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
till you see it thicken and shoot its salt which is wont to be about the beginning of 24 hours for then in the superficies of the copper you will begin to see white salt appearing like a spiders web or white threed then hold a scummer full of holes at the bottom of the copper and the salt will fall upon it and now and then take it out suffering the lees to run out well off it into the copper then put the salt into tubs or earthen pans that the lee may be better drained the liquor that drains must be saved and put into the copper then dry the salt Continue this work till all the salt be gotten out of the copper but you must observe when the salt begins to shoot to make a gentle and easie fire for a great fire makes the salt stick to the copper and then the salt becoming strong alwaies breaks the copper which thing hath sometimes hapned to me wherefore observe this chiefly using great patience and diligence The salt in the pans or tubs being well drained must be taken and put into wooden tubs or vats the better to dry out all the moysture which happens in more or fewer daies according to the season in which it is made The secret then of making much and good salt consists in the Tartar as is before demonstrated From every three hundred pound of ashes I usually get from 80 to 90 pound of salt When the salt is well dryed beat it grossly and put it into the Calcar to dry with a most gentle heat and with an iron rake it must be broken and mixed as the Fritt is when it is well dryed from all its moisture observing alwaies that the Calcar be not very hot but temperate take it out of the Calcar and pound it well and sift it so that the greatest pieces which pass thorow exceed not the bigness of a grain of wheat This salt thus pounded sifted and dryed must be kept by it self in a place free from dust for to make Fritt of Crystall the way to make this Fritt is this which follows The way to make Fritt for Crystall otherwise called Bollito CHAP. II. WHen you would make fair and fully perfect Crystal see you have the whitest Tarso which hath not black veins nor yellowish like rust in it At Moran they use the pebles from Tesino a stone abounding in that River Tarso then is a kind of hard and most white marble found in Tuscany at the foot of the Verucola of Pisa at Seraveza and at the Massa of Carara and in the River Arnus above and below Florence and it is also well known in other places Note that those stones which strike fire with a steel are fit to vitrifie and to make glass and Crystall and those which strike not fire with a steel will never vitrifie which serves for advice to know the stones that may be transmuted from those that will not be transmuted into glass Take then of the best Tarso pounded small and serced as fine as flower 200 pound of salt of Polverine pounded and fifted also about 130 pound mix them well together then put them into the Calcar which at first must be well heated for if they be put into the Calcar when it is cold Fritt will never be made of them At first for an hour make a temperate fire and alwaies mix the Fritt with the rake that it may be well incorporated and calcined then the fire must be increased alwaies mixing well the Fritt with the rake for this is a thing of great importance and you must alwaies do thus for 5 hours still continuing a strong fire The Calcar is a kind of calcining furnace the rake is a very long instrument of iron wherewith the Fritt is continually stirred both these are very well known and used in all glass furnaces At the end of 5 hours take the Fritt out of the Calcar which in that time having had sufficient fire and being well stirred is made and perfected Then put this Fritt in a dry place on a floor and cover it well with a cloath that no dust nor filth may fall upon it for herein must be used great diligence if you will have good Crystall The Fritt thus made becomes as white as snow from Heaven When the Tarso is lean you must add somewhat more than ten pound of the salt to the quantity aforesaid Wherefore let the experienced Conciators alwaies make tryal of the first Fritt by putting it into a chrysible which being put into the furnace if it grow clear and suddenly they know whether the Fritt be well prepared and whether it be soft or hard and whether the quantity of salt is to be increased or diminished This Crystall Fritt must be kept in a dry place where no moisture is for from moist places the Fritt suffers much the salt will grow moist and run to water and the Tarso will remain alone which of it self will never vitrifie neither is this Fritt to be wetted as others are And when it is made let it stand 3 or 4 months and it will be much better to put into the pots and sooner waxes clear This is the way to make Crystall Fritt with the dose and circumstances which I have oft times used Another way to extract the salt of Polverine which makes a Crystall as fair and clear as natural Crystall This was my invention CHAP. III. TAke Polverine of the Levant well serced and put it into great glass bodies luted at the bottom with ashes or sand into the furnaces filling them at first with common water give them a temperate fire for some hours in the furnace and let them stand till half the water be evaporated the furnace being cold gently decant off the water into earthen pans glased putting new water upon the remainder of the Polverine and let it boil as before this is to be repeated till the water hath extracted all the salt which is known when the water appears to the tast not at all saltish and to the eye when it is void of colour Take of these Lees what quantity you will let them be filtred and stand in glased pans four or six days to settle which by this means will leave a great part of their terrestriety then put them to filtre anew thus will they be purified and separated from a great part of their terrestriety then let these Lees be set to evaporate in great glass bodies luted at the bottom in furnaces in ashes or sand at a gentle fire and at last when the stuff is dryed observe that ye fire be very gentle that the salt be not burned nor wasted When the salt is dried take out the glass bodies and see if they be broke at the bottom which is wont to happen often in which case put the said salt into other good glasses well luted at the bottom and fill them at the top with common pure and clean water which set in
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
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
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
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
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
'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
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
call'd the shells of fishes or Lapis Lyncis and whiting wherewith the water from the Copper-plates Verditer is made likewise do And hence it proceeded too that the water made with these Plates acquired the most singular Sky-colour the said Refiner had ever seen And to this purpose I remember that from Brass dissolved in common Aqua-fortis with an addition of Crabs-eyes a most fair Sky colour proceeded thence Of all metalls Copper is the most plyable to the Hammer drawing into wire gives malleability to silver and gold in coins and is of no hard solution in the fire is soon corroded with any acid Spirits or Salts and without great difficulty is resolved into a powder with the fire Five preparations or reduction to powder our Author gives First a calcination of Copper c. 14. of Brass c. 21. with Sulphur then with Vitriol c. 15. Thirdly a simple calcination of Brass by fire c. 20. of scales of Brass c. 24. Fourthly scales thrice calcin'd c. 25 28. Fifthly the making of Vitriol of Venus c. 31 132 133. All which are so well known to the meanest Chymists I shall need to say little of them especially having given so large an account how the two prime colours Blew and Green are thence â—educed But above all these preparations that of Vitriol of Copper carries the preheminence and next to that being prepared the same way with it the calcination with Sulphur and especially with Sulphur vivum in a clear and strong fire makes a better colour than any of the other calcinations mentioned by our Author For though Originally Brimstone and Copperas are made of the same Marcasite and produce Spirits undistinguishable each from other yet Sulphur sooner and better penetrateth into the body of the metall being more vehemently driven in by the most acute and sharp points of the flame and so consequently divide more subtilly the smallest particles thereof Besides the flame dissipateth and carries off the Spirit of the Sulphur which of it's own nature is apt to blacken and make all colours more dirty For as 't is well known Copperas with gals or any other astringent vegetable make Ink and the Black for dyers But if you list to try Vitriol you must not use English Copperas made with Iron but that which is made with Copper Because experience teacheth the Refiners that Aqua-fortis made with it will carry ' its foulness through all their mediate solutions even to the Verditer ' its self which 't will make infallibly of a dirty Green colour Wherefore they make their Aqua-fortis of Danâ—zick Copperas onely Whosoever then would extract a good colour with Aqua-fortis which way our Author useth not though he doth in making Crocus Martis should make it with Salt-peter and Alume instead of Vitriol as 't is hereafter made for Calcidonies chap. 38. or with Hungarian or Roman Vitriol especially the last which makes the strongest water being most impregnated with Copper and coming neerest to Vitriol of Venus for with these waters rise some small atoms of Copper as 't is manifest by holding a knife over the fumes of such Aqua-fortis boyling which will colour it of a perfect Copper colour And if you dissolve in this Aqua-fortis the best Copper and then precipitate it with speltar which I have sometimes done with the refiners double water impregnated with Copper you shall have a most excellent Blew which may be of good use for the colouring of Glass for I doubt not but the strong fire of the furnaces will wholly dissipate the speltar being of a Sulphurious nature or convert it tr Glass for upon the dissolution thereof with Aqua-fortis it shooteth into Green Crystalls however the Copper will remain to give it's tincture to the Glass and that this way of precipitation is much better then by drawing of the Spirit with heat 't is apparent by this that the finer and purer parts of the Copper rise with the water as in the experiment of the Knife and by many others to be met with in the writings of the Chymists One experiment more I shall add to extract the tincture from Copper I took Copper calcin'd and Verdigreas of each an ounce and fill'd two Glass bottles with the juyce and leaves of garden Scurvigrass which abounds in volatile Salt and closed these Glasses well and first for a month set them in a Sellar and afterwards upon Leads in the Sun during the Summer moneths then I strained the liquor per chartam emporeti eam and had from the former a fair Skie from the latter a pure Sea Green And this I the rather relate because I have not met with any experiment in this nature with volatile Salts and 't is very probable that other plants full of the same Salt especially having some clammy juyce in them such as Onions Garlick Leeks and Molyes have might shew some rare effect upon Copper for their leaves have either a deep Green or else a Green mixt with Blew The whole tribe of Acids also are dissolvents of Copper and all sorts of fixed salts all which have acidity in them And no doubt great variety might be met withall in diversity of menstruums and processes of extracting these tinctures Our Author c. 20. tells you Brass is made of Copper and Lapis Calaminaris I shall here deliver the process since I find it no where fully delivered Lapis Calaminaris is found in Sommersetshire and the North of Wales and though some of it hath been brought from Dantzick yet 't is not of the same goodness with ours of England This stone before used must have the following preparation It must be first calcin'd in a furnace like the Calcar with a small hole on one side to put fire in which may be either of Coal or Wood but Wood is hest because it maketh the greatest flame and consequently the best reverberation The time of Calcination is about five hours in which space they often rake it about with a great Iron rake It requireth good judgement to calcine it well for when 't is not sufficiently calcin'd 't will not mix with the Copper and when too much 't will make it too brittle and in both cases gives not the true tincture to Copper The sign of it s just calcination is when 't is in a white and very fine powder Almost half of the Calamie as the workmen call it is wasted and flies away in flour which sticks to the mouth of the Furnace of divers colours of little use with them though I could easily prove these flours to be the true pompholix of the ancients and to be used in the ointment that hath it's denomination thence 'T is an excellent dryer and applyed to Gleeting Nerves and Tendons without pain it soon exiccateth them This powder I communicated to the eternal glory of our nation and Anatomy an excellent Chirurgian and never to be by me forgotten the incomparable Dr. Harvey a man most curious in all natural things who confessed he
the water it makes a little hissing noise the body of it continues red a pretty while and and there proceed from it many eruptions like sparkles that crack and make it leap up and move and many bubbles do arise from it in the water every where about it till it cool but if the water be ten or twelve Inches deep these bubles diminish so in the ascending that they vanish before they attain the superficies of the water where nothing is to be observed but a little thin steam The outside of the Glass drop is close and smooth like other Glass but within it is spungious and full of Cavities or Blebs The figure of it is roundish at the bottom for the most part not unlike a pear pearl it terminates in a long neck so that never any of them are straight and most of them are Crooked and bowed into small folds and wreaths from the beginning of the neck till it end in a small point Almost all those that are made in water have a little proturberance or knob a little above the largest part of the body and most commonly placed on the side towards which the neck ends although sometimes it be upon that side that lies uppermost in the vessel where it is made If a Glass drop be let fall into water scalding hot it will be sure to crack and break in the water either before the red heat be over or soon after In Sallet Oyl they do not miscarry so sâ—equently as in cold water In oyl they produce a greater number of bubbles and larger ones and they bubble in oyl longer than in water Those that are made in oyl have not so many nor so large blebs in them as those made in water and divers of them are smooth all over and want those little knobs that the others have Some part of the neck of those that are made in oyl that part of the small thread that is quenched in it cool'd breaks like common Glass But if the neck be broken neer the body and the body held close in ones hand it will crack and break all over but flies not into so small parts nor with so smart a force and noise as those made in water and the pieces will hold together till they be parted and then there appears long streaks or rays upon them pointing towards the center or middle of the body and thwarting the little blebs or cavities of it wherof the number is not so great not the size so large as in those made in water if the Glass drops be dropt into vineger they frost and crack so as they are sure to fall to pieces before they be cold the noise of falling in is more hissing than in water but the bubbles not so remarkable In milk they make no noise nor any bubbles that can be perceived and never miss to frost and crack and fall in pieces before they be cold In spirit of wine they bubble more than in any of the other liquors and while they remain entire tumble too and fro and are more agitated than in other liquors and never fail to crack and fall in pieces By that time five or six are dropt into the spirit of wine it will be set on flame but receive no particular taste from them In water wherein Nitre or Sal Armoniack hath been dissolved they succeed no better than in vineger In oyl of Turpentine one of them broke as in the spirit of wine but the second set it on fire so as it could no more be used In Quick-silver being forced to sink with a stick it grew flat and rough on the upper side but the experiment could not be perfected because it could not be kept under till it cool'd In an experiment made in a Cylindrical Glass like a beaker filled with cold water of seven or eight onely one succeeded the rest all cracking and breaking into pieces onely some of the company who taking the Glass in their hand assoon as the drop was let fall into it observed that at the first falling in and for some time after whilst the red heat lasted red sparks were shot forth from the drops into the water and that at the instant of the cruption of those particles and of the bubbles which manifestly break out of it into the water it not only cracks and sometimes with considerable noise but the body moves and leaps as well of those that remain whole in the water as those that break A blow with a small hammer or other hard tool will not break one of the Glass Drops made in water if it be touched no where but on the body Break of the tip of it and it will fly immediately into very minute parts with a smart force and noise and these parts will easily crumble into a coarse dust If it be broken so that the sparks of it may have liberty to fly every way they will disperse themselves in an orb with violence like a little Granado Some being rubed upon a dry tyle fly into pieces by that time the bottom is a little flatted others not till half be rub'd off One being rub'd till about half was ground away and then layed aside did a little while after fly in pieces without being touched Another rub'd almost to the very neck on a stone with water and Emery did not fly at all If one of them be broken in ones hand under water it strikes the hand more smartly and with a more brisk noise than in the air yea though it be held near the superficies none of the small parts will fly out of it but all fall down without disperfing as they do in the Air. One of them broken in Master Boyles Engine when the Receiver is well Evacuated will fly in pieces as in the open air Anneal one of them in the fire and it will become like ordinary Glass onely the spring of it is so weakned that it will not bend so much without breaking as before A Glass drop being fastned into a cement all but a part of the neck and then the tip of it broken off it made a pretty smart noise but not so great as those use to do that are broken in the hand and though it clearly appears to be all shiver'd within and the colours turned grayish the outside remained smooth though cracked and being taken in pieces the parts of it rise in flakes some Conical in shape and so crack all over that it easily crumbled to dust One fastned in a ball of cement some half an Inch in thickness upon the breaking off the tip of it it broke the ball in pieces like a Granado Two or three of them sent to a Lapidary to peirce them thorow as they do Pearls no sooner had the tool entred into them but they flew in pieces as they use to do when the tip of them is broken off FINIS An Appendix In the Chapter of the Furnaces I gave an account of the Instruments used about Crystalline Metall but having omitted there those which are used in making Green Glasses take them here as they follow TWo Bars to lift their pots into the Furnaces each neer four yards long A Padle to stir and move the Ashes and Sand in the Calcar Rakes to rake the Ashes and Sand too and fro in the Calcar Procers are Irons hooked at the extremity to settle the Pots in their places whether set too far or near or on either side from the working hole Ladles to empty out the Metall from one Pot into another whether the Pots break or to any other purpose Small Ladles for each Master workman to scum the Sandever and dross from the pot wherein he worketh Strocals a long Iron instrument like a Fire-shovel to carry the Metall out of a broken into a whole Pot. Forks to prick betwixt the bars of the Fire-place to help the descent of the ashes that the fire may burn clear and bright Sleepers are the great Iron bars crossing smaller ones which hinder the passing of the coals hut give passage to the descent of the ashes Ferrets are the Irons wherewith they try whether the Metall be fit to work as also those Irons which make the Ring at the mouth of Glass Bottles Fascets are Irons thrust into the bottle to carry them to anneal The Pipes are the hollow Irons to blow the Glass Ponte is the Iron to stick the Glass at the bottom for the more convenient fashioning the neck of it Pontee stake is the Iron whereon the Servitors place the Irons from the Masters when they have knock't off the bhoken pieces of Glass Cassia stake is that Iron whereon lyeth a piece of wood on which wood they lay the Glass when they have taken it off the pipes whereon they turn the Glass to fasten the Pontee to it Shears are the Instruments to form and fashion the Glass Scissers cut the Glass and even it Cranny is a round Iron whereon they roul the Glass to make the neck of it small Tower is the Iron on which they rest their Pontee when they scald the Glass Several sorts of Iron Molds wherein they make their works of several figures protuberances c. according as they are cut in them FINIS Errata Corrigenda EPist Ded. read pour on you p. 12. line 2. r. from although to the end at the latter end of Chapt. 3. p. 16. l. 13. c. r. refine the Glass ib. l. 16. r. is made p. 24. l. 14. r. 10. p. 106. l. 15. r. lead again p. 159. l. 11. for Cochin r. Blew p. 205. l. 8. r. Boâ—int p. 208. l. 16. r. I sod p. 209. l. 13. r. Belluac p. 267. l. 17. r. that make p. 320. l. 4. r. cast the water on
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