wet them with distill'd vinegar let them dry then put them in a Retort which hath a large body and a long neck give them a subliming fire in sand for 12 hours then break the glass and take all that is sublim'd to the neck and body of the Retort mix it with the bottom remaining residence weigh them and add as much sal Armoniack as shall be wanting in this first sublimation grind them all together on a Porphyrie imbibing them with distilled Vinegar then sublime them in a retort as before and this sublimation is to be repeated after the same manner so long till the Manganese remain all at the bottom fusible This is the medicine that colours Crystal and past into a Red Diaphanous colour and into a Rubie colour there are used of this medicine 20 ounces to one of Crystall or glass but more or less may be used thereof according as the colour requires The Manganese must be of the best from Piemont to colour glass of a fair and very sightly colour A Red as red as Blood CHAP. CXXI PUt six pound of glass of Lead common glass ten pound into a pot glased with white glass when the glass is boiled and refined give it Copper calcined to redness according to discretion let them incorporate mixing well the glass then give it so much Tartar powdered that the glass may become as Red as blood if it be not so much coloured add Copper calcin'd to Redness and Tartar till it come to this colour The colour of a Balass CHAP. CXXII PUt Crystall Fritt in a pot into a furnace cast it thrice into water then tinge it with Manganese prepared into a clean purple then take Alumen Catinum fifted fine put in thereof so much as will make the glass become purple and this you shall do eight times and know that Alum makes the glass grow Yellow and a little Reddish but not blakish and it always makes the Manganese flie away and the last time that you add Manganese give not the glass more Alum except the colour be too full and so you shall have a most fair Ballas colour To extract the Anima Saturni which serves for many things in Enamels and glass CHAP. CXXIII PUt Litharge well ground into an earthen pan well glased pour upon it distilled Vinegar which must be higher than it four fingers let them stand till the Vinegar is coloured into a milkie colour which it will suddenly be decant off this coloured Vinegar and put new upon the Litharge repeat this work till the Vinegar becomes no more coloured Then let these coloured Vinegars stand in earthen pans glased that the milkie substance of the Lead may sink to the bottom decanting off the clear Vinegar this milkie material is the Anima Saturni to wit the most noble part which serves for enamells and glass in many things and if this white stuff precipitate not well cast upon it cold water which is wont to make it fall to the bottom and when it doth not precipitate evaporate the Vinegars and waters and the more subtile part remains at the bottom good for many things in this Art A fair Red to Enamel Gold CHAP. CXXIV TAke Crystall Fritt made in this manner to wit salt of Polverine ten pound white Tarso finely ground eight pound make a solid past with this stuff and water and make thereof as it were small and thin wafers Put these on earthen pans in a little furnace made in the fashion of a calcar that they may be calcin'd with a good fire ten hours and in defect thereof put them in the furnace near the Occhio for three or four days till they be well calcin'd Take calcined Lead and Tin prepared as in Chap. 93. Tartar of white wine calcin'd of each two pound mix them well together and put them into a pot glased with white glass let them melt and refine well then cast them into water do this twice then put them in the furnace and when well refin'd in the pot give them of Copper calcin'd to Redness ten ounces Let the colour purifie well then give it Crocus Martis made with Aqua-fortis putting it in by little and little as you do with Manganese then let it settle six hours and see whether the colour be good if not give it Crocus by little and little till you have the desired colour A fair Red for Gold after another Manner CHAP. CXXV TAke Crystall Fritt made as in Chap. 124. four pound melt it in a clean pot glased cast it when refined into water and refine it again in the furnace cast it into water a second time and refine it again then put in by little and little of calcin'd Lead and Tin purified half an ounce at a time let the Calces incorporate and when the glass becomes of an ash colour put in no more Calces For too much of them makes the colour white and not good Let the glass refine with the calces then put into the glass fine Red Lead two ounces and when incorporated and refin'd well cast them into the water and set them in the furnace eight hours then take of the Copper calcin'd to Redness and of white crude Tartar of each half an ounce put them and mix them well in the pot then add of Lapis Haematites wherewith the Cutlers burnish and of fixed Sulphur of each one Drachm mix and incorporate these powders and see if the colour be too deep give it a little Manganese which makes it lighter and if it be too light a colour give it fixed Sulphur and Lapis Haematites and a little of Copper calcin'd to Redness and a little Tartar of white wine with discretion and do this till it come to the desired colour To fix Sulphur for the work abovesaid CHAP. CXXVI BOil Flowers of Brimstone in common oil an hour take them from the fire and cast upon them the strongest Vinegar and the Sulphur will suddainly sink to the bottom and the oyl will swim upon the Vinegar empty the oyl and Vinegar and put new oyl upon the Sulphur repeat this thrice and then you shall have a fixed Sulphure for the work abovesaid Glass as Red as blood which may serve for the abovesaid fair Red. CHAP. CXXVII MElt in a pot of glass of Lead six pound Crystall Fritt ten pound cast them when refined into water put them again into the pot when they are well refin'd give this glass four or six ounces of Copper calcin'd to Redness let them boil and refine well then give them Red Tartar powdered which incorporate with the glass let them refine and see if the colour please you and if it be not heightned with the Copper and Tartar put it again to anneal till it come to be sufficiently Red this is done to heighten the colour An approved way to make a fair Red Enamel for Gold CHAP. CXXVIII TAke of Crystall Fritt boil it as in Chap. 124. six pound refine it well in a
opacity for the salt being vitrified makes the metall lose it's transparencie and gives it a little paleness and so by little and little makes the said Skie colour which is the colour of a Turcois-stone when the colour is enough it must be wrought speedily for the salt will be lost and evaporated and the metall returns again to be transparent and foul-coloured But when the colour is lost in working add new burnt salt as before that the colour may be reduced and so you shall have your desired colour Let the Conciators well observe that this salt always crakcles when it is not well calcined therefore let him have a care of his eyes and sight for it endangers them The quantity of salt must be put in by little and little leaving some distance between each time till he see the desired colour But in this I used neither dose nor weight but my eye onely I have often made this colour for it is very necessary in counting houses and the most prised and esteemed colour that is in the art Wherefore to make a Blew for counting houses take the Green of Crystal metall and half Sea-green made of half Rochetta which will become a fair colour although it be not all Crystall metall The second Book wherein are shown the true ways of making Calcidony of the colour of Agats oriental Jaspers with the way to prepare all colours for this purpose and also to make Aqua-fortis and Aqua Regis necessary in this business And the Manner of calcining Tartar and uniting it with Rosichiero made Chap. 128. which produceth pleasant toyes of many colours with undulations in them and gives it an opacity such as the Natural and Oriental stones have CHAP. XXXVII SInce I am to shew the manner how to make Calcidonies Jaspers and Oriental Agats it is necessary first to teach the preparation of some mineral things for such compositions and although some of them may be publiquely bought yet notwithstanding I being desirous that the work should be perfect judged it pertinent to my purpose to shew the most exquisite Chymical way that the skilful may make every thing of themselves both more perfect and with lesser charge For there is no doubt that when the materials are well prepared and the colour of the metalls is well opened and separated from their impurity and terrestriety which usually hinder the ingress of their tincture into glass and their union in their smallest parts that then they colour the glass with lively shining and fair colours which very far surpass those that are vulgarly and usually made in the furnace And because the colour of Calcidony or rather it's compound which is nothing else but as it were a reuniting of all the colours and toyes that may be made in glass a thing not common nor known to all if they be not well prepared and subtilised as is necessary they give not the beauty and splendor to glass as is required Wherefore it is necessary that the metalls be well calcined subtilised and opened with the best Aqua-fortis Sulphurs Vitriols sal Armoniak and the like materials which in length of time and at a gentle heat are opened and well prepared but a violent fire herein hurteth much Tartar and Rosichiero besides their being very perfect and well calcined must be also put in proportion and in fit and due time and you must also observe that the metall be well boiled purified and perfected and in working of it some such care is to be used as the diligent masters are wont to use and by thus doing the true Jasper and Agat and Oriental Calcidonies with the fairest and beautifullest spots of wavings and toyes with divers lively and bright colours Hence it truly appears that nature cannot arrive so high in great pieces and although it is said and may be made to appear true that Art cannot attain to Nature yet experience in many things shews and in particular in this art of the colours in glass that art doth not onely attain to and equal nature but very fair surpasses and excells it If this were not seen hardly would you believe the beauty the toyes and wavings of divers colours variously disjoyned one from the other with a pleasing distinction which is seen in this particular of the Calcidony When the medicine is well prepared and the glass wrought at a due time the effect that cometh thence passeth all imagination and conceit of man In the three ways to make it which I teach I believe you may see how far the art of glass ariseth in this particular where I demonstrate every particular so distinctly that any practitioner and skilful person may understand and work without errour and he that works well may find out more than I set down How to make Aqua-fortis call'd parting water which dissolves silver and quick-silver with a secret way CHAP. XXXVIII TAke of Salt-peter refined one part of Roch-alum three parts but first exhale in pans all the humidity from it to every pound of this stuff add an ounce of Crystalline Arsnick this is a secret and no ordinary thing which besides it's giving more strength to the water helps to extract better the spirits from the materials which are the true nerves and strength of the Aqua-fortis without which the water perhaps would be no better than well-water Powder and mix them well together adding thereunto the tenth part in the whole of Lime well powdred mix them well and put so much of this stuff into glass bodies that about three quarters of them may be full let them be luted with strong lute which I remit to the Artist as a common thing but one not vulgar I will declare Take some lome for example of the river Arnus which is a fat earth known to all one part of sand 3 parts of common wood-ashes well sifted of shearings of woollen cloath of each one half mix them well together and incorporate them into a past with common water work them well together for the more 't is wrought the better 't is therefore see that your past be a little hard to all these add a third of common salt which incorporate well with the lute 't is a business of importance then lute the glasses with this perfect lute and set them in wind furnaces fitting to their bottoms baked earth which will bear the fire Under the bottom of these bodies let there be four fingers of sand thick Iron bars to bear the weight fill'd round about with sand put receivers of glass to them large and capacious within lute the joynts well with lute made of fine flowre and lime of each a like quantity powdred mixed tempered and impasted with the whites of Eggs well beaten with this lute binde and lute the joynts with roulers of fine linnen which when well dryed and rould about three or four times make a very strong lute rouling but once at a time and letting it dry a little before the second rouling
And then this will bear all the violence fury and force of the spirits of the Aqua-fortis and to this end fit exactly a very large receiver to every glass body And when they are well dryed make a fire in the furnace onely with coal at first and that a very temperate one for three hours for in that time the windy moisture distilleth off which endangers the breaking of the glasses and continue for six hours a moderate fire afterwards encrease it gently adding billets of dry oaken wood to the coals and so proceed by little and little augmenting it for six hours more and then the head will be tinged with Yellow a sign that the spirits begin to rise continue this degree of fire untill the spirits beginning to condensate colour Red the receiver and head which will always grow deeper colour'd like a Rubie Then encrease the fire for many hours till the head and receiver become Red which sometimes lasteth two whole days Continue the fire by all means till all the spirits of Aqua fortis be distill'd off which is known when the head receivers by little and little begin to grow clear and become white as at first and wholly cold yet notwithstanding continue the fire one hour more Then let the furnace cool of it's self Observe that when the head and receivers are Red and the fire strong you admit no wind nor cold air into them nor touch them with any cold thing for then they will easily crack and your pains cost and time will be lost wherefore when they are in this state let them be kept hot in the fire Now when all is cold put upon the head and receiver linnen cloaths wetted and well soaked in cold water that the spirits which are about the head and receiver may the better sink into the Aqua-fortis leave them thus for 12 hours then bath the joynts and lutings with warm water till they being moistned you may take off the bandage and the head from the receiver which usually are safe The bodies may be broke and thrown away for they will serve no more powder the dregs and residences of the Aqua-fortis to wit about their third part and to every pound of them add four ounces of Salt-peter refined and put them into another body luted and pour on them the said Aqua-fortis lute and distil them as before in every thing Keep the Aqua-fortis in earthen jugs well stopt that the better spirits may not evaporate This parting water is good for the following uses Some there are that instead of Roch Alume take as much more of the best Vitriol such as the Roman or the like is The sign that Vitriol is good for this use is that being rub'd upon polished Iron it colours it with a Copper colour This Vitriol purified after the following manner will make a stronger Aqua-fortis than Alume To purifie Vitriol to make the strongest Aqua-fortis CHAP. XXXIX DIssolve the best Vitriol the better the stronger the Aqua-fortis in common warm water let the solution stand three days being impregnated with salt then filtre and evaporate in glass bodies two thirds of the water and put the remainder into earthen pans glased which set in a cold place in 12 hours the Vitriol will shoot into pointed pieces appearing like natural Crystall of a fair Emerald colour Dissolve this same Vitriol again and do as before and repeat it thrice at each solution there will remain at the bottom of the glass a Yellow substance which is it's unprofitable Sulphur and is to be cast away At the third time the Vitriol will be purified and fit to make a good and strong Aqua-fortis much stronger than the ordinary especially if the Nitre be well refined How to make Aqua Regis CHAP. XL. TO every pound of the said Aqua-fortis put two ounces of sal Armoniack powdered into a glass body which set in a pan full of warm water and let the Aqua-fortis be often stirred which will soon dissolve the sal Armoniack with it's heat which will be tinged with a Yellow colour put in more sal Armoniack as long as the Aqua-fortis will dissolve any when it dissolves no more let it settle a little when it is clear decant it leasurely off and in the bottom there remains the unprofitable terrestriety of the sal Armoniack Now this Aqua Regis is strong and fit to dissolve Gold and other metalls but silver it toucheth not at all To burn Tartar CHAP. XLI PUt Tartar of Red-wine which is in great pieces and appears full of spots lay by that which is in powder for it is not good into new earthen pots and let it burn in kindled coals until it smoaks no more and when it is calcin'd and in lumps of a black purplish sustance then it is burned and prepared How to make a Calcidony in Glass very fair CHAP. XLII PUt of Aqua-fortis two pound into a glass body not very great but with a long neck four ounces of fine silver in small and thin pieces and set them near the fire or in warm water which as soon as the Aqua-fortis begins to be hot 't will work and dissolve the silver very quickly and continue so until it hath dissolved and taken it up then take a pound and a half of Aqua-fortis and in it dissolve as you have before done with silver six ounces of Quick-silver when all is dissolved let these two waters be well mixed in a greater body and powr upon them six ounces of sal Armoniack and dissolve it at a gentle heat when it is dissolved put into the glass one ounce of Zaffer and half an ounce of Manganese each prepared and half an ounce of Ferretto of Spain a quarter of an ounce of Crocus Martis calcin'd with Brimstone thrice calcin'd Copper Blew smalts of the Painters and Red-lead of each half an ounce powder all these well and put one after another into the body which then stir gently that the Aqua-fortis may be incorporated well with the said powder keep the body close stoped for ten days every day stirring it well several times and when they are well opened then put it into a furnace on sand and make a most temperate heat so that in 24 hours all the Aqua-fortis may be evaporated Observe that at last you give not a strong but a gentle heat that the spirits of the Aqua-fortis may not evaporate and in the bottome there will remain a Lion colour which being well powdered keep in a glass vessel When you would make a Calcidony put into a pot very clear metall and made of broken pieces of Crystall vessels and Crystalline and white glass which hath been used For with the Virgin Fritt which hath never been wrought the Calcidony can never be made and the colours stick not to it but are consumed by the Fritt To every pot of about 20 pound of glass put two ounces or two ounces and a half or three ounces of this powder or medicine
at three times and incorporate and mix them that the glass may take in the powder in doing whereof it raiseth certain Blew fumes as soon as it is well mixed let the glass stand an hour then put in another mixture and so let it alone 24 hours then let the glass be well mixed and take thereof an essay which will have a Yellowish Azure colour this proof being returned many times into the furnace and taken when it begins to grow cold will shew some waves and divers colours very fair Then take Tartar eight ounces soot of the Chimny well virrified two ounces Crocus Martis calcin'd with Brimstone half an ounce put by little and little all these well powdered and mixed into this glass at six times expecting a little while at each time still mixing the glass that the powder may be well incorporated As soon as all the powder is put in let the glass boil and settle 24 hours at least then make a little glass body of it which put in the furnace many times and see if the glass be enough and if there be on the outside toyes of Blew and Sea-green Red Yellow and all colours with toys and it hath some waves such as Calcidony Jaspers Oriental Agats have and that the body kept within be as to the sight as red as fire Now as soon as it is made and perfected it is wrought into vessels always variegated which are not to be remade for they do not arise well These vessels may be made of divers sorts and drinking glasses of many fashions broad drinking cups salts flower pots and the like toyes still observing that the master workman pinch off well ye glass that is wrought with pincers and anneal it sufficiently that it may make waves and toyes of the fairest colours You may also make with this pot dishes pretty large in Oval triangular quadrangular form as you will and afterwards work it at the wheel as Jewels for it takes polishing and a fine lustre and it may serve for little tables and cabinets so that those little Jewels will represent the Oriental Agat Jasper and Oriental Calcidony and when it happens that the colour fadeth and the glass becomes transparent and no more Opacous as it ought to be for these works then cease from working put to it new Tartar calcin'd soot and Crocus for thus as before it takes a body and Opacousness and makes the colours appear set it then to purifie many hours that the new powder put in may be incoporated as 't is usual then work it This was my way to make Calcidony in the year 1661 in Florence at Casino in the glass furnaces at which time I caused to work in the furnace the brave Gentleman Nicolao Landiamo my familiar friend and a man rare in working Enamels at the lamp in which furnace I made many cups of Calcidony at the same time which always were fair to all essays never departing from the aforesaid rules and having the materials well prepared The second Calcidony CHAP. XLIII 1. IN a pound of Aqua-fortis dissolve three ounces of fine Silver cut small in a glass body well closed set this aside 2. In another glass body put one pound of Aqua-fortis wherein dissolve 5 ounces of Mercurie well purified close the body well and set that aside 3. In another little glass body put one pound of Aqua-fortis wherein dissolve two ounces of sal Armoniack then put into this dissolution of Crocus Martis made with Aqua-fortis Ferretta of Spain Copper calcin'd Red as in Chap. 24. Brass calcin'd with Sulphur of each half an ounce put all these materials well ground and powdered by themselves and then one by one into the bodies by little and little with patience because they all arise much 4. In another little glass vessel let there be put one pound of Aqua-fortis and therein dissolve one ounce of sal Armoniack and in the dissolution of crude Antimony powdered Vitriol purified of Azure or Blew Smalts of each half an ounce one ounce of Red-lead grind them all well and set the vessel by 5. In a like body dissolve in one pound of Aqua-fortis two ounces of sal Armoniack then put in one ounce of Zaffer prepared and a quarter of an ounce of Manganese prepared and half an ounce of thrice calcin'd Copper and one ounce of Cinaber put in warily every one of these things well powdered by themselves into the body avoiding those things that swell up arise and fume set this aside 6. In another small glass body dissolve in one pound of Aqua-fortis two ounces of sal Armoniack and then add of Cerus Painters Red-lake Verdigreas the Skales of iron that fall from the anvil of each half an ounce these swell very much Let all these 6 bodies stand 12 days shake them well six times every day that the water may penetrate subtilise the ingredients and metalls to communicate their tincture to the glass After this time take a great glass body luted at the bottom into which you shall empty all the materials of these six bodies by little and little that they may not run out nor make the glass crack in this great body mix well the waters that the materials may be well united and mixed together set this glass in ashes at a very gentle heat for twenty four hours that the water may evaporate Observing that the fire be gentlest at last lest the powder be wasted with too much heat He that will regain the Aqua-fortis may joyn the head receiver lute the jonts as is usual and the water being evaporated there remains at the bottome a reddish powder which is kept in a glass closed for use Put this powder or medicine into metall made of broken pieces of glass and old glass but not made of Virgin Fritt of Crystall or Crystalline as in the first Calcidony hath been said Give the metall the same quantity and use the said distance of time as in the other then give it the body of burnt Tartar and soot of the Chimny Vitrified and Crocus Martis made with vinegar then let them settle twenty four hours and cause a vessel to be made thereof and put it in the fire and observe whether it take body and opacity and if it shew the variety of colours with toyes and wavings work all of it into vessels of divers sorts framing therewith all sorts of workmanship and variety of toyes With this sort of Calcidony I made many cups all which were fair and besides with this past of Calcidony may be made many hundred crowns for gentle men as fair as can be uttered These were seen by Ferdinando the great Duke of blessed memory and by many other Princes and Lords and this was done by me in Flanders The third way of Calcidony CHAP. XLIV 1. IN a glass body in strong Aqua-fortis dissolve four ounces of fine leaf Silver that is to say round cuttings of leaf silver stop the body and set it aside
water that this glass may not draw away with it the Marble and scale it which it always doth when the marble is not wetted and incorporates it into its self This sticking of the marble makes a foul colour in the works Wherefore continually wet the marble whiles this glass is wrought otherwise all the fairness and beauty will be taken from it Do thus as often as you take the metall out of the pot This sort of glass is so tender that if it be not cooled in the furnace and taken a little at a time and held on the Irons and the Marble continually wetted 't is impossible to work it Which proceeds from the calcined Lead which makes it most tender as a caudle Glass of Lead of a wonderful Emerald colour CHAP. LXV TAke of Polverine Fritt 20 pound Lead calcined 16 pound serce these two powders first by themselves then when well mixed put them in a pot not too hot and at the end of 8 or 10 hours they will be melted then cast them into water and separate the Lead Put them a second time into the pot and in 6 or 8 hours they will be melted then cast them into water and separate the lead This being twice done the metall will be freed from all the Lead and all the unctuosity which caleâ—ned Lead and Polverine give it and will acquire a most bright and shining colour and in few hours 't will run and become very clear then give it brafs thrice calcined made as in Chap. 28. fix ounces and therewith mix a peny weight of Crocus Martis made with Viniger put in this mixture at six times alwayes mixing well the glass and taking at each time the intervall of saying the Creed Let this gloâ—s settle an hour then mix and take a proof thereof When you like the colour let them incorporate 8 hours then work them into drinking glasses which will appear in a colour proper to the Emerald of the old Oriental rock with natural shining and glittering Let this glass stand in a pot when sufficiently coloured till it hath consumed all the dregs and till it be perfectly refined and then 't will be so like the natural Emerald that you can hardly know one from the other Another wonderful Green Emerald beyond all other Greens CHAP. LXVI THis is made in every thing as the Emerald-green in Chap. 65. but with this difference that this onely takes six ounces of the powder of the Caput mortuum of Vitriolum Veneris made as in Chap. 131. 132. and the other the same quantity of Brass prepared This happily is the rarest Green that can be made any way whatsoever which I have often made to my content Topaz colour in glass of Lead CHAP. LXVII TAke Crystal Fritt instead of Polverine Fritt 15 pound Lead calcined 12 pound mix and serce them both together set them in the furnace not too hot at the end of 8 hours cast them into water separate the Lead from the pot and glass and repeat this twice then hereto add half glass of a Gold Yellow colour let them incorporate and purifie for an Oriental Topaz A Sky or Sea-green in glass of Lead CHAP. LXVIII TAke Crystall Fritt 16 pound Lead calcined 10 pound mix and serce them well together set them in the furnace in 12 hours the stuff will be melted cast both it and the pot into water separate the lead let them stand in the furnace 8 hours a second time then cast them into water a second time and separate the lead put them in the furnace and in 8 hours your metall will be most clear then take of Brass calcined 4 ounces of Zaffer prepared a quarter of an ounce mix these well and put in this mixture at 4 times to the glass of lead and at the end of two hours mix well the glass and take a proof then let the glass stand 10 hours in which time the colours will be well incorporated and the glass be very well perfected and be fit to be wrought in any works The colour of a Granat in glass of Lead CHAP. LXIX MIx 20 pound of Crystall Fritt with 16 pound of calcined lead serce and put them into a pot and to them of Manganese three ounces of Zaffer half an ounce both prepared let them stand 12 hours cast them into water and separate the lead put them again into the furnace and let them purifie 10 hours then mix them and take a proof when the colour is perfect and of a fair Granat work the glass as before Saphyre colour in glass of Lead CHAP. LXX TAke 15 pound of Crystal Fritt and lead calcined 12 pound mix and serce them well together then add to them two ounces of Zaffer and of Manganese a peny weight both prepared let them stand in the furnace 12 hours cast them into water and separate the lead repeat this a second time and you shall have the colour of an Oriental Saphyre very beautiful and fair with the mixture of a double Violet colour A Yellow Gold colour in glass of Lead CHAP. LXXI TAke of Crystall Fritt and calcined lead of each 16 pound mix and serce them well and add to them of Brass thrice burned six ounces Crocus Martis made with Vinegar 2 peny weight put them well mixed in the furnace let them stand 12 hours then cast them into water separate the lead set them in the furnace other 12 hours and in that time 't will be clear mix them and take a proof If it wax green give it a little Crocus Martis which takes away the greeness till it become a most fair Gold Yellow colour often made by me The colour of Lapis Lazuli CHAP. LXXII MElt the fairest Lattimo made as in Chap. 55. with the whitest Crystall and most tender in a pot when 't is well melted give it of Blew Painters Smalts by little and little and when the colour is good let it stand in the fire two hours and make a proof and when 't is good let it stand 12 hours mix them and work them If the metall rise put in a piece of leaf Gold to diminish the rising This will be very like the natural Lapis Lazuli The way to colour natural Crystal of a Viper colour without melting it CHAP. LXXIII TAke natural Crystal of a good water and very clear free from Terrestriety in several pieces of divers Magnitudes crude Antimony Yellow Oâ—piment of each powdered two ounces sal Armoniac one ounce powder and mix well these three last put this mixture in the bottom of a Crysible that wiil bear the fire and above this mixture the Crystalls in pieces then cover this Chrysible with another mouth to mouth lute them well and when they are dry set them in coals which kindle by little and little and when they begin to fire let them flame of themselves and then they will smoak much do this operation in a large Chimney and avoid the dangerous and deadly fumes when all
fresh water on the remainder then boil and decant as before repeat this as long as the water carries off any Calx Recalcine the gross remaining Calx then draw off again the more subtile parts as before Then evaporate the waters which carried off the finer Calx at a gentle fire especially at the last that the Calx may not be wasted which will remain at the bottome much finer than the Ordinary Take then of this fine Calx of Crystal Fritt made with Tarso ground and serced fine of each 50 pound of white salt of Tartar eight ounces powder serce and mix them well Then put this stuff into a new earthen pot baked giving it a fire for ten hours then powder it and keep it in a dry covered place Of this stuff are made all the Enamels of whatsoever colours This shall be call'd the stuff for Enamels To avoid our Authors repetitions observe 1. The pots wherein Enamels are made must be glased with white glass and bear the fire 2. Mix and incorporate well the colours and stuff for Enamels 3. When the Enamel is refined and the colour good and well incorporated take it from the fire with a pair of tonges for the Goldsmiths use 4. The way to make Enamels is this powder grind and serce well the colours and mix them first well one with another and then with the stuff for Enamels then set them in pots in the furnace when they are all melted and incorporated cast them into water and when dry set them in the furnace again to melt which they soon do make a proof and if the colour be too high take out some of it and add more of the stuff for Enamels and if too light add more of the colour at pleasure to your content then take it out of the furnace A Milk-white Enamel CHAP. XCIV TAke of the stuff for Enamels six pound of Manganese prepared 48 grains cast it thrice into water when refined and melted An Enamel of a Turcois colour CHAP. XCV TAke of the stuff for Enamels six pound melâ— refine and cast it into water set it in the furnace again when 't is melted and refined put in of thâ—icâ— calcin'd Brass three ounces Zaffer prepared 96 grains wherewith mix well 48 grains of Manganese prepared mix them well and put them into the stuff at four times mixing them well every time let them incorporate make a proof with your eye that you may know by the eye when the colours are good as I have always done because sometimes the powders colour more and sometimes less Thus I did at Pisa and by mine eye without weights coloured all sorts of Glass Another Azure Enamel CHAP. XCVI TAke of the stuff for Enamels four pound wherewith mix of Zuffer prepared two ounces and mix with it at first of thrice calcin'd Brass 48 grains mix these two powders well with the stuff for Enamels set them in the furnace and work according to the rules A Green Enamel CHAP. XCVII TAke of the stuff for Enamels four pound put it in the furnace and in ten or tewlve hours 't will be melted and refined cast it into water and put it again into the furnace in it's own pot when 't is refined give it of Brass thrice calcin'd two ounces wherewith mix of scales of Iron well ground two ounces put them in at three times mixing and incorporating them every time and ever and anon see whether the colour please when 't is well take it from the fire Another Green Enamel CHAP. XCVIII TAke of the stuff for Enamels six pound wherewith mix well Ferretto of Spain well ground three ounces and mix with it 48 grains of Crocus Martis put them into the furnace c. These furnaces are made from about four to six inches for all Enamels Another Green Enamel CHAP. XCIX TAke of the stuff for Enamels four pound which in few hours will be refined then cast it into water and put it again into the furnace and let it refine then add these two powders well mixed at three times to wit of Brass thrice calcin'd two ounces of Crocus Martis made with Vineger 48 grains put them in the furnace and when they are well incorporated take them from the fire This is a fair and good Enamel A Black Enamel CHAP. C. TAke four pound of the stuff for Enamel of Zaffer and Manganese of each two ounces prepared and well mixed incorporate the stuff and colours put them in the furnace in a large pot and when refined cast them into water then put them in the furnace again and they will soon refine and make a Velvet Black Another Black Enamel CHAP. CI. TAke of the stuff for Enamels six pound of Zaffer prepared of Crocus Martis made with Vineger of Ferretto of Spain of each two ounces grind and mix well together these three powders with the stuff for Enamels put them into the furnace and when refined cast them into water put them in the furnace again and take the Enamel out when t is incorporated and the colour pleaseth you This is a fair Black Another Black Enamel CHAP. CII TAke of the stuff for Enamels four pound Tartar four ounces Manganese prepared two ounces grind and mix these two powders well with the stuff for Enamels set them in the furnace in a large pot when melted and refined cast them into water and put them into the furnace again let them refine This is a most fair Velvet Black to Enamel upon metalls ordinarily A Red Enamel CHAP. CIII To four pound of the stuff for Enamels add two ounces of Manganese prepared mix them well and set them in the furnace in a large pot when 't is refined and melted cast them into water set them again in the furnace and when refined take them out This is a fair Purplish Enamel A Purplish Enamel CHAP. CIV TAke of the stuff for Enamels six pound of Manganese prepared three ounces of Brass thrice calcin'd six ounces mix them all well together set them in a furnace and let them refine then cast them into water and put them into the same pot let them boil and when refined take them from the fire 'T is a good Enamel A Yellow Enamel CHAP. CV TAke of the stuff for Enamels 6 pound of Tartar three ounces of Manganese prepared 72 grains grind and mix well these powders together and then with the stuff for Enamels put them into the furnace in a large pot when refined cast them into water and set them again in the furnace This Enamel is of a fair Yellow to Enamel on Gold where it shews not well if you add not Enamels of other colours A Sky coloured Enamel CHAP. CVI. TAke of the stuff for Enamels 4 pound Brass calcin'd to make a Sky colour as in Chap. 21. of Sea-green made as in Chap. 23. of each two ounces of Zaffer prepared 48 grains mix first these powders well together then with the stuff for Enamels when they are refined
the most flourishing branches of them are best For from hence the Chymists seem to derive their name of Cinâ—res clavellaâ—â— from Clavola instead of Clavolati Whereof Varro l. 1. de re rust c. 40. thus In oleagineris seminibus videndum ut sit de tenero ramo exutraque parte aequabiliter praecisum quos alii clavolas alii taleas appellant ac faciunt circiter pedales Where he expounds Clavola by tender branches Nonus reads it Clavula and defines them the cutting of wood Certain it is that Clavola or Clavula comes from Clava which is our Club in English Fourthly These Salts must be kept dry for moysture and wet much endamage them Lastly some of these ashes make whiter Glass than others Oak ashes partaking of a Vitriolate nature make Glass of a darker colour and Ash-tree and Hawthorn communicating in their Salts with Niter render a more whiter metall than the former Agricola thus of the Salts make Glass The first place must be given to Salt-peter the second to white and transparent Fossil Salt the third place to the Salt of the ashes of Anthyllis or other Salt herbs some there are who give precedency to the ashes of Anthyllis or Kali and not to Salt of Nitre But those which want make Glass of two parts of the ashes of common Oak or the Ilex or Scarler-oak or Cerrus the Bitter-oak or for want of them with the ashes of Beech or Fir with one part of gravel or sand and they add a little Salt extracted from Sea salt-Salt-water and a little Manganese but these ashes make a Glass less white and transparent Now these ashes are to be made of old trees whose trunk when grown to six foot high is hollowed and fire being put into the cavity the whole tree is burnt down and turn'd to ashes This is done in the winter when the snows have long continued or in the Summer when it snoweth not For rains at other seasons of the year make the ashes foul by mixing earth with them Wherefore in the winter they make ashes of those trees cut into schides and burnt within doors So far Agric. But time and experience have worn out the use of Salt-peter and Fossil Salts which have given the priority to Polverine being too soft and gentle whereas Glass requires Lixivial and fixed Salts that have a Caustical and strong tast and but little Unctuosity whereof Nitre and Fossil Salt have store and therefore run most of them into Sandever unto which Nitre comes somewhat neer in tast and fattiness But Agric. and other Authors seem to mistake Pliny who puts Nitre for those Alcalizare Salts for so lib. 31. cap. 10. Quercu crematâ nunquam multum nitrum factitatum est never much Nitre was made of Oak burnt And Virgil also seems to use the word in the same sense 1 Georg. Semina vidi equidem multos medicare serentes Et nitro prius nigrâ perfundere amurca I have seen many would anoint their grain With Nitre first then lees of oil would spread This kind of good Husbandry he expresseth before when he saith Arida tantum Ne saturare fimo pingui pudeat sola neve Effetos cinerem immundum jactare per agros Nor with rich dung spare hungry grounds to feed And unclean ashes on poor Champains spread As Mr. Ogilby well renders them Now these latter verses manifestly prove that salts enrich the soil and therefore it seems that Nitre in the former verses must signifie either salt extracted from ashes or ashes themselves wherein the salts lye And to the same purpose are those verses in the same Book To burn dry stuble on the barren fields In crackling flames oft handsome profit yields From which burning nothing but salt is produced whose nature 't is to destroy the weeds which being a long time and strongly rooted in the earth would draw away from the new sowed and tender corn all the nourishment and thereby render the ground barren and the seed unprofitable besides the use of ashes and salt to destroy worms which otherwise might eat up the grain But the coldness of Nitre as my Lord Bacon affirms is an enemy to all sorts of grain Besides learned Caesalpin lib. 3. cap. 23. de metall Calls the ashes of Kali a kind of Nitre Add hereunto that in the Western parts of England these Algas whereof Kalp or Kelp is made serve the Husbandmen to stercorate their land Which is practised also by the inhabitants of the Mediterranean as Ferantes Imperatus relates And though Nitre may be extracted from sea-Sea-water and some Vegetables yet 't would run almost all of it into Sandever being put into the Furnaces Chap. 7. SAlt of Lime 'T is not here used that which is sometimes found on old walls thence call'd Paretonium is much stronger than the Ordinary salt of lime a large piece whereof I have amongst my Cimelia very Diaphanous very like in figure to Alume and of a strong Saline tast Ferant Imperatus commends the Lime made of the Pisces crustacei and testacei such are Oysters and Crabs or Lobsters to extract a good salt for glass And upon experience I have found that a lime of them used in Holland by the plaisterers affords plenty of a strong salt But this salt salt though it make a very white glass yet 't will not be so transparent as that of Kali and most thereof will run in the pots into Sandever Chap. 8. FRit seems to be derived from Frittare to Fry For 't is nothing else but salt or ashes fryed or baked together with sand and so the English call the whole quantity baked at a time in the Calcar a batch And secondly the Frit melted runs into lumps like Fritters call'd in Italian Frittelle or little Frits 'T was by some anciently call'd Hammonitrum and by others more agreeable to Etymologie Ammonitrum compouuded of 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 sand and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 Nitre For so Pliny lib. 36. cap. 26. Fine sand from the Vulturnian sea is mixt with the weight or measure of three parts of Nitre and being melted 't is carried to other Furnaces There a mass is made which is call'd Ammonitrum and this being reboil'd makes pure and White glass and Caesalp more expresly Ex arena nitro fit massa quam Plin. Hammonitrum appellat hodie Fritta dicitur of sand and Nitre a mass is made which Pliny calls Hammonitrum but at this day 't is called Frit This making of Frit serves to mix and incorporate the materials well together and to evaporate whatsoever superfluous Humidity they contain in them Green-glass Frit compounded of grosser materials requires 10 or 12 hours baking more or less according to the goodness softness of the sand and ashes We have three sorts of Frits First of Crystall for Crystall metall made with salt of Polverine and sand The second and Ordinary Frit is made of the bare ashes of Polverine or Barillia without extracting the salt from them
have omitted nothing material in the Author For what need is there to say as ofteu as Manganese is boil'd with the metall that you must do thus and thus lest it run into the fire c or to repeat the same process and rules in â—ach new colour for Pastes or Glass of Lead Though you may find some needless repetitions too in this Translation not omitted I confess these reiterations caus'd a nausea in my self and believe they would in thee and therefore I passed them over Then observe that there being many words peculiar to this Art I was compell'd to have recourse to the workmen and for sueh things and materials not used nor known here to take them upon trust from such workmen as have wrought at Muran and other parts of Italy As for other things I have carefully surveid them my self Now for the observations I have been more large especially in a business wherein so little hath been said and therefore have delivered whatsoever is material that I have met with in any good Author concerning whatsoever Neri treats of that thou might'st have together all that is substantially written upon this unusual subject and have supplied some things defective in our Author or very fit to be known to Curious persons Lastly I doubt not but our workmen in this Art will be much advantaged by this publication who have within these twenty years last past much improved themselves to their own great reputation and the credit of our nation insomuch that few foreiners of that profession are now left amongst us And this I the rather say because an eminent workman now a Master told me the most of the skill he had was gain'd by this true and excellent Book they were his own words And therefore I doubt not but 't will give some light and advantage to our Countrey-men of that profession which was my principal aim And lastly for the exotick words you 'l meet with in Reading this Book they are now current with us or else expounded in my observations Fruere utere C. M. To avoid our Authors Repetitions Observe 1 ALl the fires must be made with dry and hard Wood. 2. When the Glass is coloured before you work it mix the colours well which otherwise sink to the bottom of the pot with the metall that the Glass may be coloured throughout This must be observed all the time you work the Glass into any vessels 3. The sign that Brass or Copper are well calcin'd is that they being put into the metall make it swell and suddenly rise if they be calcin'd too much or too little those signs are wanting and Glass made thereof will be Black and foul 4. Manganese consumes the natural greenness of Glass 5. Copper Brass Lead Iron and all compositions of them as also Manganese must be put into the metall but a little at a time and at convenient distances and the pot must be large and not filled too full because they all swell and rise much and so are apt to run over into the fire to your loss To extract the salt of Polverine Rochetta and Barillia wherewith Crystall Fritt called Bollito is made The foundation of the Art of Glass-work with a new and secret way CHAP. I. POlverine or Rochetta which comes from the Levant and Syria is the ashes of a certain herb growing there in abundance there is no doubt but that it makes a far whiter salt than Barillia of Spain and therefore when you would make a Crystall very perfect and beautifull make it of salt extracted from Polverine or Rochetta of the Levant For though Barillia yield more salt yet Crystall made therewith alwaies inclines to a blewness and hath not that whiteness and fairness as that made of Polverine hath The way often by me practised to extract the salt perfectly from both of them is this which follows Powder these ashes and sift them with a fine sieve that the small pieces go not thorow but onely the ashes the finer the sieve the more salt is extracted In buying of either of these ashes observe that they abound in salt this is known by touching them with the tongue and tasting what salt they contain but the safest way of all is to make an essay of them in a melting-pot and to see whether they bear much sand or Tarso a thing common in this Art and which the Conciators very well know Set up brass coppers with their furnaces like those of the Dyers greater or lesser according as you have occasion to make a greater or lesser quantity of salt fill these coppers with fair and clear water and make a fire with dry wood and when the water boyleth well put in the sifted Polverine in just quantity and proportion to the water continue the fire and boyling till a third part of the water be consumed alwaies mixing them at the bottom with a scummer that the Polverine may be incorporated with the water and all its salt extracted then fill the coppers with new water and boyl it till half be consumed and then you have a lee impregnated with salt But that you may have salt in greater quantity and whiter put into the coppers when they boyl before the Polverine is put in about 12 pound to a copper of Tartar of red wine calcined only to a black colour dissolve it well in the boyling water mingling it with a scummer then put in the Polverine This way of Tartar is a secret and makes more and whiter salt and a more beautiful Crystall When two thirds of the water is evaporated and the lee well impregnated with salt slacken the fire under the copper and have in order many earthen pans at first filled with common water for six daies that they may imbibe less lee and salt and then with great brass ladles take the lee out of the copper and put it into the said pans take out also the ashes from the copper and put them all into the same pans and when they are full let them stand so ten daies for in that time the ashes will be all at the bottom and the lee remain very clear then with brass ladles take gently that the bottom be not raised and troubled the clear lee and put it into other empty pans and so let the lee stand two daies which by the setling of more terrestriety at the bottom becomes very clear and limpid let this be thrice repeated and you shall have the lee most limpid and discharged of all terrestriety wherewith a very fine and perfect salt is made Let the coppers be filled again and boyl with the same quantity of Tartar and then the Polverine as before continue this work till you have materials enough To strain the said lees and extract the salt first wash the coppers well with clear water then fill them with the said refined and clarified lees and make them boyl softly as before and observe that you fill the coppers with the said lee
them well in the Calcar with a rake that they may be well calcined and continue this till they begin to grow into lumps and come into pieces as big as small nuts The Fritt will be well and perfectly wrought in the space of 5 hours being stirred all that time and a sufficient fire continued and when you would see whether it be well made take a little of it out when cold if it be white yellowish and light then 't is made The calcining of it more than 5 hours is not amiss for by how much more it is wrought and calcined the better it is and the sooner it melteth in the pot and by standing a little longer in the Calcar it consumeth and loseth the yellowness and foulness which glass hath in it self and it becomes more clear and purified When the Fritt is taken out of the Calcar thus hot let there be thrown upon it 3 or 4 pails of cold water then set it under ground in a moist and cold place and the filth which arose when the salt was made as is above said is wont to be put into the same pans with the lee from Polverine fill them with common water having tubs under the pans to receive the water which by little and little drops thorow the said filth and setlings and hence comes a very strong pure and clear lee to be kept apart and herewith now and then water the Fritt abovesaid which being heaped together in a moist place the space of 2 or 3 moneths or more the longer the better then the said Fritt grows together in a mass as a stone and is to be broken with mattocks Now when it is in the pot it soon melteth stupendiously and maketh glass as white as Crystall For this Lee leaves upon the Fritt it's salt which worketh this effect When this Lee is not to be had it must be watered with common water which although it doth not work this great effect as the said lee yet it doth well and maketh it easier for melting Wherefore Fritt should stand when made some moneths which thus made alway causeth less wood to be consumed and the glass clear and sweeter to work To make Crystall in full perfection the way I always practice CHAP. IX TAke Crystall Fritt diligently made set it in pots in the furnace where there are no pots with colours for the fumes of metalls whereof the greatest part of colours are made make the Crystall pale and foul but that it may come forth white shining and fair when you put the Fritt into the pots in the furnace then cast in such a quantity of Manganese prepared as is needful according as the pots are greater or less For this lieth in the practice of the able and diligent Conciatore and belongs to his office The quantity of the Manganese and of all other colours to be put into the Fritt and metalls cannot be precisely determined either by weight or measure but must be wholly left to the eye and judgement tryal and experience of the Conciatore To make a fair Crystal when it is well melted take it from the pots and cast it into great earthen pans or clean bowls ful of clean water for it requireth to be cast into water to this end that the water may take from it a sort of salt called Sandever which hurteth the Crystall and maketh it obscure and cloudy and whilst it is a working still casteth forth Sandever a thing very foul Then put it again into a clean pot and cast it into water which is to be repeated as often as is needful until the Crystal be separated from all this salt but this is to be left to the practice of the Conciator then set it to boil 4 or 6 days and let as little Iron be mixed therewith as is possible for it gives it always a blackish tincture When it is boiled and clear see whether it hath enough Manganese and if it be greenish give it Manganese with discretion Wherefore to make good Crystall put in the Manganese by little and little at a time for it makes the Crystall of a murry colour which afterward inclines to black taking from it it's splendor mix the Manganese and let the glass clarifie till it becomes of a clear and shining colour The property of Manganese is being put in just quantity to take away the foul greasines which Crystall always hath and to make a resplendent white when the Crystall is clear limpid fair work it continually into vessels and works that most please you but not with so great a fire as common glass is wrought with Be careful that the Irons wherewith you work be clean and that you put not the necks of the glasses where the Irons touch for there always remaineth Iron into the pots of Crystall for they make it become black But this glass where the Iron rods touch may be put in to make glass for vulgar works To make Crystall-glass and white call'd otherwise common glass CHAP. X. FRitt of Polverine makes a white and fair common glass Fritt of Rochetta makes the fairest glass called Crystall which is between ordinary glass and Crystall As much Manganese prepared must be used in common glass as is in Crystalline cast the Crystalline or common glass once at least into water that you may have them fair clear and in perfection Although glass may be made without this casting into water yet to have it fairer than ordinary this is necessary to be done and may be repeated according to your pleasure as you would have them more resplendent and fairer and then you may work them into what vessels you need And to make them yet whiter Calcine them that they purifie well and have but few blisters And above all observe that if to each of them by themselves you put upon the Fritt the proportion of 12 pound of salt of Tartar purified to a 100 weight of Fritt it makes them without comparison fairer and more pliable to work than ordinary The salt of Tartar must be put in when the Fritt is made and then be mixed with Tarso or sand together with the Polverine or Rochetta sifted and then make thereof Fritt as before To make Purified salt of Tartar for the work abovesaid CHAP. XI TAke Tartar of red wine in great lumps and not in powder Calcine it in earthen pots between live coles till it become black and all it's unctuosity be burned away and till it begins to grow white but let it not become white for then the salt will not be good Put the said Tartar thus Calcined into great earthen pans full of common water heated as also into earthen pots glased make it boil with a gentle soft fire in such sort that a quarter of the water may be exhaled in two hours then take them from the fire and suffer the water to cool and become clear which decant off and it will be a strong lee then put in more common
water into the said pans after the same manner and upon the remainder of the Tartar and let them boil as before repeat this until the water become no more saltish then Filtre these waters impregnated with salt and put the clean Filtred lee into glass bodies to evaporate in the ashes of the furnace at a gentle heat and in the bottom there will remain a white salt dissolve this salt in warm water let it settle two days then evaporate it in glass bodies at a gentle heat and there will remain at the bottom a salt much whiter than at the first time dissolve this salt again and after two days setling Filtre and evaporate it in every thing as before Repeat this manner of dissolving Filtring evaporating this salt of Tartar four times which then will be a salt much whiter than snow and purified from the greatest part of it's Terrestriety which salt mixed with Polverine or Rochetta serced with a dose of Tarso or sand will make a Fritt which in the pot will yield Crystalline and common glass much fairer than that that is made without the addition of this salt of Tartar and although a fair notwithstanding a much fairer may be made with it To prepare Zaffer which serves for many colours CHAP. XII TAke Zaffer in gross pieces put it into earthen pans let it stand half a day in the furnace then put it into an Iron ladle to be heated red hot in the furnace take it thence thus hot and sprinkle it with strong vineger as soon as 't is cold grind it fine on a Porphyrie stone wash it in earthen pans glased with much warm water always suffering the Zaffer to settle to the bottom then decant it gently off this will carry away the foulness and Terrestriety from the Zaffer and what is good and the tincture thereof will remain at the bottom which thus prepared and purified will tinge much better than at first making a limpid and clear tincture which dry and keep in vessels closed for use To prepare Manganese to colour glass CHAP. XIII TAke Manganese of Piemont for this is the best of all the Manganeses at this day known in the art of glass At Venice there 's not alwayes plenty and at Moran none other is used In Tuscanie and Liguria there 's enough but that holds much Iron and makes a black foul colour That of Piemont makes a very fair murry and at last leaves the glass white and takes away the greenness and blewness from it Put this Manganese in pieces into Iron ladles and proceed thorowout as in preparing Zaffer To make Ferretto of Spain which serves to colour glass CHAP. XIV TO make Ferretto is nothing but a simple Calcination of Copper that the metall being opened may communicate it's tincture to glass which Calcination when it is well made without doubt makes divers and very beautiful colours This Calcination is made many ways I shall set down two of them not only easie but of times used by me with effects very fair in glass whereof the first is this that followeth to wit Take thin Copper-plates of the bigness of a Florentine and have one or more melting pots of the Goldsmiths and in the bottom of these pots make a layer of brimstone powdered then a layer of the said plates and over them another layer of powdered brimstone and another of Copper-plates as before and in this order fill the pot which is otherwise said to make a S S S. cover and lute well and dry this pot and put it into an open wind furnace amidst burning coals and a strong fire must be given to it for 2 hours let it cool and you shall find the copper Calcined and it will be broke in pieces by the fingers as if it were dry earth and will be raised into a black and reddish colour This Copper being beaten small and serced in a fine serce is kept well closed for use Another way to make Ferretto of Spain CHAP. XV. THis second way of making burnt Copper though it be more laborious than the first yet it will do it's effects in glass more than ordinary Thâ— Copper then instead of making a SSS with Brimstone must make a SSS with Vitriol and then Calcine it letting it stand three days in the floor of the furnace neet the occhio then take it out make another SSS with new Vitriol keep it in reverberation as before this Calcination with Copperas must be repeated six times and then you shall have a most noble burnt Copper which in colours will work more than ordinary effects To make Crocus Ferri otherwise called Crocus Martis to colour glass CHAP. XVI CRocus Martis is nothing else but a subtilising and Calcination of Iron by means whereof it's tincture which is most red in glass is so opened that it communicateth it's self to glass not only manifesteth it self but makes all other metalline colours which ordinarily are hidden and dead in glass appear fair and resplendent I will set down four ways to make it and the first is Take filings of Iron if you can have them those of steel are better mix them well with three parts of powdered brimstone and keep them in a melting pot in a furnace to Calcine and burn well off all the brimstone which soon succeeds let them stand four hours in burning coals then take and powder and serce them thorow a fine serce and put them into a Chrysible covered and luted at the top set them in the Leer of the furnace neer the occhio or the cavalet 15 days or more which then gains a reddiss Peacock-like colour as if it were purple this is kept in a close vessel for the use of glass colours for it worketh many fair feats The second way to make Crocus Martis CHAP. XVII THis second way of making Corcus Martis with so much ease ought to be much esteemed of since the Crocus made in this manner makes appear in glass the true red colour of blood and the manner of making it is thus Take filings of iron steel is better mix them well in earthen pans with strong vineger onely sprinkling them so much that they may be wet thorowout spread them in pans and set them in the sun till they be dry or in the open air when the sun is cloudy When dry powder them and if they be any whit in lumps sprinkle them with new vinegar then dry and powder them as before repeat this work 8 times then grind and serce them fine and you have a most fine powder of the colour of brick powdred which keep in vessels to colour glass A third way to make Crocus Martis CHAP. XVIII THis third way of making Crocus Martis is a way by which the deep colour of Iron is made more manifest than may seem credible and in glass is seen the truth and proof thereof Sprinkle filings of steel with Aqua-fortis in glased pans see them in the sun to dry powder
manner have I often made it at Pisa and always with good success A marvellous Sea-green above all Sea-greens of my invention CHAP. XXXI LEt the Caput mortuum of the spirit of Vitriol of Venus Chymically made without corrosives stand in the air some few days draw from it of it self without any artifice a green pale colour this material being pulverised with the addition of Zaffer prepared and with the same porportion as is said in the other prepared Brass the metall being added as in the other Sea-green it will make a Sea-green so fair and marvellous that 't will seem a very strange thing I have often made it at Antwerp to the wonder of all the spectators that saw it The manner of making Vitriol of Venus without corrosives Spagirically is to take little thin pieces of Brass of the bigness of half a Florentine and to have one or more pots as it is needful and in the bottom of them to put a layer of common Brimstone powdr'd and above it little pieces of the Brass aforesaid and than a layer of Brimstone and after that pieces of Brass work in this manner till all the Brass that you have be set to work this being done let the Brass be baked as followeth in the 140 Chap. then prove it and to your content you may see a thing of astonishment I know not whether any have tried this way which I have found wonderful wherefore I say 't is my own invention A green Emerald colour in glass CHAP. XXXII IN making Green you must observe that the metall have not much salt with metall that hath much salt as Crystall and Rochetta have you cannot make a fair Green but onely a Sea-green for the salt consumes the Green and always inclines the colour to a Blew Wherefore when you would make a fair Green put common metall made with Polverine into small or great pots and in no wise have any Manganese When it is melted and well purified add to this metall a little Crocus Martis calcin'd with vineger about three ounces thereof to a hundred weight let the metall be well mixed and remain so an hour until the metall incorporate the same tincture of the Crocus which will make the glass come out Yellowish and takes away the foulness and Blewness which the metall always hath This process will give the metall a fair Green Put of thrice calcin'd Brass made with scales as before two pound to every hundred pound of metall and this must be added at six times mixing well the powder with the metall then let them settle two hours and the metall incorporate with it then mix again the metall and take a proof and if the Green enclines to a Blew add a little more Crocus Martis so you shall have a very fair Sea-green called Leek green which at the end of twenty four hours may be wrought This Green I have many times made at Pisa which came forth sufficiently fair And so it will to every one that shall observe punctually what is abovesaid A Green fairer than the former CHAP. XXXIII BUt if you would have a Green much fairer and shining than the former put into a pot of Crystalline which hath not had any Manganese and which hath passed thorow water once or twice till all the saltness be gotten out and to this Crystalline let half of common white metall made of Polverine be put in at several times as soon as this metall is well mixed and purified take to every hundred pound two pound and a half of thrice Calcin'd brass made with plates of Brass in the arches of the furnace and with this mix two ounces of Crocus Martis Calcin'd with Brimstone and reverberated put these two powders well mixed together to the abovesaid metall using the rules as before in the said Green if the metall hath any Blewness give it a little of the said Crocus Martis which takes it away and then work it as the other Greens and there shall be made the wonderfull Green of the Burnet I have thus made it many times at Pisa with very good success for works more exact than ordinary If you will have a fair colour see that the Brass be well prepared A marvellous Green CHAP. XXXIV TAke Brass thrice calcin'd as before then in stead of Crocus Martis take the scales of iron which fall from the Smiths anvils powder them finely sift them clean from the coals and ashes and with the quantity aforesaid mix them well with the Brass and put them to the common glass metall of Polverine without any Manganese with the rules aforesaid in the Green and with this Crocus Martis or scales you shall doubtless have a more marvellous Emerald Green-colour which will have wholly lost it's Azure and Sea-colour and will be a Yellowish green after the Emerald and will have a shining and fairer lustre than the aforesaid Greens The putting in of scales of iron was my own invention In the rest of the work let the rules and doses as in other Greens be observed and you shall have a strange thing as experience hath often shown me Another Green which carries the Palm from all other Greens made by me CHAP. XXXV TO a pot of 10 pound of metall to wit half of Crystalline passed thorow water several times and half of common white metall of Polverine take four pound of the common Frit of Polverine wherewith mix three pound of red Lead unite them well together and put them into the same pot and in few hours all of them will be well purified then cast all this metall into water and take out the Lead then return the metall which hath passed thorow the water into the pot let the metall purifie for a day then if you put in the colour made Chymically with the powder of the Caput mortuum of the Spirit of Vitriolum Veneris adding a very little Crocus Martis there will arise a marvellous Green fairer than ever I made any which will seem to be a very Emerald of the ancient Oriental rock A Blew or Turcois a principal colour in this art CHAP. XXXVI PUt sea salt which is called black or gross salt for the ordinary white salt which is made at Volterra is not good into the Calcar or Fornello till all the moisture be evaporated and it becomes white then pound it well to a small white powder This salt so calcin'd keep to make a Blew or Turcois colour Put into a small or great pot of Crystal metall died with the colour of Sea-green made as hath been said many ways But let the colour be fair and full for this is of great importance to make a fair Skie colour according as you would have the Sea-green fair and excellent To this metall so coloured put of the said salt calcin'd into the pots mixing it well with the metall and this is to be put in by little and little until the Sea-green lose it's transparencie and diaphanietie and takes
2. In another body of like glass dissolve in one pound of Aqua-fortis five ounces of Quick-silver purified with vinegar and common salt in a wooden dish with a wooden pestle stir the Mercury sufficiently round with strong vinegar and wash it with clear common water until 't is dissolved and carry away all the common salt together with the blackness of the Mercurie repeat this many times Then strain this Mercurie through canvas and dissolve it in the abovesaid Aqua-fortis as before close the glass vessel and set it aside 3. In another glass body dissolve in a pound of Aqua-fortis three ounces of fine Silver calcin'd after this manner to wit amalgamate the silver with Mercurie mix the amalgama with as much more common salt well prepared from all ' its terrestriety by dissolving it in common water and boyling it a little and then let it settle two dayes that the terrestriety mixed with the salt may sink to the bottome then filtre the water and in the bottome will remain the grossness and terrestrity of the salt evaporate this water filtred from the terrestriety of the salt in a glass vessel and dry it well repeat this till the salt sends no more dregs to the bottom and then it will be perfect and fit for the work This purifying of the salt is made that it may be more efficacious to open the silver otherwise it will be hard to separate them Put all these things amidst the coals in a pot that all the Mercurie may be evaporated away and the Silver remain at the bottome calcin'd and powdered and add unto it it's weight of new common salt prepared as before mix them well and put all in a chrysible or a pot to calcine six hours in the fire Wash this stuff in a glased pot many times with warm water till all the saltness be well gone then put this silver into a glass body full of common water boil it till a quarter of it be evaporated then let the silver grow cold and settle and decant the water repeat this fresh water thrice and the fourth time put it in a body of Aqua-fortis stir it well and set it aside 4. In another like body dissolve in a pound of Aqua-fortis three ounces of sal Armoniack decant off the clear solution the remainder at the bottome cast away In this water dissolve a quarter of an ounce of gold keep this last solution apart 5. In another glass body dissolve in one pound of Aqua-fortis three ounces of sal Armoniack Then put into the solution of Cinaber of Crocus Martis of ultramarine of Ferretto of Spain of each half an ounce put them well powdered leasurely into the body which being done close the vessel and set it aside 6. In another body dissolve in a pound of Aqua fortis three ounces of sal Armoniack Then put in Crocus Martis calcin'd with vinegar calcined Tin a thing common in potters furnaces Zaffer prepared and Cinaber of each half an ounce Put gentlie each of them ground by themselves into the Aqua-fortis then keep this in a vessel and set it aside 7. In another body of glass dissolve in a pound of Aqua-fortis two ounces of sal Armoniack Then put leasurely into the solution Brass calcin'd with Brimstone Brass thrice calcin'd as in Chap. 28. Manganese prepared and the scales of Iron which fall from the Smiths anvil of each half an ounce Put each of these well ground by themselves by little and little then close the vessel and set it aside 8. In another body dissolve in a pound of Aqua-fortis two ounces of sal Armoniack whereto put of Verdigreas one ounce Red-lead crude Antimony and the Câ—put mortuum of Vitriol purified of each half an ounce put these powdered leasurely in close the vessel and set it aside 9. In another body dissolve in a pound of Aqua-fortis two ounces of sal Armoniack then put in leasurely Orpiment whitâ— Arsnick Painters Lake of each half aâ— ounce each powdered and ground by self close the vessel and set it aside Keep these â—nine bodies well closed in the furnace fifteen days and every 〈◊〉 stir it well many times that the Aqua-fortis may work and the materials be subtilised and their tinctures well opened else they will not work well then put all the materials with their waters into a great and strong body by little and little the things being united together let alone the great body whereinto you have powred the materials of all the lesser bodies closed for six dayes and every day stir it then put it in ashes giving it a gentle heat for twenty four hours that the water may onely evaporate observing that the body must be well luted at the bottome even unto the midst of the body and at the last of all the heat must be made so gentle that it onely evaporate the water and that the better spirits of the Aqua-fortis may remain inclosed in the same powders for so the powder will work fair and strange things in glass In the bottome of this body will remain a powder of a purplish Green whereof I gave the glass such a dose and quantity as is said in the first Calcidony Then in due times as is said in the first Calcidony give it it's body to wit Tartar burnt the foot of the Chimny and Crocus Martis made with vinegar using the same dose and diligence times and intervals throughout as is said in the first Calcidony then at the end of twenty four hours work it with diligence and according to art and set it to the fire again as hath been most punctually said in the first Calcidony This third way of making Calcidony I performed at Antwerp a City of Brabant Anno 1609. in the Moneth of January At which time and for many years there was in the house Signor Emanuel Nimenes a Knight of the Noble Religion of Saint Steven a Portughes and Citizen of Antwerp a gentile Spirit and Universal in all knowledge as any in the Low-Countries whom I saw or knew With this powder I made a Calcidony in the furnace of Antwerp which I caused Signor Philippo Ghiridolpho a very Courteous Gentleman to work which Calcidony came forth so fair and beautiful that it imitated the true Oriental Agat and in fairness and beauty of colours far surpassed it Many Portughes Gentlemen well Skilled in Jewels admired it saying that nature could not do more This was the fairest Calcidony that ever I made in my life which although it be laborious and long a working yet notwithstanding it doth real things Of this Calcidony two vessels were given to the most Excellent Prince of Orange which pleased him very well The third Book This Book shews the wayes to make the colour of Gold Yellow of the Amethist Saphyre Granat Velvet Black Milk White Marble and Deep Red As also to make Fritt with natural Crystal and to colour glass of a Pearl colour and other particulars necessary in this Art
't is so much the fairer and beautiful than any made in any place whatsoever to this day or at least not shewn to me by any person Wherefore I will shew the manner to make them so clearly and with so many circumstances and observations that any one versed in Chymistry will be easily capable thereof and will do the work perfectly Take Ceruss otherwise call'd white lead grind it very fine and put it into a great glass body and pour therein as much distil'd Vineger as will rise a palm above it Observe that at first the vineger boils and swels wherefore put it in by little and little till all the fury and noise is gone Then set the Vineger on a hot furnace in sand and evaporate away the eighth part of it take it from the fire and when the body is cold decant leasurely the Vineger coloured enough and impregnated with salt which set aside in a glass vessel then pour more fresh distild Vineger on the Ceruss and evaporate and decant as before Repeat this till you have extracted all the salt from the Ceruss which is when the Vineger is coloured no more nor hath any more taste of sweetness which usually succeeds the sixth time Then Filtre these coloured Vinegers mixt together evaporate and dry them in a glass body and the salt of Lead will be at the bottom of a white colour Which set in sand in a glass body from the neck downwards well luted but the mouth of the glass must be open and the furnace heated for twenty four hours continuance Then take the salt out of the receiver powder it and if it be Yellowish and not Red set it twenty four hours in the fire till it become as Red as Cinaber Make a good fire but not to melt it for then all your labour and pains will be lost Pour distilled Vineger on this Red-lead calcin'd repeating this work as before till you have extracted all the salt from it and separated all the dregs and terrestriety in whole or in part Keep these coloured Vinegers in earthen pans glased six days that all the terrestriety and imperfection may sink to the bottom Then Filtre them leaving the grosser part at the bottom as unprofitable then cover the Vinegers in a glass body and there will remain at the bottom a most white salt of lead and sweet as Sugar which dry well and dissolve in common water let the solution stand six days in glased pans separate the terrestriety at the bottom Filtre and evaporate as before and there will remain at the bottom of the glass a salt as white as snow and sweet as Sugar Repeat this Solution Filtration and evaporation thrice This salt is called Saccharum Saturni Which put into a furnace into a body of glass in Sand and at a temperate heat for many days and it will appear calcin'd into a colour much redder than Cinaber and as subtile and impalpable as the finest serced wheaten flour This is call'd the true Sulphur of Saturn purified from all terrestriety foulness and blackness which Saturn had at first in it self Now when you would make pasts for Emeralds Saphyres Garnats Topaz Chrysolite Sky or any other colour take the same materials colours quantities as abovesaid in the former receipts except that instead of ordinary Red-lead you shall take Sulphur Saturni working exactly in every thing as before And you shall have Jewels of marvelous fairness in all colours which very far surpass the forementioned made with ordinary Red-lead For this true Sulphur Saturni outgoeth all others more than I write thereof as I have seen and often made it at Antwerp Pasts made with this Sulphur have not that unctuosity and Yellowness as the other ordinary ones have which in time shew their foulness and the moisture and sweatiness which coming from within men much soil them which happens not to those made with the said Sulphur Wherefore think not that pains much which will be well recompensed with the work and effect How to make very hard past of all colours CHAP. XCII TAke of prepared Crystall ten pound salt of Polverine six pound made as in Chap. 3. well dryed and ground on a Porphyrie mix and serce them well together Sulphur Saturni two pound mix these three powders in earthen pans glased and clean and with a little common water make with them a hard past and of the past little cakes each weighing three ounces with a little hole in the midst of them dry these in the sun then calcine them in the highest part of the potters furnace or in other like fires then powder and grind these cakes on a porphyrie and serce them fine then set them in pots in glass furnaces to purifie three days and cast them into water and return them to the furnace for 15 days to purifie that all the foulness and blisters may vanish and the past remain most pure like natural Jewels And moreover this sort of purest glass will be tinged into all colours you desire For example into an Emerald with Brass thrice calcin'd as is done in ordinary glass into a Sea-green with Brass calcin'd to redness made as in Chap. 24. and with Zaffer into a Topaz into a Saphyre with Manganese and Zaffer into Yellow w th Tartar Manganese putting them in by parts and into a Garnat also with Manganese and Zaffer dividedly put in And indeed this past imitates all Jewels and colours and hath a wonderful shining and lustre And in hardness too it imitates the jewels Especially the Emerald which will be made most fair and almost as hard as the true The sixth Book Wherein is shown the way to make all the Gold-smiths Enamels to Enamel upon Gold in divers colours with rules and the materials which colour and what fires make those Enamels with exact diligence and clearest demonstration possible ENamelling on Gold and other metalls is a fair and pleasing thing and in it's self not only laborious but necessary since we see metalls adorned with Enamels of many colours make a fair and noble shew enticing beyond measure the eyes of the beholders And because 't is one of the most principal and a most necessary part of glass and it appearing to me to be a thing grateful and pleasing to all I set my self to describe many ways to make several sorts of Enamels as a thing not vulgar and belonging to this Art and one of it 's most noble Appurtenances And that this work might not be deprived of a matter so pleasant profitable and necessary I have made this sixth Book for the delight and benefit of all The Material wherewith all Enamels are made CHAP. XCIII TAke of fine Lead 30 pound of fine Tin 33 pound Calcine them together in a Kil and serce them Boil this Calx a little in clean water in clean earthen vessels take it from the fire and decant off the water by inclination which will carry with it the finer part of the Calx put
cast them into water return them into the pot let them melt and refine This is a very fair and beautiful Sky colour A Violet colour'd Enamel CHAP. CVII TAke six pound of the stuff for Enamels of Manganese prepared three ounces of thrice calcin'd Brass 48 grains mix these two powders well together then remix them with the stuff for Enamels put them into the furnace and cast them into water put them into the furnace again and do as before The seventh Book Wherein is shown the manner how to extract Yellow Lake for Painters from Broom flowers and all other colours with another way to extract Red Lake Green Azure Purple and all colours from all kindes of Herbs and Flowers And to make Cochin Ultramarine and Lake from Cochneel Brasill and Madder for Painters and also to colour discoloured Turcoises another way to make a transparent Red and a fair Red to Enamel upon Gold and Metalls things neither Vulgar nor common IN this Book is shown the way to extract all colours from Flowers and Herbs for the use of Painters which may serve also for glass and Lakes of many colours and Ultramarine from Lapis Lazult all which things though in particular useful for Painters may notwithstanding serve to colour glass in the superficies and also in the fire of the furnaces such is the Ultramarine and also the way to make a transparent Red in glass which seems at this day to be wholly lost as a thing not profitable and to make a fair Red to Enamel upon gold all materials in the Art of glass and at this day much conceal'd and known to few and many other things which I judged meet to be put in this present work which I believe will be acceptable to curious and ingenious Spirits A Yellow Lake to Paint from Broom Flowers CHAP. CVIII MAke a Lee of Barillia and of Lime reasonable strong and in this Lee boil at a gentle fire fresh Broom Flowers that the Lee may draw to it all the tincture of the Flowers which you shall know by taking the Flowers our and seeing them white the colour well taken out and the Lee will be yellow like good Trebian wine then take out these Flowers and put this Lee in earthen dishes glased to the fire that the Lee may boil and put into it so much Roch-Alum that with the fire all the Alum may be dissolved then make a fire and empty this Lee into a vessel of clean water and it will give a Yellow colour at the bottom let them settle and decant off all the water and again put upon them other fresh water and decant it off let the tincture first sink to the bottom and do this so long till you have taken out all the salts of the Lee and Alum from the tincture observing that by how much the more you wash this tincture from the salt of the Lee and Alum by so much more will the tincture of the colour be fairer and more beautiful washing it always with water to carry away the salt of the Lee and Alum and at each time before you decant the water let the Yellow tincture settle to the bottom Repeat this process until you perceive the water run out sweet and without saltness as 't was first put in and then at the bottom will remain a beautiful and fair Lake which spread when wet upon pieces of white cloath and dry it upon new baked Bricks in the shade and you shall have a beautiful Lake of a Yellow colour for Painters and also for glass To extract Lake from wilde Poppies Flower-deluces Red Roses Red Violets and from all sorts of Green Herbs CHAP. CIX GEt what quantity of the leaves of Flowers of what colour soever they be let every colour be by it self fair Green Herbs by themselves proceed with them as in Chap. 108. and you shall have a Lake true tincture colour from every Flower and Herb which will be a fair and beautiful thing for Painters and without doubt worthy to be much esteem'd To extract a Lake and colour to Paint from Orange Flowers Red Poppies Flower-deluces ordinary Violets Carnation and Red Roses Borage and Cabage Flowers Gilli-Flowers from all Flowers whatsoever and green from Mallows Pimpernells and all other Herbs CHAP. CX TAke of whatsoever Herb or Flower of whatsoever colour you will which being bruised green upon a leaf of white Paper tinges it with it's colour these are good but the Herbs and Flowers which do not so are not good then put into a glass body ordinary Aqua vitae the head must be as large as possible and in the top thereof put the leaves of whatsoever Flower or Herbs from which you would draw a tincture then lute the joynts of the head and thereto fit a receiver then give a temperate heat that the thinner parts of the Aqua vitae ascending to the head and falling upon the leaves and Flowers may suck out the tincture and distill thence into the receiver coloured Red and full of the tincture of the Flowers making all the subtile part of the Aqua vitae to ascend so long as it comes coloured and then distill this Aqua vitae coloured in a glass vessel which will come over white and may serve at other times and the tincture will remain at the bottom which must not be dried too much but moderately and thus you shall have the tincture or Lake from all Flowers and Herbs singular for Painters A Blew to make CHAP. CXI TAke Quick-silver two parts flour of Brimstone three parts sal Armoniack eight parts grind them all upon a Porphery and with the Quick-silver put them in a glass with a long neck luted at the bottom in sand make a gentle fire till the moisture rise then stop the mouth of the glass and increase and continue the fire as in sublimation till the end and you shall have a Blew most fair and excellent How to colour natural Turcoises discoloured CHAP. CXII PUt Turcoises discoulored and becomâ— white into a glass pour upon them oil of sweet Almonds keep this glass upon temperate ashes and warm and in two days at most the stones will have acquired a most beautiful colour A mixture to make sphears CHAP. CXIII TAke of Tin well purified and purged three pound Copper well purified one pound melt these two metalls first the Brass then the Tin and when they are well melted cast upon them six ounces of Tartar of Red wine onely burnt and one ounce and a half of Salt-peter then a quarter of an ounce of Alum and two ounces of Arsnick let them evaporate then cast it into the form of a sphear and you shall have a good material the which you shall cause to be burnished and polish'd which will shew well and this is the mixture called steel to make sphears The manner how to colour within Balls of glass or other vessels of White glass with all sorts of colours which will imitate natural stones
CHAP. CXIV TAke a Ball or other sort of glass that is white fair Isinglass which must be infused two days in common water then put this infusion into a white pan with fair water and boil it till all be well tempered observing that the Isinglass will be very tender with much water then take it from the fire and when it is warm put it into a Ball of glass turn the glass round that the Isinglass may fasten and wet every where the glass within this being done let the moisture drain and run out then have in order these colours powdered to wit Red-lead and casting it into the glass it will make the said colour stick which will run in waves cast it into many places through a tube then throw in blew smalts making it stick in waves within the Ball. Then do the same with Verdigreas then with Orpiment next with Lake all well ground always casting the colours in many places in waves which by means of the Isinglass which hath moistned the glass within those powders will every where stick to the glass and so shall you do with all colours Then take Gesso well powdered and put enough thereof into the Ball and suddainly turn it about that it may stick every where to the glass within Do this work nimbly whilst the moisture of the Isinglass glass lasteth that the powder may stick well then empty by the hole of the glass the Gesso which is within the Ball which shall then appear of divers colours with a most fair appearance like the natural Toies of hard stones and at last these colours when the Isinglass is well dryed stick so that afterwards they will not fall off and alwayes their colour is most fair without Fit to these Balls a foot of wood or of other stuff painted and they are held for beauty before Cabinets and for Merchants counting houses very fair Ultra-marine CHAP. CXV TAke fragments of Lapis Lazuli found plentiful at Venice at a low price let these fragments be well coloured with a fair Skie colour lay aside those that are not coloured calcine them well in a Chrysible and so heated cast them into cold water repeat this twice then grind them upon a Porphyrie to an impalpable powder as fine as wheaten flour sifted Take then three ounces of the Rosin of the Pine Black Pitch Mastick new Wax Turpentine of each three ounces Linseed Oyl Frankincense of each an ounce dissolve them in a new earthen Pipkin at a gentle heat stir and incorporate them with a Spatula then cast them into cold water that they may cleave in a lump for your need Take for every pound of Lapis Lazuli ground as before ten ounces of the aforesaid past of gums which dissolve in a Pipkin at a gentle fire and when it is well dissolved cast in by little and little the said powder of Lapis Lazuli and incorporate it with the gum with a Spatula I cast all the materials thus hot being incorporated suddenly into cold water and bathing my hands with Linseed Oyl made a round pastill hereof long and proportionally thick Of these pastils you may make one or more according to the quantities of the materials keep these pastils fifteen days in a great vessel full of cold water changing the water every two days then shall you boil in a Kettle common clean water the pastils in clean and well glased earthen pans and cast upon them warm water and so leave them till the water is cold the said water being emptied out cast upon them new warm water and when it is cold empty it out putting in again warm water and when it is cold empty it out putting in again warm water repeat this so many times till the pastils be dissolved by the warmth of the water then put in new warm water and you shall see the water will be coloured of a Sky colour decant the water into a pan well glâ—sed and cleansed This casting on of warm water upon the pastils must be repeated till it be no more coloured but observe that the water be not over hot but luke warm onely for too much heat makes the ultramarine grow black All these coloured waters strained into pans have in them the unctuosity of the gums therefore they must be left to settle 24 hours that all the colour may sink to the bottom then the water with it's unctuosity must be leasurely decanted off put upon the pastils clear water and then strain the cold water thorow a fine strainer stirring the colour that it also may pass the strainer and by this means a great part of the foulness and unctuosity will remain in the strainer wash the strainer always with fair water And with new water pass the ultramarine thrice thorow the serce washed every time and then usually all it's filthiness will remain in the strainer Put the ultramarine into clean pans decant the water softly off which dry of it's self and you shall have a most beautiful ultramarine as I have often made it at Antwerp The quantity from a pound of Lâ—pis Lazuli shall be more or less according as the stone is of a fuller and fairer colour Then grind it to an impalpable powder on a Porphyrie as is abovesaid and 't will arise most beautiful If you take common Blew smalts ground on a Porphyrie to an impalpable powder and incorporate it with the gumm pastils with the foresaid quantities keeping them indigestion in cold water 15 days with Lapis Lazuli and work thorowout as in Lapis Lazuli you shall have a very fair and sightly Blew Bice which will seem to be an ultramarine These Blews not onely serve for Painters but to colour glass excellently A Lake from Cochineel for Painters CHAP. CXVI INsuse one pound of the shearings of the finest Woollen Cloath in cold water a day then press them well to take away the unctuosity the Wooll hath from the Skin then Alum these shearings after this manner Take four ounces of Roch-alum two ounces of crude Tartar powdered put them into a small pipkin with about three flagons of water when it begins to boil put in the Flox and let them boil half an hour at a gentle fire then take them off to cool for six hours after take out the Flox and wash them with fair water let them stand two hours then press the water well from them and let them dry A Magistery to extract the colour from Cochineel CHAP. CXVII COld water four gallons wheaten bran four pound Saline of the Levant Fenugreck of each a quarter of an ounce put them into a pipkin over the fire till the water become so hot one may hold his hand in it take them from the fire cover the pipkin with a cloath for twenty four hours to preserve well the colour then decant the Magistrie for use Put into a clean pipkin three gallons of cold water and one of the said Magistery when it boils of Cochineel
powdered after this manner in a Brass Mortar powder and serce one ounce of Cochineel so many times till all pass the serce at last take 2 little crude Tartar pound it in the mortar and t will take up all the tincture sticking to the bottom of the Mortar and to the Pestle mix this Tartar with the Cochineel serced and as soon as the water in the pipkin boils put in the Cochineel and let it colour the water whil'st you can say a Miserere Then take the Flox Alumed as before which must first stand in a pan of cold water for half an hour and when the water is well coloured press well the water from the Flox put it into a pipkin and stir it about very often with a little stick that the Flox may be well tinged let it stand half an hour over the fire that it may boil gently then take the pipkin from the fire and take out the Flox mixing it with a clean stick put it into pans full of cold water and in half an hour let all the water drain off and put more cold water let that drain and press it well and set it to dry in a place where no dust falls spread it abroad that it may not become musty and heat again Take heed that the fire be always very gentle for with two strong a fire the colour becomes Black Then shall you make a Lee in this manner to wit Take ashes of Vine branches or of Willows or of other soft wood put them upon doubled Canvas and pour gently on them cold water let the water run into a pan pour twice this strained liquour upon the ashes and let the Lee settle 24 hours that the ashes may sink to the bottom and when 't is pure and clear decant it off into other pans putting by the terrestriety which is not good Put the said coloured Flox into a clean and cold pipkin with the Lee boil them at a most gentle fire for so the Lee will be tinged with a Red colour and will draw the tincture from the Flox and at first take a little Flox and press it well and if the colour be discharged take the pipkin from the fire and this is a sign that the Lee hath drawn the tincture of the Cochineel from the Flox Hang an Hyprocras bag of Linnen over a great and capacious pan strain thorow this bag all the tincture from the pipkin and let the Flox also go into the bag when the Lee is drayned press the bag where the Flox are that you may have all the tincture Then wash the bag from the hairs of the Flox turning them inside outwards that they may come forth pure and clean Then take 12 ounces of Roch-alum powdered put it into a great glass of cold water let them stand till all the Alum is dissolved then fitly place the said bag well washed from the hairs of the Flox betwixt two sticks in the air The bag must be large at the mouth and narrow at the bottom sowed in the manner of a round pyramid and under the bag set a clean pan then cast all the Alum water into the pan where the tincture of Cochineel is and you shall see the Alum water suddenly separate the tincture from the Cochineel like as a Coagulum doth Then with a clean dish cast into the bag all the said tincture and Lee which will run clear out of the bag but the tincture will stick to the bag And when all the water is well neer out if happily any strain through somewhat coloured pour it again into the bag and then this second time 't will leave all the tincture in the bag and the Lee will then run white and discharged of tincture Then take clean sticks and therewith mix the tincture which sticks on the bag in gross pieces and have in readiness new baked bricks whereon spread little pieces of linnen and on the linnen small pieces of Lake which you shall take out of the bag let them dry well spread them not too thick that they may soon dry for when the Lake stands long wet it grows musty and makes a foul colour Wherefore you may when the brick hath sucked out much moisture take another new brick and so you shall soon dry it When 't is dry take it from the linnen and this is a good Lake for painters which I have oftentimes made at Pisa Observe that if the colour be too deep you must give it more Rock-alum but if too light less Roch-alum for so the colours are made according to you gust and will Lake of Brasil and Madder very fair CHAP. CXVIII IF you would make a Lake of these materials each of them by themselves you shall do in every thing as is before said of Cochineel colouring the water with one of these materials but you shall not use so much Alum by an ounce as you did in Cochineel for Cochineel hath it's tincture deeper than Brasil Madder have Wherfore you shall give them their proportion which you shall find by practice And also to one pound of Flox you shall use more Brasil or Madder for they have not so great a tincture weight to weight as Cochineel hath And in this manner you shall have a very fair Lake for Painters and with less charge than that from Cochineel and that from Madder in particular will arise most fair and very sightly Lake from Cochineel after another and more easie manner CHAP. CXIX IN this way invented by me at Pisa you meet not with Flox nor Magisterie nor Lee nor dying the Wooll nor so many things as go the former which indeed is a very laborious way though most true But this way is most easie and worketh the same effect and 't is this which followeth In a pottle of Aqua vitae of the first running put one pound of Roch Alum well powdered when it is all dissolved put in an ounce of Cochineel powdered and sisted in every thing as before put all this in a glass body with a long neck and shake it well and the Aqua vitae will be wonderfully coloured let them stand four days then empty this stuff into a clean earthen glased pan then dissolve four ounces of Roch-alum in common water cast this into the pan of Aqua vitae coloured with Cochineel and put this into the Hyppocras bag and so proceed throughout as in the 117 Chap. This is a most noble Lake from Cochineel made with small pains and in much greater quantity All this was tryed at Pisa A transparent Red in Glass CHAP. CXX TAke Manganese ground to an impalpable powder mix it with as much more refined Salt-peter set it to the fire in an earthen pan to reverberate and calcine 24 hours then take and wash it with common warm water from it's saltness the salt being separated dry it and it will be of a Red colour hereto add it's weight of sal Armoniack and grind them together on a Porphyrie
glased pot and give it fine Calx of Lead and Tin prepared as in Chap. 113. four ounces at four times when well refin'd and incorporated cast them into water and then melt and refine them well again in the furnace and give this glass at three times one ounce and a half of Copper calcin'd to redness which makes the deep Red mixing the glass well and let this powder incorporate and refine well in the glass and within two hours give it Crocus Martis made as in Chap. 16. one ounce a half at three times let it mix and incorporate well in the glass three hours then add six ounces of Tartar burn'd with one ounce of the soot of the Chimny well vitrified and with these powders mix half an ounce of the said Crocus Martis put these powders well ground into the glass at four times mixing them well and interpose a little space between each time for they make the glass swell and boil exceedingly when all the powder is put in let the glass refine three hours then remix them and take a proof to wit a little Bowl of glass and scall'd it well if it take a transparent Red as blood it 's well if not give it new Tartar burnt with soot and Crocus Martis by little and little till it come to the desired colour let the glass stand to settle and an hour after you put in the powder take another proof as before This is good to Enamel and proved often times at Pisa A transparent Red. CHAP. CXXIX CAlcine Gold with Aqua-regis many times pouring the water upon it five or six times then put this powder of Gold in earthen pans to calcine in the furnace till it become a red powder which will be in many days then this powder added in sufficient quantity and by little and little to fine Crystall glass which hath been often cast into water will make the transparent red of a Rubie as by experience is found The way to fix Sulphur for a Rose-Red to Enamel on Gold CHAP. CXXX MAke a strong Lee of Lime and Oaken ashes boil sufficiently Sulphur in this Lee which takes away a certain unctuous and combustible colour which Sulphur hath in it by changing the Lee the Sulphur becomes white and incombustible and fixed good to make this Rose-red for the Gold-smiths to Enamel upon Gold Vitriolum Veneris which was began at the end of 31 Chap. CHAP. CXXXI SEt Chrysibles luted and covered in an open wind furnace with burning 〈◊〉 over them let them stand two hours and then at last let the furnace cool of it self then take out the Chrysibles and you shall find the Copper calcin'd to a blackish colour having an obscure purple which powder and serce well then take a round vessel of baked earth plain at the bottom which will bear the fire set these pans in an open wind furnace on iron bars set across fill the pans with kindled coals and put in the aforesaid calcin'd Brass wherewith you have first mixed to every pound weight there of six ounces of common Brimstone powdred when the fire begins to heat the pans and the Brimstone to flame and burn continually stir the Copper with a long Iron having a hoock at the top that it may not stick nor cleave to the pans continue this till all the Sulphur be burnt and smoak no more then take the pans from the fire thus hot and all the Copper with an Iron ladle or like thing powder it well in a Brass morter and serce it which will then be a black powder proceed thrice with the same quantity of Copper and Brimstone in every thing as before Observe that at the third calcination you let the pans stand over the fire so long that the Copper acquires a red Lion colour then take it from the fire and powder it in a Bâ—â—ss mortar and you shall have the said colour to make the said Vitriol as we are about to say Vitriolum Veneris without Corrosives from which is extracted the true and lively Blew a thing marvellous CHAP. CXXXII TO make then the Vitriolum Veneris abovesaid take one or more very capacious Glass bodies according to the quantity of the Copper calcin'd and prepared to wit to a pound of Copper take a body which will hold six pints of water put this common clean water into the body with calcin'd Copper into a sand furnace give them a temperate fire for four hours until of the six pints of water there be evaporated about two which is seen by the eye let the furnace cool and gently decant off the water into earthen pans glased and the Copper which remains at the bottom put into pans in a furnace to evaporate all the moisture and the water which is decanted into the pans will be coloured with a full and wonderous fair blew let them stand thus in the pans two days to settle and part of the Copper will sink to the bottome in a Red substance then Filtre the said water with usual linguets into glass vessels and evaporate from the said Copper all the moisture and with six ounces of Sulphur calcined powder and serce it to a black powder as in Chap. 131. and then as in the beginning of this pour in water and extract the Blew colour Consider that in this work many pots will be broken wherefore as often as the pots are broken or cleft take a new one lest they break in the furnace and all your labour be lost when the humidity is evaporated put the same quantity of Sulphur powdered and serced and do as before The reason why the Copper is to be taken out whil'st it is hot is because then it is better separated from the pots it is impossible to separate it if you suffer it to be cold although you break the pots Repeat this process not onely four but five or six times in every thing as before Then the Copper will remain as a soft earth and the better and most noble tincture of it will be in the Filtred waters all which mixed together must be Filtred with the usual linquets and the setlings and dregs may be cast away as unprofitable then you shall have a most limpid water and coloured with a most marvellous blew colour The way to extract Vitriol from the said colour'd waters CHAP. CXXXIII SEt then a great glass body that will hold three Flasques of liquour in ashes or sand in the furnace and with a temperate fire evaporate the said colour'd waters and neer to the furnace keep other glass bodies full of these colour'd waters that they may be warm and now and then fill the great body which is in the sand with glass ladles do this that the colour'd waters may be put in warm for being put in cold they will make the great glass body break evaporate the colour'd liquour from ten Flasques to two and a half or three then these waters will be deep and full of tincture which put
whereof fall thence into a pit where they grow into a hard mass or stone are gathered and laid up for use are call'd Sode as Lobel affirms When these plants were first taken notice of is uncertain The first that took notice of them and gave them their name were the Arabians as also to their salt as appears by their addition Al which is purely Arabick Amongst them I find it mentioned by Serapio and Aviden the Physicians who both commend it for the Stone ulcers and diseases of the eyes Lobel thinks that we owe the plant name and way to make the Salt to the latter Graecians or Arabian Philosophers Chymists that wrought in Glass Advers pag. 169. But as to the Graecians and their knowledge of it I cannot consent because 't is not mentioned by any of the Greek Physicians or other writers besides it hath not yet attained any name in that language and therefore doubtless the Arabians of latter times have conveyed the knowledge thereof to us Chap. 1. TO know the quantities and strength of the Salt The best and readiest to know this is that practised by the Soap-boylers in their Essay-glasses They dissolve their Soap-ashes in fair water and Filtre the Lee and weigh it again and so by measuring the quantity of the Lee and comparing it with the weight of the water and ashes before they were dissolved they find how much Salt such a quantity of ashes contains Brass Coppers Our Author every where forbids the use of Brass and Copper unless where Green or Blew colours are to be made And certainly these strong Lees will fret off some part of the Copper or else the moisture of the air and Lee will turn part of it into Verdigreas And therefore here they use onely Boylers lined on the inside with Lead such as the Alume and Copperas makers employ to extract their Salts in Tartar of red wine Calcin'd Tartar call'd by our Author Greppola and Grumi di botti which are indeed the Lees and are to be distinguished from the Tartar it 's self this sticking to the sides of the vessel in thick and hard lumps and as Helmont saith is never to be found in the region of the Lees whereas they on the contrary are always found at the bottom of the vessel moist and in small pieces onely Tartar of red wine best for this use because it contains a stronger Salt and more in quantity than that of white wine 'T is calcin'd to burn off all Heterogeneous bodys mixt therewith and to make the Salt whiter and for the speedier dissolution of it in the water and better extraction of the Salt from the Polverine whose body is opened by the Tartar as Alume or Vitriol open the body of Salt-peter in making Aqua-fortis or Spirit of Nitre which otherwise without such like addition would not rise And for the same cause the Tartar must be dissolved in the water before the Polverine is put into the boyler They Calcine their Tartar in an Oven neer the Leer in the space of six hours and that to whiteness too finding that this hath a better effect than a meaner calcination hath What advantage the drawing off the humidity of the Tartar gives a secret way used by some Chymists doth demonstrate To make their Crystals and Cream of Tartar larger and whiter they powder it grosly and then Calcine or rather dry it throughly in an Oven in tin pans And thus they make them much better than they can be made without this drying or moderate Calcination The Salt sinks to the bottom of the boyler and is taken out with a scummer from which drain all the moysture and let it run into the boyler when the faeces of the Lees have setled to the bottom of the tubs they draw them off with a Siphon Chap. 2. TArso The second material and that which gives consistence and body and firmness to Glass is sand or stones As Iron gives to English Copperas and Copper to Hungarian Dantzick and Roman Vitriol which otherwise would run into water in moist places and seasons Concerning these stones Agric. l. 10. saith They must be such as will melt and of them those which are white and transparent are best Wherefore Crystals challenge precedency For of these broken Plin. saith Authors affirm that Glass is made in India so excellently transparent that no other may be compared with it The next place they give to those stones which though inferior to Crystall in hardness yet are white and transparent as that is The third place is given to those which are white but not transparent Next to Tarso our Author commends Quocoli rendred Pibles which Ferant Imperatus l. 24. c. 16. thus describes The Glass stone is like in appearance to white Marble partaking of transparency differing from it in hardness which it hath as much as flint whence 't is that being struck it sparkles and put into the fire turns not to Lime This stone most commonly partakes of a light Green like the Serpentine stone 'T is found in ' its natural place clad and mixed with veins of crusted Talk when 't is first put into fire it loseth it's transparency and becomes white and lighter and afterwards it turns into Glass 'T is wrought by the Glass-men as a material of Glass under the name of Cuogolo Because they gather them in the bottom of rivers and torrents in the form of round pibles or shards And those are they our Author saith are used at Muran 'T is without controversie that all white and transparent stones such as will not become â—â—me serve well for Glass but our Authors axiom is not wholly true for neither the stones from New-castle mentioned in the Glass furnaces nor fire-stones nor rance stones and many other which strike fire with a steel or horse shoes and Coaches wheels will not serve to this purpose Flints indeed have all the properties and when calcined powdered and serced into a most impalpable powder make incomparable pure and white Crystall Metall But the great charge in preparing them hath deterred the owners of our Glass-houses from farther use of them Sand is made use of where fit stones cannot be had and according to our Authors story were first used it must be white and small and well washed before used which is all the preparation of it Such is usually found in mouths and sides of Rivers for Crystall requires a fine soft and white sand but Green-Glass that which is harder and more gritty And there is great variety in this material for some soon melts and mixeth with the ashes and becomes Glass Joseph l. 2. c. 9. of the wars of the Jews relates strange things of Sand which is briefly thus Neer Ptolemais a city of Galilee runs the river Belus arising from mount Carmel between Ptolemais and Tyrus Neer this small river is the Sepulchre of Memnon having neer it a space almost of 100 cubics most worthy of admiration For there 's a
But since him Casalpâ—â—us l. 2. c. 55. reckons it among stones Alius est lapis vitrum tingens colore coerulâ—o siâ—plusculum adda ur iâ—ficit nigrediâ—e Zafferam vocant Hic ex cinereo tendit ad purpureum ponderosus friabilis est per se non funditur sed cum vitro fluit aquae modo There 's another stone colouring Glass Blew and too much colours it Black they call it Zaffer It enclines from an Ash to a Purple colour 't is heavy and brittle it melts not of it's self but with Glass it runs like water Aldrovand in Musaeo follows both and in one place calls it an earth in another a stone Ferant Imperat. l. 26. c. 8. likens it to the Load-stone and Manganese But 't is not an earth for it mixeth not with water nor will it be compounded with it Neither is there any stone so brittle as Zaffer for with your fingers you may easily crumble it into a sandy gritty substance which appears so to the teeth And certainly were it either of these or any natural colour it could not but have been taken notice of by some writer on these subjects being a thing so commonly used and so much thereof spent in Glass and Pottery It scapt the knowledge of the diligent Agricola who no where mentions it and Jul. Scaliger who saw a Book concerning Glass replies nothing to Cardan concerning it So that it seems to me to be an artificial thing of late invention and made by some metall-men in Germanie from whence all of it comes and kept by them as a secret And if I might conjecture at it I should think that 't were a composition of Brass and Sand and perhaps some Lapis Calaminaris added thereunto The Blew colour it gives induceth me to think that 't is from Brass as the colour of Manganese is from Iron for certainly nothing can give a tincture to Glass but what is metalline and all metalls do give a tincture thereunto Lapis Lazuli a very hard stone loseth it's colour in the fire and so do other pretious stones 'T is true Antimony gives Glass a colour but 't is by reason of it's Metalline part the Regulus onely Much less will any sort of earths bear the strong heat of their furnaces For though Scots-ochre and India-red may be both calcin'd into good colours for the uses they are emploi'd for yet in the Glass furnaces they wholly lose them It remains then that nothing but what 's mettalline must produce this colour and if metalline what can it else be but Brass For though silver be said to afford this colour yet that prâ—ceeds from the allay of Copper wherewith 't is mixed For purely thrice reâ—ined Silver gives no tincture at all to the parting water A second ingredient into Zaffer is sand your tongue and teeth may easily discover it but if you put it into Aqua fortis you shall manifestly see some white and transparent gravel very like the powder of our transparent Pebles or perhaps the forementioned quocoli described by Imperatus and some other like our common sand of a Brownish colour which will easily vitrifie And thirdly the reason I suppose that Lapis Calaminaris may be admixt therewith is because neither Aqua-fortis nor spirit of Vitriol poured on the Zaffer have any operation sensible thereupon either as to raising bubles solution or tincture Both which experiments I tryed with ordinary Aqua-fortis and spirit of Vitriol and could not perceive the least buble arise nor smallest motion of these liquours nor any tincture in either nor hissing noise which hapneth in the solution of metalline bodies But that the Lapis Calaminaris hinders the solution consequences thereof will be manifest by an experiment we shall presently produce Besides this ebullition may be hindered by the admixture of some Rosin or Gum on which these liquours have no effect With what preparation of Brass or Copper this is made I cannot determine whether from the Ore or some preparation delivered by Authors or what other way a few experiments might detect this secret and unty this knot whereunto I shall leave the Reader Lastly whosoever shall consider the weight value and colour now changed from the Purplish of the Authors to a Brown for so is all that I have seen will not with much difficulty be perswaded to be of my conceit 'T is call'd Zaffer from the Saphyrestone with whom it communicates in it's Blew colour Chap. 13. MAnganese so call'd from it's likeness in colour and weight to the Magnes or Load-stone is the must universal material used in Glass not onely to purge off the natural Greenish Blewish colour so callâ—d by Virgil 4. Georg. Eam circum Milesia vellera Nymphae Carpebant hyali saturo fucata colore Whereon the Commentator Vitrâ—o viridi Nymphis apto Which is in all Glass and therefore may be call'd the Soap thereof but also to tinge it which it doth with a Red Black Purple or Murray colour nay 't is the most universal ingredient into all colours as this present work demonstrateth Concerning it Caesalp l. 2. c. 55. more largely and very well in these words Hoc genus Magnetis hodiè vulgo Manganese vocatur ab Alberto Magnesia addi solet ad confectionem vitri quoniam in se liquorem vitri quoque ut magnes ferrum trahere creditur Lapis est niger Magneti similis quo utuntur vitrearii Si enim modicum ejus vitro aâ—misceatur illud purgat ab alienis coloribus clarius reddit si veto amplius colore purpureo Affertur ex Germania foditur quoque in Italia in montibus Viterbii alibi Mâ—minit Plin speudomagnetis Inquit enim in Cantabria non ille magnes verus caute continua sed sparsà nescio an vitro fundendo perinde utilis nondum enim expertus est quisquam ferri inquit infiâ—it aciem uâ— Magnâ—s This â—ind of Load-stone is now callâ—d Manganese by Albertus Magnesia 't is added in the maâ—ing of Glass because 't is thought that it draws into it self the liquour of Glass as the Loadstone doth Iron 'T is a Blackstone like the Load-stone the Glass men use it For if a little thereof be mixed therewith it purgeth it from improper colours and makes it clearer but if too much it colours it Purple 'T is brought from Germanie 't is also dug in Italy in the mountains os Viterbium and else-where Pliny also mentions the Pseudo-magnes He saith in Cantabria not the true Load-stone in a continual but scattered rock I know not whether it be as good to run-glass for no body yet hath made tryal of it it colours saith he Iron as the Load-stone doth Cardan l. 5. de subtilitat calls it Syderea upon what ground I know not and mistakes the colour putting Blew for Red. Whereunto Scal. exerc 104. 23. replies Manganese is unknown to me yet in a Manuscript of blowing Glass belonging to Pantheus a Venetian 't was written that
Glass was coloured Purple therewith Believe the Author as you please I remember when I was a Boy and lived at Ladroni there was dug up at the Solodonian-mountains if I mistake not I know not what which they said was carried to Vâ—nice wherewith Glass was refined to that whiteness and purity that it kept the name of Crystalline I seem to remember the colour was that of Iron Secundus my Master taught me that Glass by the admixture of an Iron colour grew White by reason of the strange Cohaesion of both substances whose parts being compounded the colours also entred one into another and that the Manganese of an Iron nature did exhale being impatient of the fire and carried away with it the foulness of the Glass no otherwise than Lees wherewith linnen is cleansed A judgement not unlike this opinion I find in Arist where he sheweth the force of Origanum to purge wine But this Iron substance exhales not if it be mixed with metalls because then 't is baked with less fire or a less time And this is all we have delivered concerning this Manganese Now in these discourses two things are observable the attraction and purgation As for the former attraction of the liquour of Glass there 's no ground for it no more than the bare name imports which was imposed ex placito For if you apply never so great a quantity of Manganese to the smallest particle of broken or melted Glass it stirs it not And then if they mean by the liquour of Glass the Sandever part thereof 't is certain the greenish colour remains in the metall after that is wholly scummed off and that Manganese then put in refines it But if they mean by liquour of Glass onely liquid Glass then 't is onely gratis dictum no argument no experiment being brought to prove it As for that of purifying 'tis as manifest as the attraction is obscure Though the modus be very doubtful Scaliger and his Master Secundus think 't is by the way of exhalation and perhaps Plin. Caesalp mean by their attraction this purgation but then they tell us not what becomes of them both They must be separated from the metall by precipitation or exhalation but the former cannot be for then the metall being stir'd t would return to it's former colour or 't would be found in the bottom of the pot in the form of powder as in other precipitations 't is constantly usual And the exhalation is as incredible siâ—ce there appears no loss of weight after this resining besides how can the fixed bodies of Manganese arise in exhalation being inviscated with the tenacious substance of Glass and what strange choice can there be supposed in the Manganese that it should cull out the Greener part onely of the metall to be carried away with it into the air and in insensible vapors too The reason seems to me to be onely a change in the figure and minutest parts of the metall for the fire making the Manganese run mixeth it with the smallest atoms of the metall throughout which by boyling and various agitation and revolution of them frames those atomical figures which are apt to reflect most of the light which falls upon it and is the same we call White Multitude of instances might be given to illustrate this doctrine of the production of colours by mere transmutation of parts but we shall content our selves with those onely which by admixture of colourate bodies become White Take then Terebinthine which is of a yellowish colour or Oleum Capevae of a blackish colour or tinge oil of Turpentine with Verdegreas in which 't will easily dissolve into as full a Green as the natural colour of Glass and shake either of these very well together with the yolks of Eggs and they all make a very clear and white colour Or else take a strong lixivium of the Soap-boilers and mix it by agitation with the Greenish oyl of Elder and you shall therewith make that medicine Physicians call Lac. Virginis you may do the same with any other oyl and the said Lee. Here you have the colour of a Yellowish Red-lee destroy the green of the Oyl Again Oyl of Tartar poured on the green water made with the solution of the Pyrites in rain water gives â— white colour nay the said Oyl poured on Green â—r Blew Copperas dissolved in common water effects the like though the colour will not be altogether so White as in the former unless you add a great quantity of oyl of Tartar Which instances sufficiently refute the way of exhalation and manifestly convince that this purging of Glass is wrought onely by a various texture and position of the parts of the metall made by this new accession of Manganese Nay what other reason can be assigned but this change why Salt and Sand both most white should produce a coloured metal or why Zaffer and Manganese should produce a Black That Manganese consists of much Iron seems beyond contradiction which may be evinced by these experiments I poured Aqua-fortis upon some powder of it and in a narrow mouth'd Glass the water rose up in great bubles and immediately boiled over the Glass and in a Glass with a wider mouth it rose less and a strong and most piercing fume there from offended much my Nose-thrils And Spirit of Vitriol poured on it boild a little but sparkled more the glass became so hot that I could not hold it in my band and that which seems peculiar to the Manganese fair water poured thereon encreased the decaying heat very much The tincture of this stone was of a deep claret colour All which agree throughout with the same Spirits poured on Iron and certainly the colours of the Manganese come from the Iron that it contains Red is common to them both and a Purple is but a deeper Red with an eye of Blew and the same colour some preparations of Crocus Martis have and as black is made with Zaffer and Manganese so rich Blacks in silks are made of slip that is the powder which the Sheargrinders grind from shears and other edge tools mixed with Sand from the Grindstone and doubtless would be of use in the colour pots of the furnace did they know it and would they use it Secondly this Manganese makes the metall rise and boil as all Iron or Steel alone or Crocus Martis or any other preparation or composition thereof which quality is also common to Copper Brass and Lead Observe here that wheresoever any of these are put into the pot our Author commands that it be done leasurely and by little and little and that some vacuity be left in the pot for fear you lose your metall which will run into the fire and ashes and thereby you lose the time and charge for all this commonly goes together with him Our Author here commends Manganese of Piemont for the best in the world and therefore wherever he mentions the one he subjoyne the other But
some few years since the industry of our nation hath found in our own countrey at Mendip-hills famous for Lead in Somerset-shire as good as any used at Moran wherever the Lead-Ore-Men find it they certainly conclude that Lead-Ore lies under it They call it Pottern-Ore because the Potters spend such great quantities of it this being the onely materiall wherewith they colour their ware Black as they do Blew with Zaffer They count that the best which hath no glittering sparkles in it and is of a Blackish colour but powdered of a dark Lead colour 't is very hard ponderous the deeper the colour the deeper it colours the metal in the Furnace 't is to be put into the melting pot together with the Fritt Chap. FErretto of Spain commonly call'd 14 15. aes ustum or burnt Brass and 't is made Latin by Coesalp l. 3. c. 5. where he thus saith Optimum aes ustum conficiebatur in Aegypti Memphide deinde in Cypro cujus notae sunt ut sit rubrum attritu colorem Cinnabaris imitetur nam nigrnm plusquam decet exustum est Hodie in Hispania conficitur appellant autem Ferrettum sed nigrum est inficit ingredine ideò utuntur ad capillum denigrandum The best burnt Brass was made at Memphis in Egypt afterwards in Cyprus the marks whereof are that it be Red and that by bruising it imitate the colour of Cinnaber for that which is black is too much burnt 'T is now made in Spain they call it Ferrettum but 't is Black and colours Black therefore they use to colour therewith their hairs Black But if it be calcin'd to a mediocrity it appears Red 't is of the same colour when powdered and hence it seems to have it's name Ferrettum à ferreo colore for Crocus Martis appeareth to the eye Red though much lighter than Ferretto doth By the former discours-of Caesalp that some Countries afforded better Ferretto than others as Castile Soap and Venice Glasses are the best but we find no such difference in the several climates that we need fetch any thereof from Spain The two most eminent and singular colours both in themselves and in relation to animals and to this Art of Glass are Blew and Green in themselves as partaking much of light as is seen in the Triangular-Glasses and they are also most delightful and agreeable to the sight and eyes of animals as neither widening nor contracting the Pupil too much both which are dolorous and offensive and in the Art of Glass in Pasts Enamels Glass of Lead by reason of their great conformity and neerness to many sort of gems challenge a great share of use besides the many gradations of them used simply of themselves or else blended and mixed one with the other Blew is a simple colour in all Arts conversant about it but Green in the curious Art of dying is a compounded colour of Blew the Ground and Yellow super-induced or contrary-wise wrought But in other Arts this colour is simple and both arise from the same materiall Copper or Brass by various ordering and preparing them 'T is a strange and great mystery to see how small and undiscernable a nicety though the same materialls be used makes the one and the other colour as is daily discovered by the resiners in making their Verditers who sometimes with the same materials and quantities of them for their Aqua-fortis and with the same Copper-Plates and Whiting make a very fair Blew Verditer otherwhiles a fairer or more dirtygreen Whereof they can assign no reason nor can they hit on a certain rule to make constantly their Verditer of a fair Blew to their great disprofit the Blew being of manifold greater value than the Green Now although the gènuine and natural colour of Brass and Copper is the true Sea green mixed of both colours yet the former inclines more to a Blew than the latter and the dissolvents have a great share in this business For Verdigreas made of Copper-plates buried in the earth with Grapes makes a Green but Copperas made with Copper and the liquour of the Pyrites dissolved with rain water yields a Blew in Dantzick and Hungarian and Roman Vitriol the onely difference of these proceeding from the resolution of the materials into finer minuter Particles and various texture of the Atomical parts of the materials dissolved Now the reason why Brass makes a better Blew than Copper seems to be this that the Lapis Calaminaris the onely thing that differenceth them takes in and incorporates with it's self that acidity which naturally Copper contains which as it appears in the making of Verdigreas turns it to a Green being exalted by the acidity of the Grapes And this seems also to be the cause why Frenchwine-grapes which have more acidity in them than Spanish-wine-grapes have though the climate of Spain be more suitable than that of France are fittest to work this effect The force also of Vitriolate juyces may be seen in our English Copperas and Vitriol of Mars made of Spirit of Vitriol and Steel both which change the natural Yellowish colour of Iron into a Green and Lapis Armenus a Blew stone ground with Vineger or the tincture thereof drawn The effect of Calaminaris in drinking in the acidity of the Vitriol do the same an ingredient into Aqua-fortis is clearly manifested by a pretty and lucid experiment was once shewed me by my neighbour a Refiner who bought some Copper-plates to draw down his silver from Aqua-fortis wherein 't was dissolvèd but these Copper-plates would not wholy praecipitate the said silver but left ten pound thereof in thirty remaining unpraecipitated in the water The reason whereof was found to be because the Copper for those plates had been melted in a pot wherein Brass before had suffered Fusion The Copper-smith hereupon remelted the said plates in new pots and with a strong fire burnt off as they usually do the flours of the Lapis Calaminaris which are volatil and fly about the work-house colouring the Cloaths hairs and Beards of the Work-men as white as those of Meal-men or Millers Now when these flours had been well separated and the Copper-plates freed totally from them they drew down the silver wholly from the Aqua-fortis Now in this experiment the Lapis Calaminaris imbibed part of the acidity from the Copperas and so the Plates being less corroded and consequently too little thereof received into the parting water left room for the silver to remain and to be supported by the said water which is the reason of all praecipitation for the new advenient metall coming into the place of the silver forceth it to descend upon the Boule and Plates in the form of a White powder But that this effect followed from the imbibition of the acidity from the Aqua-fortis seems manifest because Aqua-fortis-vineger or it's Spirit or any other acid juyce poured thereon becomes more sweet and heavy as they do with Coral Crabs-eyes as they are falsly
eminent person of the same profession had extracted the fullest promised Yellow tincture from it But the condition was not accepted of Sure I am that Gold dissolved in Aqua-regis and dropt upon the skin will colour it with a deep purple colour lasting some days and this solution poured on a great quantity of water will give it the very same tincture Glauber gives it a fair Saphyre colour being precipitated with a liquour from Flints The tincture of silver is not a skie colour but white and for it you have also the undeniable Authority of Master Boyle in his Physiological Essays pag. 60. and therefore as I have said before the blew must proceed from some Copper mixt with it Granats of Bohemia Boeth de Boodt affirms that these Granats from Bohemia keep their colour in the fire but almost all others not and therefore seem the best for this use but yet the heat of the Glass furnace consumes it though it may persist in an ordinary fire Chap. 91. TAke Ceruss Our Author delivers two ways of making Saccharum Saturni the one here of Ceruss the other of Lytharge Chap. 123. onely in this he calcines the Saccharum and out of it calcin'd remakes a new Saccharum The Chymists commonly take Minium some onely calcin'd Lead all returns to the same purpose but 't is observed that Minium yields a greater quantity of Salt and good reason for that hath had more calcination than any of the other All make use of distil'd vineger alone but Beguin he substitutes in it's place Phlegm of distil'd vineger but the commentator well passeth a deleatur upon it Two things I shall here set down the one that 't is much better and less chargeable by far to pour distil'd Vineger on new Minium at each time and not on that you have used before for the cheapness of the Minium and the goodness and quantity of the Saccharum drawn the first time from the Minium besides the saving a great deal of Vineger this way will advantage the operator much in point of profit A second thing here to be inserted is a new way I have not met with in any Chymical writer but invented for my own use which doth readily and in a moment make it and I am sure 't is rather better than worse than the ordinary for Chirurgical uses in which I employ it The manner of making it is this Take very thin plates of lead or rather that which hath been long in Glass Windows and dissolve it in Aqua-fortis good water neer dissolves as much as it 's own weight and the dissolved Lead will soon become a Saccharum in the bottom of the Glass I have in half an hour made a considerable quantity this way in a small glass set in sand and at no great heat or in a fire shovel over the fire or in ashes And certainly this process as more speedy so less expensive but what this medicine will effect in glass I cannot say Chap. 93. THis sixth Book treats of Enamels which séem to be so named because 't is used in annulis in rings or from the Duch word Emailleren or the French Esmailler which comes à maille macula a spot as Minsheu for so 't is laid on In Latin Encauston that is burnt in a 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 to burn for so the Lexicographers render Eucauston Enamel Encaustice the art of Enamelling Encaustes an Enameler But the Encaustum of the Ancients whereof Vitruv. l. 7. c. 9. Plin. l. 35. c. XI Mart. l. 1. c. make mention was a thing quite different from our Enamelling Concerning which and the three kinds thereof see at large Salmas in Solin who truly concludes his discourse that all this Art is lost Porta makes a Latin word of the Italian Smalto calling them Smalti and Libav Smalta Chap. 94. WHite Enamel a new way with Regulus Antimonii you had before Libav Porta make it of Calcin'd Lead one part of calcin'd Tin two parts and Glass the double Chap. 95. A Turcois by Porta with Zaffar alone Chap. 97. FOr a Green Porta takes aeâ— ustum which the common people saith he call raminella and by our Author raminâ— Chap. 24. for a deeper colòur and for a lighter the Scales which fall from the hammers when the Brass is hammer'd Red hot Chap. 100. BLack made by Libav Porta with the Purple and Blew colours meaning thereby Manganese â—nd Zaffer and is the same with our Authors the doses in all of them the same Chap. 103. A Red by Libav with Crocus Martis Chap. 108. A Lee of Barillia and Lime Much care is to be had of the Menstruum this of Lime and Barillia are the best though pot ashes with Alum do very well also I know an Ingenuâ—as gentleman who this way hath made all his colours for plants which he hath drawn to the life in a large volumne of the most beautiful flours of all sorts in their proper and genuine colour The vertue of pot ashes which the dyers call ware is seen in their working of Indico and Woad neither of which without these ashes will yield their tincture for the lightest colours use onely a solution of Alum for stronger Salts destroy their colours as in dying Soap ashes mars the Yellow of Weed or Fustick and in Chap. 4. Tartar will not make Yellow in Glass Chap. 110. WHatsoever herb or flower The tryal of our Author is good but stayning of linnen is a better sign The rule given by the Merchant to the Mariners in their instructions for forein voyages is to chaw the plant and if that colour tinge the spittle deep 't is good otherwise not and so with linnen or fine white paper I shall here give you a catalogue of many plants c. which give a colour and consequently are fit to make Lakes of and first those of the dyers as Log-wood three sorts of Fusticks for Yellows Green old and young Campegiana and Sylvester which are two sorts of grains or small berries brought from the West-Indies they make a grain colour though not so good as Cochineâ—l yet they are used instead thereof Red-wood Symach Brasiletto or Sweet-wood Turmerick Safflower that is Saffron-flower but not that of the Crocus but of the Carthamus brought from Italy Anotto made of the Fucus Marinus Tinctorius stale and grease which yields a fair Scarlet Weed that is Genista Tinctoria for a Yellow colour Others not used in dying are Saffron Phalangium Tradescanti a very deep and fair Blew Cyanus an excellent Skie for Dyers Alga marina Tinctoria distinct from the former Fucus both mentioned by Joan. Bauhin Harebels our Purple Colchicum A triplex Baccifera a deep Red Heliotropium in whose juice rags insuccated make Turnsole Blattaria with a Blew and also with a Yellow flower and the Convolvulus narrow leafed of America some plants have a coloured juyce as the Spurges Sow-thistles Dandelion Tragopogon Periplocas Rampions Lettices c. most whereof dryed in the Sun turn
CHAP. XLV THis third Book teacheth various wayes and one better than another to make all the abovesaid colours As also a particular way to make Fritt of natural Crystal which will melt as ordinary Crystal metall and will make vessels very white beautiful and sightly There is no doubt but some of those colours are known to Artists though not to all persons For few they are that know how to make well Gold Yellow and a Deep Red being hard and nice colours in this Art Since in making them 't is necessary you be punctual in the dose time circumstances and materials for if you err but a very little in any of them whatsoever all the whole labour and business is lost and comes to nothing I describe these two colours and all other in so clear and intelligible a stile that every body may understand and make them to their gust and satisfaction You must be exact in the time quantity circumstances purifying powdering sercing fire materials if you err but a little in any of them whatsoever all the labour is lost and the colours come to nothing 2. Tartar must be of Red-wine well vitrified in the vessel in gross pieces not in powder Vitrified naâ—urally of themselves That of white wine is not good 3. To Manganese our author still subjoyns of Piâ—mont 4. The colour must be made fuller or lighter according to the works you employ them for and to heighten them put in more of the colour but to make them lighter put into the pot more Fritt Take some metall out of the pot and you shall see whether you have your desired colour put in your colours by little and little lest they overdo 5. Put your colour to the Fritt and not to the metall when melted for then it neither takes the colour so well nor so good a colour 6. Mix the colours well with the metall in the pots when 't is melted that both may be well incorporated and this is to be done as often as you work the metall To make a Gold Yellow in glass CHAP. XLVI TAke Crystal Fritt two parts Rochetta Fritt one part both made with Tarso which is much better than sand mix and remix well these two Frits and to every hundred pound of this composition take of Tartar in lumps well beaten and serced fine of Manganese prepared of each one pound mix these two powders well first together and then with the Frits Then put them into the furnace and let them stand four days at an ordinary fire because they rise much When the metall is purified and well coloured which usually is at the end of four days work it into vessels and works This quantity of the materials makes a most fair colour which you may make deeper or lighter by adding or diminishing the powders or Frits You must put the powder in at several times and not into the metall for then it colours not With these rules and observations you shall make a very fair Gold Yellow But if you would have it fairer and a more graceful Yellow take all Crystall Fritt And thus I have frequently made this colour and alwayes very fair Garnat colour CHAP. XLVII TAke of Crystall and Rochetta Fritt of each a like quantity mix them well and to every 100 weight add of Manganese one pound Zaffer prepared an ounce mix well these two powders together first then with the Frits then put this powder into the pot by little and little Mix well the Manganese with the Zaffer for this quickens the colour making it shining beautiful and fair At the end of 24 hours when 't is pure and well coloured work it Amethist colour CHAP. XLVIII TAke onely Crystal Fritt made with the most perfect Tarso Manganese prepared one pound Zaffer prepared one ounce and a half mix these two powders well together and then with the Fritt and not with the metall in the pots The proportion is one ounce of the mixed powder to one pound of the Fritt When the metall is pure and well coloured work it into vessels c. Saphyre colour CHAP. XLIX TO every hundred weight of Rochetta Fritt add one pound of Zaffer prepared to every pound of Zaffer one ounce of Manganese mix these two well together first and then with the Fritt put them all mixed into the surnace to melt and purifie and when 't is pure and well coloured work it c. This small quantity of Manganese makes a most fair colour of a double violet which I have often made at Pisa and always well A fairer Saphyre colour CHAP. L. INstead of Rochetta Fritt take Crystal Fritt whereto add the same quantity of the foresaid powder with the same rules and you shall have a fair and shining Saphyre colour A Black colour CHAP. LI. TAke pieces of broken glasses of many colours grind them small and put to them Manganese Zaffer to wit not more than half of Manganese to the Zaffer This glass purified will be of a most fair Black shining like velvet and will serve for tubes and all kindes of works A much fairer Black CHAP. LII TAke of the Frits of Crystal and Polveverine of each 20 pound Calx of Lead and Tin four pound mix all together set them in a pot in the furnace well heated and when the metall is pure take steel well calcined and powdered scales of Iron which fall from the Smiths anvil of each a like quantity powder and mix them well put six ounces of this powder to the said metall that they may both strongly boil let them settle 12 hours and sometimes mix the metall and then work it This will be a most fair Velvet Black and pleasant to make all sorts of works Another fairer Black CHAP. LIII TO a hundred weight of Rochetta Fritt give two pound of Tartar and of Manganese six pound both pulverised mix them and put them in the furnace leasurely let the metall purifie which will be about the end of four dayes then mix and wash the said metall which will make a more marvellous black than all the former A fair milk White called Lattimo CHAP. LIV. TAke of Crystal Fritt twelve pound of calcined Lead and Tin two pound mix them well of Manganese prepared half an ounce unite them all together and put them into a pot heated let them stand twelve hours that the materials may be melted and at the end of eight hours you may work it This will be a fair White which I have often made A fair White much whiter than the former CHAP. LV. TAke 400 weight of Crystal Fritt and 60 pound of calcined Tin and two pound and a half of Manganese prepared powder and mix them all with the Fritt and set them in a furnace in a pot let them refine and at the end of 18 hours this stuff will be purified which cast into water purifie it again in the furnace and make a proof and if it be too clear add 15 pound of the aforesaid
calcined Tin mix well the metall many times and at the end of one day it becomes marvellous white and in whiteness surpasseth any snow then work it I have often made it and always with good success This white may be also made with Rochetta but not so white as with Crystal To make a Marble colour CHAP. LVI PUt Crystal Fritt in a pot and when 't is melted before 't is purified work it This is a fair Marble colour A Peach colour in White CHAP. LVII MAnganese prepared will make in Lattimo the colour of a Peach-flower But work it in time because it loseth colour A Deep Red. CHAP. LVIII TAke of Crystal Fritt 20 pound broken pieces of white glass one pound calcined Tin two pound mix these well together put them into a pot to run and purifie when these are melted take steel calcined scales of Iron from the anvil both well ground of each a like quantity mix them together put leasurely of this mixture about an ounce to the aforesaid metall when purified and mix them well and let them incorporate which succeeds commonly in five or six hours Too much powder makes the metall black whereas the colour ought to be transparent and not opacous of an obscure Yellow when 't is so put in no more powder but then put about three quarters of an ounce of Brass calcined to redness as in the 24 Chap. and ground to this metall and mix them many times and at about three or four times it will become as red as blood wherefore make essays often and see whether this colour be good and when so work it speedily else 't will lose it's colour and become black Besides leave the mouth of the pot open else the colour will be lost Let not the pot stand above 10 hours in the furnace and suffer it not to cool as much as is possible When you see the colour fade which sometimes happens put in some scales of Iron which reduceth the colours And because this is a nice colour use all diligence in making it by putting in the steel and scales as also in working it Fritt of natural Crystal CHAP. LIX CAlcine natural Crystal in a Chrysible extinguish it in common cold water eight times cover the Crysible that no ashes nor filth get in Dry the calcined Crystal and grind it to an impalpable powder mix this powder with salt of Polverine made in a glass body as in Chap. 3. with these make a Fritt observing the quantities rules and portion of Manganese setting it in the furnace at due and often times casting it into the water purifying and working it as in other Crystal And thus you will make a marvellous thing A Pearl colour in Crystal CHAP. LX. PUt at 3 or 4 times to Crystal melted and purified of Tartar well calcin'd to whiteness and continue to put in the Tartar 4 or 6 times always mixing it well with the metall till the Crystal hath gotten a Pearl colour Then work it speedily for this colour fadeth This I have often practised and experimented The fourth Book Wherein is shown the true way to make glass of Lead to calcine Lead and extract from it the colours of green Emerald Topaz Skie colour or Sea green Granat colour Saphyre Gold Yellow and of Lapis lazuli With the way to colonr natural Crystal without melting it into the permanent colours of Rubies Balas Topaz Opal Girasole other fair colours CHAP. LXI THe glass of Lead known to few in this Art as to colours is the fairest and noblest glass of all others at this day made in the furnace For in this glass the colours imitate the true Oriental gems which cannot be done in Crystal nor any other glass 'T is very true that unless very great diligence be used all sorts of pots will be broken and the metall will run into the coals of the furnace Observe my rules in all these glasses made of Lead exactly and you shall avoid all danger This business principally consists in knowing well how to calcine Lead and to recalcine it also a second time For by how much 't is better and more calcined by so much the less it returns to Lead Again and by consequence the less breaks out the bottom of the pot Secondly cast the metall into water and separate carefully the Lead from the glass even the least grains of it This glass of lead must be cast into the water by little and little to make a better separation for the least Lead remaining breaks out the bottom of the pots and lets all the metall run into the fire These two rules our Author repeats almost in every Chapter of this Book and these following also The pots and Lead must not have too much heat in the furnace neither must the metall be wrought too hot and the Marble whereon 't is wrought must be of the hardest stone and must be wetted else the marble will break and scale To calcine Lead CHAP. LXII AT first Calcine Lead in a Kil as the potters do and in great quantity Usually in two days they calcine many a hundred pound of Lead In calcining observe that the Kil be not too hot but sufficiently heated onely to keep the Lead in fusion for otherwise 't will not be calcin'd When the Lead is melted it yields at the top a Yellowish matter Then begin to draw forwards the calcined part with an Iron fit for the purpose always spreading it in the internal extremity of the Kils bottom which should be of soft-stone which will bear the fire And the Kil must have a declivitie towards the mouth which I pass by as a thing well known When 't is calcined once it must be put and spread a second time in the Kil to reverberate in a convenient heat always stirring it with an Iron and that for many hours till it come this second calcination to a good Yellow and be calcined Then serce all in a fine serce and what passeth not the serce recalcine it with new Lead This is the way to calcine Lead in great quantity to make thereof store of Potters ware To make glass of Lead CHAP. LXIII TAke of this calcined Lead 15 pound and Crystall or Rochetta or Polverine Fritt according as you would make the colours 12 pound mix them as well as possibly you can put them in a pot and at the end of 10 hours cast them into water for by that time they will be all well melted separate the Lead and return the metall into the pot which in 12 hours at most you shall have most fit to work The manner how to work the said glass CHAP. LXIV TO work glass of Lead into divers drinking or other vessels 't is necessary before 't is taken upon the Iron to be a little raised in the pot and then take it out and 〈◊〉 it to cool a little and then work it on the Marble being clear At first let the Marble be well wetted with cold