Materials Needed:

Writing as well from left as from right:

Well-gummed ink

https://melscience.com/en/experiments/iron-gall-ink/

Paper
Tooth (whatever was actually meant by the word “tooth” at this time here. A kind of tool)

Scratched Satin

Flour or ground chalk
Needle or some kind of tool for poking holes/pouncing
Paper to pounce design on
Satin
Glair (egg white)
Milk or bark of fig tree
Pen knife/glass

Counterproof

Soap water (gummed water with soap for non-yellow paper!)
Printed piece (printed with oil based ink)
Tooth (same as above) or bottom of a glass
Spike lavender or turpentine
Pinceau or quill
ink

Materials

Writing as well from the left as from the right:

Well-gummed ink
Paper
Tooth (is this a real tooth or something else^[a]??)
cards

Pounced design for scratching satin

Satin^[b]
Pouncing wheel^[c]
Flour
Glair^[d]
Fig tree milk or bark^[e]^[f]
Piece of glass/pen knife

Tracing history on glass

Counterproofing

Soap water (will ultimately turn original print yellow)

Real soap (maybe 100% pure castille soap will work?)

Well gummed^[g]^[h] water (will not turn original print yellow)
Print (has to be made with an oil based ink, according to Ad)
White paper
oil/turpentine

Kabusebori (Japanese technique)

Historical Questions

Scratching satin as a historical process? Pinking satin?

See entry ‘esgratiner’ in Dictionnaire de L’Académie Française, vol. 2

Decoration on silk fabrics made with a metal implement; specifically mentions ‘égratiner du satin’ (scratching satin).

SJP thinks this may be the technique known in English as ‘pinking’

How were the various materials used in other recipes throughout the manuscript?

How were the various materials used more broadly in Europe at the time?

(Comparative Questions?)

かぶせぼり technique for transferring images taken from a printed page back onto a woodblock (かぶせぼり definition: Here)

<head>For stamped ornaments<comment>c_006v_03</comment>used for embellishing and inserting into or covering the edges of mirrors, the tops of chests, or the friezes of bed valances</head>

<ab>Etch with <m>aqua fortis[N1] </m>on <m>iron</m>or <m>copper</m>whatever you have pounced and drawn there[N2] , next make it neat with a <tl>burin</tl>or <tl>chisel</tl>. Then pour <m><fr>doulx</fr> tin[N3] </m>, yet unused, onto <tl><m>polished marble</m></tl>&flatten it, making it quite thin, with a <tl><m>wooden</m>board</tl>. Or else pour it [N4] on a <tl>table</tl>as is done with <m>lead</m>, or put it through a <tl>roll-press</tl>[N5] . Next lay your <m>tin</m>plate over the engraving, &over the <m>tin</m>plate put a <tl>piece of <m>felt</m></tl>and strike it with a <tl>hammer</tl>. Then <m>gild</m>it in the following manner.</ab>

</div>

<head>For <tl><m>diamond[N6] </m>points</tl>for engraving</head>

<ab>These are for tracing what you want to draw on <m>stones</m> &engrave, &when these <tl>points</tl>are fatty &cannot bite, one needs to rub them <m>diamond</m>against <m>diamond</m>. One rubs them with <del>diamond</del><tl><m>pumice stone powder</m></tl>. One needs also to unpolish on a <tl><m>lead</m>wheel</tl> either the <m>stone</m>or the <m>glass</m>on which you want to engrave, for the polish, which is like <m>varnish</m>on <m>glass</m>,prevents the <m>diamond</m>or <m>sapphire</m>from biting well. <del>But</del>This is why it does not bite easily on the <m>hoof</m>, which is polished &fatty. But when the polish is taken off, it bites easily.</ab></div>

<head><corr><del><fr>P</fr></del></corr>For writing as well from the left as from the right</head>

<ab>

Write as best you can with <m>well-gummed ink^[i]</m>on as many little <m>cards</m>as you want <del><ill/></del>to write words. &once each letter is well saturated with <m>ink</m>, put it down on your <m>paper</m>&rub with a <tl>tooth</tl>the back of the <m>card</m>.</ab>

</div>

<head>Tracing some history on <m>glass</m></head>

<ab>If you want to trace some history in intaglio on <m>glass</m>, you can do it in different ways. Lay your <m>glass pane</m><del>on</del>, the thinnest you can find, on the printed history, &having cleaned the <m>glass</m>well with <m>lye</m>&<m>ash</m>so that it is not greasy, trace over the lines visible to you with <m><fr>noir à huile</fr></m>or <m><fr>noir d’escaille</fr></m>with the <tl><fr>pinceau</fr></tl>, if you want to paint with colors in the manner of <pro>glaziers</pro>, who wash their <m>glass pane</m>with <m><fr>noir d’escaille</fr></m>&then scrape &clear the parts which they want to coat with color, leaving that which is necessary for shading. But if you want to make <m>gilt</m>histories on <m>glass</m>with a background of colors, which imitates the <fr>basse-taille</fr>of <pro>goldsmiths</pro>, <m>gild</m>your entire <m>glass pane</m>with <m>gum water</m>or <m><pa>garlic</pa>juice</m>or <m><pa>fig-tree</pa>milk</m>. Then moisten your printed history between two wet <tl><m><pl>linen</pl>cloths</m></tl>,and lay it down on the <m>gilt glass</m>. Then with a <tl>pin</tl>mounted on the end of a small <tl>stick</tl>, follow the lines of your history as if you wanted to pounce it, &thus you shall exactly trace it on the <m>gilding of the glass</m>. &next you shall clear the background &that which needs to be blank with a quite pointy <tl><m>steel</m>awl</tl>, &and neatly follow once more the lines &accomplish your work &fashion your faces &flesh tones in pounded <m>silver</m>; then you shall fill the background with <m><fr>azur d’esmail</fr></m>or <m>verdigris</m>or <m>fine <fr>laque<comment>c_039v_02</comment>platte</fr></m><del><fr>platte</fr></del>tempered with <m>clear turpentine</m>, mixed with a little of <m>tear of mastic</m>if you want that the colors hold together more &not to spread. Next, layer on the back of the <m>glass</m>&over the colors a <m>white tin</m>sheet. And once this is dry, you can cover the <m>tin</m>sheet <del>of</del>with color to hide your secret. The <m>tin</m>sheet gives light to the colors. Thus you will be able to paint without being</ab>

<cont/>

</div>

<cont/>

<ab>being at all expert in painting. If your <m>glass</m>pane is bulging as if taken from the belly of a jar, it will show better. When you apply your <m>turpentine</m>colors to your <m>glass</m>panes, first place them on a hot tile &, once they are hot, spread your colors &leave it a while on the tile, then lay down your <m>tin</m>sheet.</ab>

</div>

<image>http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f90.image</image>

<div>

<head>Pounced design for scratching [N7] <m>satin</m></head>

<ab>After you have pounced with <m>flour</m>or <m>ground chalk</m>, in order that the dots of the pounced design are not erased, follow the trace with <m>glair[N8] </m>beaten with the <m>milk</m>or <m>bark of a <pa>fig tree</pa></m>, which will immediately make it clear up like <m>water</m>, &without becoming thick, it will keep the trace that you will follow again &scratch with <del><fr>d</fr></del>a <tl>piece of <m>glass</m></tl>or a <tl>pen-knife</tl>.</ab>

Required Materials:

Satin

Pouncing punch

Flour/Ground chalk

Glair

</div>

<div>

<head>Making counterproofs</head>

<ab>Make some <m>soap water</m>&with this, rub &moisten the engraved piece that you want to counterproof from, then lay <m>white paper</m>on it &rub very vigorously across the top with a <tl>tooth</tl>or the <tl>bottom of a <m>glass</m></tl>&you will transfer your stamped piece. It is true that it will be in reverse, but if you <m>oil</m>your <m>paper</m>with <m><pa>spike lavender</pa><del>&</del><add>or</add>turpentine oil</m>, it will show <del>reverse</del>the right way around on the other side. Then follow these lines with a <tl>pinceau</tl>or a <tl>quill</tl>, then heat the <m>paper</m>&the <m>oil</m>will go away &leave your <m>paper</m>white. And if you want this not to be known, if, by chance, you borrowed the piece, moisten the <m>paper</m>and the polishing that the <tl>burnisher</tl>has made on the back, which shows what has been done, will not be known. The <m>soap water</m>will turn the piece yellow, but <m>well-gummed water</m>, which has the same effect, does not do this. If you want to, for the same effect, make <m>gummed water</m>,then mix some <m>soap</m>in it &do as is said.</ab>

</div>

Understanding Japanese woodblock prints

The Book in Japan: a cultural history from the beginnings to the 19thcentury

[N1]Nitric acid

[N2]Step 1: Pounce and draw a design on iron or copper

[N3]Doulx tin??

[N4]i.e. liquid tin?

[N5]Basically, get a very thin layer of tin

[N6]Which craftsman used diamonds?? Who was allowed to use a diamond? Why change from a diamond to a sapphire? Artificial gemstones got so good that treatises on how to make them (Gem books) were ordered destroyed.

Is this firsthand information – gem books. Symbolic meaning of gems. The trade of gems.

[N7]Yuan yi – damasked cloth – FA15

[N8]Egg white mixture

[a]A burnishing tool

[b]http://www.elizabethancostume.net/periodfab.html

Info about the kind of satin in use at the time. "Choose a heavier satin, usually called "baroque satin" or "bridal satin", rather than thin, flimsy satin; also avoid modern creations like hammered satin or wrinkled satin. Satin can be used for lining clothing as well, and during Elizabethan times was one of the most popular materials used for lining clothing and shoes of the nobility. You can also use the back side of satin fabric, which resembles a type of satin fabric used during the 16th century."

[c]Or a pin mounted on a wooden handle, as described in the ms.

[d]In the manuscript, he seems to be referring to egg white rather than the more processed glair used in bookbinding

[e]I don't know what mixing egg white with bark would look like... the fig tree milk (latex) makes more sense

[f]Another annotation (129r Painting Metal) calls for glair and fig tree rind: "And if you still want it <add>done</add> quickly,

mix your color with <m>glair</m> beaten with <m>

rind</m>, and your work will soon be dry."

[g]i.e. water and a gum – probably gum arabic which was widely used, but may be worth looking into other gums in the ms and in use in the period.

[h]Kinds of gum mentioned in ms: sandarac, gum ammoniac, tragacanth gum, gum ammoniac, gum arabic, (white gum, green gum, red gum: his own recipes), medicinal gum

[i]http://web.ceu.hu/medstud/manual/MMM/ink.html

Information on what the gum in ink is