIII.
To
Gild
China
.
YOU
must
first
grind
some
Shade-Earth
on
a
Marble
,
with
Linseed-Oyl
,
prepared
as
shall
be
shewn
in
Chap.
200.
with
which
trace
out
your
Figures
,
which
must
be
two
whole
Days
a
drying
;
after
this
apply
very
thin
Leaf-Gold
,
and
with
a
sharp
Graver
,
shape
the
Figures
,
and
then
put
the
Dishes
in
an
Oven
,
as
soon
as
the
Batch
of
Bread
is
drawn
out
,
let
the
Heat
be
no
greater
than
one's
Hand
may
endure
,
else
the
Vessels
would
crack
;
leave
them
in
it
for
two
or
three
Hours
or
more
,
if
the
Oven
be
not
too
hot
;
you
may
else
make
use
of
our
own
Furnace
,
by
giving
it
the
same
moderate
degree
of
heat
,
as
experienced
Persons
are
well
acquainted
with
.
CHAP.
CXCIX
.
Another
Way
.
THIS
is
much
more
handsome
and
lively
,
besides
that
it
cannot
be
effaced
;
you
may
with
it
gild
Vessels
entirely
,
or
border
,
or
give
them
any
lustre
you
think
convenient
for
Ornament
,
and
it
will
look
as
well
as
fine
Gold.
You
must
first
wet
over
the
Places
you
would
gild
with
Gum-Water
lightly
,
then
apply
your
Leaves
,
and
so
let
them
dry
,
this
is
enough
for
plain
Gilding
;
but
if
you
would
have
it
carved
,
or
figured
,
you
must
make
use
of
a
Steel-Graver
,
and
afterwards
bath
the
Gold
with
Water
,
wherein
Borax
has
been
dissolved
,
powdering
it
in
the
mean
time
with
Crystaline
Powder
,
or
Milk-white
Enamel
reduced
to
a
very
fine
Powder
;
then
set
the
Dish
on
a
Reverberatory
Fire
to
melt
and
be
polisht
;
thus
you
'll
have
as
fine
a
piece
of
Ware
as
can
be
.
CHAP.
CC.
The
Way
to
prepare
Linseed-Oyl
for
Gilding
of
China
.
IT
is
but
just
we
should
discharge
our
Promise
of
prescribing
this
Preparation
.
Take
a
Paris
Pint
of
Linseed-Oyl
in
an
Earthen
Pot
which
will
hold
about
two
Paris
Pints
,
put
this
on
a
Fire
,
and
when
it
begins
to
boil
throw
in
twice
the
bigness
of
a
small
Egg
of
Gum-Arabick
pulverized
,
stir
all
well
until
it
be
dissolved
,
then
put
in
an
Onion
of
an
ordinary
size
,
and
the
like
weight
of
Garlick
cut
small
;
when
the
Oyl
boils
well
,
and
swells
up
by
the
force
of
the
good
Fire
which
must
be
underneath
,
pour
it
out
into
another
such
Pot
,
and
so
in
and
out
of
each
Pot
to
the
other
until
all
be
very
well
mixed
;
then
put
it
on
the
Fire
again
,
adding
half
an
Egg-shell
of
Powder
of
Mastick
,
and
stir
it
very
well
;
as
soon
as
it
boils
again
,
it
will
foam
and
have
a
great
Froth
which
must
be
scummed
off
,
and
then
take
it
off
the
Fire
and
brew
the
Ingredients
together
with
the
two
Pots
as
before
,
continue
to
do
thus
with
it
,
or
stir
it
on
the
Fire
until
it
rise
no
more
.
This
done
,
take
a
very
dry
Toast
of
White
Bead
to
take
off
the
Grease
(
the
Oyl
still
boiling
)
and
when
you
put
in
the
Toast
,
you
must
at
the
same
time
put
in
some
Pin-Dust
;
stir
all
well
together
and
let
it
stand
for
twenty
four
Hours
afterwards
;
strain
the
Oyl
through
a
Linen-cloth
,
in
which
is
some
very
fine
Sand
,
the
better
to
filtrate
it
,
and
take
off
the
Grease
,
and
so
you
'll
have
it
pure
and
clear
,
which
Bottle
up
for
your
Use.
Or
you
may
(
both
ways
being
good
enough
)
first
mix
with
the
Oyl
two
Ounces
of
Gold
Litharge
pulverized
,
adding
the
Gum-Arabick
as
soon
as
it
begins
to
boil
,
and
to
purifie
it
let
it
filter
through
a
Linen-cloth
full
of
Sand
,
while
it
's
hot
,
into
a
Glass-Bottle
,
wherein
is
already
half
an
Ounce
of
fine
Camphire
Powder
,
shaking
the
Bottle
very
well
until
the
Oyl
be
cold
;
afterwards
lay
it
in
the
Sun
for
fifteen
Days
,
and
it
will
be
entirely
purged
,
and
the
longer
't
is
kept
will
be
the
better
.
This
is
all
we
have
to
say
at
present
about
China-Ware
,
until
we
have
further
enlarged
our
Knowledge
in
the
Matter
,
which
we
have
not
much
study'd
,
because
we
did
not
intend
to
treat
of
it
;
however
we
afterwards
thought
it
incumbent
on
us
so
to
discourse
thereof
as
an
Art
dependant
on
ours
;
and
we
hope
the
Reader
will
take
this
in
good
part
,
until
we
may
give
him
something
more
at
large
.
OF
THE
ART
OF
GLASS
.
BOOK
IX
.
Shewing
the
Method
of
Drawing
all
sorts
of
Story
,
or
Figure
,
on
Glass
,
in
Paint
,
Gilding
,
Marbling
,
&c.
CHAP.
CCI.
THE
Art
of
Painting
has
been
still
so
Noble
and
Excellent
,
that
all
those
great
Persons
,
who
have
practised
it
,
were
always
distinguisht
among
the
most
eminent
of
their
Age
;
those
celebrated
Pieces
we
have
of
it
in
our
Days
,
to
the
Ornament
and
Admiration
of
all
Europe
,
has
setled
so
great
a
Veneration
for
their
Memory
,
as
will
eternize
it
to
Posterity
.
The
Dorians
,
Corinthians
,
Ionians
,
and
Romans
,
were
the
People
that
paid
the
most
esteem
to
this
Noble
Art
,
for
which
they
conceived
so
great
Opinion
and
Delight
,
that
they
lookt
upon
the
famous
Painters
of
their
Time
as
Demi-Gods
,
and
ranged
them
among
the
first
and
most
Learned
Men
in
the
World.
The
Ancients
did
not
only
pay
a
Deference
and
Honour
to
the
Nobility
and
Illustrious
Birth
of
Great
Men
,
but
to
their
Worth
and
Vertue
too
:
Hence
the
Athenians
erected
a
Statue
in
Memory
of
Aesop
,
who
was
but
a
poor
Slave
:
Would
they
have
done
it
if
this
eminently
Ingenious
Fellow
had
not
possessed
so
many
excellent
Parts
?
No
,
't
was
not
for
the
sake
of
his
Picture
which
was
too
deformed
and
ugly
to
please
or
Charm
'em
,
but
to
convince
Posterity
how
the
way
to
Glory
is
not
shut
up
from
the
meanest
Persons
.
Can
there
be
any
thing
more
taking
,
or
compleat
,
than
the
Natural
Imitations
which
issue
from
Painting
?
Has
Nature
any
thing
more
considerably
admirable
?
Do
we
not
see
her
display'd
in
the
Pourtraits
of
those
Excellent
Masters
,
who
with
so
much
Art
and
Delicacy
have
exprest
all
whatever
she
has
produced
in
this
sublunary
inferiour
Orb
,
so
that
't
is
not
possible
to
see
them
without
admiring
,
or
to
admire
them
without
Astonishment
.
What
wonderful
Fancies
too
have
they
drawn
from
the
Superiour
and
Heavenly
!
They
have
so
lively
shewn
the
Rising
and
Setting
Sun
,
Night
and
Day
,
the
Face
of
Heaven
sometimes
Calm
and
Serene
,
and
again
darkned
with
Clouds
,
the
Thunder
Showers
,
Storms
and
Seas
raging
,
with
all
their
Wrecks
,
and
in
the
Microcosm
,
or
little
World
of
Man
,
they
have
exprest
his
Joy
,
Sadness
,
Smiles
,
Tears
,
Pleasure
,
Dissatisfaction
,
Life
and
Death
;
in
short
,
all
the
Alterations
which
Creatures
are
liable
to
,
whereof
the
enumeration
would
be
very
tedious
.
This
fine
Art
,
as
well
as
that
of
Glass
,
does
not
lessen
the
quality
of
its
Practitioners
,
the
contrary
whereof
happens
in
all
other
Arts
;
for
Princes
,
and
many
of
our
Monarchs
,
have
granted
the
Privilege
of
Nobility
to
several
Masters
thereof
,
to
intimate
to
Posterity
the
extraordinary
Esteem
they
had
for
them
,
upon
the
Excellency
of
those
Incomparable
Pieces
which
their
Pencils
had
produced
.
Though
painting
on
Glass
be
very
ancient
,
't
is
yet
much
more
modern
than
that
of
Painting
on
Wood
,
or
Cloath
,
as
being
of
no
longer
standing
than
this
Art
of
Glass-work
:
The
first
who
painted
on
Glass
,
did
it
only
in
Distemper
;
that
is
,
in
Colours
mixt
with
Glue
,
but
this
not
abiding
the
Injury
of
Time
,
they
invented
the
way
of
doing
it
with
Fire-Proof
Colours
,
which
are
incorporated
with
the
Glass
,
by
Baking
and
Melting
them
together
;
and
as
soon
as
this
Secret
was
discovered
,
every
Body
took
delight
to
practice
the
Draught
of
Figures
,
and
entire
Histories
thereon
for
Ornaments
,
whereof
we
have
still
some
remaining
Pieces
on
old
Church
Glass
;
but
those
Figures
before
the
Year
1500
,
had
not
half
the
sufficiency
of
Base
,
or
Relief
,
as
is
required
in
Painting
.
Those
who
would
fain
Work
in
handsome
and
lively
Colours
,
made
use
of
Glass-Frit
,
tinged
in
the
Glass-house
,
as
well
for
Carnation
as
Drapery
,
whereon
they
drew
the
first
Lines
of
the
Visage
,
and
other
Parts
of
the
Body
in
Black
,
and
so
Shadowed
'em
with
Strokes
and
Dashes
.
But
Painting
having
since
received
an
Improvement
in
France
,
those
Works
became
more
perfect
,
and
in
so
short
a
time
with
such
advantage
of
making
fair
and
most
exquisite
Pieces
,
as
are
even
at
this
Day
the
Admiration
of
the
Learned
,
of
which
,
all
the
Honour
must
be
ascribed
to
the
French
,
who
were
the
first
Discoverers
of
this
great
Perfection
in
the
Art.
We
might
easily
assign
several
ways
of
this
Painting
among
the
Ancients
,
but
since
they
are
out
of
Practice
,
and
the
latter
Methods
much
more
excellent
,
we
shall
satisfie
our selves
in
prescribing
only
such
as
may
suffice
,
and
gratifie
the
Curiosity
of
those
who
love
this
Art.
And
not
only
the
Method
of
Painting
,
but
also
how
to
prepare
the
Colours
,
to
bake
and
finish
'em
in
the
Furnace
;
of
this
we
'll
give
a
short
Description
in
the
next
Chapter
;
that
Secret
of
ordering
the
Fire
,
which
is
the
Life
and
principal
Agent
of
all
the
Works
,
with
that
of
Gilding
,
Marbling
,
&c.
as
will
be
shewn
in
the
Sequel
of
this
Book
.
The
most
part
of
Ingredients
useful
for
this
Service
of
Painting
,
will
also
tinge
the
Glass
well
enough
,
and
we
will
make
use
of
those
mentioned
elsewhere
,
to
avoid
useless
Repetitions
on
the
Subject
.
CHAP.
CCII.
A
Furnace
for
Painting
the
Glass
,
and
Setling
the
Colours
.
WE
have
mentioned
this
Furnace
in
Chap.
194.
but
did
not
take
notice
of
its
Form
,
or
Appurtenances
,
because
the
Business
which
obliges
us
to
speak
of
it
there
,
is
very
different
from
this
.
In
this
uppermost
Division
must
be
put
the
aforesaid
Stove
of
good
Fire-proof
Crucible
Earth
,
the
Bottom
an
Inch
and
half
thick
,
and
from
thence
up
to
the
Brim
ten
Inches
full
;
it
must
be
square
as
the
Furnace
,
and
have
two
Inches
room
from
on
all
sides
,
that
the
Fire
may
flame
round
about
it
to
Bake
the
Work
,
and
therefore
placed
exactly
in
the
middle
of
the
Furnace
;
there
must
be
also
in
the
Fire-part
of
this
Stove
,
an
Opening
just
against
,
and
of
the
same
Size
and
Form
as
that
of
the
Furnace
,
for
the
conveniency
of
putting
the
Ware
in
and
out
.
Take
this
Method
of
distinguishing
the
Furnace
in
all
its
parts
,
and
to
lay
down
a
clearer
description
thereof
,
observe
,
The
Letter
A
is
the
Ash-hole
for
the
Ashes
that
fall
from
above
through
the
Iron-Grate
;
and
note
,
That
the
wider
the
Opening
is
,
the
more
violent
will
the
Fire
be
.
The
Letter
B
is
the
Fire-place
.
The
Letters
C
are
three
Square
Iron-Bars
to
support
the
Pan
for
the
Ware.
The
Letter
D
is
the
Opening
of
the
Furnace
and
Pan
,
through
which
the
Ware
must
be
conveyed
in
and
out
.
The
Letter
E
is
the
Earthen
Pan
,
wherein
all
the
Painted-Ware
must
be
Baked
.
The
Letters
F
are
two
half
Lids
of
Potters
Earth
for
covering
the
whole
Furnace
above
:
As
soon
as
the
Stove
is
full
of
Ware
,
they
must
be
well
closed
and
luted
together
,
to
prevent
the
Air
coming
in
any
where
but
by
the
four
square
holes
at
both
ends
of
the
Lid
,
and
the
two
Semicircles
in
the
middle
,
which
make
a
round
Hole
for
a
Chimney
;
when
the
two
half
Lids
are
closed
,
those
five
Holes
are
for
letting
out
the
Smoak
and
Flame
of
the
Furnace
.
CHAP.
CCIII
.
To
make
White-Ground
for
Painting
on
Glass
.
NOW
to
pursue
our
Work
,
we
will
begin
with
the
Preparation
of
all
the
Colours
to
be
used
in
Painting
Glass
;
for
before
we
proceed
to
prescribe
the
Rules
,
how
to
work
the
Materials
must
first
be
considered
.
The
White
is
compounded
of
several
Ingredients
:
The
first
are
small
White
River
Peble-Stones
heated
red
over
a
Fire
,
in
an
Iron-Ladle
,
and
thrown
afterwards
into
an
Earthen-Dish
full
of
cold
Water
to
calcine
them
,
and
this
must
be
repeated
several
times
,
until
they
be
prepared
;
afterwards
being
dried
,
pound
them
with
a
Stone
,
or
Glass-Pestle
in
a
Stone-Morter
,
and
so
grind
them
upon
a
Marble
to
an
impalpable
Powder
;
then
mix
a
fourth
part
of
Nitre
with
it
,
and
calcine
them
in
a
Crucible
;
then
pound
and
grind
them
again
,
and
calcine
them
a
third
time
over
a
smaller
Fire
than
your
former
,
and
so
take
them
off
for
Use.
This
done
,
when
you
would
Paint
with
it
,
add
equal
parts
in
weight
of
Gip
,
a
sort
of
Talc
found
among
Plaster-mold
baked
on
the
Coals
to
a
Whiteness
,
and
reducible
to
Powder
,
and
Rocaille
,
whereof
we
have
already
spoken
,
grind
them
all
three
very
well
together
in
a
hollow
Plate
of
Copper
,
with
Gum-Arabick
Water
;
thus
have
you
your
White
in
good
condition
to
Paint
withal
.
CHAP.
CCIV.
To
prepare
Black
for
painting
on
Glass
.
AS
this
Colour
cannot
be
omitted
in
any
sort
of
Painting
,
so
in
this
;
the
manner
of
using
it
is
much
the
same
,
and
the
Preparation
easie
.
You
must
grind
Scales
of
Iron
from
the
Smith's
Anvil-Block
,
for
three
Hours
on
the
shallow
Copper-Bason
,
or
Plate
;
add
to
this
one
third
of
the
same
weight
of
Rocaille
,
with
a
little
Calx
of
Copper
,
to
hinder
the
Iron
from
turning
Red
in
the
Fire
;
grind
it
to
as
impalpable
a
Powder
as
you
can
bring
it
to
,
and
so
keep
it
in
a
close
Vessel
for
use
.
CHAP.
CCV
.
To
prepare
a
Yellow
Paint
for
Glass
.
THIS
Colour
requires
a
more
costly
Preparation
than
the
precedent
,
because
it
cannot
be
well
done
without
a
tenth
part
of
prepared
Silver
,
as
we
shall
shew
hereafter
.
Take
fine
Silver
in
Plates
from
the
Copple
,
stratifie
'em
in
a
Crucible
,
with
Powder
of
Sulphur
,
or
Nitre
,
the
first
and
last
Lay
being
of
the
Powder
,
and
so
calcine
them
in
a
Furnace
;
this
done
,
cast
it
out
,
as
soon
as
all
the
Sulphur
is
consumed
,
into
an
Earthen-Bason
of
Water
,
and
afterwards
pound
it
in
your
Stone-Mortar
until
't
is
fit
for
the
Marble
,
and
so
grind
it
with
some
of
its
Water
wherein
it
was
cooled
,
for
six
Hours
;
then
add
nine
times
its
weight
of
Red-Oaker
,
and
grind
them
together
for
a
full
Hour
,
and
't
is
done
and
fit
for
Painting
on
Glass
.
CHAP.
CCVI.
To
make
a
Blue
for
painting
Glass
.
THE
whole
Secret
of
this
Preparation
,
depends
on
the
calcining
the
Ingredients
,
and
goodness
of
the
Crucible
:
Take
two
Ounces
of
Zaffer
,
two
Ounces
of
Minium
,
and
eight
Ounces
of
very
fine
White
Sand
;
put
all
these
into
a
Bell-metal
Mortar
,
and
pound
them
very
well
,
and
so
into
a
Crucible
covered
and
luted
over
a
quick
Fire
for
an
Hour
;
then
draw
off
the
Crucible
,
and
pound
them
again
as
before
:
This
done
,
add
a
fourth
of
its
weight
in
Salt-peter
powdered
,
and
having
mixed
all
very
well
together
,
return
them
into
a
Crucible
covered
and
luted
,
which
place
again
in
the
Furnace
for
two
Hours
at
least
,
continuing
such
another
Fire
as
the
former
:
The
Crucible
being
off
and
cool'd
a
second
time
,
grind
the
Mass
as
before
,
and
so
put
it
into
a
Crucible
again
,
with
a
sixth
part
of
Salt-petre
,
and
let
it
remain
on
the
Fire
for
three
Hours
;
then
take
off
the
Crucible
,
and
immediately
with
an
Iron-Spatula
red
hot
,
take
out
the
Matter
lest
it
should
stick
,
being
very
clammy
and
hard
to
be
emptied
.
'T
is
convenient
to
have
strong
Crucibles
for
this
Calcination
,
because
it
remains
so
considerable
a
while
in
the
Fire
,
and
they
must
be
luted
with
an
extraordinary
lute
;
you
may
use
that
we
have
given
directions
for
in
Chap.
109.
adding
Powder
of
Borax
,
to
the
Powder
of
Glass
vitrified
,
which
helps
the
Fusion
of
the
Glass
,
which
we
have
omitted
there
;
but
the
greatest
stress
lies
in
Baking
the
Crucible
afterwards
in
a
small
Fire
,
to
cement
the
Pores
,
and
make
the
Earth
compact
as
Glass
,
which
would
be
very
much
furthered
,
if
you
threw
on
it
a
considerable
quantity
of
Salt
as
it
comes
out
of
the
Fire
,
this
would
glaze
it
,
and
capacitate
it
for
retaining
the
Spirits
in
the
Fire
.
CHAP.
CCVII.
To
make
Red
Colour
for
Glass
Paint
.
THIS
requires
as
much
caution
as
the
Blue
:
You
must
take
Scales
of
Iron
,
and
Litharge
of
Silver
,
of
each
a
Dram
,
Feretto
of
Spain
half
a
Dram
,
Rocaille
three
Drams
and
half
;
grind
all
these
for
half
an
Hour
on
a
shallow
Copper-Plate
,
in
the
mean
time
pound
three
Drams
of
Blood-Stone
in
an
Iron-Mortar
,
and
add
it
to
the
rest
;
then
pound
a
Dram
of
Gum-Arabick
in
that
Mortar
to
an
impalpable
Powder
,
to
take
off
the
remains
of
your
Blood-stone
,
and
so
add
it
to
the
rest
,
grinding
them
still
continually
,
lest
the
Blood-stone
be
spoiled
.
The
best
manner
of
grinding
these
is
to
pour
Water
by
little
and
little
on
the
Ingredients
as
you
grind
them
,
neither
wetting
them
too
much
,
nor
too
little
,
but
just
as
much
as
will
keep
a
good
Temper
as
for
Painting
:
Afterwards
put
all
into
a
foot
Glass
,
and
so
drop
on
it
through
a
small
hollow
Cane
of
Wood
,
or
with
your
Finger
,
as
much
Water
as
will
bring
it
to
the
consistence
of
an
Eggs-Yolk
buttered
,
or
a
little
more
,
then
cover
the
Glass
to
preserve
it
from
Dust
,
and
so
let
it
stand
three
Days
to
settle
.
After
this
,
decant
the
clearest
and
purest
of
the
Colours
that
rise
at
top
,
into
another
Glass
,
without
disturbing
the
Sediment
;
and
two
Days
after
it
has
settled
anew
,
pour
off
again
the
purest
of
the
Colours
as
before
.
This
done
,
set
it
in
the
Body
of
a
broken
Matrass
,
or
Bolt-head
,
over
a
gentle
flow
Fire
,
to
dry
easily
,
and
so
keep
it
for
use
.
When
you
have
occasion
for
it
,
take
a
little
fair
Water
in
a
Glass
,
and
with
it
moisten
as
much
Colour
as
you
think
convenient
,
that
will
be
excellent
for
Carnation
;
as
for
the
Faeces
,
which
are
very
thick
,
dry
'em
too
,
and
you
may
moisten
these
in
like
manner
with
Water
for
Drapery
,
Timber-colour
,
and
such
other
as
you
think
convenient
.
CHAP.
CCVIII
.
To
make
a
Purple-colour
for
painting
of
Glass
.
THE
Preparation
of
this
Purple-colour
,
is
exactly
like
that
of
the
Blue
,
for
this
Reason
we
need
not
use
any
tedious
Repetitions
:
You
must
take
an
Ounce
of
Zaffer
,
and
an
Ounce
of
very
pure
and
clean
Perigeux
,
two
Ounces
of
Minium
,
eight
Ounces
of
very
fine
white
Sand
,
pound
all
these
in
a
Bell-metal
Mortar
,
and
reduce
it
to
an
impalpable
Powder
;
put
it
afterwards
into
a
good
Crucible
well
covered
and
luted
,
in
the
Furnace
;
keep
a
very
good
Fire
to
it
for
an
Hour
,
then
draw
it
out
,
and
as
soon
as
it
is
cold
,
pound
the
Mass
over
again
in
the
same
Mortar
;
to
this
add
a
fourth
part
of
its
weight
of
Nitre
,
mix
them
together
,
and
put
them
into
the
Crucible
,
and
so
proceed
as
directed
in
Chap.
206.
until
you
have
a
fine
Purple-colour
.
CHAP.
CCIX.
To
make
a
Green
Paint
for
Glass
.
THE
Change
of
the
Ingredients
makes
this
Colour
,
but
the
Method
for
incorporating
them
is
the
same
as
the
former
:
Take
two
Ounces
of
Aes
ustum
,
of
Chap.
35.
to
this
add
two
Ounces
of
Minium
,
and
eight
Ounces
of
very
fine
white
Sand
,
pound
these
together
in
a
Metal
Mortar
to
an
impalpable
Powder
,
and
put
it
afterwards
in
a
Crucible
luted
and
covered
into
a
Wind-Furnace
,
giving
it
a
good
Fire
for
an
Hour
;
after
this
draw
it
off
,
and
let
it
cool
,
then
pound
it
again
,
adding
a
fourth
part
its
weight
of
Nitre
in
Powder
,
grind
and
mix
them
well
together
,
putting
them
afterwards
into
the
Crucible
,
luted
and
covered
,
in
the
Furnace
,
for
two
Hours
,
and
so
forth
as
in
Chap.
206.
Thus
you
'll
have
a
very
fine
Green.
CHAP.
CCX
.
Of
other
Colours
in
general
for
Painting
on
Glass
.
WE
have
directed
how
to
make
the
first
MasterColours
for
Painting
on
Glass
;
now
we
proceed
to
shew
what
other
depends
on
them
without
enlarging
on
these
Preparations
.
The
Red
in
Chap.
207
,
serve
for
Carnation
,
but
there
ought
to
be
one
part
of
Feretto
of
Spain
,
as
in
Chap.
21.
in
the
Composition
,
and
another
of
Rocaille
,
of
which
we
will
give
the
Preparation
in
the
next
Chapter
;
grind
these
on
your
Copper
Plate
,
imbibing
the
Powder
with
Gum'd
Water
,
until
it
be
made
fit
for
use
.
The
Red
Faeces
there
also
mentioned
will
serve
in
Drapery
,
and
to
describe
Timber-work
,
Trunks
of
Trees
,
Hair
,
Brick
,
and
such
other
things
;
you
must
take
an
Ounce
of
Feretto
of
Spain
in
Chap.
21.
as
in
the
former
Composition
,
an
Ounce
of
Iron-Scales
,
two
Ounces
of
Rocaille
,
grind
them
well
together
upon
the
Copper-Plate
,
moistening
them
with
Gum-Water
,
till
they
be
brought
to
the
proper
consistence
,
neither
too
thick
nor
too
thin
,
so
you
'll
have
a
Red
inclining
to
a
dark
Yellow
,
very
fit
for
use
.
There
be
several
more
made
use
of
in
this
,
as
well
as
in
other
Painting
,
but
are
compounded
of
the
principal
Colours
,
as
we
have
intimated
in
our
Discourse
of
Colours
for
Painting
on
Enamel
,
in
Chap.
186.
CHAP.
CCXI.
The
Way
to
make
Rocaille
.
ALL
Haberdashers
of
Small-Ware
,
sell
this
Rocaille
,
which
are
Green
and
Yellow
Grains
,
whereof
they
make
Beads
,
and
sell
them
to
the
Country
People
;
much
also
of
these
Trangums
are
exported
to
the
Indies
,
to
Africa
,
and
the
adjacent
places
,
where
the
Inhabitants
wear
'em
about
their
Necks
,
and
on
their
Scarfs
,
Bracelets
and
Wastbelts
.
It
is
used
also
in
Painting
on
Enamel
and
Glass
,
veryfrequently
,
though
ill
qualified
and
full
of
impure
Lead
.
We
have
already
taken
notice
of
this
before
,
and
tho
to
avoid
this
they
make
choice
of
the
most
clear
and
transparent
Rocaille
,
and
such
as
is
least
charged
with
Colour
,
yet
still
't
is
very
far
from
being
sufficient
;
't
is
true
,
it
contains
less
Lead
,
however
even
that
which
still
remains
is
likewise
impure
,
and
not
at
all
purified
.
We
have
directed
such
as
work
in
Enamel
,
and
we
cannot
avoid
it
also
here
to
advise
you
instead
of
Rocaille
,
to
make
use
of
our
Crystalline
Matter
made
with
Saturnus
Glorificatus
,
Chap.
112.
or
such
other-like
Ingredients
,
as
we
have
prescribed
,
which
are
perfectly
cleansed
;
however
to
please
every
Body
,
we
will
give
a
Preparation
of
this
Rocaille
,
and
how
to
compound
it
,
which
is
very
easily
done
:
Thus
,
To
make
the
Yellow
Grains
,
you
must
take
a
Pound
of
fine
white
Sand
,
three
Pound
of
Minium
,
mix
and
pound
them
together
very
well
in
a
Mortar
,
and
put
the
whole
into
a
strong
Crucible
covered
and
luted
,
dry
the
lute
,
and
put
it
afterwards
into
the
Glass-house
,
or
Wind-Furnace
,
where
the
Fire
is
violent
,
to
reduce
this
Matter
into
Glass
,
as
that
of
Saturn
,
made
in
Chap.
82.
having
thus
finished
the
Rocaille
,
make
it
up
into
Grains
,
or
any
other
Shape
you
please
.
The
Way
of
making
the
Green
,
is
quite
contrary
to
that
of
the
Yellow
:
Put
three
Pound
of
fine
white
Sand
to
every
Pound
of
Minium
,
and
it
will
be
very
compact
.
This
Stu●●
will
alter
its
Colour
,
and
become
a
pale
Red
in
melting
;
and
these
are
the
Compositions
and
way
of
making
this
Rocaille
,
which
most
Workmen
use
:
Thus
you
see
there
can
be
no
preparing
it
without
Lead
,
which
makes
it
so
full
of
Impurity
.
CHAP.
CCXII.
The
Way
to
Paint
on
Glass
.
THE
Painting
on
Glass
is
of
such
fine
Effect
,
as
becomes
the
Admiration
of
the
Learned
in
all
Noble
Arts
:
Nothing
can
be
more
wonderful
to
the
Sight
;
besides
,
its
continuance
,
and
resisting
all
the
Efforts
of
every
Season
,
and
badness
of
Weather
,
for
several
Ages
,
tho
this
last
Excellency
was
unknown
to
the
first
Practitioners
,
and
reserved
for
this
latter
Age
,
however
the
Honour
is
due
to
them
,
since
they
made
the
first
Secrets
and
Discoveries
in
this
Art
,
and
't
is
much
easier
to
improve
,
than
form
a
new
Invention
.
If
Glass
were
malleable
,
and
discharged
of
its
Natural
Frangibility
,
nothing
could
equal
the
Paint
thereon
;
't
is
not
to
be
tarnished
,
but
always
maintains
its
primitive
Beauty
and
Splendour
,
without
any
obstruction
to
the
Transition
of
Light
;
and
there
may
as
fine
Fancy
be
done
on
it
,
as
on
Limning
,
there
would
certainly
be
nothing
on
Earth
so
rich
or
precious
as
Glass
,
whether
Painted
,
or
Tinged
,
if
it
had
this
principal
Perfection
of
Malleability
,
which
many
Learned
Men
have
studied
for
,
and
daily
find
;
but
such
is
the
Corruption
of
this
Sinful
Covetous
Age
,
that
those
Wise
Seniors
of
this
Art
,
do
rather
chuse
to
pass
for
Ignoramus's
,
than
run
the
Risque
of
Perpetual
Confinement
,
by
exposing
so
fine
and
delicate
a
Secret
,
which
would
incur
the
Envy
of
the
Great
:
and
this
they
take
care
wisely
to
avoid
.
We
have
already
taken
notice
that
such
as
formerly
Painted
on
Glass
,
were
both
Painters
and
Glass-makers
,
and
that
such
Gentlemen
as
were
of
them
,
received
neither
lessening
in
Birth
nor
Quality
,
as
in
case
of
other
Arts
,
for
this
Prejudice
is
exempted
in
the
Art
of
Glass
,
and
our
Kings
have
that
Esteem
for
the
Curious
therein
,
that
they
have
granted
them
such
ample
Privileges
.
Now
to
proceed
to
the
Manner
of
Painting
on
Glass
,
which
is
the
Subject
of
this
Chapter
,
wherein
are
several
Particulars
to
be
considered
,
which
we
will
endeavour
to
distinguish
as
well
as
possible
.
First
choose
such
Glass
as
is
usually
called
Glass
of
Lorrain
,
tho
there
be
such
and
as
good
made
at
Nevers
;
for
this
sort
of
Glass
receives
the
Colours
better
than
any
other
,
because
't
is
best
compact
and
able
to
resist
the
Fire
;
't
is
very
easily
known
;
't
is
not
altogether
White
,
but
of
a
Whitish
Yellow
.
But
to
proceed
.
You
must
have
the
Original
you
Paint
by
,
ready
drawn
and
proportioned
,
on
strong
Cap-Paper
,
in
all
its
Colours
and
Perfection
;
for
your
better
advantage
in
Pattern
,
lay
it
on
a
Table
,
and
so
choose
your
Pieces
of
Glass
to
be
Painted
,
and
take
care
to
fit
them
so
to
each
other
,
as
they
may
joyn
easily
afterwards
without
any
prejudice
to
the
Draught
from
displacing
them
,
and
so
confounding
the
Figures
and
Pourtraits
,
or
from
the
Lead
which
must
joyn
them
afterwards
,
by
obscuring
any
parts
of
the
painting
;
then
mark
out
each
piece
on
the
Tablet
,
by
No.
1
,
2
,
3.
for
better
distinction
,
and
so
trace
them
over
with
the
Black
given
in
Chap.
204.
with
a
Pencil
,
as
we
shall
further
shew
;
do
this
very
exactly
,
neither
too
slightly
nor
too
thick
,
and
so
let
it
stand
two
Days
to
dry
,
before
you
paint
it
.
Then
having
all
your
Colours
in
readiness
,
so
as
directed
in
the
foregoing
Chapters
,
fill
your
Pieces
off
with
Colours
,
for
which
use
the
Nib
of
the
Pencil
,
especially
in
Carnation
,
where
you
must
be
very
exact
;
you
must
also
be
very
Circumspect
and
Expeditions
,
and
take
a
great
deal
of
care
not
to
blot
or
blur
the
Tracings
,
and
chose
rather
to
paint
on
the
other
side
of
the
Glass
.
All
the
Colours
,
except
Yellow
,
may
be
applied
on
the
same
side
,
and
that
you
must
do
on
the
contrary
side
,
because
it
is
apt
to
mingle
with
the
other
Colours
,
and
if
near
the
Blue
,
will
compose
a
Green
;
so
that
for
want
of
such
precaution
the
whole
Work
may
be
spoil'd
;
if
the
Yellow
transmit
it self
perfectly
through
the
Quarre
,
it
is
as
well
as
if
it
had
been
done
on
the
same
side
;
and
take
notice
by
the
Way
,
that
the
other
Colours
have
not
so
ready
a
Transition
,
because
they
consist
of
a
Grosser
Body
.
The
Yellow
ought
to
be
very
equally
and
justly
laid
on
in
a
greater
or
lesser
quantity
,
as
you
'd
have
your
Shadows
;
observe
this
too
in
the
rest
,
especially
to
lay
them
on
as
quick
as
possible
,
as
we
have
already
said
,
particularly
the
Azure
,
Green
,
and
Purple
require
the
most
exactness
of
any
.
Now
to
set
off
and
heighten
the
Lights
,
in
piling
a
Beard
,
describing
Hair
in
Drapery
,
or
otherwise
,
use
the
Handle
,
or
But-end
of
the
Pencil
,
a
small
pointed
Stick
,
or
Quill
,
wherewith
take
off
the
Colours
in
those
places
you
would
Enlighten
,
which
is
easily
done
.
Such
Works
as
are
done
in
Grisaille
you
must
paint
after
this
manner
:
Trace
your
Piece
with
Black
,
and
let
it
dry
for
two
Days
entirely
,
do
it
over
very
lightly
and
equally
with
a
Wash
so
thin
laid
on
,
as
not
to
efface
the
first
Lines
,
and
let
it
dry
for
two
Days
;
after
this
run
it
over
again
with
the
same
Wash
where
you
find
it
convenient
to
give
a
second
Tinge
,
and
let
it
dry
two
Days
longer
:
Then
to
give
it
the
Lights
;
and
convenient
Heightnings
,
take
the
sharp
But-end
of
your
Pencil
,
or
pointed
Stick
,
or
Pen
,
as
before
,
and
take
off
the
Colour
of
the
first
Wash
,
in
the
most
necessary
places
,
and
so
your
Work
will
be
finished
.
To
make
this
Wash
is
easie
:
Take
a
small
Pewter
Cup
,
or
other
Vessel
,
and
put
therein
a
quantity
of
black
colouring
,
then
dissolve
Gum-Arabick
powdered
in
its
weight
of
Wine
,
and
throw
this
on
the
Black
in
the
Pewter-dish
,
or
Saucer
,
that
it
may
be
very
clear
,
and
not
easily
dry'd
,
and
that
you
may
have
your
Wash
for
painting
Glass
in
Grisaille
,
or
Gray
.
CHAP.
CCXIII.
How
to
order
your
Glass
in
the
Furnace
after
Painting
,
and
to
manage
the
Fire
.
AFTER
your
Glass
is
fully
painted
,
and
the
Draughts
perfectly
finished
,
the
difficulty
will
be
to
Bake
the
pieces
,
so
as
to
give
it
a
consistency
with
the
Glass
,
by
penetration
,
which
may
be
thus
done
.
You
must
work
with
the
Furnace
mentioned
in
Chap.
202.
and
its
Stove
of
good
Crucible
Earth
,
to
contain
all
the
Work
,
which
must
be
stratified
on
this
manner
.
Take
good
Quick-lime
well
digested
,
searced
,
and
finely
pulverized
;
and
for
the
better
security
let
it
digest
thrice
in
a
Potter's
Furnace
,
and
so
powder
and
searce
it
;
then
make
a
very
even
lay
thereof
,
about
half
an
Inch
thick
,
on
the
bottom
of
your
Stove
,
and
then
a
lay
of
pieces
of
broken
Glass
,
and
afterwards
another
lay
of
Powder
,
and
so
another
of
Glass
,
then
another
of
Powder
;
the
reason
of
making
this
Stratification
of
powder
and
old
Glass
,
is
to
prevent
any
injury
from
the
violence
of
the
Fire
,
which
will
be
very
smart
under
the
Stove
;
this
done
upon
the
third
Bed
of
powder
,
lay
a
lay
of
painted
Glass
,
and
so
continue
S.S.S.
each
lay
of
powder
and
Glass
being
equally
or
evenly
made
,
untill
all
the
pieces
of
paint
are
put
in
,
or
the
Stove
full
,
and
upon
the
last
lay
of
Glass
lay
the
uppermost
of
powder
somewhat
thicker
than
the
former
;
then
cover
the
Furnace
with
its
Shrowds
of
Earth
,
joyning
and
luting
them
well
together
,
all
round
with
the
best
lute
,
so
that
it
may
admit
of
no
respiration
,
but
through
the
fire
holes
,
or
the
Opening
of
the
Furnace
,
whilst
you
draw
out
the
proofs
or
Tryals
you
make
,
as
we
have
hinted
elsewhere
.
Your
Furnace
being
thus
ordered
,
and
the
lute
dry'd
very
well
,
begin
to
heat
it
gently
with
some
Charcoal
on
the
outside
of
the
Furnace
,
at
the
en●rance
,
and
so
by
degrees
,
and
very
leisurely
improving
it
,
lest
the
Glass
should
be
broken
,
or
the
paint
spoil'd
;
continue
thus
for
two
Hours
,
then
thrust
the
Fire
in
further
,
and
let
it
remain
there
for
an
Hour
,
putting
it
in
by
little
and
little
under
the
Stove
,
where
leave
it
for
two
Hours
longer
,
then
increase
the
Fire
by
degrees
for
two
Hours
,
and
so
continue
to
apply
Fuel
until
the
Furnace
be
full
of
Charcoal
,
and
you
perceive
the
Flame
convey
its
self
through
every
hole
of
the
Cover
;
keep
it
thus
very
violent
for
three
or
four
hours
,
shutting
the
Door
of
the
Furnace
;
you
must
be
very
cautious
and
circumspect
,
during
the
whole
Work
,
from
the
first
two
hours
that
the
Fire
remains
at
the
Entrance
.
Observe
from
time
to
time
to
draw
forth
your
Tryals
,
or
pieces
of
proof
in
your
Stove
,
to
see
if
the
Colours
be
melted
and
the
Yellow
qualified
,
you
may
perceive
how
the
Work
goes
on
by
the
sparkling
of
the
Iron-bars
under
the
Stove
.
As
soon
as
you
find
your
Colours
almost
done
,
improve
the
Fire
with
some
very
small
Billets
of
dry
Wood
,
they
must
be
very
little
for
ease
in
putting
them
in
,
and
to
prevent
Smoaking
,
and
to
make
the
Flame
environ
and
reverberate
over
and
round
about
the
Stove
,
which
must
be
continued
until
you
have
finished
,
this
will
be
in
twelve
or
fourteen
hours
;
then
let
the
Fire
go
out
and
the
Work
cool
of
its
self
,
and
so
take
it
out
,
and
't
will
be
finished
.
CHAP.
CCXIV.
Another
Way
to
Paint
on
Glass
.
THO
the
former
way
be
very
fine
and
lasting
as
can
be
,
yet
we
will
here
shew
another
more
easie
,
and
altogether
as
effectual
.
Take
very
White
Glass
,
varnish
it
very
thin
on
one
side
with
a
White
Varnish
,
then
having
before
made
choice
of
some
fine
Impress
,
or
Cut
,
on
Paper
,
just
fit
for
the
piece
of
Glass
you
design
to
paint
its
Fancy
on
,
dip
it
in
Water
,
and
letting
it
soak
and
dry
a
little
,
clap
the
Picture-side
thereof
to
the
Varnish-side
of
the
Glass
,
as
exactly
,
plain
,
and
evenly
as
possible
,
and
so
let
it
dry
throughly
;
afterwards
moisten
the
Paper
on
the
Blank-side
,
and
with
a
blunt
Graver
draw
off
and
trace
the
Lines
of
the
Picture
,
which
will
afterward
remain
perfect
and
distinctly
on
the
Varnish-side
of
your
Glass
Quarre
.
This
Draught
is
for
the
Model
you
must
paint
your
Fillings
in
,
and
observe
that
the
Tracings
and
Strokes
of
the
Picture
are
to
serve
you
in
Shadowing
,
which
cannot
be
rejected
without
disadvantage
to
your
piece
.
The
manner
of
painting
on
Glass
,
is
quite
contrary
to
that
of
Limning
,
or
Painting
on
Cloath
,
or
Wood
;
for
in
this
the
paint
being
but
on
one
side
,
is
plainly
visible
on
the
other
;
here
the
Settings
off
are
first
done
,
then
the
compound
Colours
just
run
over
,
and
so
continuing
until
perfected
;
whereas
on
Linen
,
&c.
the
Settings-off
,
or
Heightnings
,
are
the
last
strokes
,
and
their
Ground-colour
,
or
first
,
is
that
which
we
end
withal
,
and
make
our
last
lay
with
in
all
pieces
done
on
Glass
.
We
do
not
shew
the
Way
to
make
up
the
Colours
,
nor
how
to
mix
and
finish
the
Artificial
ones
,
for
that
relates
immediately
to
the
Art
of
Painting
,
of
which
several
pieces
are
extant
,
and
not
to
this
Art
of
Glass
;
and
these
noted
herein
are
the
same
as
in
the
other
Art
of
Painting
on
Cloath
,
and
not
very
uneasily
prepared
.
You
must
also
paint
on
Glass
,
just
as
in
Miniature
,
with
Water-Colours
,
laying
your
Picture
underneath
it
,
as
before
,
and
this
will
shew
finer
than
if
done
in
Oyl
;
besides
,
the
Colours
dry
in
a
moment
.
Your
pieces
being
thus
done
in
Oyl
,
or
Water-colour
,
may
receive
a
very
additional
and
improving
Beauty
,
by
over-laying
all
the
Colours
,
except
the
Ground
,
with
Leaf-Silver
,
which
will
appear
very
glorious
and
lively
on
such
as
are
transparent
;
to
wit
,
Lakes
,
Verditers
,
&c.
CHAP.
CCXV
.
The
Manner
of
Gilding
on
Glass
.
WE
promised
to
shew
this
Way
of
Gilding
on
Glass
after
we
had
done
with
Painting
,
and
this
we
will
discharge
here
.
Take
any
Glass
you
please
,
and
moistening
it
over
where
you
design
to
gild
,
with
Gum-Water
,
apply
your
Leaf-Gold
,
and
so
let
it
dry
;
cover
the
Glass
over
with
any
piece
of
hollow
Glass
,
and
set
it
on
an
Iron-Plate
at
the
Mouth
of
the
Furnace
to
heat
gently
,
and
when
't
is
well
heated
,
move
it
in
further
,
and
in
a
very
little
time
it
will
be
red
hot
;
then
withdraw
it
,
and
let
it
cool
slowly
at
the
Furnace
Mouth
.
Thus
if
you
have
laid
your
Gold
well
on
at
first
,
you
'll
find
it
so
well
communicated
to
the
Glass
,
that
't
is
impossible
for
any
Tryal
to
endamage
the
Gilding
.
And
after
this
method
you
may
do
with
Globes
,
and
give
them
a
wonderful
Beauty
,
which
no
Dust
,
nor
injury
of
Time
can
alter
.
CHAP.
CCXVI
.
Another
Way
to
Gild
Glass
.
THIS
second
Way
is
altogether
as
fine
as
the
other
;
besides
,
the
Gilding
is
better
coated
,
and
less
exposed
to
Injury
.
Take
a
Glass
and
moisten
it
every
where
,
you
design
to
Gild
,
with
Gum-Water
,
and
lay
on
your
Leaf-Gold
,
letting
it
dry
;
this
done
,
run
the
Gold
over
with
Water
wherein
Borax
has
been
dissolved
,
and
so
dust
it
with
impalpable
powder
of
Glass
;
set
it
afterwards
by
degrees
into
your
Furnace
,
until
it
become
red
hot
,
and
the
powder
on
the
Gilding
be
melted
and
run
;
then
draw
it
out
leisurely
,
letting
it
cool
at
the
Mouth
of
the
Furnace
,
and
you
'll
have
your
Glass
very
finely
Gilded
,
so
that
nothing
in
Nature
can
spoil
it
,
unless
it
be
broken
.
Or
you
may
Gild
on
Glass
with
Linseed-Oyl
,
&c.
as
in
Chap.
198.
after
the
same
manner
as
on
China
,
but
the
Ways
we
have
just
now
given
,
are
so
fine
,
that
we
look
upon
them
to
be
more
excellent
;
such
as
would
make
a
choice
may
work
by
Directions
in
this
present
Chapter
.
CHAP.
CCXVII
.
To
imitate
Precious-Stones
in
Colours
,
on
Globes
,
or
other
Vessels
of
White
Glass
.
THIS
Way
of
tinging
is
different
from
what
we
have
already
given
;
and
because
we
would
not
willingly
leave
out
any
thing
that
may
serve
the
Curious
,
we
will
give
the
Method
in
this
Chapter
.
You
may
thus
tinge
any
Vessel
of
White
Glass
either
Globular
,
or
Concave
,
with
Mouth-Glue
,
letting
it
soak
in
Water
for
two
Days
,
and
so
boil
it
afterwards
until
it
be
all
melted
,
and
let
it
cool
●
little
.
Pour
it
Milk-warm
into
your
Globe
,
or
other
Vessel
,
shaking
it
therein
to
wet
it
all
over
,
and
so
pou●
it
out
again
:
Then
your
Colours
being
all
ready
i●
Powders
,
first
blow
in
the
Vermillion
through
〈◊〉
hollow
Pipe
,
so
as
to
represent
Clouds
or
Wavings
in
like
manner
blow
in
the
Blue-Enamel
,
Scales
of
Copper
,
Orpiment
,
and
Lake
,
all
in
fine
powder
;
these
Colours
will
stick
in
Undulations
,
because
the
Glew
is
moist
;
you
may
do
thus
with
any
other
Colours
:
This
done
,
take
Plaister
well
pulverized
,
and
put
a
good
quantity
thereof
into
the
Vessel
,
and
shake
it
well
all
over
before
(
and
until
)
the
Glew
be
quite
dry
,
and
it
will
stick
all
round
,
then
shake
out
what
remains
loose
,
and
you
'll
have
the
outside
finely
party-colour'd
and
Marbled
,
&c.
When
these
Colours
are
well
dried
,
they
will
stick
so
to
the
inside
,
that
they
will
never
come
off
,
but
remain
always
fine
;
set
these
Globes
on
Stands
where
they
may
be
for
Ornament
,
and
the
pleasure
of
those
who
shall
see
and
consider
their
Admirable
Beauty
.
The
End
of
the
Ninth
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
X.
Shewing
how
to
Extract
the
Essential
Tincture
of
all
Herbs
,
or
Flowers
,
as
Yellow
,
Red
,
Green
,
Blue
,
Violet
,
Purple-colour'd
,
&c.
With
their
respective
Lakes
:
To
make
Ultra-marine
,
German-Blue
,
&c.
as
well
for
the
Art
of
Glass
,
as
Painting
.
CHAP.
CCXVIII
.
NOT
to
omit
any
thing
which
at
all
concerns
the
Art
of
Glass
,
we
thought
convenient
in
this
Tenth
Book
,
to
give
the
Publick
a
Method
of
Extracting
all
manner
of
Essential
Tinctures
from
Herbs
,
as
well
as
Flowers
;
a
Work
not
only
necessary
for
Painting
,
but
the
Art
of
Glass
too
:
We
shall
also
give
Directions
to
make
Lake
of
several
Colours
,
Vltra-marine
of
Lapis-Lazuli
,
with
German-Blue
,
&c.
The
manner
we
prescribe
for
making
these
Colours
,
does
equally
qualifie
them
for
tinging
Glass
,
Stones
,
Enamel
,
and
for
Paint
on
Enamel
and
Glass-work
,
and
all
this
so
prepared
,
as
not
to
press
on
the
Diversions
,
or
pall
the
Pleasure
of
the
several
Artists
,
or
other
curious
Persons
,
who
employ
themselves
that
way
for
Recreation
.
What
can
be
more
admirable
,
than
the
Products
,
and
Liberality
of
Nature
,
in
bestowing
such
excellent
Enamel
on
Flowers
and
Plants
,
as
contribute
to
furnish
Painting
with
such
fine
and
lively
Colours
,
which
the
Industry
of
Mankind
can
extract
,
and
so
well
adapt
to
the
Conveniency
of
Art
,
as
to
produce
Effects
,
finer
,
and
more
beautiful
than
any
other
whatsoever
.
The
use
of
Flowers
and
Plants
,
is
not
wholly
confined
to
this
Noble
Art
,
but
they
are
also
proper
for
Dying
,
and
have
much
more
excellent
success
in
Physick
,
where
their
Vertues
are
infinite
,
&c.
No
Product
in
Nature
is
useless
,
but
the
very
meanest
has
its
necessary
Properties
;
and
those
which
seem
the
most
abject
and
venomous
,
(
even
the
greatest
Poisons
)
have
admirable
Effects
in
Medicines
,
when
duly
prepared
;
and
this
the
Professors
of
Physick
are
not
unacquainted
withal
,
tho'
very
many
pretend
to
those
Studies
,
whose
Endeavours
are
far
short
of
handing
them
through
the
secret
Excellencies
thereof
.
CHAP.
CCXIX.
How
to
Extract
Lake
from
Broom-Flowers
.
WE
will
give
several
ways
of
making
Lakes
of
several
Colours
:
The
first
with
a
Lixivium
,
or
Lee
,
made
of
Soda
of
the
Glass-house
,
and
fresh
Quick-lime
,
which
must
be
pretty
strong
,
in
which
put
your
Broom-Flowers
,
over
a
small
Fire
,
until
all
the
Tincture
be
drawn
from
them
,
the
Flowers
become
White
,
and
the
Lee
receive
the
Yellow
Colour
:
Then
take
out
the
Flowers
,
and
put
the
Lixivium
into
a
glazed
Earthen
Vessel
to
boil
,
adding
thereto
as
much
Roch-Allom
,
as
it
can
well
dissolve
;
then
take
it
off
,
and
put
it
into
a
large
Vessel
,
mixing
it
with
fair
Water
,
so
the
Yellow
will
separate
and
descend
to
the
bottom
,
let
it
rest
there
a
little
,
and
afterwards
decant
the
Water
off
gently
,
and
so
put
in
more
fresh
to
it
again
and
again
,
until
the
Water
has
drawn
off
all
the
Salt
and
Allom
from
the
Lixivium
,
and
it
become
clear
:
Thus
the
Colour
will
be
very
well
cleansed
of
the
Salt
and
Allom
,
and
remain
exceeding
fine
and
bright
,
spread
it
on
pieces
of
White
Linen
,
and
let
it
dry
in
the
Shade
on
new-baked
Tiles
,
and
you
'll
have
a
most
admirable
Yellow-Lake
for
Painting
.
CHAP.
CCXX
.
To
Extract
the
Tincture
of
Poppies
,
Iris
(
or
Flower-de-luce
)
Red-Roses
,
Violets
,
and
all
sorts
of
GreenHerbs
,
for
making
Lake
of
their
Colour
.
TO
avoid
unnecessary
Repetitions
,
we
have
thought
fit
to
bring
all
these
under
one
Chapter
,
because
the
Method
for
extracting
their
Colours
is
the
same
in
one
as
in
t'other
,
and
done
with
the
former
Lixivium
of
Soda
and
Quick-Lime
.
You
must
steep
and
boil
each
sort
of
Flowers
,
or
Herbs
by
themselves
in
the
Lixivium
,
giving
it
time
to
draw
off
the
Colour
entirely
,
which
you
'll
soon
perceive
when
the
Faeces
,
or
Flowers
grow
white
,
and
the
Lixivium
deepened
with
the
Tincture
;
then
pour
off
the
Lixivium
gently
into
your
Earthen
glazed
Vessels
,
and
set
them
over
a
Fire
,
putting
in
as
soon
as
they
begin
to
boil
as
much
Roch-Allom
,
as
they
can
well
dissolve
,
and
so
take
them
off
.
After
this
pour
all
together
into
a
large
Earthen
Vessel
glazed
,
and
pour
into
it
fair
Water
,
to
make
the
Colour
precipitate
;
let
it
stand
and
settle
,
then
pour
off
the
Water
,
and
put
in
fresh
;
and
thus
continue
to
change
the
Water
until
it
pour
off
as
clear
as
you
put
it
in
,
and
taste
flat
,
or
insipid
,
so
as
you
may
conclude
all
the
Soda
,
Salt
of
Alom
,
and
Lime
,
are
drawn
off
:
Thus
you
'll
have
at
the
bottom
,
a
very
fine
Tincture
to
make
a
pure
and
delicate
Lake
withal
,
of
the
same
Colour
as
your
Flowers
,
or
Herbs
that
were
used
;
spread
it
on
pieces
of
Linen
,
dry
them
in
the
Shade
on
new-baked
Tiles
as
before
.
After
the
same
manner
you
may
draw
any
other
Lake
,
from
whatsoever
colour'd
Herb
,
or
Flower
you
please
.
CHAP.
CCXXI
.
Another
Way
to
Extract
the
Tincture
of
Yellow
Flowers
,
of
Field-Poppies
,
Irises
,
ordinary
and
deep
coloured
Violets
,
Carnation
,
and
Red-Rose
,
BorrageFlowers
,
Red-Coleworts
,
Flags
,
&c.
Together
with
the
Verditers
of
Mallows
,
Burnet
,
and
other
Herbs
.
WE
shall
not
give
the
same
in
this
as
in
the
foregoing
Chapter
,
that
Preparation
is
common
to
all
those
in
the
Title
thereof
,
and
so
is
this
to
these
.
To
avoid
Prolixity
and
Repetitions
,
You
must
have
the
Flowers
,
or
Herbs
newly
gathered
,
fresh
enough
to
stain
a
Card
with
their
Juice
pressed
thereon
,
else
they
'll
not
serve
your
turn
;
put
these
into
a
Glass
Cucurbit
with
a
pretty
large
Mouth
;
pour
in
among
them
good
Strong-Waters
to
drown
them
by
four
Inches
,
joyn
a
Recipient
to
it
,
and
lute
the
Joints
very
well
,
letting
them
dry
;
this
done
,
place
the
Alembick
on
a
Sand
▪
Furnace
,
keeping
a
very
gentle
.
Fire
under
it
,
giving
the
Matter
time
to
digest
,
increasing
it
by
very
little
and
little
,
and
so
the
Strong-waters
will
rise
on
the
Leaves
,
and
draw
off
the
Colour
,
then
improve
your
Fire
to
distil
your
tinged
Strong-waters
,
into
the
Recipient
,
out
of
which
you
must
take
and
put
them
into
another
Alembick
,
luting
well
the
Jointures
,
and
let
it
distil
in
Balneo
,
or
over
a
very
slow
Ash-Fire
,
and
the
Strong-water
will
distil
off
in
their
own
Colour
,
without
any
Tincture
,
and
may
be
kept
for
the
like
occasion
again
:
The
Essence
you
'll
have
at
the
bottom
of
the
Cucurbit
,
let
it
dry
gently
:
Thus
you
may
have
Lakes
from
all
manner
of
Herbs
and
Flowers
whatsoever
.
CHAP.
CCXXII
.
To
make
a
Scarlet-colour'd
Lake
.
THE
Design
of
this
Chapter
,
is
only
to
order
the
first
Preparation
for
obtaining
our
Scarlet-colour
,
whereof
we
will
make
a
very
delicate
Lake
.
Take
Shearings
of
White
Woollen-Drapery
,
let
them
be
fine
as
possible
,
steep
them
a
whole
Day
in
cold
Water
,
press
them
afterwards
very
well
to
take
off
all
the
Greasiness
,
and
Allume
it
thus
.
Put
four
Ounces
of
Roch-Allom
,
and
two
Ounces
of
Crude
Tartar
in
Powders
,
into
a
small
Kettle
,
pouring
thereon
two
Quarts
of
Water
;
when
this
begins
to
boil
,
put
to
them
one
pound
of
the
Shearings
,
and
so
let
it
boil
a
full
Half-hour
;
afterwards
take
it
off
and
cool
it
for
six
Hours
;
take
out
the
Shearings
and
wash
them
in
clean
Water
,
leave
'em
to
steep
about
two
Hours
;
press
them
after
this
,
and
dry
them
,
keeping
them
for
the
use
we
shall
prescribe
in
the
next
Chapter
.
CHAP.
CCXXIII.
To
Extract
Scarlet-colour
from
Kerm-Berries
,
for
making
a
Fine
Lake
.
THE
Name
of
Kermes
is
purely
Arabick
,
for
in
that
Country
these
Berries
grow
on
a
small
Tree
,
or
Shrub
,
and
from
that
their
Native
Soil
,
were
transplanted
into
Spain
,
Portugal
,
Provence
,
and
Languedoc
,
where
they
now
are
plentiful
;
several
would
perswade
us
,
that
't
is
a
sort
of
Oak
,
called
in
Latin
,
Coccigera
,
but
the
Leaves
which
are
prickled
like
those
on
Holly
,
only
smaller
,
shews
us
the
contrary
.
These
Grains
,
or
Berries
,
have
several
other
uses
than
in
Painting
,
being
of
excellent
Vertue
in
Physick
:
Of
them
the
Apothecaries
make
their
Syrop
called
Alkermes
,
and
from
the
remainder
of
them
which
is
left
behind
in
the
Strainer
,
they
draw
a
substance
for
the
Dyers
,
which
is
used
in
colouring
of
Stuffs
.
Several
ways
may
be
given
to
extract
the
Tincture
of
these
Grains
for
making
Lake
;
we
'll
only
insist
on
two
,
the
first
is
indifferent
long
,
but
very
excellent
,
and
produces
a
Tincture
whereby
i●
made
a
most
admirable
fine
Lake
.
The
way
of
making
the
Lake
in
France
,
is
very
modern
,
and
't
is
but
of
late
they
have
had
this
Secret
in
Paris
,
which
was
brought
from
Venice
;
now
since
few
are
familiar
with
it
we
are
willing
to
publish
this
,
that
many
may
know
how
to
Wor●
therein
.
Take
four
Quarts
of
clear
Water
,
and
four
Pound
of
Wheaten-Bran
,
two
Drams
of
Oriental
Piraster
,
and
as
much
Foenugrec
,
set
all
in
a
Kettle
over
a
Fire
,
till
the
Water
be
Milk-warm
;
keep
your
Hand
in
it
until
you
can
bear
the
heat
no
longer
;
then
take
it
off
,
cover
it
with
a
Cloath
,
that
the
heat
may
continue
the
longer
,
let
it
repose
for
twenty
four
Hours
,
then
run
off
the
Lixivium
,
and
keep
it
for
the
following
purpose
.
Get
a
clean
Earthen-Pot
,
and
put
therein
three
Quarts
of
fair
Water
to
half
the
Lixivium
;
order
a
Fire
,
and
let
this
boil
thereon
,
which
when
it
begins
to
do
,
put
in
an
Ounce
of
the
Grains
pounded
impalpably
in
a
Brass-Mortar
,
and
searced
;
then
pound
a
little
crude
Tartar
,
to
take
off
the
remaining
parts
of
the
Grains
on
the
bottom
and
sides
of
your
Mortar
,
and
so
put
it
in
with
the
Grains
;
when
the
Water
begins
to
boil
again
,
take
it
off
in
an
instant
,
and
set
it
to
cool
.
This
done
,
and
the
Water
cold
,
take
the
Shearings
prepared
in
the
former
Chapter
,
and
let
them
stain
therein
about
half
an
Hour
:
Afterwards
squeeze
it
into
another
Pot
by
expression
;
and
after
you
have
thus
drawn
off
all
the
Tincture
,
put
the
Shearings
into
the
last
Pot
,
stirring
them
about
very
well
with
a
small
Stick
;
that
they
may
stain
the
sooner
,
boil
all
for
about
half
an
Hour
over
a
small
Fire
,
else
the
Tincture
will
become
black
,
then
take
the
Shearings
out
,
and
put
them
well
tinged
into
a
Vessel
of
cold
Water
;
about
half
an
Hour
after
pour
off
the
Water
gently
,
and
so
put
fresh
on
again
,
then
press
and
spread
them
to
dry
in
a
clean
place
,
where
no
Dust
can
come
at
them
.
This
done
make
the
following
Lixivium
.
Put
on
a
Hempen-cloath
doubled
,
Vine-stalk-Ashes
,
or
Ashe
;
of
Willow
,
or
some
other
lighter
Wood
;
pour
thereon
,
by
degrees
,
cold
Water
,
letting
it
strain
through
into
a
Vessel
set
underneath
;
pour
it
again
on
the
Ashes
,
and
when
it
is
all
run
through
,
set
it
to
settle
for
twenty
four
Hours
,
that
the
Ashes
which
it
carried
off
,
may
fall
to
the
bottom
;
this
done
,
pour
the
Lixivium
by
degrees
,
into
another
Vessel
,
rejecting
the
Sediment
,
put
your
Shearings
into
this
,
having
warmed
it
:
When
it
begins
to
be
cold
,
let
it
boil
over
a
gentle
Fire
,
and
it
will
become
red
;
take
a
little
of
the
Shearings
,
press
them
well
,
and
if
it
remains
without
colour
,
take
off
the
Kettle
immediately
,
for
the
Lixivium
has
extracted
it
entirely
,
spread
a
Linen-cloath
o'er
a
Free-stone
Bowl
,
set
the
Shearings
therein
,
and
pour
on
the
Lixivium
by
little
and
little
to
strain
and
yield
the
Tincture
,
then
squeeze
the
Cloath
and
the
Shearings
therein
,
to
press
out
all
the
Colour
that
remained
in
them
,
throw
away
the
Cloath
,
wash
the
Shearings
clean
and
keep
them
for
the
like
use
another
time
.
Then
put
twelve
Ounces
of
Roch-Allom
well
powdered
,
into
a
Glass
Body
full
of
cold
Water
,
letting
it
dissolve
quite
;
when
this
is
perfectly
done
,
spread
a
Linen-cloath
over
two
Staves
,
and
set
underneath
a
large
Free-stone
Vessel
,
put
all
the
Allom-Water
into
the
Bottle
of
Tincture
,
and
strain
it
afterwards
through
this
Cloath
;
the
Lixivium
will
go
through
it
clear
,
and
leave
the
Colour
behind
,
but
if
it
shou'd
not
be
coloured
,
't
is
only
straining
it
through
again
,
and
you
'll
have
done
.
Now
to
get
the
Tincture
,
you
must
mix
all
that
remains
on
the
Cloath
,
and
gather
it
together
,
spreading
it
afterwards
over
new-made
Tiles
(
which
have
not
yet
been
allowed
time
to
moisten
)
on
the
pieces
of
Linen
,
then
mold
them
into
Troches
to
dry
suddenly
,
without
moulding
,
which
wou'd
spoil
them
;
therefore
you
must
take
great
care
that
the
Tiles
be
not
at
all
moist
,
and
if
so
,
to
change
them
,
that
it
may
dry
the
sooner
,
and
thus
you
'll
have
a
Lake
of
admirable
colour
for
Painting
;
you
must
lessen
,
or
improve
the
Colour
as
you
find
,
by
a
greater
or
lesser
quantity
of
Roch-Allom
.
CHAP.
CCXXIV.
A
readier
way
to
Extract
the
Tincture
of
Kerm-Berries
.
THO
the
Menstruum
given
in
the
last
Chapter
,
made
with
Shearings
of
Cloath
,
be
a
very
good
one
for
this
purpose
,
yet
the
following
is
a
more
easie
and
as
effectual
.
Take
Strong-waters
of
the
first
Run
,
or
Distilling
,
and
put
it
into
a
long-neckt
Glass
Body
;
dissolve
therein
a
Pound
of
Roch-Allom
,
adding
an
Ounce
of
Kerm-Berries
,
finely
powder'd
and
searced
;
let
it
digest
well
,
shaking
the
Matrass
from
time
to
time
,
and
the
Strong-waters
will
draw
to
them
all
the
Tincture
of
the
Kermes
,
and
be
very
sinely
coloured
;
then
let
all
settle
four
Days
,
and
afterwards
pour
it
gently
into
a
glazed
Earthen-Vessel
.
Dissolve
four
Ounces
of
Roch-Allom
in
running
Water
,
and
pour
this
into
the
Strong-Waters
,
or
Tincture
of
Kermes
,
to
cause
a
separation
;
filter
it
through
a
Linen-cloath
,
and
the
Strong-Waters
will
fall
through
White
,
leaving
the
Tincture
behind
;
if
they
be
any
thing
coloured
,
strain
them
again
and
again
until
they
be
clear
:
Take
up
the
Lake
,
or
Colour
,
with
a
clean
Wooden-Spoon
,
and
make
it
into
Troches
,
drying
them
as
directed
in
the
former
Chapter
:
Thus
you
may
have
a
quantity
of
this
Colour
,
or
Lake
,
as
fine
and
good
as
the
former
.
CHAP.
CCXXV.
To
make
Lake
,
or
Tincture
of
Brazile
.
THE
Brazile
which
Dyers
make
use
of
,
is
meant
here
;
take
of
the
finest
which
comes
from
Fernambouck
,
that
being
the
best
.
The
way
of
extracting
this
Tincture
is
the
same
as
the
former
from
Kermes
,
and
may
be
effected
two
ways
,
either
with
the
first
prescribed
Menstruum
,
or
the
Strong-Waters
,
observe
only
not
to
put
as
much
Allom
to
each
Ounce
of
Brazile
,
as
to
the
Berries
,
for
that
Tincture
is
deeper
than
this
from
Brazile
,
and
consequently
requires
more
Stuff
;
use
therefore
as
much
here
as
you
find
reasonable
,
for
Experience
will
give
you
the
best
instruction
.
Take
notice
too
that
when
you
do
it
by
the
first
Menstruum
,
there
is
a
greater
quantity
required
of
Brazile
than
was
prescribed
of
Kermes-Berries
,
to
each
Pound
of
Shearings
;
in
every
thing
else
follow
the
former
Directions
,
and
you
'll
have
a
fine
Colour
,
or
Lake
,
less
chargeable
,
and
altogether
as
good
as
the
Tincture
of
Kermes
,
for
Painting
.
CHAP.
CCXXVI
.
To
Extract
Tincture
of
Madder
for
Lake
.
MAdder
is
the
Root
of
a
Plant
common
enough
▪
but
generally
comes
from
Holland
and
Zealand
,
and
used
by
Dyers
;
if
good
,
't
is
red
;
't
is
finer
than
Brazile
,
and
before
you
use
it
,
must
be
finely
powdered
to
give
the
better
colour
.
You
may
use
either
of
the
former
Menstruums
of
Shearings
,
or
Strong-Waters
,
ordering
your
Quantities
,
as
directed
for
the
Brazile
,
if
you
follow
the
Preparation
given
in
Chap.
223.
you
'll
have
a
fine
colour
from
this
Root
,
which
make
into
Troches
,
drying
them
as
before
,
this
will
be
a
perfect
Lake
,
and
very
fine
for
use
.
CHAP.
CCXXVII
.
How
to
make
Ultra-marine
,
of
Lapis-Lazuli
.
THIS
Rich
and
Noble
Blue
drawn
from
an
Azure-Stone
,
commonly
called
Lapis-Lazuli
;
't
is
〈◊〉
Opaque-Stone
,
of
a
fine
Sky-colour
,
or
Turkish-●lue
,
or
like
the
Blue-Flowers
which
grow
in
Corn●●lds
,
't
is
embellished
with
small
Streaks
and
Spar●es
of
Gold-colour
;
the
best
is
that
which
is
fixt
,
●●at
is
,
can
endure
Fire
without
altering
colour
,
●nd
comes
from
Persia
and
the
greater
I
dies
;
it
is
●●so
supposed
it
may
be
had
from
Africk
,
as
well
as
●sia
,
but
questionless
,
there
does
not
come
that
●enty
thence
as
from
the
other
places
.
There
is
also
found
in
Germany
,
and
Hungary
,
a
kind
of
Lapis-Lazuli
,
but
not
fixt
,
tho
as
hard
as
the
former
;
they
call
it
Lesurstein
,
and
its
colour
Asurbleau
;
but
its
colour
changes
in
some
time
,
and
becomes
Greenish
;
't
is
used
however
by
Painters
.
The
sixt
Lapis-Lazuli
has
great
Vertues
in
Physick
,
and
much
more
excellent
ones
than
are
ascribed
to
it
by
most
Persons
,
who
indeed
are
ignorant
of
them
,
and
so
are
many
of
the
Learned
too
;
but
we
'll
pass
these
over
here
,
and
reserve
them
for
another
time
in
some
other
place
.
This
hint
however
may
serve
to
advise
the
Curious
to
pry
into
the
Matter
,
and
possibly
discover
its
further
Excellencies
and
Vertue
.
'T
is
called
Vltra-marine
,
because
brought
to
us
from
beyond
Sea
;
or
rather
,
because
the
first
tha●
ever
came
into
France
,
was
out
of
the
Kingdom
o●
Cyprus
,
a
Maritime
Country
;
for
so
are
those
Countries
called
,
which
border
on
the
Sea-Coasts
.
Before
you
proceed
to
Extract
your
Vltra-marine
take
some
account
of
the
Manner
,
to
know
whethe●
the
Stone
be
good
,
for
unless
it
is
singularly
so
,
you'●●
lose
your
labour
:
Put
pieces
thereof
on
live
Coal●
and
blow
them
continually
for
an
Hour
,
if
they
r●tain
their
first
hardness
and
colour
afterwards
,
yo●
may
conclude
them
good
,
but
if
they
crumble
b●tween
your
Fingers
,
they
are
naught
:
It
may
〈◊〉
tried
otherwise
in
an
Iron-Ladle
put
into
a
Furna●●
with
some
of
the
Stone
to
heat
,
and
so
quench
it●
strong
Vinegar
;
if
the
Colour
remains
still
uncha●●ged
and
splendid
,
you
may
assure
your self
'
●
good
.
When
you
have
made
this
Tryal
,
calcine
〈◊〉
which
to
do
the
easier
,
break
the
stone
to
piec●
as
small
Hazel-Nuts
,
wash
them
afterwards
in
wa●●
Water
,
and
set
them
in
a
Crucible
,
on
a
Win●
Furnace
,
or
into
an
Iron-Ladle
to
re-unite
;
th●
cast
them
into
a
glazed
Earthen
Vessel
of
distilled
Vinegar
to
quench
them
in
,
do
thus
seven
times
,
to
prepare
them
by
Calcination
for
Powdering
,
and
to
prevent
their
sticking
to
the
Mortar
.
Thus
calcined
,
dry
'em
well
,
and
so
powder
them
in
a
Stone-Mortar
well
cover'd
,
and
accordingly
searce
it
with
the
same
caution
,
as
Perfumers
do
their
most
delicate
and
finest
Powders
,
lest
the
best
should
go
off
,
and
dispel
its
self
in
the
Air
:
And
thus
preserve
this
precious
Powder
with
all
imaginable
care
.
CHAP.
CCXXVIII
.
To
make
a
Liquid
for
Moistning
and
Grinding
the
Powder
withal
,
&c.
T
IS
impossible
to
give
all
the
Preparations
for
the
Lapis-Lazuli
in
one
Chapter
,
they
are
too
●edious
for
that
purpose
,
and
can't
be
so
confined
without
Confusion
;
this
we
intimate
to
justifie
our
●ivision
thereof
into
several
Chapters
.
For
moistening
and
grinding
your
aforesaid
Pow●er
of
the
Stone
,
take
a
Pound
and
half
of
running
●ater
,
and
put
this
into
a
new
Earthen-Pot
,
add
〈◊〉
it
an
Egg-shell
full
of
raw
Honey
,
boil
it
until
it
●ave
no
more
Scum
;
take
the
Pot
off
,
and
keep
this
●ydromel
,
or
Liquid
for
use
in
Bottles
,
as
we
shall
●ve
occasion
for
hereafter
.
This
done
,
take
four
Scruples
of
the
best
Gum●ragon
,
grind
it
on
your
Marble
,
with
some
of
the
●ydromel
,
and
then
put
it
into
a
Glass
;
add
thereto
〈◊〉
much
Hydromel
as
you
find
convenient
,
to
bring
it
〈◊〉
a
Violet-colour
,
so
cover
it
,
and
preserve
it
for
〈◊〉
:
This
Liquid
is
good
for
your
Powder
of
Lapis-Lazuli
;
if
the
Colour
be
too
Violet
,
add
the
less
hereof
,
if
otherwise
the
more
,
as
your
Judgment
,
or
Experience
shall
direct
.
Put
half
a
Pound
of
Powder
at
a
time
into
a
small
Porphyry
,
or
Marble
Vessel
,
the
larger
the
Mortar
the
worse
,
for
you
'll
lose
more
,
and
be
longer
a
grinding
;
pour
leisurely
by
little
and
little
thereon
,
some
of
your
Violet
Liquid
,
grind
these
together
for
a
full
Hour
,
still
wetting
it
;
you
may
use
three
or
four
Ounces
of
Liquid
to
the
half
Pound
of
Powder
,
and
you
'll
have
it
very
good
;
you
must
take
care
of
grinding
it
too
long
,
for
then
it
will
lose
its
colour
.
When
't
is
thus
ground
,
dry
it
on
a
Marble
or
Flat-stone
,
where
the
Sun
does
not
come
at
all
,
cover
it
well
to
preserve
it
from
Dust
;
when
't
is
dry
,
't
will
Powder
easily
between
your
Fingers
,
if
it
be
rightly
done
;
if
so
,
let
it
alone
on
the
Marble
,
but
if
it
be
clammy
,
or
stick
,
take
it
off
,
for
it
has
still
some
unctuosity
of
the
Honey
in
it
,
which
must
be
cleansed
away
by
a
Cement
.
Your
Lapis
being
thus
dry
,
wash
it
well
before
you
put
it
to
the
Cement
,
for
which
you
must
use
a
glazed
Earthen
Bason
round
above
like
a
Barber
's
,
and
well
glazed
within
,
put
your
Lapis
therein
,
and
pour
thereon
some
of
the
mild
Lixivium
in
the
next
Chapter
,
as
much
as
will
rise
above
the
Surface
four
Inches
;
wash
the
Lapis
very
well
with
your
Hands
,
and
then
let
it
settle
,
and
't
will
precipitate
:
The
Liquid
being
clear'd
again
,
decant
it
into
a
large
Copper
,
or
Earthen-Vessel
,
then
let
the
Lapis
dry
in
a
Shade
in
the
same
Vessel
't
was
washed
in
,
and
spread
it
afterwards
on
the
flat
Marble
,
or
Porphyry
,
and
there
let
it
lie
until
quite
dry
:
Thus
't
is
prepared
for
mixing
with
the
Cement
,
of
which
we
will
give
the
Preparation
in
Chap.
231.
and
those
next
succeeding
it
.
CHAP.
CCXXIX
.
To
prepare
a
mild
and
a
strong
Lixivium
for
the
Lapis-Lazuli
.
WE
have
promised
to
give
this
Preparation
here
,
and
the
manner
of
making
hereof
,
which
we
will
shew
,
together
with
another
stronger
,
to
wash
the
Lapis
withal
,
when
't
is
mixt
with
the
Cement
,
as
hereafter
directed
.
To
make
these
Lixiviums
,
take
ten
handfuls
of
Vine-stalk-Ashes
well
searced
;
put
this
into
a
large
Vessel
that
will
hold
thirty
Pound
of
Water
,
with
a
Faucet
at
bottom
;
press
the
Ashes
very
well
,
and
put
to
them
twenty
Pound
of
warm
Water
;
when
't
is
sunk
to
the
bottom
,
open
the
Faucet
,
so
as
it
may
only
drop
into
an
Earthen-Vessel
;
when
't
is
all
come
out
,
stop
the
hole
,
and
strain
this
Lixivium
through
a
Felt
Strainer
,
and
so
keep
it
in
a
Glass
,
or
glazed
Pot
well
covered
:
This
is
the
strong
Lixivium
.
Again
,
pour
in
on
the
same
Ashes
,
the
like
quantity
of
warm
Water
,
and
do
as
before
,
so
you
'll
have
an
indifferent
strong
Lixivium
,
which
keep
as
the
former
.
Do
this
a
third
time
,
and
you
'll
have
the
mild
Lixivium
mentioned
in
the
preceding
Chapter
.
These
three
are
very
useful
both
for
moistening
,
and
to
draw
the
Powder
of
Lapis-Lazuli
from
the
Cement
;
wherewith
it
must
be
mixed
,
as
we
shall
shew
in
the
succeeding
Chapters
,
which
Separation
being
sometimes
hard
to
perform
,
we
are
obliged
to
have
recourse
to
these
Varieties
of
Lixiviums
stronger
,
or
weaker
,
as
we
find
them
convenient
for
the
purpose
.
You
may
yet
make
another
Lixivium
to
take
away
the
greasiness
of
the
Cement
,
thus
:
Boil
Calx
of
Tartar
,
as
much
as
you
please
,
in
clean
Water
,
for
about
a
quarter
of
an
Hour
,
and
keep
it
for
use
as
the
former
.
This
is
excellent
for
washing
the
Lapis-Lazuli
with
;
it
strengthens
and
improves
the
colour
thereof
,
is
good
for
the
Itch
,
Scurvey
,
&c.
and
to
take
away
the
Witherings
in
the
Fair
Sex.
CHAP.
CCXXX
.
The
Form
of
the
Glasses
for
preserving
the
Liquids
in
,
which
are
employed
on
the
Lapis-Lazuli
.
THERE
always
remains
some
of
your
colour
in
the
Waters
,
or
Lixiviums
,
wherein
the
L●●●s-Lazuli
is
prepared
throughout
all
the
Process
;
you
must
therefore
have
a
very
large
Vessel
of
Bra●●
,
or
Earthen-Ware
,
glazed
and
polished
very
well
at
bottom
,
wherein
must
be
three
Holes
;
one
in
the
middle
of
the
side
,
the
next
a
little
lower
,
and
the
last
about
two
Inches
from
the
bottem
;
stop
these
Holes
without-side
very
close
to
prevent
leakage
.
Then
pour
all
your
Waters
into
this
;
tho
you
then
perceive
no
colour
at
all
,
yet
after
ten
Days
you
'll
have
it
at
bottom
,
whither
it
will
descend
gently
;
and
to
get
it
,
you
must
go
artificially
to
work
,
first
opening
the
first
Cock
,
or
Hole
,
and
let
out
the
Water
above
that
,
before
you
open
the
other
two
;
and
thus
you
may
get
the
colour
without
muddying
,
or
losing
any
by
the
Waters
,
which
mix
with
the
rest
.
CHAP.
CCXXXI
.
To
make
strong
Cement
to
mix
with
Lapis-Lazuli
,
to
separate
the
finer
and
better
Stuff
from
the
other
.
ONE
cannot
so
easily
part
the
finer
Lapis-Lazuli
from
its
grosser
parts
,
without
making
use
of
this
Cement
to
unbind
the
parts
:
Take
four
Ounces
of
very
pure
and
clear
Venice-Turpentine
;
six
Ounces
of
Rosin
of
the
Pine
,
six
Ounces
of
Grecian-Pitch
,
three
Ounces
of
very
good
Mastick
,
three
Ounces
of
fresh
Wax
,
an
Ounce
and
half
of
Linseed-Oyl
cleansed
,
as
shall
be
directed
in
Chap.
233.
Put
the
Turpentine
into
a
new
glazed
Earthen-Pot
,
very
clean
,
to
dissolve
over
a
slow
Charcoal-Fire
,
and
continue
stirring
it
with
a
Wooden-Spatula
,
throw
into
this
by
degrees
,
the
Rosin
of
the
Pine
,
in
small
pieces
,
and
stir
it
still
very
well
;
thus
put
in
successively
the
Pitch
,
the
Mastick
in
Powder
,
and
last
of
all
the
Wax
sliced
small
,
stirring
all
continually
about
to
mix
and
incorporate
:
Take
great
care
of
your
Fire
,
least
the
Cement
should
blaze
,
or
burn
,
all
the
Ingredients
being
hot
of
themselves
,
and
combustible
:
Having
well
incorporated
them
,
pour
in
the
Linseed-Oyl
,
stirring
it
as
before
,
and
so
let
it
boil
gently
for
a
Quarter
of
an
Hour
.
To
try
whether
the
Cement
be
enough
,
drop
some
of
it
off
the
Spatula
into
a
Vessel
of
cold
Water
;
if
it
spread
't
is
not
enough
;
but
if
it
do
not
,
't
is
sufficiently
boil'd
;
so
take
it
off
.
Or
else
you
may
wet
your
Fingers
,
and
take
a
drop
thereof
,
roul
and
draw
it
out
in
length
;
if
it
snaps
and
breaks
of
it self
,
't
is
a
sign
that
't
is
enough
;
take
it
off
and
pour
it
boiling
hot
into
an
Hypocrass-Bag
steeped
before
in
hot
Water
;
take
care
to
let
it
go
all
through
into
a
Vessel
of
cold
Water
;
and
for
the
better
security
,
squeeze
it
along
from
top
to
bottom
with
two
flat
Sticks
,
that
none
may
remain
in
your
Bag
;
afterwards
work
it
well
with
your
Hands
,
till
all
the
Water
be
drained
from
it
,
and
because
being
hot
it
may
stick
to
your
Fingers
,
you
may
anoint
them
with
some
of
the
Linseed-Oyl
.
The
Cement
being
thus
prepared
,
keep
it
in
a
Vessel
of
cold
Water
,
shifting
your
Water
every
Day
,
or
every
second
Day
,
and
by
this
Method
you
may
keep
it
for
ten
Years
.
CHAP.
CCXXXII
.
To
make
a
weaker
Cement
for
separating
the
Colours
of
Lapis-Lazuli
.
THIS
second
Cement
,
which
is
the
softer
and
milder
,
ought
to
be
first
employed
on
the
Powder
of
Lapis-Lazuli
;
it
draws
the
colour
much
quicker
and
better
than
the
strong
Cement
,
which
ought
not
to
be
used
till
after
the
milder
,
the
whole
Secret
of
separating
the
Colours
,
consisting
in
using
the
Cements
,
for
without
a
due
care
hereof
,
it
cannot
be
done
perfect
.
To
make
this
Cement
,
you
must
take
four
Ounces
of
very
pure
Turpentine
,
four
Ounces
of
Rosin
of
Pine
,
six
Ounces
of
Grecian-Pitch
,
one
Ounce
of
fresh
Wax
,
six
Drams
of
Linseed-Oyl
purified
,
mix
and
incorporate
them
successively
as
before
;
observe
only
that
this
is
sooner
done
than
the
former
,
because
't
is
weaker
,
and
will
give
the
colour
soonest
,
therefore
you
must
manage
accordingly
.
CHAP.
CCXXXIII
.
To
purifie
Linseed-Oyl
.
THE
use
we
have
for
Linseed-Oyl
in
our
Cement
,
obliges
us
to
give
this
Preparation
,
and
way
of
purifying
it
,
as
we
promised
,
whereby
't
is
made
more
fit
for
our
purpose
.
Take
good
and
clear
Linseed-Oyl
,
of
the
colour
of
Saffron
,
and
put
it
into
a
Glass
,
shaped
like
an
Oxe-horn
,
with
an
Hole
at
bottom
to
let
out
the
Water
,
which
you
must
mix
with
the
Oyl
,
letting
them
settle
until
the
Oyl
rises
all
upmost
;
then
open
the
Hole
,
and
let
the
Water
out
,
and
the
Oyl
remain
behind
;
then
shake
the
Oyl
again
,
with
more
fresh
Water
,
let
it
settle
,
and
the
Water
run
out
,
as
before
;
do
thus
eight
or
ten
times
,
till
the
Water
comes
out
as
clear
as
it
went
in
,
and
so
the
Oyl
will
be
pure
and
fit
for
your
use
;
keep
it
well
stopt
in
a
Glass-Bottle
.
If
you
can't
get
Linseed-Oyl
,
you
may
use
Oyl
of
Bitter-Almonds
,
without
purifying
,
for
it
needs
none
;
but
take
notice
,
the
Linseed-Oyl
is
best
of
any
,
tho
cheaper
than
t'other
.
CHAP.
CCXXXIV
.
How
to
incorporate
the
Powder
of
Lapis-Lazuli
with
the
strong
,
or
weaker
Cement
.
WE
have
given
in
Chap.
228.
the
way
to
prepare
the
Powder
for
mixing
with
the
Cement
,
to
extract
the
Colours
;
we
now
come
to
shew
how
to
mix
it
with
the
Cement
,
in
order
to
extract
the
Vltra-marine
from
them
for
Painting
.
Take
a
Pound
of
the
Powder
,
and
the
like
quantity
of
Cement
assigned
in
Chap.
231.
observing
always
to
take
the
first
that
was
workt
with
the
Hands
;
cut
the
Cement
small
,
and
the
pieces
being
a
little
wet
,
put
them
into
a
glazed
Earthen-Pot
,
over
a
Fire
of
red-hot
Ashes
,
to
melt
,
and
take
care
it
does
not
boil
;
if
it
should
,
you
must
prevent
the
the
damage
which
it
might
cause
,
by
putting
in
some
Linseed-Oyl
.
The
Cement
being
thus
melted
,
anoint
all
your
Spatula
over
,
from
the
Handle
downwards
,
with
the
same
Oyl
,
and
so
put
in
the
Powder
by
very
little
quantities
,
and
taking
a
great
deal
of
time
,
that
they
may
the
better
incorporate
;
and
be
sure
to
stir
it
all
the
while
very
well
with
the
Spatula
,
so
as
to
make
it
all
alike
,
until
it
become
like
an
Oyntment
,
or
Salve
;
then
off
with
the
Pot
,
and
throw
the
Stuff
boiling
hot
into
an
Earthen-Bason
of
cold
Water
,
and
at
that
very
instant
take
off
all
that
sticks
to
the
sides
of
the
Pot
;
when
't
is
cold
enough
to
be
handled
,
if
it
appears
well
coloured
,
't
is
a
sign
you
have
work'd
it
well
:
This
done
,
rub
your
Hand
with
Linseed-Oyl
,
and
work
it
as
they
do
a
Paste
of
Bread
,
or
Dough
,
for
one
Hour
,
that
it
may
be
throughly
compact
.
The
longer
you
work
it
,
the
better
and
easier
the
colour
may
be
drawn
;
afterwards
make
it
up
like
a
Loaf
,
or
Brick
,
and
set
it
in
an
Earthen-Dish
to
dry
,
pouring
thereon
some
fresh
Water
;
let
it
steep
for
fifteen
Days
,
the
longer
the
better
for
extracting
the
Vltra-marine
.
CHAP.
CCXXXV
.
To
Extract
the
Ultra-marine
.
NOW
we
come
to
take
out
the
Vltra-marine
,
from
its
Confinement
to
make
it
appear
Triumphant
,
and
in
its
full
Glory
.
Take
therefore
the
Loaf
of
Cement
and
Powder
,
washing
it
in
the
same
Water
extraordinary
well
with
your
Hands
;
weigh
it
to
know
the
quantity
of
Oyl
it
requires
,
and
put
it
into
an
Earthen-Bowl
,
or
Dish
,
very
smoothly
glazed
,
rubbing
first
the
Bottom
with
your
Linseed-Oyl
;
then
pour
in
Water
scarce
warmed
,
until
it
arise
two
Inches
above
the
Matter
;
let
it
stand
in
this
condition
a
full
quarter
of
an
Hour
(
or
less
in
the
Spring-time
;
)
pour
this
Water
afterwards
into
the
Vessel
mentioned
Chap.
230.
adding
more
warm
Water
to
your
Matter
,
and
so
't
will
soften
:
Continue
thus
whilst
there
remains
any
Tincture
thereon
;
by
this
means
all
the
substance
that
is
good
for
any
thing
,
will
be
separated
from
the
Cement
,
which
cannot
be
done
otherwise
.
Whilst
it
is
imbibed
in
the
warm
Water
,
you
must
move
and
roul
it
gently
round
with
two
Sticks
,
or
Spatula's
of
Box
,
or
any
other
well
polished
Wood
rounded
at
the
ends
smooth
like
a
Wallnut
;
let
them
be
about
an
Ell
long
,
and
an
Inch
thick
.
Whenever
you
perceive
the
Matter
stick
to
the
bottom
of
your
Dish
,
rub
your
Hands
with
Linseed-Oyl
,
and
stir
it
about
leisurely
so
as
to
colour
the
Water
,
which
you
must
put
along
with
the
former
,
in
the
mean
time
holding
up
the
Matter
with
your
Staves
,
lest
it
should
stick
to
the
Vessel
.
Take
notice
that
a
little
steeping
at
first
will
tinge
the
Water
very
much
,
and
when
the
Cement
is
just
yielding
its
colour
,
it
will
discover
certain
Bluish
Streaks
on
the
Water
,
like
the
Sun-Rays
,
and
then
you
must
strain
this
Water
out
among
the
other
,
through
a
Scarce
,
that
the
grosser
part
of
the
Cement
may
remain
;
afterwards
pour
in
by
little
and
little
the
fresh
warm
Water
,
stirring
the
Cement
easily
,
that
it
may
not
dilate
too
much
,
and
give
its
colour
all
at
once
.
After
you
have
thus
stir'd
it
about
five
or
six
times
,
close
and
amass
it
anew
,
by
which
means
you
'll
see
how
much
't
is
diminished
,
and
what
quantity
of
colour
it
has
given
.
If
the
Lapis
be
good
and
right
,
you
'll
find
it
will
the
first
Steepings
yield
about
four
or
five
Ounces
of
Vltra-marine
,
which
keep
apart
by
its
self
as
the
best
and
finest
colour
,
tho
it
appear
grosser
than
the
others
of
this
sort
,
by
reason
of
the
Gold-coloured
Veins
,
which
are
peculiarly
therein
.
For
the
second
,
whereof
you
'll
have
three
or
four
Ounces
,
you
must
follow
the
Processes
aforementioned
,
this
indeed
will
be
finer
than
the
other
,
but
not
so
good
a
Colour
;
keep
it
also
by
it self
.
Draw
off
a
third
,
and
this
will
be
still
siner
than
the
former
,
but
paler
and
more
bright
coloured
.
You
must
still
pursue
the
same
Directions
to
extract
it
,
letting
your
Water
be
but
half
luke-warm
,
and
take
care
to
manage
the
Cement
dextrously
with
the
Spatula's
,
and
so
preserve
the
Colour
apart
.
You
may
extract
a
fourth
Colour
after
this
rate
,
but
the
Water
must
be
hotter
,
and
you
must
press
the
Cement
very
well
with
the
Spatula's
to
squeeze
out
the
Colour
,
and
if
meer
Water
will
not
do
,
make
use
of
the
mild
Lixivium
of
Chap.
229.
this
last
Colour
will
be
Grayish
,
or
Ash-colour'd
,
and
of
no
great
value
,
and
therefore
not
at
all
to
be
mixt
with
any
of
the
rest
.
Observe
here
that
you
can't
take
up
less
than
eight
Hours
full
,
to
extract
the
Colours
,
nor
than
ten
or
twelve
to
allow
the
Water
for
setling
,
and
if
you
perceive
the
Colour
does
not
come
out
free
enough
with
the
warm
Water
,
add
a
third
part
of
our
mild
Lixivium
,
and
if
that
does
not
do
,
use
all
Lixivium
,
but
let
it
be
cold
,
and
when
that
fails
too
of
effecting
it
sufficiently
,
you
must
make
a
Lixivium
of
Vine-stalk
Ashes
,
and
this
being
strained
,
let
it
boil
for
half
a
quarter
of
an
Hour
,
until
it
be
sharp
enough
to
bite
your
Tongue
;
and
then
let
it
settle
and
grow
clear
;
this
is
your
last
shift
for
extracting
your
Colour
,
and
with
this
heated
,
wash
your
Cement
very
well
,
and
set
it
aside
:
The
whole
design
of
all
this
trouble
,
is
only
to
serve
for
obtaining
the
greater
quantity
of
Vltra-marine
,
and
this
consists
in
the
goodness
of
the
Lapis
Lazuli
and
the
Cement
,
which
the
Circumspection
and
care
taken
in
all
their
Preparations
must
advance
.
CHAP.
CCXXXVI
.
The
Method
of
cleansing
the
Ultra-marine
when
't
is
separated
from
the
Cement
.
AFTER
you
have
extracted
all
your
Colours
out
of
the
Cement
,
and
the
Water
quite
setled
and
separated
from
them
,
pour
on
some
of
the
mild
Lixivium
before
prescribed
,
and
so
wash
them
with
your
Hands
(
but
don't
rub
it
between
them
)
thus
you
'll
take
away
all
the
Grease
of
the
Cement
;
afterwards
wash
it
three
or
four
times
in
fair
Water
,
and
let
the
Waters
settle
well
before
you
put
them
into
their
proper
Vessels
.
You
may
else
another
way
purge
the
Vltra-marine
,
thus
.
Take
the
Yolks
of
Pullets-Eggs
,
that
have
been
fed
only
with
Corn
,
and
not
with
Greens
,
prick
these
with
a
Pin
,
and
so
moisten
the
Colours
,
kneading
the
Mass
with
your
Hands
,
and
washing
it
afterwards
with
your
mild
Lixivium
,
until
the
Lixivium
falls
off
clear
again
.
This
done
,
wash
them
three
or
four
times
over
with
fair
Water
,
letting
the
Waters
settle
well
before
you
put
them
into
their
Vessels
.
This
last
way
of
purifying
the
Vltra-marine
,
is
mighty
effectual
;
but
here
is
another
help
to
be
used
with
it
,
which
is
a
very
great
Secret
,
and
performed
thus
:
After
the
Colours
are
quite
washed
according
to
former
direction
,
as
well
as
possible
,
you
must
cast
therein
by
little
and
little
,
a
Bull's-Gall
,
rubbing
it
by
degrees
with
your
Hands
;
so
wash
them
often
in
clear
Water
,
and
you
'll
have
the
Colour
in
full
perfection
.
CHAP.
CCXXXVII
.
To
strain
off
the
Ultra-marine
already
Washt
and
Purified
.
IT
is
necessary
to
strain
off
the
Vltra-marine
,
and
the
rest
of
the
Colours
,
that
if
any
Grease
,
or
Unctuosity
of
the
Cement
remain
,
it
may
be
taken
quite
away
,
for
these
Colours
require
a
Perfect
and
Extraordinary
Purification
.
For
this
Purpose
,
take
a
fine
Searce
,
and
pour
thereon
the
last
Waters
,
with
which
you
washed
the
Vltra-marine
,
and
so
strain
them
afterwards
through
another
fine
Searce
,
and
a
third
time
through
Red
Quintain
,
or
Crape
;
but
you
must
observe
when
you
strain
them
,
to
let
them
stand
till
you
perceive
them
limpid
and
clear
,
and
so
soak
off
the
Water
dextrously
with
a
Spunge
,
and
be
sure
not
to
strain
them
promiscuously
all
together
.
This
being
done
to
all
the
Waters
,
let
your
Colours
settle
in
their
proper
Vessels
,
and
dry
in
the
Shade
;
when
dry
,
put
them
into
little
Leather-Bags
;
tie
these
close
,
rubbing
and
pressing
them
with
your
Hands
;
this
will
make
them
very
subtile
,
and
when
the
Bags
are
opened
,
they
'll
shew
much
fairer
than
before
.
CHAP.
CCXXXVIII
.
To
Correct
the
Colours
just
before
prepared
.
FEW
Persons
,
unless
such
as
are
very
curious
of
their
Work
,
make
any
use
hereof
,
because
of
the
time
it
takes
up
,
tho
it
would
turn
very
much
to
their
account
;
for
one
Ounce
of
this
Colour
corrected
,
will
go
farther
than
three
that
are
not
.
If
you
would
make
your
Colours
just
before
prepared
,
much
finer
and
effectual
than
they
are
,
mix
them
again
with
a
strong
Cement
,
and
let
them
remain
therein
for
three
Days
;
afterwards
proceed
according
to
the
last
directions
,
to
separate
them
again
;
reiterate
this
over
again
,
and
you
'll
have
them
exceeding
good
,
and
tho
they
diminish
somewhat
in
weight
,
yet
that
Loss
will
be
repayed
considerably
in
the
Beauty
and
Value
.
CHAP.
CCXXXIX
.
Another
Way
to
make
Ultra-marine
,
and
draw
off
the
Colours
with
more
Expedition
.
THIS
Method
of
making
Vltra-marine
,
is
much
more
ready
than
the
former
;
and
Experience
will
shew
whether
the
Colour
be
a
gainer
or
loser
thereby
.
Take
a
Pound
of
Lapis
Lazuli
,
calcine
it
in
a
Crucible
,
and
quench
it
afterwards
in
Vinegar
,
so
let
it
dry
,
and
then
reduce
it
to
a
very
fine
Powder
;
grind
it
on
a
Porphyry
,
with
fair
Water
,
and
so
set
it
in
a
glazed
Earthen
Vessel
in
the
Shade
,
until
it
be
dry
;
if
you
find
it
coagulated
all
in
a
Mass
,
you
must
Powder
it
again
.
This
done
,
make
a
Cement
of
three
Ounces
of
Grecian-Pitch
,
four
Ounces
of
Rosin
of
the
Pine
,
three
Ounces
of
Mastick
,
three
Ounces
of
Frankincense
,
two
Ounces
of
Oyl-Olive
;
set
these
over
a
slow
Fire
in
a
small
Earthen
Pot
,
into
which
pour
first
the
Oyl
,
and
when
that
's
hot
,
put
in
the
Rosin
,
then
the
Pitch
,
then
the
Incense
,
and
last
of
all
the
Mastick
,
stirring
them
continually
with
the
Wooden
Spatula
,
and
let
them
boil
a
little
.
Having
made
the
Cement
,
get
another
Earthen
Vessel
,
and
put
thereinto
the
Lapis
Lazuli
,
and
pour
on
it
the
Cement
hot
,
stirring
the
whole
together
with
the
Spatula
very
leisurely
,
until
they
perfectly
incorporate
;
let
this
stand
a
whole
Day
,
and
when
you
would
draw
off
the
Colours
,
pour
thereon
boiling
Water
,
stirring
it
very
smartly
.
When
it
begins
to
cool
,
pour
it
out
,
and
so
put
in
more
hot
Water
;
do
thus
till
the
Water
begins
to
draw
off
the
Colour
,
and
so
continue
until
it
be
quite
extracted
;
you
may
distinguish
the
Waters
,
and
so
set
them
apart
,
and
obtain
the
Variety
of
Colour
,
as
in
the
former
way
.
If
your
Colour
seems
to
be
clammy
,
or
nasty
,
you
may
correct
it
thus
.
Add
thereto
Tartar
dissolved
in
Water
,
as
much
as
will
drown
it
,
and
let
it
repose
for
one
Day
at
least
,
so
wash
it
in
warm
Water
,
and
you
will
by
that
means
have
it
very
correct
,
and
well
purified
.
CHAP.
CCXL
.
Another
Way
to
make
Ultra-marine
.
GRANTING
the
two
former
ways
to
be
sufficient
,
we
will
however
here
give
a
third
,
which
we
believe
may
as
well
be
pleasing
to
those
who
are
not
satisfied
with
the
other
;
as
to
such
Persons
as
have
a
Curiosity
for
these
sorts
of
Work
;
and
thus
we
propose
to
proceed
.
Not
to
discourse
of
the
Ways
to
try
the
goodness
of
the
Lapis
Lazuli
,
which
we
have
mentioned
sufficiently
already
,
you
must
break
it
into
gross
pieces
,
as
small
as
Nuts
,
then
set
these
in
a
Crucible
into
the
Furnace
,
till
they
redden
with
heat
,
and
so
cast
them
into
cold
Water
;
do
thus
six
or
seven
times
,
and
so
reduce
them
to
impalpable
Powder
in
a
Porphyry-Mortar
well
covered
over
,
lest
the
Powder
which
is
very
subtile
,
should
disperse
away
into
the
Air
,
and
then
searce
it
with
a
fine
Searce
also
covered
.
After
this
,
take
of
Rosin
of
Pines
,
ordinary
black
Pitch
,
Mastick
,
fresh
Wax
,
and
Turpentine
,
of
each
three
Ounces
,
of
Incense
,
and
Linseed-Oyl
,
each
one
Ounce
,
melt
all
together
in
an
Earthen
Vessel
,
stirring
them
very
well
,
that
they
may
mix
;
this
Stuff
being
well
incorporated
,
cast
it
into
Water
,
and
keep
it
for
use
.
To
each
Pound
of
Lapis
Lazuli
,
add
ten
Ounces
thereof
,
and
set
them
to
dissolve
in
a
Pot
over
a
small
Fire
,
first
melting
the
Cement
,
and
then
casting
on
the
Lapis
Lazuli
by
little
and
little
,
observing
such
an
order
in
this
,
and
continually
stirring
the
Mass
with
a
Stick
,
that
they
may
mix
insensibly
together
;
afterwards
cast
the
Mass
into
an
Earthen
Vessel
of
cold
Water
,
and
anointing
your
Hands
with
Linseed-Oyl
,
mould
it
up
into
a
number
of
Cakes
,
or
Rolls
,
which
leave
in
cold
Water
for
five
Days
,
shifting
the
Water
every
other
Day
.
This
done
,
put
them
into
a
large
and
very
clean
glazed
Earthen
Vessel
,
pouring
on
them
some
clean
hot
Water
;
when
that
cools
,
pour
in
more
hot
,
and
do
thus
till
the
Pastils
soften
with
the
heat
of
the
Water
:
This
done
,
put
them
into
hot
Water
,
and
let
them
be
until
it
receive
a
Bluish
colour
;
strain
this
Water
to
reserve
the
grosser
pieces
,
and
so
put
it
into
another
glazed
Earthen
Vessel
very
clean
,
adding
more
to
the
Pastils
,
which
strain
through
a
fine
Searce
afterwards
among
the
former
;
continue
this
until
all
the
Colour
be
extracted
,
and
no
more
remain
behind
.
Your
Water
must
be
only
warm
,
otherwise
it
will
occasion
a
Blackness
in
the
Colour
,
which
is
to
be
taken
care
of
,
and
imports
very
much
.
All
your
coloured
Waters
being
in
the
Vessel
,
you
may
cleanse
them
of
any
Unctuosity
,
by
reposing
them
for
twenty
four
Hours
,
in
which
time
the
Co●our
will
stick
to
the
bottom
;
then
you
may
pour
off
●he
Water
gently
into
another
Vessel
,
and
it
will
carry
off
the
Grease
along
with
it
;
strain
it
afterwards
into
the
Vessel
where
the
Colour
is
again
,
through
a
fine
Searce
,
and
all
the
Grease
and
Nasti●ess
will
be
left
behind
;
do
thus
thrice
,
stirring
the
Colour
very
well
every
time
you
return
the
Water
●o
it
,
that
the
Filth
and
Grease
may
ascend
from
it
,
●nd
it
will
always
stay
in
straining
on
the
Searce
be●ind
the
Water
.
This
done
,
let
the
Colour
precipitate
entirely
,
●nd
so
pour
off
all
the
Water
very
leisurely
,
for
fear
●f
disturbing
it
;
dry
this
Colour
,
and
you
'll
have
●elicate
Vltra-marine
.
If
you
would
imitate
this
Colour
at
little
charge
,
make
use
of
our
Blue-Enamel
,
after
the
same
manner
,
and
instead
of
the
Lapis
Lazuli
,
observing
without
exception
,
the
like
Regimen
and
Prescription
just
now
delivered
in
every
respect
,
and
by
this
means
you
'll
have
a
very
pretty
agreeable
Colour
to
Paint
with
,
and
for
tinging
of
Glass
.
Many
other
Ways
might
be
given
here
for
making
Vltra-marine
,
besides
these
we
have
already
laid
down
,
but
because
the
principal
part
of
the
Preparation
is
in
every
one
the
same
;
we
look
upon
these
as
sufficient
,
and
that
it
would
be
but
needless
to
repeat
any
more
.
That
the
Lapis
Lazuli
may
be
made
by
Art
as
fine
and
good
as
the
Natural
,
which
is
gotten
from
the
Mines
,
we
allow
,
and
should
freely
assign
the
Method
for
it
,
if
there
were
a
scarcity
thereof
in
France
,
but
since
we
have
of
it
in
abundance
,
't
is
much
better
to
employ
the
time
in
working
the
usual
way
,
than
spend
it
unprofitably
by
taking
a
more
tedious
Method
.
CHAP.
CCXLI.
To
make
German-Blue
.
NOTWITHSTANDING
we
have
in
the
preceding
Chapter
shewn
how
to
imitate
very
nearly
the
Vltra-marine
Blue
,
with
ordinary
Enamel
,
whereof
we
have
given
the
Preparation
in
Chap.
190.
yet
we
will
shew
too
the
Way
to
make
German-Blue
by
Art
,
which
is
a
Colour
very
fine
and
convenient
to
Paint
withal
.
Take
four
Ounces
of
Mercury
,
or
Quick-silver
,
si●
Ounces
of
Flower
of
Sulphur
,
and
a
Pound
of
Sal-Armoniack
;
pound
these
very
well
in
a
Stone-Mortar
,
till
all
the
Mercury
be
quite
suppress'd
,
and
no
longer
precipitable
,
then
put
the
Mass
into
a
Glass
Body
,
the
bottom
luted
up
to
the
middle
;
set
this
on
a
very
slow
Ash-Fire
,
let
it
stand
uncovered
until
all
the
moisture
be
exhaled
,
then
head
it
very
close
,
and
so
improve
the
heat
by
degrees
,
until
you
bring
the
Mass
to
a
Sublimation
;
and
thus
you
'll
have
a
very
fine
and
delicate
Azure
,
or
German-Blue
,
which
reduce
to
very
soft
Powder
on
a
Marble
,
or
Porphiry
,
keeping
it
afterwards
for
uses
in
Painting
.
The
End
of
the
Tenth
BOOK
.
OF
THE
ART
OF
GLASS
.
BOOK
XI
.
Wherein
the
Manner
of
imitating
all
sorts
of
Pearl
is
shewn
,
and
done
so
effectually
,
as
to
give
them
an
equal
Splendour
and
Beauty
with
those
which
are
Naturally
produced
in
the
Sea.
CHAP.
CCXLII.
ALL
the
Ancients
who
have
treated
of
the
several
Sorts
,
and
Properties
of
Precious
Stones
,
have
at
the
same
time
discoursed
of
Pearls
,
because
they
claim
a
place
among
the
first
and
best
of
Jewels
,
in
respect
of
their
Value
,
as
well
as
their
Beauty
,
and
the
fixt
Quality
which
they
contain
,
they
having
been
at
all
times
sought
after
,
for
the
Ornament
and
Pleasure
of
Ladies
,
as
they
are
at
this
Day
;
for
these
Reasons
we
thought
it
convenient
to
give
them
a
Place
among
our
Works
,
that
(
from
our
Experience
)
the
Curious
might
be
informed
how
to
make
such
Ar●ificially
as
fine
and
splendid
,
as
those
which
Nature
forms
in
the
Depth
of
the
Ocean
.
We
avow
that
the
Production
of
Pearls
,
is
very
different
from
that
of
Precious-Stones
,
because
the
latter
proceeds
from
the
Earth
,
and
the
former
quite
contrary
,
from
the
Shell-Creatures
which
are
shrouded
in
the
Bottom
of
the
Sea
;
these
receive
their
Nourishment
from
the
same
Liquld
Substance
which
crntributes
to
the
Growth
of
the
Shells
,
and
this
Slimy
Substance
is
resolved
from
the
Watry
Humour
of
the
Creature
,
by
three
several
Processes
.
The
first
dries
it
by
degrees
,
the
next
brings
it
to
an
hardness
,
and
last
of
all
,
't
is
at
certain
times
emplyed
by
the
Animal
,
for
the
Increase
of
its
Shell
,
and
the
place
where
this
is
effected
in
the
inmost
inveloped
recesses
thereof
.
Now
the
first
Principle
of
these
,
and
all
other
Precious
Stones
,
descends
from
Above
,
to
wit
,
the
Universal
Seed
,
which
alone
can
give
Birth
and
Increase
to
all
the
Tenants
of
this
vast
Universe
;
and
these
Precious
Stones
,
as
well
as
the
Metals
,
are
nourished
in
the
Womb
of
the
Earth
,
so
the
living
Creatures
bear
each
other
the
Foetus
within
its
Parent
,
&c.
The
Oriental
Pearls
are
generated
in
the
Fish
,
which
contains
them
with
the
Mother
as
the
Occidental
,
or
Western
in
our
Oysters
,
but
the
Beauty
of
these
two
,
is
very
different
,
the
Oriental
being
of
a
Silver
White
,
and
exceeding
splendid
to
the
Occidental
;
the
best
of
these
latter
seldom
arriving
to
any
higher
than
the
Colour
of
Milk.
We
will
not
here
take
notice
of
the
particular
Places
of
the
East
,
where
they
are
found
,
but
only
inform
you
,
That
the
best
and
most
beautiful
▪
come
from
the
PersianGulf
,
about
the
Isle
of
Ormus
Bassora
:
They
are
found
in
Europe
,
not
only
in
the
Sea
,
but
in
Rivers
,
and
Fresh
Water
;
we
have
them
from
Scotland
,
Silesia
,
Bohemia
,
Frisia
,
Lorrain
,
&c.
in
all
which
Places
they
are
found
very
fine
,
only
those
of
Frisia
,
are
very
small
.
'T
is
thought
the
Fish
wherein
the
Pearl
is
generated
,
becoming
Sickly
and
Weak
,
and
not
able
to
dispose
of
the
Slimy
Moisture
for
the
Growth
of
its
Shell
,
it
remains
in
the
Body
thereof
,
and
is
dried
:
Hence
the
Birth
of
the
Pearl
,
and
so
by
a
continual
supply
of
the
like
Substance
still
coating
it
a-new
,
it
becomes
large
,
just
as
the
Stone
in
the
Bladder
of
Man
,
and
other
Creatures
,
engenders
,
and
is
fed
by
a
Clammy
Humour
,
which
cannot
be
emitted
by
Urine
,
but
remains
behind
,
and
so
hardens
and
becomes
a
Stone
:
After
the
like
manner
the
Bezoar
Stone
is
bred
in
the
Indian
Goats
of
the
Kingdom
of
Golcondea
,
and
in
the
Galls
of
Wild-Boars
in
India
,
and
the
Hedgehogs
of
Malacca
;
so
several
other
Stones
,
to
which
they
give
the
Name
of
Bezoar
,
are
found
in
the
Galls
of
Beeves
,
Deer
,
Goats
,
and
other
Animals
in
France
,
and
elsewhere
,
all
which
have
great
Vertues
in
Physick
.
How
great
and
effectual
those
Pearls
are
in
Physical
Matters
,
and
what
Successes
they
reach
there
,
is
not
to
our
Purpose
;
we
only
intend
to
shew
the
way
of
imitating
their
Beauty
by
Art
so
finely
,
and
with
such
exactness
of
Lustre
,
as
not
to
leave
it
in
the
power
of
any
to
distinguish
them
easily
from
the
true
and
Natural
ones
,
they
being
made
of
the
very
finest
sort
of
Paste
that
can
be
,
and
the
same
Stuff
as
the
true
ones
.
Poverty
and
Pride
are
two
inseparable
Companions
among
our
French
;
such
Ladies
as
make
use
of
pure
Pearl
,
are
those
that
can
afford
it
,
and
the
little
Creatures
that
cannot
reach
the
Price
,
but
would
however
appear
gay
,
are
obliged
to
have
recourse
to
the
Counterfeit
,
and
content
themselves
with
Imitation
only
of
Nature
:
'T
is
some
Years
since
the
Use
of
these
latter
was
introduced
in
France
,
which
now
,
not
only
the
Puny
Ladies
,
but
those
of
Birth
and
Quality
do
wear
;
this
proceeded
all
from
that
Fashion
which
insensibly
reached
still
at
the
larger
Pearls
,
which
these
Ladies
coveted
for
Ornament
;
and
because
they
could
not
be
furnished
enough
with
true
,
they
made
use
of
the
Artificial
;
whence
the
Common
Sort
of
Persons
receiv'd
the
Advantage
to
vie
with
Persons
of
the
First
Rank
and
Quality
;
which
they
don't
fail
to
do
,
without
Consideration
of
either
Estate
,
or
Condition
,
but
only
to
conform
with
the
Mode
.
The
Counterfeit
Pearls
,
which
are
usually
made
,
are
just
the
Colour
of
the
Pastes
,
and
of
no
Continuance
but
for
the
present
;
they
are
done
with
a
Composition
of
Brittle
Glass
and
Wax
a
little
melted
;
and
for
Colouring
,
they
use
prepared
Mercury
,
Mouth-Glue
,
or
any
other
Drug
,
to
give
them
a
Brightness
,
which
soon
Peels
off
,
and
Scales
away
,
especially
in
the
Heat
of
Summer
:
The
Way
which
we
will
give
,
is
not
only
very
good
and
solid
,
but
exceeding
fine
,
being
effected
with
Seed
Pearl
;
we
grant
these
Pastes
to
be
much
dearer
than
the
former
,
but
consider
their
Fineness
,
and
that
they
'll
last
for
ever
;
we
shall
also
shew
how
to
make
the
Counterfeits
finer
and
harder
;
and
we
are
persuaded
,
that
the
Preparation
of
those
we
shall
assign
,
will
appear
so
easie
,
and
yet
produce
such
fine
Imitations
,
as
shall
be
very
satisfactory
.
CHAP.
CCXLIII
.
To
imitate
fine
Oriental
Pearl
.
THE
Difference
between
those
which
are
at
present
wore
by
the
Ladies
,
and
such
as
we
shall
prescribe
,
as
to
the
Goodness
,
Hardness
,
and
Fineness
of
the
Stuff
,
we
have
already
endeavoured
to
clear
.
But
before
we
proceed
any
further
,
take
these
remaining
Parts
of
the
Furnace
in
Chap.
52.
The
Letter
O
,
is
the
Balneum
Mariae
.
P
,
The
Vessel
for
containing
the
Sand
,
or
Ash-Fire
.
Q
,
The
Eyes
,
or
Holes
of
the
Furnace
.
R
,
Their
Cover
,
which
when
they
are
set
on
,
draw
in
the
Air
,
and
increase
the
Heat
for
Fusion
;
the
others
are
Crucibles
.
We
did
also
intend
to
give
the
Description
of
another
Furnace
at
the
close
of
the
Fifth
Book
,
as
well
for
the
Service
of
the
Matters
in
that
,
as
the
Sixth
Book
:
You
may
,
however
take
it
along
with
you
here
.
A
,
is
the
Ash-hole
;
you
may
add
to
it
an
Hovel
,
for
sucking
in
the
Air
,
which
must
be
luted
to
it
very
firmly
.
B
,
is
the
Inside
where
the
Ashes
fall
into
;
this
ought
to
be
lofty
for
drawing
the
Air.
C
,
is
the
Grate
,
and
must
be
of
very
strong
Iron
Bars
.
D
,
is
the
Opening
through
which
the
Crucibles
and
Fuel
is
put
in
,
this
ought
to
be
of
well
tempered
Iron
,
and
luted
within
side
with
very
good
Lute
,
at
least
three
Inches
thick
.
E
,
is
the
Chamber
where
the
Works
are
Baked
.
F
,
is
the
Coverlid
of
the
Furnace
,
which
is
to
be
Vaulted
firm
,
and
made
of
the
same
Earth
.
G
,
is
the
Chimney
,
over
which
you
may
set
several
Iron
Plates
one
above
t'other
,
for
drawing
the
Air.
H
,
is
the
Hovel
,
or
shelving
place
of
Iron
for
the
Ash-Hole
.
I
,
are
Funnels
for
the
Chimney
Plates
,
and
the
Hovel
.
K
,
is
a
Crucible
.
If
this
Furnace
be
made
five
or
six
Inches
thick
,
it
will
bear
all
degrees
of
heat
,
and
serve
very
conveniently
for
Private
Persons
,
by
making
it
of
a
suitable
largeness
instead
of
the
Glass-house
Furnace
:
When
you
make
your
Fire
of
Wood
,
there
will
be
no
occasion
for
the
Hovel
of
the
Ash-hole
.
But
to
go
on
with
our
Pearl
.
You
must
take
two
Pound
of
thrice
distilled
Vinegar
,
one
Pound
of
Venice
Turpentine
,
mix
them
together
,
and
so
put
the
Mass
into
a
Glass
Cucurbit
;
fit
to
it
the
Head
and
Receiver
,
luting
the
Joynts
;
let
them
dry
,
and
so
set
it
on
a
Sand-Furnace
to
distil
the
Vinegar
;
keep
a
gentle
heat
,
lest
the
Stuff
swell
up
.
Afterwards
put
the
Vinegar
into
another
Glass-Cucurbit
,
wherein
you
must
hang
a
quantity
at
discretion
,
of
Seed
Pearl
,
strung
on
a
Thread
of
Silver
or
Gold
,
done
about
with
a
piece
of
very
thin
Silk
;
these
must
hang
in
the
middle
of
the
Body
,
so
as
not
to
touch
the
Vinegar
:
This
done
,
head
your
Cucurbit
with
a
Blind
Head
,
and
lute
it
very
well
;
set
it
in
a
moderate
B.
Mariae
well
closed
,
there
to
remain
for
a
Fortnight
;
the
heat
of
the
B.
will
elevate
the
Fumes
of
your
Vinegar
,
and
they
'll
continually
circulate
about
the
Pearl
,
and
so
soften
and
bring
them
to
the
Consistence
of
a
Paste
,
which
being
once
performed
,
take
'em
off
and
mould
them
up
in
what
Form
you
please
,
round
,
long
,
or
Peaalike
,
and
as
big
as
you
think
fit
;
do
this
with
Moulds
of
fine
Plate
gilded
within
;
you
must
not
touch
the
Paste
at
all
with
your
Hands
,
but
altogether
Work
it
with
a
Plate
Spatula
,
which
will
fill
the
Moulds
,
then
bore
them
through
with
a
Porkers
Bristle
,
or
Gold-Wire
,
and
so
let
them
dry
a
little
;
then
Thread
them
again
with
Gold-Wire
,
and
set
them
in
a
closed
Glass
,
which
lay
in
the
Sun
,
to
dry
them
to
a
hardness
;
set
them
afterwards
in
a
Glass
Matrass
,
in
a
Stream
of
Running
Water
,
leaving
it
there
for
twenty
Days
;
and
about
that
time
they
assume
their
first
solidity
and
hardness
.
To
give
them
Transparency
and
Splendour
,
you
must
prepare
some
Mercury-Water
,
after
the
Rate
we
shall
prescribe
in
the
next
Chapter
.
When
you
have
taken
them
out
of
the
last
Matrass
,
wherein
they
were
for
twenty
Days
,
as
the
Running
Water
▪
hang
them
in
a
Vessel
of
Glass
where
the
Mercury-Water
is
,
and
so
they
'll
moisten
,
swell
,
and
assume
their
Oriental
Beauty
:
This
done
,
shift
them
out
of
this
Water
into
a
Matrass
closed
Hermetically
,
for
fear
that
any
Water
should
be
admitted
into
it
,
and
so
down
with
it
into
a
Well
,
leaving
it
there
for
eight
whole
Days
;
then
draw
it
up
,
open
the
Matrass
▪
and
you
'll
have
them
as
fine
and
good
as
any
Oriental
Pearls
whatsoever
.
This
Method
is
a
little
long
,
but
withal
't
is
effectual
and
sure
;
however
't
is
not
thus
the
Philosophers
,
or
Virtuosi
Work
,
for
they
have
another
Way
,
much
shorter
,
having
regard
only
to
one
Spirit
;
nor
have
I
Experience
enough
in
their
Matters
,
to
make
a
Discovery
thereof
;
and
if
I
had
,
it
cou'd
not
be
done
without
disobliging
them
irreconcilably
;
therefore
take
what
I
have
delivered
on
this
Important
Subject
,
in
good
part
;
and
be
assured
,
that
if
you
were
acquainted
with
that
Secret
which
they
so
closely
reserve
,
there
could
be
nothing
done
more
by
it
as
to
Goodness
and
Beauty
in
this
Work
,
than
by
our
prescribed
Method
,
which
is
very
estimable
,
and
more
precious
than
you
'll
imagine
,
whereof
I
can
assign
you
no
better
,
or
other
Argument
,
than
Experience
,
to
convince
you
.
CHAP.
CCXLIV
.
To
make
Mercury-Water
for
giving
Transparency
and
Splendour
to
the
Pearls
.
HAVING
promised
this
Secret
of
making
Mercury-Water
to
compleat
the
Transparency
,
and
Natural
Lustre
of
your
Pearls
,
which
is
a
Matter
so
highly
valuable
,
that
a
very
considerable
Sum
has
been
offered
in
our
Presence
,
for
the
Discovery
thereof
,
to
a
certain
Person
;
yet
we
are
free
,
that
Experience
should
have
its
due
course
of
informing
the
Ignorant
,
and
shall
,
for
our
part
,
generously
acquit
our
Engagement
.
You
must
take
Plate
Tin
of
Cornwall
calcined
,
let
the
Calx
be
very
fine
and
pure
,
amalgamate
one
Ounce
thereof
,
with
two
Ounces
of
prepared
Mercury
well
purified
;
wash
the
Amalgama
with
Water
,
until
the
Water
remains
clear
and
insipid
;
then
drying
the
Amalgama
throughly
,
put
it
into
a
Matrass
over
a
Furnace
,
keeping
such
a
degree
of
heat
as
is
required
for
Sublimation
;
when
the
Matter
is
well
Sublimated
,
take
off
the
Matrass
and
let
it
cool
,
and
so
take
out
the
Sublimate
;
to
which
add
one
Ounce
of
Venice
Sublimate
and
grind
them
well
together
on
a
Marble
,
so
put
them
into
another
Matrass
,
close
it
very
well
,
and
set
it
topsy-turvy
in
a
Pail
of
Water
,
and
the
whole
Mass
will
resolve
its
self
in
a
little
time
,
all
into
Mercury-Water
:
This
done
,
filter
it
into
a
Glass
Receiver
,
and
set
it
on
a
gentle
Ash-Fire
to
coagulate
,
and
it
will
be
brought
to
a
Crystalline
Mass
;
take
it
〈◊〉
,
and
with
a
Glass
Pestle
and
Mortar
pound
it
very
well
to
a
very
fine
Powder
,
which
searce
through
a
fine
Searce
,
and
put
it
into
a
well
stopt
Matrass
in
B.
Mariae
,
letting
it
remain
till
it
resolve
again
into
Water
;
and
this
last
shall
be
the
Mercury-Water
which
you
must
preserve
to
employ
on
your
Pearl
.
CHAP.
CCXLV
.
Another
Way
to
make
these
Pearls
.
THIS
is
an
easier
way
than
the
former
,
for
by
Baking
them
,
(
as
we
shall
shew
)
you
very
much
shorten
the
time
which
the
Preparation
would
else
take
up
;
however
you
must
not
expect
them
so
Delicate
and
Natural
as
the
first
,
the
Cause
whereof
is
easie
enough
conceived
;
for
these
Pearl
having
enlarged
themselves
in
the
Water
,
as
we
already
noted
,
't
is
reasonable
to
believe
the
hardning
them
afterwards
in
the
Cold
,
will
be
of
a
much
more
Natural
Effect
,
than
if
done
with
heat
.
Take
very
fair
Oriental
Seed
Pearl
for
this
purpose
,
and
reduce
it
to
impalpable
Powder
on
a
Marble
,
to
dissolve
afterwards
in
Mercury-Water
,
or
clarified
Juice
of
Lemons
;
if
this
be
not
effected
quick
enough
,
set
it
in
a
Cucurbit
over
warm
Ashes
,
and
be
very
careful
to
take
the
Cream
(
which
in
a
little
time
will
appear
at
top
)
immediately
off
,
so
withdraw
the
Dissolution
from
the
Fire
,
and
let
it
settle
a
little
;
this
done
,
pour
it
gently
into
another
Glass
Body
,
and
keep
it
a-part
,
you
'll
have
the
Pearl
in
a
Paste
at
the
bottom
,
with
which
fill
your
gilded
Plate
Moulds
,
made
to
what
bigness
,
or
form
you
think
fit
,
pressing
the
Paste
with
the
Silver
Spatula
,
and
so
shut
them
up
four
and
twenty
Hours
;
after
you
must
take
and
bore
them
through
with
a
Porker's
Bristle
,
close
up
the
Moulds
,
and
leave
them
in
the
Oven
in
a
Paste
of
Barly
Dough
,
which
being
half
Baked
draw
out
and
open
,
taking
away
all
the
Pearl
,
and
steep
them
in
the
Dissolution
just
before
directed
to
be
kept
a-part
,
putting
them
in
and
out
several
times
;
so
close
them
in
their
Moulds
and
Bake
them
again
with
the
like
Paste
as
before
,
only
let
this
last
be
almost
burnt
up
before
you
draw
it
out
;
thus
you
'll
have
the
Pearl
well
baked
and
hardned
.
This
done
,
draw
it
out
,
open
all
the
Moulds
,
take
away
the
Pearls
and
string
them
on
one
or
more
Gold
or
Silver
Threads
;
steep
them
in
Mercury-Water
,
given
in
the
former
Chapter
,
for
about
a
Fortnight
;
after
this
dry
them
by
the
Sun
in
a
well
closed
Glass
Body
,
so
you
'll
have
very
fine
and
splendid
Pearl
.
CHAP.
CCXLVI
.
Another
Way
.
THO
this
be
a
more
common
way
than
the
preceding
,
we
will
not
omit
it
,
because
every
one
may
have
his
choice
to
take
that
Method
which
best
suits
with
his
Apprehension
,
or
Conveniency
.
You
must
,
as
in
the
former
,
take
very
fair
Oriental
Seed
Pearl
ground
to
an
impalpable
Powder
▪
and
dissolve
it
in
Allom-Water
,
then
rack
off
that
Water
,
and
wash
the
Paste
of
Pearl
which
remains
at
bottom
,
first
with
some
distilled
Waters
,
then
i●
Bean-Water
,
and
set
it
in
B.
Mariae
,
or
Horse-dung
,
to
digest
for
a
Fortnight
;
afterwards
take
out
your
Vessel
,
and
the
Matter
being
come
to
the
Consistence
of
a
Paste
,
mould
up
the
Paste
in
the
gilt
SilverMoulds
,
as
before
directed
,
bore
them
with
a
Bristle
,
string
them
on
Gold
or
Silver
Thread
,
and
hang
them
in
a
very
well
closed
Limbeck
of
Glass
to
prevent
the
Air
from
coming
in
to
spoil
them
.
Thus
dried
lap
them
one
by
one
in
Leaves
of
Silver
,
and
split
open
a
Barble
,
as
if
you
were
to
Fry
him
,
and
so
close
them
all
up
in
his
Body
,
make
a
Paste
of
Barly-Meal
,
and
Bake
him
in
it
,
as
you
would
a
Batch
of
Bread
,
and
no
more
,
afterwards
draw
it
out
,
and
let
them
dry
.
To
give
a
Transparency
and
Splendour
to
these
Pearls
;
if
you
don't
care
for
using
our
Mercury-Water
,
instead
thereof
,
take
the
Herb
Grati●
squeezed
in
Water
,
put
into
this
Water
six
Ounces
of
Seed
Pearl
,
one
Ounce
of
Salt-peter
,
an
Ounce
of
Roch-Allom
,
an
Ounce
of
Litharge
of
Silver
;
the
whole
being
dissolved
,
take
your
dried
Pearls
,
heat
them
first
,
and
then
cool
them
in
this
Dissolution
;
thus
do
for
about
six
times
at
least
,
heating
and
cooling
them
at
this
rate
therein
.
If
your
Pearl
should
happen
to
fail
of
coming
to
a
sufficient
hardness
,
you
may
correct
and
make
them
exceeding
hard
by
Baking
them
a
second
time
after
this
manner
.
Take
two
Ounces
of
Calamy
,
or
Lapis
Calaminaris
,
in
impalpable
Powder
;
add
to
this
two
Ounces
of
Oyl
of
Vitriol
,
and
two
Ounces
of
the
Water
of
White
Eggs
;
put
all
these
into
a
Retort
,
lute
thereto
a
Receiver
,
and
let
them
distil
,
you
'll
have
from
them
a
very
fair
Water
,
with
which
,
and
some
very
fine
Barly-Meal
,
make
a
Paste
,
Coffin
your
Pearls
in
this
,
and
Bake
them
in
an
Oven
as
before
,
they
'll
thus
become
exceeding
hard
,
and
recover
their
Natural
Transparency
.
There
are
many
other
Ways
very
good
to
make
Pearl
with
Oyls
,
which
add
to
the
Growth
and
Largeness
of
the
Seed
Pearl
,
as
much
as
you
will
have
them
,
but
all
these
Preparations
being
very
tedious
,
and
our
Book
large
enough
already
,
we
are
of
Opinion
,
't
is
best
to
let
them
alone
for
the
present
;
besides
,
we
have
said
enough
to
hand
the
Intelligent
Readers
to
those
Secrets
discoursed
off
,
and
taught
them
herein
,
reserving
the
more
enlarged
and
fuller
Instructions
for
the
first
Edition
we
make
hereof
in
two
Volumes
.
CHAP.
CCXLVII.
How
to
blanch
fine
Pearl
.
THE
Beauty
of
Pearl
consists
entirely
in
the
Brightness
of
their
White
Colour
,
such
as
are
Spotted
,
or
of
a
dark
Yellow
,
being
the
least
estimable
;
you
may
however
restore
these
last
to
a
true
Luster
and
Whiteness
,
by
letting
them
soak
and
cleanse
first
in
Bran-Water
,
then
in
Milk-warm
Water
,
and
last
of
all
steep
them
twenty
four
Hours
in
the
Mercury-Water
assigned
Chap.
244.
This
done
,
string
and
hang
them
in
a
well
closed
Glass
Body
,
to
dry
in
the
Sun
,
as
before
.
The
Bran-Water
is
made
by
boiling
two
good
Handfuls
of
Wheaten-Bran
in
a
Quart
of
Water
,
until
the
Water
has
drawn
all
the
Strength
thereof
to
it
;
and
thus
you
are
to
use
it
afterwards
for
cleansing
the
Pearl
;
you
must
string
and
lay
them
all
together
in
a
glazed
Earthen
Pan
,
and
pour
thereon
one
third
of
this
Water
,
when
they
have
soaked
,
until
the
Water
be
tolerably
cooled
,
that
you
may
endure
the
heat
,
rub
them
with
your
Hands
gently
to
cleanse
them
the
better
;
continue
so
until
the
water
be
cold
,
throw
out
this
cold
water
,
and
pour
on
another
third
part
of
the
Bran-water
still
boiling
,
and
so
use
it
as
the
former
,
throwing
it
away
when
cold
,
and
then
pouring
on
the
remainder
of
the
water
,
proceeding
still
after
the
former
manner
;
after
this
,
just
heat
some
fair
water
,
and
pour
it
on
them
,
to
refresh
and
take
away
the
Remains
of
the
Bran
;
shift
this
water
,
pouring
on
more
fresh
warm
water
;
do
thus
thrice
without
handling
them
,
then
lay
them
on
a
Sheet
of
very
clean
white
Paper
,
to
dry
in
a
Shade
,
and
last
of
all
steep
them
in
your
Mercury-water
,
to
bring
them
to
Perfection
.
CHAP.
CCXLVIII
.
Another
Way
to
Blanch
and
Cleanse
fine
Pearl
.
THERE
are
several
other
easie
ways
to
cleanse
and
whiten
the
Pearl
,
which
may
serve
on
indifferent
occasions
,
and
for
ordinary
uses
.
Pound
Alabaster
to
impalpable
Powder
,
and
rub
the
Pearl
with
it
very
gently
,
this
will
cleanse
them
,
or
you
may
let
them
remain
in
this
Powder
twenty
four
Hours
afterwards
,
they
be
still
much
the
better
for
it
.
VVhite
Coral
has
also
the
same
Effect
as
the
Alabaster
,
using
it
after
the
like
manner
.
Tartar
calcined
white
,
and
divested
of
all
its
moisture
,
as
we
have
shewn
elsewhere
,
is
very
good
for
the
same
use
.
Clary
,
or
Old
Salt
dissolved
,
filter'd
,
coagulated
,
well
dried
and
ground
,
is
as
effectual
as
any
of
the
former
things
,
for
cleansing
and
blanching
of
Pearl
,
by
rubbing
them
therewith
a
considerable
time
;
you
may
afterwards
lay
them
up
in
some
Millet
ground
large
,
and
it
will
contribute
to
them
a
Natural
Brightness
.
There
are
several
other
ways
to
cleanse
and
whi●en
Pearl
,
but
those
we
have
here
proposed
,
are
suf●icient
.
CHAP.
CCXLIX
.
To
make
Counterfeit
Pearl
,
very
like
the
Natural
.
THIS
Receipt
for
making
Counterfeit
Pearl
has
a
much
more
fine
and
solid
effect
than
any
now
a-days
in
use
.
Take
Chalk
well
purified
,
and
separated
from
its
grossness
and
Sand
,
make
Paste
thereof
,
and
so
mould
it
up
like
Pearl
in
a
Mould
for
that
purpose
;
pierce
these
through
with
a
Bristle
,
and
let
them
afterwards
dry
before
the
Sun
,
or
for
more
dispatch
in
an
Oven
,
till
they
receive
a
just
hardness
;
then
string
them
on
a
very
fine
Thread
of
Silver
,
colour
them
over
lightly
with
Bole-Armoniack
,
diluted
in
water
of
VVhites
of
Eggs
,
then
drench
them
with
a
Pencil
and
Fair
water
,
and
so
apply
Leaf-Silver
all
over
,
and
let
them
dry
;
this
done
,
burnish
them
with
a
VVolf's
Tooth
,
till
they
shine
very
finely
.
To
give
them
the
true
Colour
of
Pearl
,
make
a
Glue
of
Parchment
,
or
rather
Vellom
Shavings
;
thus
Wash
the
Shavings
in
warm
Water
very
well
,
and
boil
them
after
in
a
new
Pot
to
a
thickness
,
and
strain
this
Glew
.
When
you
use
this
Glue
,
you
must
warm
it
on
●
flat
Vessel
,
then
dip
the
string
of
Pearl
therein
,
so
as
not
to
fill
the
interval
Inches
between
each
Pearl
but
that
every
one
may
be
done
all
over
equally
;
a●ter
this
let
them
dry
;
if
you
observe
any
Baulk
,
〈◊〉
Defect
on
them
,
you
may
dip
them
in
a
second
time●
thus
they
'll
assume
a
finer
and
more
transparen●
Whiteness
,
and
will
have
a
certain
Darkness
within
and
Lustre
on
the
outside
,
which
compleats
and
●rings
them
to
the
Natural
Beauty
of
real
fine
Pearl
.
You
may
after
this
manner
do
with
Transparent
Beads
of
Alabaster
,
and
very
white
Mouth-Glew
,
and
it
will
add
very
much
to
their
Beauty
;
but
Leaf
Silver
does
certainly
contribute
most
of
any
thing
else
whatever
to
their
Splendour
.
OF
THE
ART
OF
GLASS
.
BOOK
XII
.
To
make
Crystal
Looking-glass
:
How
to
Grind
,
Polish
,
Diamond-Cut
,
and
Silver
them
:
To
Make
Glass
and
Metal
Mirrours
,
&c.
CHAP.
CCL
.
THIS
is
the
Twelfth
and
last
Book
of
our
Art
of
Glass
,
which
should
have
indeed
succeeded
the
First
;
but
we
waited
some
Memoirs
on
the
Subject
,
nor
we
have
not
yet
found
them
;
this
made
us
put
it
off
,
and
place
it
here
:
Besides
,
there
is
such
a
Coherency
of
Matters
,
in
the
Order
of
the
Second
Book
,
as
we
could
not
possibly
dispose
of
any
other
way
,
without
breaking
their
due
Course
,
and
the
Affinity
and
Connection
they
have
with
each
other
,
which
the
Reader
may
easily
perceive
;
but
what
matter
is
it
where
we
place
this
,
so
that
it
may
be
found
among
our
Works
;
and
we
deliver
nothing
therein
,
but
what
we
have
been
familiar
withal
.
That
of
Looking-glasses
is
undoubtedly
the
finest
and
more
admirable
part
of
Glass-Work
;
't
is
the
most
perfect
Master-piece
of
all
the
Art.
We
presume
the
Order
we
have
given
in
placing
it
here
,
will
be
approved
of
,
since
't
is
the
Subject
of
the
last
Book
,
and
the
Twelfth
,
which
is
a
perfect
Number
,
and
comprehends
all
other
in
Sacred
Philosophy
.
Twelve
,
the
Number
of
Grace
and
Perfection
,
has
been
highly
esteemed
at
all
times
for
those
Wonderful
Properties
ascribed
to
it
;
't
is
very
much
celebrated
in
Holy
Writ
,
and
the
Divine
Plato
has
used
it
with
the
same
Deference
in
his
Works
,
if
the
Account
which
those
,
who
were
intimate
with
this
Famous
Number
Twelve
,
have
left
of
it
,
were
not
Foreign
to
our
Design
,
we
could
give
the
Curious
such
extraordinary
Relations
,
as
would
create
a
Mighty
Respect
in
them
for
the
same
.
We
already
noted
in
the
First
Chapter
,
that
't
is
about
Two
Hundred
Years
since
the
Invention
of
Looking-glasses
,
and
also
how
they
were
found
out
:
Before
these
the
Ladies
made
use
of
Steel
,
or
Copper
,
or
well
polished
Marble
Mirrours
,
these
have
been
in
use
for
many
Ages
:
We
can
by
the
help
of
History
,
look
back
on
them
as
far
as
the
Time
of
Ozias
King
of
Iuda
,
which
was
about
the
Fourth
or
Fifth
Olympiad
;
and
as
many
Years
before
the
Building
of
Rome
;
Seven
Hundred
and
sixty
four
Years
after
this
,
our
Christian
Aera
commenced
.
Now
tho'
the
Tyrians
were
very
conversant
in
Glass-work
,
yet
they
had
not
the
Knowledge
of
making
Looking-glass
.
Among
all
the
Excellencies
of
the
Art
,
none
comes
near
this
,
nothing
can
be
finer
,
or
admit
of
greater
Admiration
,
than
to
see
that
all
the
Actions
of
the
Beholder
,
are
so
justly
and
lively
represented
in
these
Glasses
,
that
he
has
an
opportunity
of
discovering
what
is
to
be
valued
on
him
,
and
correcting
what
's
amiss
;
these
Truths
are
too
apparent
for
any
to
disprove
;
for
the
Experience
of
them
are
at
this
Day
to
be
made
as
easily
by
the
Meanest
as
the
Greatest
Persons
.
We
shall
discourse
but
very
briefly
of
the
Metal
for
making
these
Glasses
;
for
't
is
the
same
Crystal
we
have
prescribed
throughout
the
First
Book
,
but
we
will
enlarge
on
this
Matter
a
little
,
for
the
conveniency
of
making
the
Mirrours
of
Metal
,
&c.
whereof
we
'll
shew
how
to
compound
the
Stuff
,
and
the
way
of
working
them
.
CHAP.
CCLI
.
The
Way
to
make
Looking-glass
.
ALL
those
who
employ
themselves
in
the
Art
o●
Glass
,
do
it
always
without
derogating
from
their
Quality
,
as
we
have
noted
in
Chap.
3.
which
our
Kings
have
always
taken
care
to
maintain
.
The
Undertakers
of
the
Royal
Glass-Manufacture
in
France
,
when
they
obtained
their
Grants
of
Priviledges
,
did
at
the
same
time
require
,
That
al●
Persons
of
Quality
,
who
should
associate
in
the
Manufacture
,
might
do
it
without
lessening
their
Quality
;
to
which
his
Majesty
agreed
with
Exemptio●
from
their
Taille
,
and
several
other
Privileges
,
a●
Quartering
of
Soldiers
,
&c.
for
all
such
,
their
Substitutes
,
Servants
,
and
Domesticks
.
The
first
Grant
of
Priviledges
to
this
Manufacture
,
bears
Date
in
October
1665.
in
Favour
of
Nicholas
du
Noyer
,
for
Twenty
Years
,
which
was
renewed
by
Letters
Patent
of
the
last
of
December
1683.
for
Thirty
Years
to
Peter
Bagneux
.
The
second
Privilege
for
the
Manufacture
Royal
of
Large
Glass
,
was
granted
Decemb.
14.1688
.
to
Abraham
T'
Hevart
,
for
Thirty
Years
,
with
the
saving
Privilege
of
Nobility
as
the
former
:
These
having
setled
at
St.
Gobin
,
near
La
Fere
,
did
by
Letters
Patent
of
February
1693.
obtain
Exemption
from
the
Tailles
,
(
or
Subsidy
on
the
Third
Estate
,
which
is
a
constant
Tax
)
and
other
Impositions
,
as
well
for
themselves
,
as
their
Deputies
and
Servants
.
And
to
avoid
all
Contest
,
these
two
Manufactures
were
united
by
Order
of
the
Council
of
State
,
April
19.
1695.
and
Confirmed
May
1.
following
,
under
the
Name
of
Francis
Plaistrier
.
Now
for
making
these
Glasses
,
the
same
Crystal
assigned
throughout
Book
1.
is
sufficient
;
the
Difference
is
only
instead
of
Working
it
as
you
do
there
,
to
cast
it
flat
and
not
blow
,
as
in
Chap.
3.
to
which
we
refer
the
Reader
.
The
Manner
of
Casting
the
Metal
,
did
not
commence
with
the
Invention
of
Looking-glass
;
for
the
Workmen
at
first
,
used
to
take
a
piece
of
Metal
very
large
,
clipt
and
done
on
the
Marble
into
Quarries
as
big
as
they
'd
have
them
;
these
they
set
afterwards
on
a
Pallet
of
Iron
in
the
Furnace
,
till
they
were
in
a
Fusion
,
and
so
spread
and
united
;
hence
they
took
and
put
them
into
another
little
Furnace
for
that
purpose
,
S.
S.
S.
with
fine
searced
Ashes
to
Bake
;
this
done
,
they
raised
the
Fire
by
degrees
,
and
so
let
it
go
out
again
,
and
drew
off
the
Glasses
,
working
them
after
our
manner
in
the
next
Chapter
.
Thus
too
they
wrought
their
little
Round
Glasses
,
or
Mirrours
,
first
shaping
them
out
of
a
long
piece
of
Metal
,
by
Circumvolution
,
and
afterwards
clipping
them
as
the
former
,
so
finished
them
in
the
Furnaces
,
and
made
them
fit
for
Polishing
.
Since
that
time
having
attempted
to
make
them
very
large
,
they
fell
upon
the
Way
of
Casting
the
Glass
like
other
Metal
on
Sand
Beds
,
such
as
the
Founders
use
;
and
to
perform
it
the
better
,
they
have
a
Roller
of
Metal
to
run
over
the
Surface
of
the
Glass
Metal
for
enlarging
the
Plate
,
and
to
smooth
and
compact
it
withal
.
For
such
as
would
make
them
very
large
indeed
,
as
are
wrought
at
Muran
near
Venice
,
and
in
our
Royal
Manufacturers
,
they
had
a
much
better
,
and
easier
Method
than
doing
them
on
Sand
,
viz.
in
large
Tables
of
well
polished
Copper
,
whereon
they
cast
the
Metal
,
but
these
not
having
strength
enough
to
abide
the
Heat
,
we
have
since
made
use
of
Iron
,
which
will
sufficiently
perform
the
Effect
.
These
Tables
whereon
the
Glasses
are
at
first
sight
Cast
to
their
proper
Largeness
,
must
have
their
bottom
sunk
as
low
as
you
intend
the
Thickness
of
your
Glass-Plate
,
and
have
a
Conveniency
to
push
it
out
,
as
soon
as
ever
't
is
prepared
thereon
.
Some
make
use
of
Marble
ones
with
Covers
,
over
which
they
have
a
Plate
,
or
Runner
of
Metal
,
to
slide
and
press
it
on
the
Glass
Metal
,
that
the
Glass
Plate
may
be
the
more
compact
and
even
.
Thus
are
large
Glasses
made
,
which
are
no
less
surprizing
than
pretty
,
and
't
is
a
very
considerable
Improvement
they
are
brought
to
at
this
Day
,
of
making
them
so
extraordinary
large
for
Mirrours
:
One
would
admire
to
what
Perfection
the
Wit
of
Man
may
arrive
at
,
and
is
capable
of
bearing
from
the
advantage
of
Serious
Application
and
Study
in
profound
Matters
.
CHAP.
CCLII
.
To
Grind
,
Polish
,
and
Cut
the
Looking-Glass
.
AFTER
you
have
it
from
the
Furnace
,
you
must
lay
it
on
Sand
,
in
a
convenient
place
to
strengthen
,
else
it
will
break
in
Working
it
;
then
grind
it
on
very
fine
Sand
and
Water
.
This
time
't
is
that
the
Workmen
give
it
the
first
Fashioning
;
then
they
do
it
over
again
with
Powder
of
Emery
instead
of
the
Sand
,
and
so
give
●t
a
second
Improvement
;
when
they
have
done
it
enough
with
these
two
,
they
do
it
a
third
time
with
Tripoly
instead
of
Emery
,
this
Polishes
the
Glass
perfectly
;
others
give
these
Glasses
a
fourth
Process
with
Calx
of
Tin
,
to
bring
them
to
a
very
extraordinary
Lustre
and
Polish
.
The
Diamond-Cut
is
done
by
Grinding
the
Cry●tal
on
Drift
Sand
and
Water
,
as
much
as
you
think
●onvenient
.
These
are
the
several
Methods
for
finishing
the
●ooking-glass
all
to
the
Silvering
,
which
must
be
disposed
thereon
,
as
in
the
next
Chapter
before
it
●as
the
Quality
of
a
Mirrour
.
CHAP.
CCLIII
.
To
File
,
or
Silver
the
Looking-Glass
.
THE
Glass
is
not
perfected
,
till
it
be
Silvered
;
for
without
that
,
it
is
impossible
it
should
distinctly
shew
the
opposite
Objects
;
't
is
the
Filing
or
Silvering
therefore
which
gives
it
its
just
Perfection
.
For
this
you
must
have
a
firm
well
smooth'd
Table
,
much
greater
than
the
Glass
,
whereon
spread
one
or
more
Sheets
of
very
fine
Tin
,
let
them
be
as
thin
as
Paper
,
and
so
prepared
,
as
not
to
have
any
Rumple
,
Furrow
,
or
Spot
,
else
the
Glass
will
be
spoil'd
:
Over
these
Sheets
spread
good
Mercury
quite
covering
them
with
it
;
when
the
Mercury
has
soaked
in
well
,
place
the
Glass
thereon
,
and
it
will
stick
to
them
;
then
turn
it
,
and
spread
Sheets
o●
Paper
on
the
Filing
;
press
it
gently
,
smoothing
an●
stroaking
it
with
your
Hands
,
to
take
off
the
Superfluous
Mercury
;
then
dry
it
in
the
Sun
,
or
by
a
sof●
Fire
,
and
it
will
become
perfect
.
But
because
't
is
not
so
easie
to
file
the
Large
Glasses
as
the
small
,
you
must
have
recourse
to
a
Table
for
the
purpose
,
with
a
Diamond-Cut
rising
Border
,
to
keep
the
Sides
of
the
Glass
firm
,
whereon
yo●
must
lay
it
,
with
the
Backside
,
(
which
is
to
be
filed
)
upwards
;
then
lay
on
the
Sheeted
Tin
very
smooth
and
closely
;
over
these
the
Mercury
,
to
dissolve
them●
then
with
the
Sheets
of
Paper
cover
all
,
and
〈◊〉
smooth
,
and
run
it
over
with
your
Hands
to
take
away
the
Surplus
of
the
Mercury
,
and
so
dry
it
〈◊〉
before
.
The
rest
of
the
Work
depends
on
the
Framing
them
,
and
giving
the
suitable
Ornaments
accordingly
.
CHAP.
CCLIV
.
How
to
make
Spherical
Concaves
,
and
Convex
Glasses
,
commonly
called
Burning
Mirrours
.
BEFORE
we
discourse
of
the
Metal
Mirrours
,
we
will
shew
how
to
do
such
of
Glass
:
The
Use
of
these
Glasses
is
to
unite
the
Sun-Beams
,
and
so
kindle
a
Flambeau
,
Wood
,
or
any
other
Combustible
Matter
.
By
them
Metals
also
may
be
dissolved
in
a
little
time
as
easily
as
in
a
Crucible
on
a
Furnace
,
or
at
a
Forge
.
The
Whole
Mystery
of
making
them
,
is
to
have
the
Moulds
of
a
Round
Shape
,
otherwise
they
have
but
a
very
weak
Effect
on
the
Sun
Beams
;
the
Moulds
must
be
so
exactly
made
,
as
neither
side
shall
differ
from
the
other
.
To
make
the
Concave
Glass
,
you
must
have
the
Mould
Convex
,
and
the
Convexity
thereof
must
be
made
by
a
Sphere
,
according
as
you
have
it
greater
or
less
;
and
't
is
from
this
Sphere
the
Convexity
of
the
Mirrour
must
be
taken
:
As
for
instance
,
Take
a
Sphere
of
what
bigness
you
please
,
divide
it
equally
,
and
also
one
of
the
Hemispheres
in
three
equal
parts
,
by
Planes
parallel
to
the
great
Circle
,
the
Convex
,
Segment
shall
then
be
the
sixth
part
of
the
whole
Sphere
,
and
the
Measure
of
your
Mirrour
:
To
do
this
you
may
have
recourse
to
the
Works
of
Archimedes
,
Iohn
Baptista
Porta
,
Kircher
,
and
many
other
Authors
.
If
you
would
make
the
Mirrour
a
Convex
Glass
,
you
must
have
the
Moulds
Concave
,
and
these
you
may
do
two
ways
,
thus
:
Take
the
two
Concave
Sides
of
the
Mould
,
and
closing
them
together
equally
,
as
the
Founders
do
their
Frames
,
pour
in
through
the
Mouth
of
the
Mould
your
Crystal
Metal
,
letting
it
fill
the
Mould
,
and
afterwards
cool
.
Another
way
is
,
to
take
two
Concave
Mirrours
,
and
joyning
their
Faces
,
solder
them
well
all
about
,
only
leaving
a
small
Orifice
,
through
which
you
may
fill
it
with
some
Aqua
Vitae
,
and
so
stop
the
Hole
,
and
frame
them
with
Wood
,
or
Metal
:
This
sort
of
Mirrour
,
has
a
more
ready
Influence
on
the
Sun
Beams
then
any
other
;
we
'll
say
something
of
the
Effect
thereof
when
we
come
to
speak
of
the
Metal
Mirrours
,
but
upon
the
whole
Matter
you
must
have
these
Glasses
all
very
well
polished
.
These
Burning
Glasses
may
be
made
Parabolick
,
or
Spheroidal
,
and
such
have
still
a
better
Effect
than
the
Spherick
:
You
must
proceed
in
Moulding
them
as
with
the
former
;
you
must
observe
a
just
proportion
in
doing
them
;
for
when
they
are
too
much
raised
,
they
are
hindered
by
their
Deepness
from
having
a
good
Effect
;
and
upon
this
depends
the
Whole
Nicity
of
the
Art.
CHAP.
CCLV.
How
to
make
Metal
Mirrours
,
Concave
Sphericks
,
or
Parabolicks
,
usually
called
,
Steel
Burning
Mirrours
.
THE
Authors
cited
in
the
former
Chapter
are
very
useful
to
be
consulted
on
this
occasion
to
demonstrate
the
Method
,
Use
,
and
Excellency
of
these
Mirrours
;
for
which
reason
we
shall
say
but
little
on
that
Subject
.
The
Moulds
for
them
are
prepared
as
in
the
former
Chapter
,
whether
Concave
,
or
Convex
,
and
for
such
as
are
flat
,
they
may
be
cast
on
Sand.
The
Metal
of
these
Mirrours
is
called
Steel
,
because
it
is
of
a
very
hard
and
bright
Composure
and
Temper
,
and
the
harder
the
Metal
,
the
better
the
Mirrour
,
and
the
easier
to
polish
;
the
Whiteness
of
it
is
very
convenient
for
giving
the
Quality
of
Burning
,
and
not
only
for
that
,
but
several
other
Uses
;
if
it
be
too
Red
,
or
Black
,
it
alters
the
true
Distance
and
Colour
of
its
opposite
Objects
;
you
must
therefore
make
them
of
this
following
Composition
.
Take
three
Pounds
of
Copper
,
one
Pound
of
fine
Tin
,
half
an
Ounce
of
White
Arsenick
,
an
Ounce
of
Tartar
:
First
,
melt
the
Copper
,
then
put
the
Tin
in
immerged
in
the
Copper
,
else
it
will
fume
away
in
the
Melting
,
and
leave
the
Copper
behind
;
these
two
being
well
melted
together
,
cast
in
the
Arsenick
,
and
Tartar
:
After
this
let
all
melt
for
two
or
three
Hours
,
and
so
Mould
it
.
Some
Persons
dose
with
the
former
weight
of
Copper
and
Tin
,
half
a
Pound
of
White
Arsenick
;
●thers
instead
of
Arsenick
,
put
in
a
quarter
of
a
Pound
of
Antimony
.
Here
is
another
way
to
compound
this
Stuff
of
the
following
Ingredients
;
and
after
that
another
Composition
much
more
excellent
than
either
.
Take
a
Pound
of
well
refined
Copper
,
melt
it
,
then
add
three
Pounds
of
fine
Tin
;
as
soon
as
these
are
well
melted
,
add
six
Ounces
of
Red
Tartar
calcined
,
one
Ounce
of
Salt-petre
,
two
Drams
of
Allom
,
and
two
Ounces
of
Arsenick
,
let
these
melt
for
three
or
four
Hours
,
that
the
Salts
may
evaporate
,
and
the
Stuff
will
be
fit
for
moulding
;
this
Stuff
is
more
solid
and
hard
than
the
former
,
and
much
better
to
make
the
flat
Mirrours
for
Looking
.
You
shall
be
shewn
how
to
polish
them
in
the
next
Chapter
.
We
having
promised
to
assign
a
much
more
excellent
Stuff
for
Concaves
than
the
former
ones
,
will
give
it
here
;
because
of
the
hardness
and
compactness
thereof
,
it
is
more
capable
of
polishing
,
and
consequently
much
better
than
the
rest
.
Take
Plates
of
Copper
one
Pound
,
mince
'em
that
they
may
be
put
into
a
Crucible
,
imbibing
them
with
Oyl
of
Tartar
;
then
powder
a
quarter
of
●
Pound
of
White
Arsenick
,
and
put
these
S.
S.
S.
as
we
have
shewn
the
Method
elsewhere
,
until
you
fill
the
Crucible
;
pour
on
them
afterwards
Linseed-Oyl
to
cover
the
Arsenick
and
the
Copper
;
head
and
lute
you●
Crucible
,
and
when
the
lute
is
dry
set
it
on
a
Sand-Furnace
,
letting
the
Sand
arise
no
higher
than
the
Head
;
heat
the
Furnace
very
gently
till
it
arrive
a●
a
just
degree
,
and
the
Oyl
begins
to
evaporate
;
〈◊〉
this
time
the
Oyl
will
prepare
the
Copper
for
retaining
the
Arsenick
,
which
must
enter
the
Copper
as
easily
as
Oyl
does
Leather
;
set
it
again
on
fresh
Sand
,
and
increase
the
heat
of
the
Furnace
,
giving
i●
the
same
degree
as
before
,
until
the
Oyl
evaporate●
and
boyl
up
;
then
take
off
the
Crucible
,
let
it
cool
and
break
it
,
you
'll
find
your
Copper
of
several
Colours
,
and
would
be
much
better
,
if
instead
of
Arsenick
,
you
made
use
of
Orpiment
.
Take
of
this
Copper
one
part
,
of
Latten
two
parts
,
melt
the
Latten
on
a
smart
Fire
,
and
so
put
in
the
Copper
;
when
they
are
well
melted
,
cast
the
Metal
Drop
by
Drop
into
a
glazed
Earthen
Vessel
full
of
Water
,
over
which
lay
a
Bush
,
or
Broom
for
the
Stuff
to
go
through
;
thus
you
'll
have
a
Metal
not
to
be
touched
with
a
File
,
nor
Brittle
,
as
good
as
any
Steel
for
all
uses
whatsoever
.
Take
of
this
hard
Metal
three
parts
,
and
best
Tin
of
Cornwall
,
which
has
no
Lead
in
't
,
one
part
;
melt
the
Metal
before
you
put
in
the
Tin
;
after
these
are
well
incorporated
,
you
may
fill
your
Moulds
,
&c.
This
is
the
best
of
all
our
Compositions
for
making
of
all
sorts
of
these
Metal
Mirrours
;
't
is
white
,
hard
,
not
Brittle
,
and
very
easily
polished
exceeding
fine
.
CHAP.
CCLVI.
To
Polish
the
Steel
Mirrours
.
WHATSOEVER
Exactness
you
use
in
Moulding
these
,
they
do
never
receive
their
true
Shape
and
Perfection
,
until
they
are
Polished
and
Burnished
;
in
doing
which
,
least
you
should
spoil
,
or
endamage
them
,
you
must
Work
away
the
Outside
at
the
Wheel
,
with
the
Sand-stone
,
which
the
Pewterers
and
Brasiers
make
use
of
,
and
then
apply
the
Handle
,
and
Polish
them
sufficiently
by
rubbing
with
Water
.
This
done
,
take
it
off
this
Wheel
,
and
put
it
on
the
Second
,
where
rub
it
with
Emery
prepared
,
that
it
may
be
finely
polished
,
so
as
the
Scars
may
be
scarce
perceptible
.
Do
this
in
an
Oblique
Line
.
Then
take
it
off
this
,
and
set
it
on
such
another
;
rub
it
with
Blood-stone
prepared
,
and
afterwards
use
Calx
of
Tin
,
working
it
for
a
long
time
,
until
it
have
its
due
Burnish
and
Perfection
,
still
doing
it
in
the
same
Obliquity
.
You
must
keep
these
Mirrours
from
the
Moistness
of
the
Air
,
and
Steams
;
or
if
they
should
happen
to
be
endamaged
by
any
such
,
you
may
restore
them
by
rubbing
on
them
a
piece
of
Deer
,
or
Goats
Skin
,
humouring
the
Oblique
Line
;
you
must
not
use
any
Woollen
,
or
Linen
Stuff
,
for
they
spoil
these
Mirrours
.
These
Mirrours
may
be
also
polished
with
Lead
Artificially
melted
,
with
Emery
and
Water
,
for
the
First
Process
;
and
very
fine
Emery
and
Lead
for
the
Second
;
and
in
the
Last
,
with
Blood-stone
and
Tin
Dross
;
these
make
a
finer
Burnish
than
the
former
;
for
the
Mirrour
is
highly
polished
by
the
Tin-Dross
.
This
is
all
we
resolve
to
give
account
of
on
these
sort
of
Mirrours
,
for
attracting
and
uniting
the
Sun
Beams
.
There
are
many
other
,
as
Cylinders
,
Pyramids
,
whereof
we
forbear
to
discourse
,
since
the
Authors
which
have
writ
of
them
,
have
done
it
with
much
more
sufficiency
than
we
pretend
to
.
They
ascribe
the
first
Invention
of
Burning
Mirrours
to
Prometheus
,
when
he
stole
the
Fire
from
Heaven
to
carry
to
the
Earth
.
Archimedes
made
very
happy
use
of
them
in
defence
of
his
Country
,
when
he
burnt
the
Fleet
of
Marcellus
before
Syracuse
,
by
placing
his
Burning
Glass
on
the
highest
Turret
in
the
City
,
whence
proceeded
such
a
mighty
Conflagration
,
as
destroy'd
that
vast
Flota
in
spight
of
Neptune
and
the
Waters
.
Proclus
too
,
a
Brave
and
Famous
Mathematician
,
burnt
the
Fleet
of
Vitelian
,
that
came
to
Besiege
Constantinople
;
which
he
preserved
by
this
Industry
.
Many
other
Fine
and
Admirable
Relations
might
be
given
of
the
Effects
of
these
Mirrours
,
but
they
are
too
tedious
:
We
shall
therefore
here
put
an
end
to
this
Chapter
,
and
consequently
the
whole
Book
,
desiring
the
Reader
to
receive
all
in
good
part
,
and
excuse
the
lesser
Faults
of
Impression
and
Phrase
,
since
we
can
assure
him
the
Doses
are
justly
prescribed
,
and
the
Preparations
exact
which
we
have
assigned
.
The
End
of
the
Twelfth
Book
.
AN
APPENDIX
Shewing
how
to
Make
GLASS-EYES
Very
Natural
.
THIS
Secret
is
fine
,
and
never
was
made
publick
before
:
The
Eyes
may
be
done
so
curiously
,
that
the
Nicest
Examination
can
scarce
discover
them
to
be
Artificial
.
You
must
have
a
lighted
Lamp
,
and
a
long
hollow
piece
of
Crystal
,
as
thick
as
the
middle
of
a
Pipes
Shank
;
the
Bore
must
be
pretty
wide
,
and
the
Pipe
about
four
Inches
in
length
;
let
the
Mouthend
be
like
that
of
a
Trumpet
,
and
the
other
widened
and
turned
outwards
like
the
Breech
;
this
may
be
done
by
heating
one
end
in
the
Flame
of
your
Lamp
,
and
whilst
it
is
hot
,
turn
it
so
with
a
pair
of
Nippers
.
Hold
this
Pipe
in
your
left
hand
(
having
before
put
a
little
Cotten
into
it
,
about
an
Inch
or
less
from
the
Mouth
,
to
hinder
your
Breath
from
being
too
violently
blown
on
the
Work
;
)
let
it
be
between
your
two
Fore-fingers
and
Thumb
(
as
you
'd
make
a
Pen
;
)
heat
the
Wide
end
in
the
Flame
red
hot
,
and
so
wind
long
Thread
White
Enamel
about
the
grossness
of
a
Bugle
;
your
Threads
must
be
red
hot
too
,
and
solid
,
then
they
'll
easily
joyn
the
Crystal
Pipe
;
make
by
this
Serpentine
Winding
a
Convex
of
such
Diameter
,
as
when
blown
out
will
answer
that
of
the
Eye
you
would
imitate
.
This
done
,
keep
the
Work
in
the
Flame
till
red
hot
,
and
so
blow
it
out
into
an
Orbicular
Form
,
of
a
just
largeness
;
then
heating
a-new
the
top
,
pinch
with
your
Nippers
a
small
Hole
,
and
so
turn
it
with
the
end
of
them
round
,
of
the
bigness
your
Eye
must
be
within
the
White
,
in
this
Hole
wind
pure
Thread-Crystal
as
small
as
fine
Packthread
,
till
you
fill
it
up
,
taking
away
the
Superfluity
(
if
any
)
with
your
Nippers
;
heat
it
in
the
Flame
,
blowing
gently
often
;
by
this
the
Crystal
will
work
Convexly
,
to
give
you
the
full
shape
of
your
Eye
.
Upon
this
Crystal
(
heating
it
again
)
you
must
wind
Crystal
Thread
small
almost
as
Horse-hair
,
and
coloured
as
the
Eye
you
'd
imitate
;
cover
it
once
over
,
and
as
soon
as
the
Center
fills
,
cut
off
the
Thread
with
your
Nippers
,
that
no
Surplus
remain
:
You
must
hold
it
often
in
the
Flame
,
still
gently
blowing
to
keep
it
in
a
true
order
.
AB
,
is
the
Cristal
Pipe
A
,
the
Mouth
C
,
where
the
Cotten
must
be
B
,
the
widened
end
of
the
Pipe
BD
,
the
glass
eye
a
makeing
E
,
the
forme
of
the
Eye
shewing
how
the
small
coloured
threads
must
be
laid
on
piece
,
about
the
thickness
of
a
Goose-Quill
,
and
so
heating
and
blowing
as
before
,
bring
it
to
its
due
Form.
Then
hold
the
Side
thereof
in
the
Flame
,
and
with
a
Thread
of
White
Enamel
,
not
quite
so
hot
,
you
may
as
it
were
cut
out
the
Shape
of
your
Eye
,
as
you
'd
have
it
,
Oblique
,
or
otherwise
;
then
border
it
with
the
said
Thread
,
holding
the
Edges
in
the
Flame
,
to
become
smooth
and
even
.
Now
if
you
find
too
much
Enamel
in
any
part
of
the
Border
,
you
may
take
it
off
with
another
Thread
of
the
same
Enamel
,
not
altogether
heated
so
much
as
that
you
'd
diminish
,
which
must
be
held
in
the
Flame
accordingly
:
Then
proceed
to
Cutting
or
Filing
;
and
last
of
all
,
Anneal
it
in
a
small
Pan
of
●●als
,
and
you
have
finished
.
FINIS
.
THE
INDEX
.
BOOK
I.
Chap.
1.
THE
Rise
,
Antiquity
,
and
Vse
of
Glass
.
Pag.
1
Chap.
2.
The
manner
of
Building
Eurnaces
for
making
Glass
.
p.
19
Chap.
3.
The
way
of
making
Glass
,
and
the
Privileges
of
Gentlemen
who
make
it
.
p.
25
Instruments
for
the
Work.
p.
31
Chap.
4.
The
Places
where
Polverine
,
Rochetta
,
and
Soda
are
found
.
p.
33
The
Vertues
of
Kali
Salt
in
Curing
the
Stone
,
Vlcers
,
&c.
p.
37
Chap.
5.
To
Extract
Salt
of
Polverine
,
Rochetta
,
and
Soda
.
ibid.
To
Calcine
Tartar.
41
Chap.
6.
To
make
Frit
for
Crystal
.
42
A
pretty
Dissolution
of
Glass
by
Cold.
ibid.
Chap.
7.
To
Extract
Salt
from
Polver
.
of
the
Levant
.
p.
46
Chap.
8.
Observations
for
a
Gold
Colour
in
Crystal
.
p.
48
Chap.
9.
To
Extract
Salt
from
Fern.
ibid.
Chap.
10.
To
make
Salt
of
several
Vegetables
.
p.
50
Salt
for
Manuring
.
p.
52
Chap.
11.
To
make
fine
Crystal
of
Salt
of
Lime
.
p.
54
Chap.
12.
To
make
ordinary
Frit
.
p.
55
Chap.
13.
To
make
very
fine
Crystal
.
p.
57
The
Vertues
of
Sandever
.
p.
58
Chap.
14.
To
make
common
Glass
White
&
Crystaline
.
p.
59
Chap.
15.
To
purifie
Salt
of
Tartar.
60
Chap.
16.
General
Remarks
for
all
Colours
.
p.
61
Chap.
17.
To
prepare
Zaffer
.
p.
62
Chap.
18.
To
prepare
Manganese
.
p.
64
The
Philosophers
Magnesia
.
p.
65
Chap.
19.
Feretto
of
Spain
the
Mineral
.
p.
67
Chap.
20.
How
to
make
Feretto
of
Spain
.
p.
68
Chap.
21.
Another
extraordinary
way
to
make
Feretto
of
Spain
.
p.
69
Chap.
22.
Another
way
to
make
it
of
Copper
only
.
p.
70
Chap.
23.
A
Second
way
to
make
it
of
Copper
only
.
p.
71
Chap.
24.
To
make
Crocus
Martis
.
ibid.
Chap.
25.
Another
way
to
make
it
.
p.
73
Chap.
26.
To
make
it
with
Aqua-fortis
.
p.
74
Chap.
27.
To
make
it
with
Aqua
Regalis
.
ibid.
Chap.
28.
Another
way
.
p.
75
Chap.
29.
The
best
way
to
make
Crocus
Martis
.
p.
76
Chap.
30.
To
Calcine
small
Copper
Plates
.
ibid.
Chap.
31.
Another
way
.
p.
78
Chap.
32.
To
Calcine
it
to
a
Red
Powder
.
p.
79
Chap.
33.
To
make
thrice
Calcined
Copper
.
ibid.
Chap.
34.
Another
way
.
p.
80
Chap.
35.
To
make
Aes
ustum
.
p.
81
Chap.
36.
Another
better
way
.
ibid.
Chap.
37.
The
way
to
make
Crocus
Martis
.
p.
83
Chap.
38.
Another
way
.
p.
84
Chap.
39.
Another
easie
way
.
p.
85
Chap.
40.
The
first
Egmarine
Colour
for
Glass
.
ibid.
Chap.
41.
Another
Bluer
Sea-green
.
p.
87
Chap.
42.
Another
with
Crystal
.
ibid.
Chap.
43.
A
fine
Egmarine
.
p.
88
Chap.
44.
Another
.
p.
89
Chap.
45.
Another
finer
than
the
rest
.
p.
90
Chap.
46.
To
make
Emerald
Colour
in
Glass
.
ibid.
Chap.
47.
Another
finer
.
p.
91
Chap.
48.
Another
wonderful
Green.
p.
92
Chap.
49.
Another
Oriental
Emerald
.
p.
93
Chap.
50.
To
give
Glass
a
Turcoise-Blue
.
p.
94
BOOK
II.
Chap.
51.
THe
Design
and
Contents
of
this
Book
.
p.
96
Chap.
52.
To
make
Aqua-fortis
.
p.
98
To
make
strong
Lute
.
p.
101
A
Furnace
for
several
Vses
.
p.
112
Chap.
53.
To
purifie
Vitriol
for
making
the
Aqua-fortis
stronger
.
p.
104
Chap.
54.
To
make
Aqua
Regalis
.
p.
105
Chap.
55.
Another
far
stronger
,
called
Water
of
the
two
Champions
.
p.
106
Chap.
56.
Another
more
easie
way
.
p.
108
Another
with
Spirit
of
Salt.
ibid.
The
Sovereign
Menstruum
of
the
Philosophers
.
p.
109
Chap.
57.
To
Calcine
Tartar.
ibid.
Chap.
58.
To
make
fair
Chalcedony
.
p.
110
Chap.
59.
A
Second
sort
.
p.
113
Chap.
60.
A
third
and
last
way
.
p.
116
Mercury
purified
.
ibid.
Silver
Calcined
.
ibid.
Common
Salt
purified
.
p.
117
Sal-Armoniack
purified
.
ibid.
BOOK
III.
Chap.
61.
THe
Design
and
Contents
of
this
Book
.
p.
121
Chap.
62.
A
Gold
Yellow
in
Glass
.
p.
122
Chap.
63.
A
Granat
Colour
.
p.
123
Chap.
64.
An
Amethist
Colour
.
p.
124
Chap.
65.
A
Sapphire
Colour
.
p.
125
Chap.
66.
A
finer
.
ibid.
Chap.
67.
A
Velvet-Black
Colour
.
p.
126
Chap.
68.
Another
fairer
.
ibid.
Chap.
69.
Another
yet
much
fairer
.
p.
127
Chap.
70.
A
Milk-white
colour
.
ibid.
Chap.
71.
Another
fairer
.
p.
128
Chap.
72.
The
Colour
of
Lapis
Lazuli
in
Glass
.
ibid.
Chap.
73.
A
Marble
Colour
.
p.
129
Chap.
74.
A
Peach
Colour
.
p.
130
Chap.
75.
A
deep
Red.
ibid.
Chap.
76.
Rock-Crystal
calcined
.
p.
131
Chap.
77.
To
make
Pearl
Colour
in
Crystal
.
p.
132
Chap.
78.
To
Tinge
Natural
Crystal
of
a
Viper
Colour
.
p.
133
Chap.
79.
To
make
in
Natural
Crystal
,
the
Colours
of
the
Ruby
,
Topaz
,
Opal
,
Heliotrope
,
&c.
p.
134
BOOK
IV.
Chap.
80.
THe
Design
and
Contents
of
this
Book
.
p.
136
The
Philosophers
Lac
Virginis
.
p.
137
Chap.
81.
To
calcine
Lead
.
p.
138
Chap.
82.
To
make
Glass
of
Lead
.
p.
139
Chap.
83.
To
Work
this
Glass
.
p.
140
Chap.
84.
To
give
it
a
fine
Emerald
colour
.
p.
141
Chap.
85.
To
give
it
a
fairer
.
p.
142
Chap.
86.
To
give
it
a
Topaz
colour
.
ibid.
Chap.
87.
To
give
it
an
Egmarine
.
p.
143
Chap.
88.
To
give
it
a
Granat
.
p.
144
Chap.
89.
To
give
it
a
Sapphire
.
ibid.
Chap.
90.
To
give
it
a
Gold
colour
.
p.
145
BOOK
V.
Chap.
91.
THe
Design
and
Contents
of
this
Book
.
p.
147
The
Original
of
Precious
Stones
,
and
Metals
.
p.
148
Chap.
92.
To
prepare
Rock
Crystal
.
p.
150
Chap.
93.
To
make
fine
and
pure
Salt
of
Tartar.
p.
152
The
Philosophers
Salt
of
Tartar.
p.
153
Chap.
94.
Paste
for
Oriental
Emerald
.
ibid.
Chap.
95.
Another
deeper
.
p.
155
Chap.
96.
Another
fairer
.
p.
156
Chap.
97.
Another
fairer
.
ibid.
Chap.
98.
Another
very
fair
.
p.
157
Chap.
99.
Paste
for
Oriental
Topaz
.
ibid.
Chap.
100.
Another
fine
Topaz
.
p.
158
Chap.
101.
An
Oriental
Crysolite
.
p.
159
Chap.
102.
A
Sky-colour
Paste
for
Beryl
,
called
Aqua-Marina
.
ibid.
Chap.
103.
A
Paste
for
Sapphire
.
p.
160
Chap.
104.
Another
Oriental
Sapphire
.
p.
161
Chap.
105.
Another
deeper
.
ibid.
Chap.
106.
Paste
for
Oriental
Granat
.
p.
162
Chap.
107.
Another
of
a
deeper
colour
.
p.
163
Chap.
108.
Another
fairer
.
ibid.
Chap.
109.
Observations
for
Pastes
and
their
colours
.
p.
164
To
prepare
the
Crucibles
.
p.
165
Chap.
110.
To
make
Sulphur
Saturni
to
be
used
in
Paste
for
Gems
.
p.
166
Observations
on
the
Sweetness
of
Sal
Saturni
.
p.
169
Chap.
111.
To
make
very
hard
Pastes
with
Sulphur
Saturni
,
and
to
give
them
all
the
colour
of
Precious
Stones
.
ibid.
Chap.
112.
Saturnus
Glorificatus
,
how
to
make
it
.
p.
171
Chap.
113.
To
make
Paste
for
Precious
Stones
of
Saturnus
Glorificatus
.
p.
172
Chap.
114.
To
make
a
very
fair
Carbuncle
.
p.
173
The
Opinions
of
several
Authors
concerning
the
Carbuncle
.
ibid.
The
Sentiments
of
our
Author
.
p.
174
Chap.
115.
Another
more
Noble
,
called
Carbunculus
nocte
Illuminans
.
p.
175
The
Author's
Opinion
thereof
.
p.
176
A
fine
way
to
Calcine
Gold.
p.
177
Chap.
116.
To
make
Oriental
Ruby
.
p.
178
Very
fine
Rubies
of
Queen
Elizabeth
of
Austria
,
and
Mary
de
Medicis
.
p.
179
Chap.
117.
To
make
Balass
Ruby
.
p.
180
Chap.
118.
To
make
Oriental
Sapphire
.
ibid.
Chap.
119.
To
make
Oriental
Emerald
.
p.
181
Chap.
120.
To
make
Turcoise
.
p.
182
Chap.
121.
To
make
Oriental
Topaz
.
p.
183
Chap.
122.
To
make
Crysolite
.
ibid.
Chap.
123.
Another
way
of
making
all
sorts
of
Precious
Stones
much
harder
.
p.
184
Chap.
124.
To
make
a
fair
Emerald
.
p.
185
Chap.
125.
To
make
a
Violet
Sapphire
.
p.
186
Chap.
126.
Another
Violet
Sapphire
of
a
deeper
colour
.
ibid.
Chap.
127.
Another
very
fine
Blue
Sapphire
.
p.
187
Chap.
128.
Another
fine
Sapphire
.
ibid.
Chap.
129.
Another
admirable
Blue
.
p.
188
Chap.
130.
To
make
Beryl
,
or
Egmarine
.
ibid.
Chap.
131.
A
deeper
Egmarine
.
p.
189
Chap.
132.
To
make
a
fair
Jacynth
.
ibid.
Chap.
133.
Another
fairer
Jacynth
.
p.
190
Chap.
134.
Another
Oriental
Jacynth
.
ibid.
Chap.
135.
To
make
a
very
fine
Powder
.
p.
191
Chap.
136.
Another
Powder
.
ibid.
Chap.
137.
Iargons
of
Auvergne
,
how
to
make
those
Red
,
that
are
of
a
Gridelin
colour
.
p.
192
Chap.
138.
To
Extract
the
Tincture
of
the
Iargons
,
and
therewith
to
make
a
fine
and
very
hard
Diamond
.
p.
193
How
to
prepare
a
Sulphurous
Tripoly
.
p.
194
Chap.
139.
To
make
a
Diamond
.
p.
195
Chap.
140.
To
make
Diamond
of
Alanson
.
p.
196
Chap.
141.
To
give
the
Natural
Colour
and
Hardness
of
true
Diamonds
to
Crystal
,
and
Diamond
of
Alanson
.
ib.
Chap.
142.
Another
Way
.
p.
198
Chap.
143.
Another
way
to
harden
them
,
and
make
them
sparkle
as
much
as
fine
Natural
Diamond
.
ibid.
Chap.
144.
To
turn
White
Sapphire
into
a
true
Diamond
.
p.
199
Chap.
145.
Another
way
.
p.
200
Chap.
146.
Another
way
.
p.
201
BOOK
VI.
Chap.
147.
THE
Design
and
Contents
of
this
Book
.
p.
203
Chap.
148.
To
prepare
the
principal
Stuff
for
Enamel
.
p.
205
Chap.
149.
Milk-white
Enamel
.
p.
206
Chap.
150.
Turcoise
colour
Enamel
.
p.
207
Chap.
151.
A
very
fine
Blue
Enamel
.
p.
209
Chap.
152.
Another
.
ibid.
Chap.
153.
A
very
fine
Green
Enamel
.
p.
210
Chap.
154.
Another
.
p.
211
Chap.
155.
Another
.
ibid.
Chap.
156.
A
Black
Enamel
.
p.
212
Chap.
157.
Another
.
p.
213
Chap.
158.
Another
.
ibid.
Chap.
159.
A
Purple
colour'd
Enamel
.
214
Observations
by
the
Author
,
on
the
Nobleness
of
this
Colour
.
ibid.
Chap.
160.
Another
Purple
Enamel
.
p.
216
Chap.
161.
A
Violet
colour
Enamel
.
ibid.
Chap.
162.
A
Yellow
Enamel
.
p.
217
Chap.
163.
To
make
Crystal-Ground
for
Red
Enam
.
p.
218
Chap.
164.
A
fine
Preparat
.
of
fusible
Manganese
.
p.
219
Chap.
165.
To
make
a
fixt
Sulphur
.
p.
220
Chap.
166.
Another
fixt
and
incombustible
Sulphur
.
p.
221
Chap.
167.
To
Extract
Spirit
of
Saturn
.
ibid.
Chap.
168.
A
Blood-red
Enamel
.
p.
223
Chap.
169.
Another
.
p.
224
Chap.
170.
A
Sparkling
Ruby-red
Enamel
.
p.
225
Chap.
171.
A
Balass-Ruby
colour
Enamel
.
ibid.
Chap.
172.
A
Rose
colour
Enamel
.
p.
226
Chap.
173.
Another
very
fine
Rose
colour
Enamel
.
ibid.
Chap.
174.
Another
Rose
colour
Enamel
.
p.
227
Chap.
175.
A
Splendid
Carbuncle-colour
Enamel
.
p.
228
To
Calcine
Gold.
p.
229
Chap.
176.
To
Calcine
Copper
for
making
Vitriol
of
Venus
without
Corrosives
.
p.
230
The
Author's
Report
of
the
Excellency
and
Vertues
of
this
Vitriol
and
its
Spirit
.
p.
231
Chap.
177.
To
make
Vitriol
of
Venus
without
Corrosives
.
p.
232
Chap.
178.
To
Extract
this
fine
Vitriol
.
p.
234
Chap.
179.
To
draw
off
the
White
Spirit
from
the
Vitriol
.
p.
236
To
separate
the
Cap.
Mort.
for
tinging
of
Glass
.
p.
237
To
restore
it
to
a
Blue
colour
,
by
the
Air.
p.
238
BOOK
VII
.
Chap.
180.
THE
Design
and
Contents
of
this
Book
.
p.
240
Chap.
181.
The
Furnace
for
Enameling
and
Pourtraying
withal
.
p.
242
Chap.
182.
To
Enamel
on
Gold.
p.
243
Chap.
183.
To
Enamel
on
Silver
.
p.
245
Chap.
184.
To
Enamel
on
Copper
.
p.
246
Chap.
185.
To
prepare
the
Enamel
for
applying
it
on
the
Metals
.
p.
247
Chap.
186.
To
prepare
the
Colours
for
pourtraying
on
Enamel
.
p.
248
Chap.
187.
The
White
.
p.
249
Chap.
188.
The
Black.
p.
250
Chap.
189.
The
Yellow
.
ibid.
Chap.
190.
The
Blue
.
p.
351
A
very
fine
Preparation
of
the
Blue
.
ibid.
Chap.
191.
The
Red.
p.
252
Gold
Calcin'd
,
and
how
.
ibid.
A
Vermilion
Red.
p.
253
Chap.
192.
To
Pourtray
on
Enamel
.
p.
254
BOOK
VIII
.
Chap.
193.
THe
Design
and
Cont.
of
this
Book
.
p.
357
Chap.
194.
The
Furnace
for
baking
and
finishing
the
China-Ware
in
.
p.
259
Chap.
195.
A
fine
Composition
of
Mold
for
China-Ware
.
p.
260
Pure
Earth
for
China-Ware
.
p.
261
Chap.
196.
To
Enamel
China
.
p.
262
Chap.
197.
To
Paint
China
.
p.
263
Chap.
198.
To
Gild
China
.
ibid.
Chap.
199.
Another
finer
Way
.
p.
264
Chap.
200.
To
prepare
Linseed-Oyl
for
Gilding
on
China
.
p.
265
BOOK
IX
.
Chap.
201.
THe
Design
and
Cont.
of
this
Book
.
p.
267
Chap.
202.
A
Furnace
for
finishing
the
Painted
Glass
.
p.
270
Chap.
203.
A
White
for
Painting
on
Glass
.
p.
272
Chap.
204.
A
Black.
p.
373
Chap.
205.
A
Yellow
.
ibid.
Chap.
206.
A
Blue
.
p.
174
To
prepare
the
Crucibles
.
ibid.
Chap.
207.
A
Red.
p.
175
Chap.
208.
A
Purple
.
p.
176
Chap.
209.
A
Green.
p.
177
Chap.
210.
Of
other
Colours
in
general
.
p.
227
Chap.
211.
To
make
Rocaille
.
p.
278
Chap.
212.
To
Paint
on
Glass
.
p.
280
The
Privileges
granted
to
such
as
Work
therein
,
&c.
ib.
Chap.
213.
The
Order
of
Baking
the
Glass
in
the
Furnace
,
after
it
is
painted
.
p.
283
Chap.
214.
Another
way
to
paint
on
Glass
.
p.
285.
Chap.
215.
To
gild
on
Glass
.
p.
287
Chap.
216.
Another
way
.
ibid.
Chap.
217.
To
paint
all
sorts
of
Colours
in
Globes
.
p.
288
BOOK
X.
Chap.
218.
THE
Design
and
Contents
of
this
Book
.
p.
290
Chap.
219.
To
Extract
Yellow
Lake
from
Broom-flowers
p.
292
Chap.
220.
To
Extract
the
Essential
Tincture
of
Poppy
,
Iris
,
Rose
,
Violet
,
and
all
manner
of
Green
Herbs
to
make
Lakes
of
the
same
Colours
.
p.
293
Chap.
221.
Another
Way
to
Extract
the
Tinctures
fro●
these
and
several
other
Flowers
,
Greens
,
&c.
p.
29●
Chap.
222.
The
first
process
in
making
Scarlet
Lake
.
p.
29●
Chap.
223.
To
Extract
the
Tincture
of
Kerm-Berries
for
Scarlet
Lake
.
p.
29●
Chap.
224.
A
readier
way
to
Extract
the
Tincture
〈◊〉
Kerm-Berries
.
p.
29●
Chap.
225.
To
make
Lake
,
or
Tincture
of
Brazile
.
p.
30●
Chap.
226.
To
Extract
Tincture
of
Madder
for
Lake
.
p.
30●
Chap.
227.
How
to
make
Ultra-marine
,
of
Lapis-L●●zuli
.
ibid.
Chap.
228.
To
make
a
Liquid
for
Moistning
and
Grining
the
Powders
withal
.
p.
30●
Chap.
229.
To
prepare
a
mild
and
strong
Lixivium
for
the
Lapis-Lazuli
.
p.
305
Chap.
230.
The
Form
of
the
Vessel
for
settling
the
Liquors
in
,
which
are
employed
on
the
Lapis-Lazuli
.
p.
306
Chap.
231.
To
make
strong
Cement
to
mix
with
Lapis-Lazuli
,
to
separate
the
finer
and
better
Stuff
from
the
other
.
p.
307
Chap.
232.
To
make
a
weaker
Cement
for
separating
the
Colours
of
the
Lapis-Lazuli
.
p.
308
Chap.
233.
To
purifie
Linseed-Oyl
.
p.
309
Chap.
234.
To
incorporate
the
Powder
of
Lapis-Lazuli
with
the
strong
,
or
weaker
Cement
.
p.
310
Chap.
235.
To
Extract
the
Ultra-marine
.
p.
311
Chap.
236.
The
Method
of
cleansing
the
Ultra-marine
,
when
't
is
separated
from
the
Cement
.
p.
314
Chap.
237.
To
strain
off
the
Ultra-marine
already
Washt
and
Purified
.
p.
315
Chap.
238.
To
Correct
the
Colours
just
before
prepared
.
p.
316
Chap.
239.
Another
Way
to
make
Ultra-marine
,
and
draw
off
the
Colours
with
more
Expedition
.
ibid.
Chap.
240.
Another
Way
to
make
Ultra-marine
.
p.
318
A
Colour
inclining
to
,
or
near
the
Ultra-marine
;
and
that
the
Lapis-Laz
.
may
be
Artificially
made
.
p.
320
Chap.
241.
To
make
German
Blue
.
ibid.
BOOK
XI
.
Chap.
242.
THE
Design
and
Contents
of
this
Book
.
p.
322
The
Origine
of
Pearls
,
and
how
they
are
increased
;
with
the
like
account
of
the
Bezoar-Stone
.
p.
324
Chap.
243.
To
imitate
fine
Oriental
Pearl
.
p.
326
A
further
Description
of
Furnaces
,
&c.
ibid.
The
Philosophick
Pearl
.
p.
329
Chap.
244.
To
make
Mercury-Water
for
giving
Transparency
and
Lustre
to
the
Pearl
.
ibid.
Chap.
245.
Another
Way
to
make
those
Pearls
.
p.
330
Chap.
246.
Another
Way
.
p.
332
Chap.
247.
How
to
Blanch
fine
Pearl
.
p.
334
Chap.
248.
Other
Ways
to
Blanch
and
Cleanse
fine
Pearl
p.
33●
Chap.
249.
To
make
Counterfeit
Pearl
like
Natural
.
p.
336
BOOK
XII
.
Chap.
250.
THE
Design
and
Contents
of
this
Book
p.
33●
The
Original
of
Looking-Glass
,
with
an
accou●
when
Metal
,
and
Marble
Mirrors
were
in
use
.
p.
3●●
Chap.
251.
To
make
Looking-glass
.
p.
34●
The
Privileges
of
the
Royal
Glass
Manufactures
.
〈◊〉
Of
Round
Mirrors
.
p.
34●
Chap.
252.
To
Grind
,
Polish
,
and
Diamond-Cut
t●
Glasses
.
p.
34●
Chap.
253.
To
File
,
or
Silver
them
.
p.
34●
Chap.
234.
To
make
Concave
,
and
Convex
Burnin●
Glasses
.
p.
34●
Chap.
255.
To
make
Metal
,
or
Steel
Burning
Mi●rors
,
whether
Concaves
,
Sphericks
,
or
Parabolicks
,
p.
34●
Chap.
256.
To
Polish
the
Steel
Mirrors
.
p.
34●
The
Invention
and
Effects
of
Burning
Mirrors
.
p.
35●
An
Appendix
concerning
Glass-Eyes
.
p.
35●
FINIS
.
Notes, typically marginal, from the original text
Notes for div A43083-e1810
*
Without
doubt
the
Author
has
an
eye
in
this
Expression
to
the
Multiplication
of
Gold.
*
Adepti
.
*
From
the
Latine
Glastum
,
which
is
called
Vitrum
by
Caesar
in
his
Comment
.
lib.
5.
†
It
naturally
hath
a
Blueishness
.
*
Such
as
Van
Helmont's
Alkabest
.
*
Wheel-Fire
.
*
Neri
says
of
the
Spirit
of
V.V.
Notes for div A43083-e6560
*
Neri
says
Lime
.
Notes for div A43083-e18250
*
London
Quarts
.