And then this will bear all the violence fury and force of the spirits of the Aqua-fortis and to this end fit exactly a very large receiver to every glass body And when they are well dryed make a fire in the furnace onely with coal at first and that a very temperate one for three hours for in that time the windy moisture distilleth off which endangers the breaking of the glasses and continue for six hours a moderate fire afterwards encrease it gently adding billets of dry oaken wood to the coals and so proceed by little and little augmenting it for six hours more and then the head will be tinged with Yellow a sign that the spirits begin to rise continue this degree of fire untill the spirits beginning to condensate colour Red the receiver and head which will always grow deeper colour'd like a Rubie Then encrease the fire for many hours till the head and receiver become Red which sometimes lasteth two whole days Continue the fire by all means till all the spirits of Aqua fortis be distill'd off which is known when the head receivers by little and little begin to grow clear and become white as at first and wholly cold yet notwithstanding continue the fire one hour more Then let the furnace cool of it's self Observe that when the head and receivers are Red and the fire strong you admit no wind nor cold air into them nor touch them with any cold thing for then they will easily crack and your pains cost and time will be lost wherefore when they are in this state let them be kept hot in the fire Now when all is cold put upon the head and receiver linnen cloaths wetted and well soaked in cold water that the spirits which are about the head and receiver may the better sink into the Aqua-fortis leave them thus for 12 hours then bath the joynts and lutings with warm water till they being moistned you may take off the bandage and the head from the receiver which usually are safe The bodies may be broke and thrown away for they will serve no more powder the dregs and residences of the Aqua-fortis to wit about their third part and to every pound of them add four ounces of Salt-peter refined and put them into another body luted and pour on them the said Aqua-fortis lute and distil them as before in every thing Keep the Aqua-fortis in earthen jugs well stopt that the better spirits may not evaporate This parting water is good for the following uses Some there are that instead of Roch Alume take as much more of the best Vitriol such as the Roman or the like is The sign that Vitriol is good for this use is that being rub'd upon polished Iron it colours it with a Copper colour This Vitriol purified after the following manner will make a stronger Aqua-fortis than Alume To purifie Vitriol to make the strongest Aqua-fortis CHAP. XXXIX DIssolve the best Vitriol the better the stronger the Aqua-fortis in common warm water let the solution stand three days being impregnated with salt then filtre and evaporate in glass bodies two thirds of the water and put the remainder into earthen pans glased which set in a cold place in 12 hours the Vitriol will shoot into pointed pieces appearing like natural Crystall of a fair Emerald colour Dissolve this same Vitriol again and do as before and repeat it thrice at each solution there will remain at the bottom of the glass a Yellow substance which is it's unprofitable Sulphur and is to be cast away At the third time the Vitriol will be purified and fit to make a good and strong Aqua-fortis much stronger than the ordinary especially if the Nitre be well refined How to make Aqua Regis CHAP. XL. TO every pound of the said Aqua-fortis put two ounces of sal Armoniack powdered into a glass body which set in a pan full of warm water and let the Aqua-fortis be often stirred which will soon dissolve the sal Armoniack with it's heat which will be tinged with a Yellow colour put in more sal Armoniack as long as the Aqua-fortis will dissolve any when it dissolves no more let it settle a little when it is clear decant it leasurely off and in the bottom there remains the unprofitable terrestriety of the sal Armoniack Now this Aqua Regis is strong and fit to dissolve Gold and other metalls but silver it toucheth not at all To burn Tartar CHAP. XLI PUt Tartar of Red-wine which is in great pieces and appears full of spots lay by that which is in powder for it is not good into new earthen pots and let it burn in kindled coals until it smoaks no more and when it is calcin'd and in lumps of a black purplish sustance then it is burned and prepared How to make a Calcidony in Glass very fair CHAP. XLII PUt of Aqua-fortis two pound into a glass body not very great but with a long neck four ounces of fine silver in small and thin pieces and set them near the fire or in warm water which as soon as the Aqua-fortis begins to be hot 't will work and dissolve the silver very quickly and continue so until it hath dissolved and taken it up then take a pound and a half of Aqua-fortis and in it dissolve as you have before done with silver six ounces of Quick-silver when all is dissolved let these two waters be well mixed in a greater body and powr upon them six ounces of sal Armoniack and dissolve it at a gentle heat when it is dissolved put into the glass one ounce of Zaffer and half an ounce of Manganese each prepared and half an ounce of Ferretto of Spain a quarter of an ounce of Crocus Martis calcin'd with Brimstone thrice calcin'd Copper Blew smalts of the Painters and Red-lead of each half an ounce powder all these well and put one after another into the body which then stir gently that the Aqua-fortis may be incorporated well with the said powder keep the body close stoped for ten days every day stirring it well several times and when they are well opened then put it into a furnace on sand and make a most temperate heat so that in 24 hours all the Aqua-fortis may be evaporated Observe that at last you give not a strong but a gentle heat that the spirits of the Aqua-fortis may not evaporate and in the bottome there will remain a Lion colour which being well powdered keep in a glass vessel When you would make a Calcidony put into a pot very clear metall and made of broken pieces of Crystall vessels and Crystalline and white glass which hath been used For with the Virgin Fritt which hath never been wrought the Calcidony can never be made and the colours stick not to it but are consumed by the Fritt To every pot of about 20 pound of glass put two ounces or two ounces and a half or three ounces of this powder or medicine
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
35. and in the Emerald colour of Glass of Lead chap. 65. and for the same colour in pasts 't is used indifferently with Verdigreas chap. 77 78 79. and in Blacks chap. 101. but for a fair Red Crocus Martis made with Sulphur chap. 128. but for more fair colours Crocus Martis made with Aqua-fortis chap. 43. But so as the best colour from Brass is of Vitriol of Venus the primest and lightest colour from Iron or Steel is that which is made with Aqua-regis which proceeds partly from the mixture of sal Armoniac and partly from a finer solution of it And thus having past over the prime materials and preparations for colours in Glass the rest of the work consisting principally in the due mixture of the said colours with the circumstances which our Author hath fully done we shall be very brief in what follows and shall onely deliver here one prâ—â—aration come to my knowledge whilst a secret of great value but now commonly enough known to the furnaces and 't is this Take of Antimony and Salt-peter well ground and mixed of each twelve pound together with 200 weight of the common materials for glass wherewith this mixture of Antionomy and Peter must be also well united and then calcin'd in the calcar and made into a Frit or which is all one make Regulus of Antimony with Crude Antimony and Peter the manner every Chymist knows which being mixed with the metall afford a very white Enamel and serves with other mixtures for various colours Chap. 29. POrt l. 6. c. 5. To colour the Blew Gemm which the common people call Aqua-marina and our Jewellers Egmarine a kind of Saphire Beat burnt Brass into a most fine and impalpable powder otherwise a courser gemm will be made thereof and let it be mixed with Glass The quantity cannot be determined for they are made deeper or lighter for one pound of metall one drachm of burnt Brass will suffice Chap. 32. FOr the Emerald colour Porta l. 6. c. 5. thus When you have coloured that Egmarine you shall easily turn it to an Emerald by adding half Crocus Martis to the calcin'd Brass to wit if at first we put in a fourth part of Brass we now add an eighth part of Crocus and as much calcin'd Brass Observe that they boil together six hours after the colours are put in the stuff that the jewels may grow clear which became cloudy by putting in the colours Brass is heavy and when 't is mixed with the metall every moment 't will sink to the bottom of the pot and make the gemm more dilute wherefore you must very often stir it Let the fire decrease by little and little till the furnace grow cold let the pots be taken out of the furnace and being broken they afford you counterfeit jewels Observations on the Author ROsichiero whereof thus Port lib. 6. cap. 9. But the more skilful and modern Glass-men in colouring Enamels of a clear Rose-colour the common people call it Rosachiero take not a little pains seeing our Ancestors made it Artificially and beautifully Chap. 37. OUr Author adviseth you to make your Aqua-fortis c. your self and good reason for it for one pound of common Aqua-fortis upon my reiterated experience shall yield but four ounces of good Spirit the other 12 ounces will be phlegm of Vitriol This addition of white Arsnick in the making of Aqua-fortis I find in the Lady Isabella Cortese printed at Venice in Italian 18 years before the publication of this work Many are the compositions of this water but Nitre is the principal operative ingredient in them all Most make it of Vitriol some of English Copperas which serves for common uses and for Bow-dies though made of Dantzick Copperas would be better for that use for this the refiners use finding a dirtiness from our English some add alum instead of Vitriol but that yields at best but a weak phlegm Others have made essays with Sal gemm but they found that this Salt affords no Spirit but sticking to the neck of the retort hinders the passage of the Spirits and breaks the vessels When the red fumes are past all the Spirits of Nitre are raised and then the fire is to be extinguished for after followeth onely the Spirit of Vitriol which hindereth the operation of the Spirit of Nitre towards the solution of metals I have often seen singular good parting water drawn by the refiners twice in 24 hours in which time with their fire not much of the Spirit of Vitriol could arise which requireth commonly three days with the strongest fire can be made for the two last days to draw off both the Spirit and ponderous oyl from it though the volatility of the Nitre in Aqua-fortis may help to raise them One thing our Author omitteth though very necessary to be done before the Aqua-fortis be used practised constantly by the refiners else their waters will be foul the manner is thus as you have it in Beg. Tyrocin Chym. c. 3. Take of the distil'd water and put into it a peny weight of refined silver and dissolve it upon coals then pour this silver water into three parts more of the unfined Aqua-fortis which will become of a milky colour then they let it settle and decant off the clear this setling the refiners call the fixes and cast it into a tub of water of 20 gallons all which it will in a moment turn to a milk colour I know a refiner who destilleth his Aqua-fortis out of an Iron pot which he finds to make a stronger water besides the great charge in pots and fire saved you may see the way in the commentator on Beguin Chap. 40. YOu need not charge your Aqua-Regis with so much Sal Armoniac as it will dissolve one ounce and a half to a pint is sufficient I wonder at Beguins way of making this water who distills the Salt-peter and Sal Armoniac together but experience hath taught me that half the quantity of Aqua-Regis wherein Sal Armoniac hath been dissolved will do as much as neer double the quantity of that wherein it hath been distill'd Aqua-Regis onely blacks silver but 't will slowly dissolve very thin plates of Copper and Tin as Aqua-fortis will corrode Leaf-Gold But if you draw off the water when it hath dissolved Gold then 't will fall upon Silver or other metalls Chap. 42. THe ways of making Calcidonies Jaspers and Agats seems to be the same with making marbled paper described exactly by Kirch l. 10. de luce umbra par 2. c. 4. and transcribed by Schott par 1. l. 5. Chrom 9. the way whereof is that several colours are dissolved in several liquours proper to dissolve them and are such as will not readily or not all mix one with another when put into water before they are cast upon the Paper to receive this variety of colours And so in like manner variety of materials being mixed together and such as will not incorporate each with other
1. c. 4. Musaei Metall relates Some make it of a pound of Tin a third of Brass melted and then add an ounce of Tartar and half an ounce of white Orpimont all boild so long as they smoak Then they fashion the Molten Metall into the figure of a Looking-Glass on plain tables heated and dryed with the smoak of Rosin and smoothed with vâ—ne ashes then they afterwards smooth it glewed to Wood with water and sand next with Emery or a smooth Pumice thirdly with Putty thus Cardan and from him Kircher and Schwenterus Harstoffer tom 1. par 6. q. 13. deliciar Math. from Fliorovant takes three quarters of Tin and a quarter of refined Copper and melts them then four ounces of calcin'd Tartar Crystalline Antimony six ounces Antimony sublim'd two ounces common oyl four ounces Marcasite three ounces Mix all these and to every pound of the said metalls take thereof two ounces let them evaporate and refine adding a little Burgundie-pitch when these are consumed pour the stuff in the molds Scal. exerc 82. Sect. 3. thus of this mixture melt nine ounces of Tin three of Brass and then add dryed Tartar one ounce white Arsnick half an ounce let them stand on the fire as long as they smoak and in the casting and polishing proceeds as the other Authors Cornaeus communicated to Schottus this way Take ten parts of Copper when 't is melted add four parts of Tin then sprinkle a little Antimony and Sal Armoniack and stir and mix them till all the dangerous smoak from which keep your mouth and nose vanish then cast it into a mold I have found saith he this mixture by much use to be very good Some of these mixtures and many others like with divers other materials for polishing you may find in Birelli l. 9. c. 47. to the 55. to whom for brevities sake I refer you Chap. 114. THis way of colouring Glass Balls on the inside is now changed into another of Pasting Pictures on the outside of Balls they are very pleasant commonly hung up in houses Gesso Whereof thus Caesalp l. 1. c. 9. the onely Latin Author I find mention it est alia terra pallida glebis lapidosis qua utuntur ad Aurichalcum tergendum vulgo vocant gessum There 's another pale earth with stony clots which they use to scoure Brass they call it Gessum But it seems he knew not what it was 'T is a sort of Lime burnt into a pretty hard and very white stony substance glittering with spots as Spar doth in Lead and Tin Ore and pretty ponderous To the eye it much resembles Alablaster and is brittle as it for so is a large piece I have by me 'T is made in Spain and carried thence to the Canary Islands and put into the wine transported thence and gives it a whitish colour and fermentation and so preserves that wine which would not otherwise keep but would grow vapid being transported into other countries Chap. 115. ULtramarine so call'd as Caesalp quod forte Egyptum significat aliis praelatum this most beautiful colour and of value equal if not surpassing Gold all Authors that treat of stones or colours deliver the ways of preparing it 'T is a very nice colour to make and unless all the Lapis Lazuli you use be singularly good all your labour is lost 'T is sufficient for me to point at the Authors who have written of it omitting their processes because very long and tedious Boeth de Boodt de gem Lap. l. 2. c. 123 124. to Chap. 142. Where he teacheth in a long series of words to chose the stones for some of them will bear the fire which Aldrovand cals fixed others will lose their colour in the fire then the way to calcine it to make vessels Lees strong and weaker Plaisters wherewith the colours may be more easily drawn forth and how it must be washed to serve for Pictures And in the last Chapter he teacheth a shorter and less expensive way to extract this colour Next him followeth Birelli who somewhat shorter delivers all these Processes l. 9. from Chap. 80. to Chap. 109. Some painters onely grind the Lapis Lazuli into a fine powder and so use it Chap. 116. LAke from Cochineel No doubt this word comes from the Gum call'd Lacca the colour and tincture whereof have both the same colour with this of the Painters Math. in l. 1. Diosc c. 23. asserts there are many kinds of Artificial Lake which are made of the Sediment of several tinctures One is made of the Berry head of Burnet which they commonly call Cremese and Cremesino Crimson another of Chermes Berries a third of true Gum-lacc and lastly a fourth of Brasil the worst of all but he sheweth not the way of making either of them Concerning this place and the mistakes of Math. herein hereafter in a Treatise designed for colours Birell l. 11. c. 39. teacheth a way to make a Lake of this Gum. Take saith he about twenty pound of mens urine which boil and scum well put a pound of Gum-lacc and five ounces of Alum into it set them over the fire Boil them till the colour be extracted make proof with a little of it then add of Alumen Saccharinum what quantity you judge fit then strein it as the other Lakes are I find in several writers receits for making Lakes differing onely either in the materials from which or in respect of the Menstruum wherewith they are extracted Some use Chermes-berries or Grains a sirup whereof the Apothecaries have of a noble tincture and they are gathered from the Ilex thence call'd Coccigera a tree whereof you may see in a garden in Old-street London neer the Pest-house but it never bore fruit in England another grew in his Majesties Privy-garden at VVhite-hall but 't was lately cut down by the ignorant usurpers Some use the Cochineel which is a Maggot or fly bred on the Ficus Indica whereof see at large Joan de Laet descript Ind. l. 5. c. 3. as also Herrera Zimenes Others use dyed Flox the most common which our Author here teacheth how to die and this is the best way Others take the Scowrings of Cloath dyed in Stammel or Scarlet Hernandez in his Hist l. 3. chap. 45. thus of making Lake in the Indies Of Nocheztli that is Cochineel sometimes a Purple sometimes a Scarlet colour is made according to the various ways of preparing it The most exquisite is made by beating it with the water of the dicoction of the tree call'd Totzuatl adding Alum and the setling is form'd into Cakes As for the Menstruums they are Lees made by our Author of Vine or VVillow or of other soft VVood. Others make it of Oaken or other strong ashes yet the Lee must be no stronger than being put upon the tongue 't will prick or bite it a little onely Surely Aqua-fortis might do very well since we see it so far advanceth the colour of Cochineel in our
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
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
manner have I often made it at Pisa and always with good success A marvellous Sea-green above all Sea-greens of my invention CHAP. XXXI LEt the Caput mortuum of the spirit of Vitriol of Venus Chymically made without corrosives stand in the air some few days draw from it of it self without any artifice a green pale colour this material being pulverised with the addition of Zaffer prepared and with the same porportion as is said in the other prepared Brass the metall being added as in the other Sea-green it will make a Sea-green so fair and marvellous that 't will seem a very strange thing I have often made it at Antwerp to the wonder of all the spectators that saw it The manner of making Vitriol of Venus without corrosives Spagirically is to take little thin pieces of Brass of the bigness of half a Florentine and to have one or more pots as it is needful and in the bottom of them to put a layer of common Brimstone powdr'd and above it little pieces of the Brass aforesaid and than a layer of Brimstone and after that pieces of Brass work in this manner till all the Brass that you have be set to work this being done let the Brass be baked as followeth in the 140 Chap. then prove it and to your content you may see a thing of astonishment I know not whether any have tried this way which I have found wonderful wherefore I say 't is my own invention A green Emerald colour in glass CHAP. XXXII IN making Green you must observe that the metall have not much salt with metall that hath much salt as Crystall and Rochetta have you cannot make a fair Green but onely a Sea-green for the salt consumes the Green and always inclines the colour to a Blew Wherefore when you would make a fair Green put common metall made with Polverine into small or great pots and in no wise have any Manganese When it is melted and well purified add to this metall a little Crocus Martis calcin'd with vineger about three ounces thereof to a hundred weight let the metall be well mixed and remain so an hour until the metall incorporate the same tincture of the Crocus which will make the glass come out Yellowish and takes away the foulness and Blewness which the metall always hath This process will give the metall a fair Green Put of thrice calcin'd Brass made with scales as before two pound to every hundred pound of metall and this must be added at six times mixing well the powder with the metall then let them settle two hours and the metall incorporate with it then mix again the metall and take a proof and if the Green enclines to a Blew add a little more Crocus Martis so you shall have a very fair Sea-green called Leek green which at the end of twenty four hours may be wrought This Green I have many times made at Pisa which came forth sufficiently fair And so it will to every one that shall observe punctually what is abovesaid A Green fairer than the former CHAP. XXXIII BUt if you would have a Green much fairer and shining than the former put into a pot of Crystalline which hath not had any Manganese and which hath passed thorow water once or twice till all the saltness be gotten out and to this Crystalline let half of common white metall made of Polverine be put in at several times as soon as this metall is well mixed and purified take to every hundred pound two pound and a half of thrice Calcin'd brass made with plates of Brass in the arches of the furnace and with this mix two ounces of Crocus Martis Calcin'd with Brimstone and reverberated put these two powders well mixed together to the abovesaid metall using the rules as before in the said Green if the metall hath any Blewness give it a little of the said Crocus Martis which takes it away and then work it as the other Greens and there shall be made the wonderfull Green of the Burnet I have thus made it many times at Pisa with very good success for works more exact than ordinary If you will have a fair colour see that the Brass be well prepared A marvellous Green CHAP. XXXIV TAke Brass thrice calcin'd as before then in stead of Crocus Martis take the scales of iron which fall from the Smiths anvils powder them finely sift them clean from the coals and ashes and with the quantity aforesaid mix them well with the Brass and put them to the common glass metall of Polverine without any Manganese with the rules aforesaid in the Green and with this Crocus Martis or scales you shall doubtless have a more marvellous Emerald Green-colour which will have wholly lost it's Azure and Sea-colour and will be a Yellowish green after the Emerald and will have a shining and fairer lustre than the aforesaid Greens The putting in of scales of iron was my own invention In the rest of the work let the rules and doses as in other Greens be observed and you shall have a strange thing as experience hath often shown me Another Green which carries the Palm from all other Greens made by me CHAP. XXXV TO a pot of 10 pound of metall to wit half of Crystalline passed thorow water several times and half of common white metall of Polverine take four pound of the common Frit of Polverine wherewith mix three pound of red Lead unite them well together and put them into the same pot and in few hours all of them will be well purified then cast all this metall into water and take out the Lead then return the metall which hath passed thorow the water into the pot let the metall purifie for a day then if you put in the colour made Chymically with the powder of the Caput mortuum of the Spirit of Vitriolum Veneris adding a very little Crocus Martis there will arise a marvellous Green fairer than ever I made any which will seem to be a very Emerald of the ancient Oriental rock A Blew or Turcois a principal colour in this art CHAP. XXXVI PUt sea salt which is called black or gross salt for the ordinary white salt which is made at Volterra is not good into the Calcar or Fornello till all the moisture be evaporated and it becomes white then pound it well to a small white powder This salt so calcin'd keep to make a Blew or Turcois colour Put into a small or great pot of Crystal metall died with the colour of Sea-green made as hath been said many ways But let the colour be fair and full for this is of great importance to make a fair Skie colour according as you would have the Sea-green fair and excellent To this metall so coloured put of the said salt calcin'd into the pots mixing it well with the metall and this is to be put in by little and little until the Sea-green lose it's transparencie and diaphanietie and takes
opacity for the salt being vitrified makes the metall lose it's transparencie and gives it a little paleness and so by little and little makes the said Skie colour which is the colour of a Turcois-stone when the colour is enough it must be wrought speedily for the salt will be lost and evaporated and the metall returns again to be transparent and foul-coloured But when the colour is lost in working add new burnt salt as before that the colour may be reduced and so you shall have your desired colour Let the Conciators well observe that this salt always crakcles when it is not well calcined therefore let him have a care of his eyes and sight for it endangers them The quantity of salt must be put in by little and little leaving some distance between each time till he see the desired colour But in this I used neither dose nor weight but my eye onely I have often made this colour for it is very necessary in counting houses and the most prised and esteemed colour that is in the art Wherefore to make a Blew for counting houses take the Green of Crystal metall and half Sea-green made of half Rochetta which will become a fair colour although it be not all Crystall metall The second Book wherein are shown the true ways of making Calcidony of the colour of Agats oriental Jaspers with the way to prepare all colours for this purpose and also to make Aqua-fortis and Aqua Regis necessary in this business And the Manner of calcining Tartar and uniting it with Rosichiero made Chap. 128. which produceth pleasant toyes of many colours with undulations in them and gives it an opacity such as the Natural and Oriental stones have CHAP. XXXVII SInce I am to shew the manner how to make Calcidonies Jaspers and Oriental Agats it is necessary first to teach the preparation of some mineral things for such compositions and although some of them may be publiquely bought yet notwithstanding I being desirous that the work should be perfect judged it pertinent to my purpose to shew the most exquisite Chymical way that the skilful may make every thing of themselves both more perfect and with lesser charge For there is no doubt that when the materials are well prepared and the colour of the metalls is well opened and separated from their impurity and terrestriety which usually hinder the ingress of their tincture into glass and their union in their smallest parts that then they colour the glass with lively shining and fair colours which very far surpass those that are vulgarly and usually made in the furnace And because the colour of Calcidony or rather it's compound which is nothing else but as it were a reuniting of all the colours and toyes that may be made in glass a thing not common nor known to all if they be not well prepared and subtilised as is necessary they give not the beauty and splendor to glass as is required Wherefore it is necessary that the metalls be well calcined subtilised and opened with the best Aqua-fortis Sulphurs Vitriols sal Armoniak and the like materials which in length of time and at a gentle heat are opened and well prepared but a violent fire herein hurteth much Tartar and Rosichiero besides their being very perfect and well calcined must be also put in proportion and in fit and due time and you must also observe that the metall be well boiled purified and perfected and in working of it some such care is to be used as the diligent masters are wont to use and by thus doing the true Jasper and Agat and Oriental Calcidonies with the fairest and beautifullest spots of wavings and toyes with divers lively and bright colours Hence it truly appears that nature cannot arrive so high in great pieces and although it is said and may be made to appear true that Art cannot attain to Nature yet experience in many things shews and in particular in this art of the colours in glass that art doth not onely attain to and equal nature but very fair surpasses and excells it If this were not seen hardly would you believe the beauty the toyes and wavings of divers colours variously disjoyned one from the other with a pleasing distinction which is seen in this particular of the Calcidony When the medicine is well prepared and the glass wrought at a due time the effect that cometh thence passeth all imagination and conceit of man In the three ways to make it which I teach I believe you may see how far the art of glass ariseth in this particular where I demonstrate every particular so distinctly that any practitioner and skilful person may understand and work without errour and he that works well may find out more than I set down How to make Aqua-fortis call'd parting water which dissolves silver and quick-silver with a secret way CHAP. XXXVIII TAke of Salt-peter refined one part of Roch-alum three parts but first exhale in pans all the humidity from it to every pound of this stuff add an ounce of Crystalline Arsnick this is a secret and no ordinary thing which besides it's giving more strength to the water helps to extract better the spirits from the materials which are the true nerves and strength of the Aqua-fortis without which the water perhaps would be no better than well-water Powder and mix them well together adding thereunto the tenth part in the whole of Lime well powdred mix them well and put so much of this stuff into glass bodies that about three quarters of them may be full let them be luted with strong lute which I remit to the Artist as a common thing but one not vulgar I will declare Take some lome for example of the river Arnus which is a fat earth known to all one part of sand 3 parts of common wood-ashes well sifted of shearings of woollen cloath of each one half mix them well together and incorporate them into a past with common water work them well together for the more 't is wrought the better 't is therefore see that your past be a little hard to all these add a third of common salt which incorporate well with the lute 't is a business of importance then lute the glasses with this perfect lute and set them in wind furnaces fitting to their bottoms baked earth which will bear the fire Under the bottom of these bodies let there be four fingers of sand thick Iron bars to bear the weight fill'd round about with sand put receivers of glass to them large and capacious within lute the joynts well with lute made of fine flowre and lime of each a like quantity powdred mixed tempered and impasted with the whites of Eggs well beaten with this lute binde and lute the joynts with roulers of fine linnen which when well dryed and rould about three or four times make a very strong lute rouling but once at a time and letting it dry a little before the second rouling
CHAP. XLV THis third Book teacheth various wayes and one better than another to make all the abovesaid colours As also a particular way to make Fritt of natural Crystal which will melt as ordinary Crystal metall and will make vessels very white beautiful and sightly There is no doubt but some of those colours are known to Artists though not to all persons For few they are that know how to make well Gold Yellow and a Deep Red being hard and nice colours in this Art Since in making them 't is necessary you be punctual in the dose time circumstances and materials for if you err but a very little in any of them whatsoever all the whole labour and business is lost and comes to nothing I describe these two colours and all other in so clear and intelligible a stile that every body may understand and make them to their gust and satisfaction You must be exact in the time quantity circumstances purifying powdering sercing fire materials if you err but a little in any of them whatsoever all the labour is lost and the colours come to nothing 2. Tartar must be of Red-wine well vitrified in the vessel in gross pieces not in powder Vitrified naâ—urally of themselves That of white wine is not good 3. To Manganese our author still subjoyns of Piâ—mont 4. The colour must be made fuller or lighter according to the works you employ them for and to heighten them put in more of the colour but to make them lighter put into the pot more Fritt Take some metall out of the pot and you shall see whether you have your desired colour put in your colours by little and little lest they overdo 5. Put your colour to the Fritt and not to the metall when melted for then it neither takes the colour so well nor so good a colour 6. Mix the colours well with the metall in the pots when 't is melted that both may be well incorporated and this is to be done as often as you work the metall To make a Gold Yellow in glass CHAP. XLVI TAke Crystal Fritt two parts Rochetta Fritt one part both made with Tarso which is much better than sand mix and remix well these two Frits and to every hundred pound of this composition take of Tartar in lumps well beaten and serced fine of Manganese prepared of each one pound mix these two powders well first together and then with the Frits Then put them into the furnace and let them stand four days at an ordinary fire because they rise much When the metall is purified and well coloured which usually is at the end of four days work it into vessels and works This quantity of the materials makes a most fair colour which you may make deeper or lighter by adding or diminishing the powders or Frits You must put the powder in at several times and not into the metall for then it colours not With these rules and observations you shall make a very fair Gold Yellow But if you would have it fairer and a more graceful Yellow take all Crystall Fritt And thus I have frequently made this colour and alwayes very fair Garnat colour CHAP. XLVII TAke of Crystall and Rochetta Fritt of each a like quantity mix them well and to every 100 weight add of Manganese one pound Zaffer prepared an ounce mix well these two powders together first then with the Frits then put this powder into the pot by little and little Mix well the Manganese with the Zaffer for this quickens the colour making it shining beautiful and fair At the end of 24 hours when 't is pure and well coloured work it Amethist colour CHAP. XLVIII TAke onely Crystal Fritt made with the most perfect Tarso Manganese prepared one pound Zaffer prepared one ounce and a half mix these two powders well together and then with the Fritt and not with the metall in the pots The proportion is one ounce of the mixed powder to one pound of the Fritt When the metall is pure and well coloured work it into vessels c. Saphyre colour CHAP. XLIX TO every hundred weight of Rochetta Fritt add one pound of Zaffer prepared to every pound of Zaffer one ounce of Manganese mix these two well together first and then with the Fritt put them all mixed into the surnace to melt and purifie and when 't is pure and well coloured work it c. This small quantity of Manganese makes a most fair colour of a double violet which I have often made at Pisa and always well A fairer Saphyre colour CHAP. L. INstead of Rochetta Fritt take Crystal Fritt whereto add the same quantity of the foresaid powder with the same rules and you shall have a fair and shining Saphyre colour A Black colour CHAP. LI. TAke pieces of broken glasses of many colours grind them small and put to them Manganese Zaffer to wit not more than half of Manganese to the Zaffer This glass purified will be of a most fair Black shining like velvet and will serve for tubes and all kindes of works A much fairer Black CHAP. LII TAke of the Frits of Crystal and Polveverine of each 20 pound Calx of Lead and Tin four pound mix all together set them in a pot in the furnace well heated and when the metall is pure take steel well calcined and powdered scales of Iron which fall from the Smiths anvil of each a like quantity powder and mix them well put six ounces of this powder to the said metall that they may both strongly boil let them settle 12 hours and sometimes mix the metall and then work it This will be a most fair Velvet Black and pleasant to make all sorts of works Another fairer Black CHAP. LIII TO a hundred weight of Rochetta Fritt give two pound of Tartar and of Manganese six pound both pulverised mix them and put them in the furnace leasurely let the metall purifie which will be about the end of four dayes then mix and wash the said metall which will make a more marvellous black than all the former A fair milk White called Lattimo CHAP. LIV. TAke of Crystal Fritt twelve pound of calcined Lead and Tin two pound mix them well of Manganese prepared half an ounce unite them all together and put them into a pot heated let them stand twelve hours that the materials may be melted and at the end of eight hours you may work it This will be a fair White which I have often made A fair White much whiter than the former CHAP. LV. TAke 400 weight of Crystal Fritt and 60 pound of calcined Tin and two pound and a half of Manganese prepared powder and mix them all with the Fritt and set them in a furnace in a pot let them refine and at the end of 18 hours this stuff will be purified which cast into water purifie it again in the furnace and make a proof and if it be too clear add 15 pound of the aforesaid
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
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
into earthen glased pans in a cold and moist place for a night and you shall finde the Vitriol shot into points like Crystals which will appear like true Orientall Emeralds decant oft all the water that is in the pans dry the Vitriol and let it not stick to them then evaporate half this water which will yield you new Vitriol as before Repeat this till you have gotten all the Vitriol Put this Vitriol in a Retort well luted with a strong lute see you put no more than one pound of Vitriol in a Retort which must not be very large and have a large and capacious receiver make for 4 hours together a most temperate fire for if it be too strong the moist and windy Spirits which first arise from this Vitriol are so powerful and arise with so great force that no receiver is able to hold them let the joynts also be very well luted At last make a strong fire when the dry Spirits begin to rise in a white form continue the fire till the Receiver begins to wax clear and to be quite cold then make no more fire and in twenty four hours let the joynts be unluted and the liquor which is in the Receiver must be kept in glass very well sealed This is the true lively Azure with which marvellous things are done as you may well perceive by it's smell which is as powerful and sharp as any this day known in nature Many things might be said which are passed over as being not pertinent to the Art of glass which happily you may judge upon better occasion the feces then which remain at the bottom of the Retort will be black which left some days in the air of themselves will take a pale blew powder and mix this with Zaffer and put it to Crystall metall as before and with the said quantity will be made a marvellous Sea-green Wherefore I have here set down the way to make this powder with much clearness presupposing that I have not published an ordinary way to make it but a true treasure of nature and that to the content of noble and curious Spirits FINIS AN INDEX LEad to calcine 62. To prepare Crystall 70 76. Manganese 13. Sulphur to fix 126 130. Vitriol to make Aqua-fortis 39. Tartar to calcine 37. to burn 41. to extract the salt 11. Zaffer to prepare 12. To make Aqua-fortis 38. Aqua Regis 40. Crocus Martis with Sulphur 16. with Vineger 17. with Aqua-fortis 18. with Aqua Regis 19. Crystal and Crystalline Metall 9 10. Frit 3 8. Frits of Crystall 59. Brass to calcine 20 21. for Ferretto of Spain 14 15. to redness 24. thrice 25 28. Vitriolum Veneris 31 131 132 133. Glass of Lead 63. Saccharum Saturni 123. Salt from Polverine Rochetta and Barillia 1. a better way 3. from Fern and other herbs 5 6 7. Lakes 108 109 110 118. from Cochineel 116 117 119 Sphears 113. Turcoises that have lost their colour 112. Ultramarine 115. Blew 111. Colours to make Amethist in glass 48. Balass in glass 122. in Crystall 74. Black in glass 51 52 53. in Enamels 100 101 102. Calcidony 42 43 44. Chrysolite in Past 82. Emerald in glass 32 33. in glass of Lead 65 66. in Pasts 77 78 79 80. Green in glass 33 34 35. in Enamels 97 98 99. Girasole in Past 74. Granat in glass 47. in glass of Lead 69. in Past 87 88 89. Lapis Lazuli in glass of Lead 72. Marble colour in glass 56. Opal in Past 74. Peach in glass 57. Paste observations on them 90 91 92. Pearl colour in glass 60. Purple Enamel 104. Red deep in glass 58. as blood 121 127. in Enamels 103. Transparent in glass 120. Rose red in glass 120 124 125 128. Ruby in Past 74. Sea-green in glass 22 23 26 29 30 31 131. Saphyre in glass 49 50. in glass of Lead 70. in Pasts 85 86. Sky colour in glass 23. in glass of Lead 68. in Pasts 83 84. In Enamels 106. Topaz in glass of Lead 67. in Past 74 81. Turcois in glass 36. in Enamels 95 96. Viper colour in Crystall 73. Violet Enamel 107. White Enamel 94. white call'd Lattimo in Glass 54 55. Yellow in glass 46. in Enamels 105. Gold Yellow in glass of Lead 71. Observations of Yellow in glass 4. Observations on the Epistle to the Reader COncerning our Authour and this work I find no other mention of him than a bare naming him by Garso in his Book della dottrina universalâ— and by Borneâ—â—us de sufficientia Pag. 141. Neither could I ever find by strict inquiry that the other piece promised in the Epistle Dedicatory and the Preface concerning Chymical matters was ever published neither have I read in any Spagyrical writers quotations drawn thence Wherefore I may easily conclude that it never came to light and it is no wonder he found no incouragement by this Book to put forth that since this kinde of learning 〈◊〉 useful to mankind was accounted sordid 〈◊〉 below the speculation of men living in tâ—â—se times Who wholly busied their subtile â—its either in contemplations useless or inâ—eterminable most of whose notions were â—are 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 But our most learned â—acon man of a most sublime and piercing intellect in his incomparable Novum organum hath fully confuted shewed the vanity in efficacy of that other way and hath more wisely substituted another more effective and operative for the more solid promotion of Arts and Sciences This way of useful learning hath been more experimently followed by some particular persons but not universally throughout But now 't is like to make a considerable progress being designed by that most noble and honourable company of the Kings society at Gresham-College which by the indulgence of His â—â—â—red Majesty restored to his people for the promotion of all virtuous undertakings weekly convenâ— to this very end and purpose and daily bring in materials for this fair Edisice One part of this design this present Book contains wherein is set forth truly and plainly the whole business of making and colouring glass which from his youth our Author had learned of able and diligent persons or what experience oâ— the fire had taught him and in many he tells you the time and places of his tryal and invention with all the circumstances thereunto belonging Art of Glass Our English word Glass is the same with the Dutch and is deriv'd from the Latine Glastum which by removing the last syllable is plainly Glass now it appears that Glastum was called Vitrum by Caesar in his Commentaries lib. 5. Where he saith omnes Britanni se vitro inficiunt all the Britans colour themselves with Glass Mela lib. 3. cap. 6. Britanni virro corpora infecti and Vitruvius Wooll died with Glass for so the learned Turnebus restores these places where 't was anciently read Ultrum for Vitrum but that Vitrum is Isatis appears by these words of Vitruvius they colour for want of
coples by melting them down But in this case some minute parts of Silver onely get into the tests and coples by the mediation of the Lead alone since Lead is used in both refining and Essays But Silver alone nor other metall will at all sink into the test Another reason of this Accident may be that the Lead insinuating it's self into the pores of the pots and continued there in fusion will by getting farther and father by it's weight into the bottom of the pot at last run out and then leave holes for the metall to follow Our Author mentions not a Jacinth from Glass of Lead nor Glass of Tin nor of Copper Bapt. Port. supplies you with the first l. 6. c. 7. in these words To make a very Jacinth and not much differing from the true one Put Lead in earthen pots that are very hard in a Glass Furnace and there let it stand some days and thus your Lead is turned into Glass and imitates the colour of the Jacinth and of the second Ib. c. 9. Melt a pound of Tin in an earthen pot that will bear the fire let it stand in the Glass furnace three or four days then take out it and break the vessel and on the surface you shall find a Glass of a muddy Saffron colour and if it stand longer in the fire 't will become more perfect Neither know we any more perfect in this kind of many we have tryed But you must put it into the pot well powdered wherein you must use not onely Mortars and Mills but the Porphyrie-stone if you would have it lighter dilute it by adding Glass Another way reserved for his friends is this let there be nine parts of calcined Tin seven of Lead two of Cinnaber of Ferretto of Spain and of Tartar one part and a half of Lap. Haematitis or Blood-stone one part Red-ochre a quarter do as thou knowest His Glass from Copper l. 6. c. 7. is this Dissolve Silver in a strong Aqua-fortis then cast it into the water Copper-plates to which the Silver will stick which gather and dry then set it in the Glass furnace and 't will be turn'd into an Emerald in few days I commit to you the tryal of other metals 't is enough for me to have searched out and shewed the way Chap. 72. BLew Smalts for Painters I cannot find the composition hereof in any writer but I have been informed by an honest workman in Glass that 't is made of Zaffer and Pot-ashes calcinâ—d together in a furnace made like that for Glass and that he wrought it in Germany But of this and all other natural and artificial colour in a treatise designed on this subject Gold hinders the rising of the Metall And so doth a little Oyl or Tallow thrown into a Copper of boyling Sugar hinder it's running over into the fire though it rise with the greatest fury Chap. 74. THis way of colouring Crystall teacheth the true and natural way whereby Opals Agats Jaspers Chrysolites Cats-eyes Marble c. Receive their variety of colours they have in themselves to wit from exhalations of Minerals supervening to the praeexistent substance of the stone as here the colours of Orpiment c. raised and driven by the heat penetrate the body of the Crystall and give it this variety of colour Now if the matter of the stone being first in liquid form and therefore capable to receive a tincture have for it's matrix or womb such a place whence simple exhations proceed the colour is single and unmixt but if manifold then the tincture of the stones becomes correspondent to the diversity of the colours arising therefrom And this appears to be true by what is frequently observed in larger transparent stones part whereof will be coloured with their natural colour and part void of all colour but simply transparent like Ice So that the whole stone may well be resembled to frozen water to that part whereof which was first frozen an accession of colour was made and none to the other part Which may be seen more frequently in Amethists than in other gems though many other Jewels afford the like some having in some part a colour and some others wholy without any or else the several parts tinged with diversity of colours Chap. 75. THe knowledge to imitate Emeralds c. There 's nothing of value but some way hath been found to Sophisticate it And since the counterfeiting of Jewels with exactness would bring more profit to the inventer than any other adulteration whatsoever and perhaps with no real loss to mankind but great advance as some Chymists affirm and therefore not punishable by any law I know of unless in the Gold smith who will warrant the counterfeit for true 't is no wonder that many means have been to this end and purpose used by pasts doublets and foils or colouring the bottom of them and various other compositions and artifices whereof this of our Author seems the most genuine and natural Of the fraud in Doublets Ferant Imper. l. 20. c. 14. gives this relation A jeweller of Milan sold an Emerald doublet for 9000 Duckats and the fraud was a long time conceald The Chymists have invented a peculiar though barbarous name for these pasts and no where extant but amongst themselves They call them Amausa so Libav Joan Isaac but Clauber Amausae which whether derived from Musaicum not Mosaicum as Vossius in his Glossary proves at large I determine not though this Etymon be very probable For Mosaick work was made in this manner as Hermol Barbarus describes it Musivum opus quod vulgo Museacum vocant tessulatum lapillis variorum colorum ex queis arte compositis coagmentatis omne genus imaginum redditur Mosaick work they call that which was checquer'd with stones of divers colours with which composed and joyn'd by art all kinds of resemblances are made These works were anciently made with small pieces of various Marbles of several colours form'd in the shapes of Animals and sometimes enchac'd with Gold as appears by Plin. l. 36. c. 1. Senec. Epist 86. Plilander in l. 7. c. 1. Vitruvii mentions the reliques of some pavements seen by him wherein Checquer'd Marbles no bigger than small Beans did accurately and expresly imitate in various colours the effigies of Fishes and other things But the use of coloured Glass succeeded the use of Marbles and other stones Libav in his Syntagm saith the Saracenical Authors call them terra Saracenica but he confounds these Enamels and Pasts one with the other 'T is true these two are very neer of kin but are distinguishable by this that Pasts are made of Crystall prepared and mixed with some Glass and so wrought into a transparencie but Enamels have the basis from calcin'd lead and tin which gives them opacity corpâ—reity and solidity by reason of the great quantity thereof mixt with the ingredients Glauber thinks Furn. Philosop l. 4. Pasts were found out by chance by