http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f184.image 

<title id=”p089v_a2”>Sable de mine blanc des verriers mesle de sel armoniac</title>

<ab id=”p089v_b2”>Il se trouve en Cominge pres de la ville daurignac un sable blanc

mai co{mm}e du sel et maigre dont les verriers & potiers se servent

qui se rend impalpable broye sur le porphire & est aise a broyer

Et lestant il semble albastre calcine Il moule tresnet Et

nen ay point trouve qui moule plus delicat que cestuy la en bas

relief Il est excellent a mouler en noyau sans chassis layant broye

impalpable avecq de leau gommee ou pure sur le porphire puys le

posant espes comme moustarde ou un peu plus sur la medaille legerement

oincte dhuile ou dolive noix ou pour mieulx daspic Mays pour

mieulx faire mo laisse seicher de soy mesme sans foeu un jour ou

deulx Combien que si tu as haste tu le peulx bien chaufer & il ne

se fendra point sil nest pose trop cler Il est vray questant ainsy

surpris du chault a coup Il faict quelques trous & pustules

Ce quil ne faict pas estant seiche a froit ou A layse plustost

questre recuit Estant sec recuits le & il soubstiendra plusieurs

gects</ab>

<title id=”p089v_a2”>White glassmaker’s sand mixed with ammonia salt</title>

<ab id=”p089v_b2”>You can find this sand in Cominge, near the town Aurignac. This sand is dry and as white as salt. Glassmakers and potters use this sand ground on the porphyry until it becomes as fine as possible. Easy to grind, this sand looks like calcined alabaster, and provides a very clean mold. I have not found another as suitable for delicate bas reliefs. It is also excellent to mold as a core, without any box mold. You must grind it very finely on a porphyry with gummed water or pure water, then apply a thick coat (as thick as mustard or a little bit thicker) over the medal, which has already been lightly rubbed with oil, walnut oil or, even better, aspic oil. For best results, let it dry by itself, away from fire, for one or two days. If you are in a hurry, you can heat it; it should not break if the coat is quite thick. If it is suddenly exposed to fire, some holes will appear; that does not happen if it has been gently dried. Once dry, reheat it, and it should allow for several castings.</ab>

<title id=”p090r_a3”>Que tout sable se peult rendre bon</title>

<ab id=”p090r_b3a”>Les artisans qui travaillent en grands ouvraiges & qui ont besoing

pour avancer leur gaing de chercher des choses toutes praepares de nature

a cause quelle ne vent poinct a ses enffans ses denrrees Et pour gaigner

aussy le temps quilz employeroient a subtilier & praeparer artificiellement des

sables Cherchent celuy des mines qui nest ne trop gras ce participant

de la terre ne trop maigre & par consequent sans liaison  Ains qui se

tire au profond de la sablonniere a certains mattons & glebes qui demonstrent

sa naturelle compaction qui est asses difficille a rompre & qui ha le grain

fort menu & subtil & qui se trouve doulx en le maniant entre les doigts

Et pourceque tel ne se trouve gueres que pres des rochers aulx pays

montueulx Ou aulx territoires maigres & participans de larene Il ne

sen trouve pas en aulx environs de toutes les bonnes villes ou volontiers

les artisans se retirent Et par ainsy silz nen ont pres de leur demeure

Ils ayment mieulx le faire venir de loing co{mm}e de Lyon de venise de

parys pres la S{ainc}te chappelle & semblable lieulx Que de le praeparer

Touteffoys tu peulx estre certain quen tout lieu tu peulx rendre le sable de mine </ab>

<ab id=”p090r_b3b”>bon & propre a mouler Car sil est  gros passe le par un tamis

Et sil nest encores asses subtil Lave le & co{mm}e leau sera un peu

reposee Vuyde celle qui est encores trouble en quelque vaisseau

a part Le grossier sen yra promptem{ent} au fonds du premier

vaisseau Mays celuy qui sera provenu de leau trouble mise

a part ayant faict residence se trouvera fort subtil Et

lors sil na asses laison broye le bien sec sur le porphire

& tu le rendras impalpable & qui aura liaison co{mm}e de la

croye Puys sil te semble tu le recuiras & derechef le

broyeras & mesleras avecq des sels ou linge ou foeultre brusle

ou cendres de papier & choses semblables lavees</ab>

<title id=”p090v_a1”>Terre fondue des potiers</title>

<ab id=”p090v_b1”>Broye le dans un mortier moulin de moustarde avecq de leau & le

rends impalpable desseiche le & apres lhumecte avecq

eau sel qui donne force au touts sables pour soubstenir

plusieurs gects</ab>

<title id=”p090r_a3”>Every kind of sand can be made useful</title>

<ab id=”p090r_b3a”>Artisans who do big works, and who need to search for things made by nature to pursue their work - because nature does not want to sell its wares to its children, and in order to save the time they would spend grinding, pulverizing and artificially preparing their sand -- look for sand from sandpits, which is not too fat from the soil, nor too arid and, consequently, without any binder effect. From deep in the sandpit, one can find some lumps and gravel that show the sand’s natural compaction; it is quite hard to break, with very small and fine grains, quite smooth between the fingers. And since it is found solely close to mountainous regions and arid locations akin to deserts, you cannot find any near every good town, where artisans live. Thus, if they can’t find any close to their home, they prefer to order some of this sand from afar, like Lyon, Venice or Paris, -- near the Sainte Chapelle-- and similar areas, instead of preparing it themselves. Nonetheless, you can be assured that in all locations, you can make sand from the sandpit...</ab>

<ab id=”p090r_b3b”>...and will be good and will mold cleanly. Because the sand is coarse and dry, filter it through a sieve. If it is not fine enough, wash it. And when the water has settled a little, pour the soiled water into another pot. The coarse [grains] will quickly fall to the bottom of the first pot. But the sand from the troubled water pot, having settled, will be much finer. If this sand does not bind enough, dry crush it on the porphyry, thus making it as fine as possible, and it will bind as chalk does.  If you wish you can reheat it, and straight after crush it and blend it with salts, or burned cloth, or felt, or paper ashes, or similar material.</ab>

<title id=”p090v_a1”>Potters’ clay</title>

<ab id=”p090v_b1”>Grind it in a mustard mill with water, [and] it will become as fine as possible. Dry it, then moisten it with salt water, which give force to all sands in order to allow several castings.</ab>

<title id=“p088v_a2”>Sable mineral</title>

<ab id= “p088v_b2a”>La couleur de blanc et de jaulne nimporte Le tout est quil soict

amatonne & comme tire dune pierriere ou roche & tant plus on le prend

bas il est meilleur Les singnes de sa bonte est quil soict ainsy

amasse et que se tirant en forme de pierre il vienne a lopins & qu

mattons qui demonstrent sa liaison & quil nest pas trop maigre

<ab id=“p088v_b2b”>Que touteffoys il soict frangible entre les mains & aye le grain

men fort menu & delye & dune mesme sorte Sil nest asses delye

tu le peulx passer & subtilier ou par leau ou par le tamis

& quand il ou par le porphire & en ceste sorte sil de maigre

ils devient co{mm}e gras & bien lie Tu en peulx mouler en sa [?] chassis

ou en noyau sans bourre & lessayer avecq du plomb car si

en iceluy il ne soufle point & gecte nect il se portera bien aussy

au cuyvre Aulcuns disent que les sables gras ne veulent

pas le metal gecte trop chault Les artisans qui travaillent

en grand ouvrage & qui pour le gain nont pas besoing de broyer & chercher

les curiosites des sables artificiels ont plus de proffict den chercher de

tout faict par nature qui aye le grain le plus subtil quil sera possible

& pour petit ouvraige ilz le passent seulem{ent} par le tamis Mays

ceulx qui travaillent en petit le subtilient & broyent impalpable

pourcequil ne leur en faict pas besoing beaucoup</ab>

<title id=“p088v_a2”>Mineral sand</title>

<ab id=“p088v_b2a”>It does not matter if the [sand’s] color is white or yellow. Above all it [the sand] must be lumped [together] much like a precious stone or a stone, and the deeper [in the earth] you get it from the the better. The signs of its quality is that it is thus gathered together, that, if the stone is removed as it should be [i.e. in the correct way], it forms pieces and lumps [together], which demonstrates its [capacity for] binding, and that it [the sand] is not too dry.</ab>

<ab id=“p088v_b2b”>However, it should crumble in your hands. And the grain must be quite small, fine, and homogeneous. If this [sand] is not fine enough, you can filter it and grind it up finely either with water, or through a sieve, or on the porphyry [slab]. That way it loses its dryness and becomes greasy and well bound. You can mold it in a box mold or in a mold without wool, and try it with lead because, if it does not swell and casts neatly, it will bear out well too […] Some say that fatty sands do not work for casting metal that is too hot. Artisans who undertake a big job and who want to save money do not need to crush [sand] and seek the curious [properties] of artificial sand; they have more to profit from finding natural sand that has the finest grain possible. And for a small job, they take advantage of finding the finest natural sand they can. For a smaller job, they only filter the sand through the sieve. But those who work on a very small scale crush the sand and grind it finely [until it becomes] impalpable, because they do not need as much [sand].</ab>

<title id=“p092v_a1”>Sable des telines et moules de riviere</title>

<ab id=“p092v_b1”>Les coquilles longues qui se trouvent aulx rivieres deau

doulce estant calcinees font un sable blanc impalpable qui

moule fort net</ab>

<title id=“p092v_a1”>Sand of river tellins and mussels</title>

<ab id=“p092v_b1”> The long shells that can be found in rivers of fresh water, being calcinated, make a white and very fine [impalpable] sand which moulds very clean..</ab>

<title id=”p087v_a3”>Sable de mine de Th{ou}l{ous}e</title>

<ab id=”p087v_b3a”>Le sable de gect venant de mine estant passe par un double

tamis apres mis dans de la gemme fondue se brusle & senflamme

& vient tout rouge & enflamme co{mm}e du fer Estant froit il est

tout noir Et se subtilie fort bien sur le porphire layant

ainsy præpare & rendu sans asperite sur longle je lhumectay avecq

glaire dœuf battue & le battis fort jusques a ce quil nestoit point

pasteux ains en pouldre Je le trouvay de fort bonne despouille

& en moulay en plomb & estaim fort net Mays il veult estre

bien recuit & a laise</ab>

<ab id=”p087v_b3b”>Aultres le battent fort dans un mortier en petite quantite a

chasque fois & ainsy il sacache et rend fort subtil puys le recuisent

mediocrement seulement pour le secher apres ils le broyent a sec

sur le porphire Et ainsy il se rend co{mm}e impalpable Et nest pas trop

deseiche Il et retient corps & liaison de la terre dont il participe

Et est mieulx que quand il est tant brusle Estant humecte avecq

glaire doeuf passe par lesponge il despouille fort net M fort

net en bas relief Mays non pas figures fort relevees Parta{n}t

despuys jexperimentay de [lexper] lhumecter seulem{ent} avecq du

vinaigre bien fort Il despoilla dune figure quauparavant

je navoys peu faire despoiller Et croy que moillant le plus

subtil dune fasson co{mm}e de glaire & le grossier pour remplir de

chasses deau sel ou vin quilz ne sallient pas si bien Mays

co{mm}e ils sont dune nature & humectes de mesme Ils sembrassent

& tient lun avecq laultre</ab>

<ab id=”p087v_b3c”>Pour bien mouler apres avoyr tes sables præpares<lb/>

moule en un jour recuits lentem{ent} le lendemain puys jectes laultre</ab>

<note id=”p087v_c3a”>Il le fault choisir<lb/>

qui soict co{mm}e en<lb/>

glebes & mottes<lb/>

bien bas en terre car<lb/>

co{mmun}ement celuy qui se<lb/>

trouve en hault participe trop de<lb/>

la terre Et le bas<lb/>

tient du rocher</note>

<note id=”p087v_c3b”>Jen ay moule de<lb/>

plomb pur gecte fort<lb/>

net chault & en ay<lb/>

eu lexemple co{mm}e le<lb/>

principal tresnet<lb/>

mays le vinaigre<lb/>

ne luy donne gueres<lb/>

de liaison & ainsy<lb/>

il nha soustenu<lb/>

quun gect</note>

<title id=”p087v_a3”>Sand from sand pit from Toulouse</title>

<ab id=”p087v_b3a”>[In order to use] sand from a sandpit for casting, filter it through a double sieve, then having mixed it with molten resin it burns and heats, and becomes all red and hot as iron. Once it has cooled down it is completely black and can be pulverised on porphyry very well. Having prepared it like this and checked the smoothness of the surface with my nail, I moistened it with egg white and beat it vigorously, until it was not a paste anymore but a powder. I found [this sand] to release the cast very well, and molded very clean in lead and tin [with it], however it needs to be baked long enough and slowly.</ab>

<ab id=”p087v_b3b”>Others beat it strongly in a mortar, in small amounts at a time, thus it sacache and comes out very fine; then they bake it moderately, just enough to dry it, and then they crush it dry on porphyry. Thus it is made almost impalpable, and yet not too dry, and it retains the consistency and the binding quality of the earth to which it is related, and is better than when it is burnt. When you moisten it with egg white and pass it through a sponge it releases very clean for a low relief, but not a figure in high relief. Considering this, since then I experimented with moistening it only with strong vinegar. [That way] it releases a figure I previously had not been able to release [from the mold]. I think that even when you wet the finest sort with egg white, or in a similar fashion, or the thick sort pour remplir de chasses with water, salt, or vinegar, they do not mix so well. However, given that they are of one and the same nature, and are similarly moistened, they espouse each other, and hold together.</ab>

<note id=”p087v_b3c”> To mold well, when your sands are prepared, mold in one day. Bake slowly the next day, then cast the other.</ab>

<note id=”p087v_c3a”>Choose [sand] that comes in clods and lumps, and deep down in the earth, because commonly the one near the surface is too much akin to earth, whereas the deep one is similar to rock.</note>

<note id=”p087v_c3b”>I have sometimes molded with pure lead cast very hot, and the example as well as the principal were very clean, but since the vinegar gives it little binding, it held only for one cast.</note>

<title id=”p083r_a6”>Sable excellent</title>

<ab id=”p083r_b6”>Albastre calcine dans un crusol a foeu de charbon tant quen le

touchant il vienne en pouldre Esta{n}t  froit pulverises le subtilem{ent}

& passes par un double tamis & le rendes co{mm}e impalpable Et d avecq

une lb de albastre il fault une ℥ de sel armoniac Mesles bien

& incorpores tout ensemble Puys le mettes dans une cave cave ou

lieu humide et de ceste paste moulles ce quil vous fauldra & apres

seiches le moule au foeu & y gectes tel metal quil vous plaira

pendant que le sable est chault & vous gecteres aussy net que le principal

& le sable sert tousjours le mectant en lieu humide & seichant au foeu</ab>

<title id=”p083r_a6”>Excellent sand</title>

<ab id=”p083r_b6”>Burn alabaster in a crusol under charcoal fire until it turns into powder. Once [it is] cold, finely pulverise it through a sieve to make it impalpable. With a pound of alabaster, one should use an ounce of sal ammoniac. Mix well and incorporate everything together. Next, put it in a cave or a wet location. And with this paste, mold whatever you need and then dry the mold under a fire. While the sand is hot, you cast whatever metal you may like and your cast will be as neat as the principal. And the sand [will] always work if it is kept in a wet location and dried by the fire.</ab>

<title id=”p069r_a2”>Sable</title>

<title id=”p069r_b2a”>Il ne te fault pas choisir pour gect celuy qui est du tout si

maigre & aride quil naye poinct de liaison co{mm}e celuy de la mer

desei ou des chemins sablonneulx deseiches par le soleil Mays

choisis les ou en t en premier lieu parmy les pierreriesrieres ou cavernes

de rocher pourceque cestuy la est le meilleur pourveu quil soit fort

subtil Tu en cognoistras la veine Si parmy les rochers ou

pierrieres qu grisastres qui semblent estre composes darene tu

vois apres un temps pluvieulx certains petits moncelets comme de

poulciere attaches aulx dicts rochers Ou sil sen escaille par

lhumidite quelque piece aisee a froisser entre les mains Tu en

trouveras aussy aulx terres maigres Qui senleve lop a grands

lopins co{mm}e pierres de tuf et ne ou parmy les terres bolvenes qui

sont beaucoup meilleurs que ceulx qui se trouvent aulx terres grasses

& fortes Et ne le fault pas prendre a la superficie de peur quil

ne soit mesle de la commune terre Mays trois ou 4 pieds en bas

& le plus pres du tuf ou de la pierre Comme il senleve ainsy en

grands lopins on diroit quil commance a se former en pierre Mays

co{mm}e il est mouille il se deffaict aysem{ent} Il fault considerer quen

le rompant il soict bien grene & quen le froissant entre les doigts

il se rende en une subtilite co{mm}e impalpable fort grande retenant

neantmoings son asperite areneuse sans embouer les doigts co{mm}e

lardille Il se deseiche legerem{ent} au foeu puys se pile & passe

subtillem{ent} par un double tamis ou une manche de linge puys

humecte avecq du vin ou magistra &{c} / Verte </ab>

<note id=”p069r_c2a”> Le mouleur de th{ou}l{ous}e le faict recuire fort

puys le subtilie sur le mabre et le passe

par un linge et le passe humecte avecq du vin

Il faict le gect

fort large et ne plat

et gueres profond

il gecte letton pur

[d]e trebuschets

[&] semblables

choses tanvres

il gecte fort chault</note>

<note id=”p069r_c2b”>Essaye le

vitriol calcine</note>

<title id=”p069r_a2”>Sand</title>

<ab id=”p069r_b2a”>For a cast, do not choose that [sand] that is in any way lean & arid, such that it does not bind at all, like that from the sea or from sandy roads dried out by the sun. But choose preferably that from quarries or rock caves, since that one is best, as long as it is very fine. You will know the vein if, in the greyish rocks or quarries that seem to be made of sand, after rainy weather, you see certain little heaps like dust attached to the said rocks, or if the humidity causes them to shed stones that crumble easily between your hands. You will also find sand in lean soils, which comes off in large lumps like tuf stones, or in boulbène soils, which sands are much better than those from fat and strong soils. And do not take it from the surface, lest it be mixed with common soil, but three or 4 feet below and closest to the tuf or stone. When it comes off in large lumps it appears to have started to form itself into stone, but once wet it comes apart easily. When breaking it up, make sure that it is quite granular and that in crushing it between the fingers, it becomes really very fine [as impalpable], keeping nevertheless its sandy asperity, without muddying the fingers like clay. One dries it slowly on the fire, then pounds it and passes it finely through a double sieve or a linen sleeve, then wets it with wine or magistra etc. / Green</ab>

<note id=“p069r_c2a”>The Toulouse molder reheats it strongly then grinds it finely on a marble slab and passes it through linen and wets it with wine.  He makes the cast very large and flat and hardly deep.  He casts pure brass for scales and similarly thin objects. He casts very hot.</note>

<title id=“p042v_a4”>Sable de gect</title>

<ab id=“p042v_b4”>Le principal est de le bien broyer sur le mabre & quil soit

impalpable & mesle un peu dalbastre calcine</ab>

<title id=“p042v_a4”>Casting sand</title>

<ab id=“p042v_b4”>The key is to grind it well upon marble, and that it be extremely fine; mix in a bit of calcined alabaster.</ab>

<title id=”p068r_a3”>Gect</title>

<ab id=”p068r_b3a”>Jay essaye 4 sortes de sables pour le plomb & estain La croye

Le verre pile Le tripoly & le linge brusle touts 4 fort

excellents Mays quand a la croye il fault quelle soict de la plus

doulce que tu pourras trouver comme est celle de champaigne dont

usent les painctres elle despouille fort net ne veult poinct estre

humectee de magistra ne daulcune chose Ains toute seiche en son

naturel subtillem{ent} pulverise Le premier gect est toujours plus

nect Touteffois il en soustiendra bien deulx ou trois Mays il ny a

que le premier il fault que tu advises quand tu vouldras

refaire ton moule au chassis de prendre nouvelle pouldre de croye

qui nay poinct este mise en oeuvre car celle qui ha servy au chassis

est desseichee & nha pas tant de prise & liayson que la recente

Le verre pile se peult faire en sable de verre commun toutefois

le cristallin est plus excellent Car le commun ne tient que du verre

sel de salicor Mays le cristalllin tient du sel de tartre et de salicor

tout ensemble qui touts deulx servent a la fusion Le verre estant

calcine & reduit comme a sa premiere matiere Or pour le calciner

parfaictem{ent} Gectes tes lopins de verre quel quil soit entre les plus

gros charbons allumes que tu pourras si aultre commodite de foeu +

violent te default Et lors quil sera bien rouge gecte le dans leau</ab>

<note id=”p068r_c3”>La potee est

estimee excellente

pour ces deulx

metaulx</note>

<ab id=”p068v_b1”>

et incontinent tu le pourras esmyer entre les doigts et pile aysement dans un mortier de metal ou de fer pour le mieux  Apres il sera ayse a broyer  non sur le marbre commun  Mays sur le porphire Et fault quil soit si subtillement broye avelcq de leau que le mectant sur longle tu le trouves doulx sans aulcune asperite comme les couleurs que les painctres broyent pour huile de restin […] estant sec te peulx ten servir en chassis au lieu de sable sans lhumecter daulcune chose Ne sans le recuire sil ne te plaist parfume le cane de fumee de soufre ou a la pointe de la flamme dune chandelle de cire qui ne faict guere de fumee Et il te fera en plomb et en estaing seul  un ouvraigne fort net et lustre et poly Aultant diray je du tripoly subtillement pulverise qui ne les estre recuit ne humecte Le linge brusle A moings de peyne quaulcun pourcequil nha besoing ne destre recuit ne destre humecte et moule  fort net subltillement net comme font bien les pracedent et soustient plusieurs fusions Il le fault premirement brusler a la flamme puys les laisser croupir et consumer avec son feu jusque a ce quil le lasse puys subtilie le sur le marbre ou sur un papier et sil le fait recuire dans un crusol rougy a force de feu pour du tout le rendre subtil et impalpable Je croy quil nen sera que meilleur Mays pour ce que beaucoup de linge revient a fort peu estant brusle Si tu le veux espargner Tu peux en saulpouldrer et couvrir seullement la medaille que tu veux mouler Et remplir le chasses de ardoise pilee qui moule aussy fort nettement Mays note que toujours le  premier gect est le plus beau et plus nect si tu gectes a propos Lestain doux qui semble estre bruny en ses petites roues que les […] vendent  […] fort net et aprochant a la couleur de largent sans y mesler aulcune chose Il est vray quil le faut gecter assez chauld et que la chose moulee soict 4 doigts loing du gect pour cognoistre sa chaleur fais le premierement bien fondre  chauld quil brusle promptement un papier ou une paille mise dedans en fremissant puys oste le du feu et laisse le un peu reposer et gecte lestain mesle </ab>

SYNONYMOUS WITH IMPALPABLE

<title id=”p084v_a1”>Sable</title>

<ab id=”p084v_b1a”>Jay essaye los de pieds de bœuf fort brusle & pulverise & broye<lb/>

bien fort sur le porphire jusques a ce quil ne se  sente<lb/>

point entre les doigts Il moule tout seul fort net Mays<lb/>

pourceque de soy mesme il est aride & maigre il veult estre<lb/>

fort mouille & humecte avecq vin bouilly avecq racine dorme</ab>

<ab id=”p084v_b1b”>La mache de fer los de pieds de bœuf fort brusle le feultre<lb/>

aussy fort brusle a foeu clos Et tout trois fort subtilles<lb/>

sur le porphire moulent fort nect en plomb sans quil soit en<lb/>

besoing de les recuire beaucoup & gectant le au chassis chauld<lb/>

ou froit</ab>

<ab id=”p084v_b1c”>Le feultre seul moule fort net estant mouille & despouilie<lb/>

bien Et faict aussy despouiller les aultres deulx</ab>

<note id=”p084v_c1a”>Ces sables ne<lb/>

soubstiennent<lb/>

quun gect</note>

<note id=”p084v_c1b”>Un sable<lb/>

gras qui se rend<lb/>

si uny faict<lb/>

soufler</note>

<ab id=”p084v_c1c”>Un metal gras<lb/>

demande sable<lb/>

maigre</note>

<title id=”p084v_a2”>Eau magistra</title>

<ab id=”p084v_b2a”>Aulcuns trouvent que leau sel nest pas bonne pourceque<lb/>

le sel pette au foeu & par consequent doibt faire soufler<lb/>

Il ny a que le vin bouilly avecq racine dorme</ab>

<ab id=”p084v_b1d”>Le charbon pour poncer faict bien despouiller mays<lb/>

on trouve que celuy de saule faict soufler celuy de chaisne<lb/>

ou fayan faict soufler bien sans soufler</ab>

<note id=”p084v_c1”>Essaye huitres bruslees</note>

<title id=”p084v_a3”>Plomb</title>

<ab id=”p084v_b3”>Pour gect il ny a que le plomb doux qui veult estre gecte<lb/>

fort g chault Et lestaing douls</ab>

<title id=”p084v_a4”>Sable pour le plomb le plus excellent de tous pour grand relief<lb/>

et petit</title>

<ab id=”p084v_b4a”>Jay prins de la ceruse et lay broyee a sec sur le porphire<lb/>

pour la faire bien subtile puys je lay tellem{ent} humectee avecq<lb/>

de la glaire doeuf fort battue quelle estoit co{mm}e paste sunissant<lb/>

avecq le plat dun costeau en perfection Je lay un peu laisser</ab>

<note id=”p084v_c4a”>il la fault bien<lb/>

mesler avecq le<lb/>

costeau</note>

FOR WORKING ON TOULOUSE SAND

81r, 87v, 69r

http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f167.image

<title id=“p081r_a1”>Sable</title>

<ab id=“p081r_b1”>Il sen trouve dexcellent au costau depuy david aupres de th{ou}l{ous}e<lb/>

pour plomb estaim & cuivre Il ne veult pas estre trop recuit<lb/>

pourceque se deseichant ainsy a coup il perd sa liaison & sescive [?]<lb/>

a la premiere entree du metal ce qui faict venir louvraige<lb/>

grumeleus & mal net Il vault mieulx recuire de loing quavecq<lb/>

la flamme de paille qui engendre des de la crasse Plustost que<lb/>

remplir le chassis tu peulx mectre du plus subtil sable que tu auras<lb/>

dans un linge fort subtil & en poncer a sec la medaille Et puys<lb/>

le sable mouille que tu y mects dessus qui ha plus de corps le<lb/>

grippe</ab>

<note id=“p081r_c1a”>Le suif faict soufler</note>

<note id=“p081r_c1b”>Le mercure<lb/>

arreste melle co{mm}e<lb/>

on veult gecter<lb/>

faict courre le<lb/>

metal plomb<lb/>

Mays sil est<lb/>

pur il le fault

gecter bien chault<lb/>

affin quil coure

Et souspirails</note>

<title id=“p081r_a2”>Terre a mouler</title>

<ab id=“p081r_b2”>La terre a gainiers ou celle dont les potiers font un blanchiment<lb/>

sur les pots pour mieulx faire courre le plomb dessus & garder<lb/>

que le plomb ne semboive dedans est fort bonne a mouler<lb/>

les caves de ce que tu veulx faire en relief Elle est de meilleure<lb/>

despouille que le plastre ne le soufre qui se font durs<lb/>

quand ilz ont faict prise Car la terre prise Il la fault<lb/>

fort battre affin quelle ne se fende point Et si la piece<lb/>

est fort grande tu la peulx mouler a plusieurs parties<lb/>

Si tu la recuits il fault que ce soit a foeu clos On trouve<lb/>

de ceste terre au fosseret & en un aultre lieu appelle Ox</ab>

69r

<note id=”p069r_c2a”> Le mouleur de th{ou}l{ous}e le faict recuire fort<lb/>

puys le subtilie sur le mabre et le passe<lb/>

par un linge et le passe humecte avecq du vin<lb/>

Il faict le gect<lb/>

fort large et ne plat<lb/>

et gueres profond<lb/>

il gecte letton pur<lb/>

[d]e trebuschets<lb/>

[&] semblables<lb/>

choses tanvres<lb/>

il gecte fort chault</note>

<title id=”p068r_a3”>Casting</title>

<ab id=”p068r_b3a”>I have tried four kinds of sand for lead and tin: chalk, crushed glass, tripoli and burnt linen, all four are excellent. As to the chalk, it needs to be of the softest kind available, like the Champagne chalk used by painters. It releases very cleanly, needs not be dampened with magistry or with anything else, but is used in its natural dry state and finely pulverized. The first cast is always cleaner, however it will sustain two or three castings. Should you only cast once, keep in mind, while remaking your box mold, to take powdered chalk that has not yet been used, since the one previously used in the box has dried out and will not bind and hold together as well as fresh chalk. Crushed glass can be made from ordinary glass sand, however cristallo glass is more excellent, because common glass contains saltwort only, while cristallo glass contains both salt of tartar and saltwort. Both of them help the fusion, during which the glass is calcinated and reduced to its prime matter. In order to calcinate it perfectly, throw your pieces of glass, of whichever sort, among the largest possible glowing coals, unless some other violent heat source is available. And once the glass is red hot, throw it into water.

<note id=”p068r_c3”>Putty is considered excellent for these two metals.</note>

<ab id=”p068v_b1”>

and soon you will crumble it between  your fingers, then it is easily crushed  in a metal  mortar, or better in an iron mortar. Then it will be easy to grind it on the porphyry, and not on the common marble slab which would corrode it.  You must grind it with water very smoothly, then put it on your nail it should be very soft  without any ruggedness, like the colors ground by the painters for use with oil of […] When dry, use it for box mold, instead of sand, without wetting it or even reheating if you do not want to. Spread on the pipe smoke of sulphur, or some smoke from the top of the beeswax candle which does not make a lot of smoke. Your work in pure lead and tin will be clean, as tripoli stone sofly pulverized which is not softened. Burned cloth is easier to use than the other because it does not need to be reheated nor softened. It mold and can be removed very cleanly from the mold, as the above, and it should enable several fusions.  First of all burn it on a flame, then let it burning over this heat, until […] Then grind it on the marble slab or between a sheet of paper. Reheat it in a reddened crucible in order to make a powder as fine as possible. I think it would be much better.  When you burn cloth it makes very little powder, so if you  want to spare your powder, only cover the medal you want to mold, and fill the box mold with crushed slate which also mold very clean. However note that the first cast is the most beautiful and the cleanest. Soft tin which seems to be burnished, which is sold by the .. mold very clean, and looks like silver color without mixing anything to it. It is true that you must cast very hot and the molded object must be 4 fingers far from  the cast. In order to know it’s heat, first of all melt it very hot, then put inside the cast a piece of paper or a straw which should simmer, then take it off the fire, let it rest, and cast. Mix tin </ab>

<title id=”p084v_a1”>Sand</title>

<ab id=”p084v_b1a”>I tried the hoof of an ox, quite burned, pulverized and very well crushed on porphyry, until it is fine enough to slip through your fingers without being felt. On its own, it makes a very clean mold. But because on its own it is very dry and lean, it demands to be well wet and humidified, with a thick broth with elm root.</ab>

<ab id=”p084v_b1b”>Scoria, very burned ox hoof, and felt, all burn well in a closed furnace. All three ground very finely on porphyry mold very neatly in lead, without any need to reheat it much, and by casting in a box mold either hot or cold.</ab>

<ab id=”p084v_b1c”>Felt on its own provides a very clean mold if wet, and comes off easily. And also makes the other two come off easily</ab>

<note id=”p084v_c1a”>These sands can only undergo one cast.</note>

<note id=”p084v_c1b”>A fat sand which sticks together neatly, makes bubbles.</note>

<ab id=”p084v_c1c”>A fat metal needs lean sand.</note>

<title id=”p084v_a2”>Eau Magistra</title>

<ab id=”p084v_b2a”>Some people think that salt water is not good, because the salt releases gas when heated and as a result causes bubbles. [In this case], there is only wine boiled with elm root.</ab>

<ab id=”p084v_b2b”>Sanding charcoal makes [things] come off well. But one finds that willow charcoal creates bubbles, but oak or beech charcoal does the job without making bubbles.</ab>

<note id=”p084v_c2”>Try burnt oysters.</note>

<title id=”p084v_a3”>Lead</title>

<ab id=”p084v_b3”>For casting, there is only soft lead that can be cast at a high temperature. And soft tin.</ab>

<title id=”p084v_a4”> Sand, for the most excellent lead of all, for large and small reliefs</title>

<ab id=”p084v_b4a”> I took white lead and crushed it dry on porphyry, to make it very fine. Then I moistened it a lot with very well beaten egg white, so that it became like a paste, by making it stick together perfectly with the flat of a knife. I let it rest for a while. </ab>

<note id=”p084v_c4”> Mix it well with the knife.</note>

http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f167.image

<title id=“p081r_a1”>Sand</title>

<ab id=“p081r_b1”>You can find some excellent [sand] for use with lead, tin and copper close to the hill of Pech-David, close to Toulouse. It should not be reheated much because drying out  suddenly, it will lose its binding [properties] and retract [?] at the first inflow of metal, which makes the work become rough and unclean. It is much better to reheat it from a distance, instead of with a straw flame, which generates grime. Instead of filling the frame, you can use finer sand which you will have in a very thin cloth, and polish your medal and then the wet sand that you will put over it, which has more body, will grip it.</ab>

<note id=“p081r_c1a”>Tallow makes things fill with bubbles</note>

<note id=“p081r_c1b”>Mercury  stops the burning when one wants to cast. Allow the lead to flow, but if it is pure, you have to cast it quite hot so it flows and vents.</note>

<title id=“p081r_a2”>Earth for moulding</title>

<ab id=“p081r_b2”>Sheath maker’s earth or the one potters use to blanche  the pots to make the lead flow better on it and to prevent the lead from soaking into them is very good to cast the hollow parts of what you want in relief. It releases better than plaster or sulphur which become hard once they have grasped on [to the mould] because earth sticks. It must be hit very hard so that it does not break. If the piece you want to mould is very large you can mould different parts separately. If you reheat it, it must be over a closed fire. You can find this earth at Le Fousseret, and in another place called Ox.</ab>

69r Translation

<note id=“p069r_c2a”>The Toulouse molder reheats it strongly then grinds it finely on a marble slab and passes it through linen and wets it with wine.  He makes the cast very large and flat and hardly deep.  He casts pure brass for scales and similarly thin objects. He casts very hot.</note>

Basil Valentine his Triumphant chariot of antimony with annotations of Theodore Kirkringius, M.D. : with the true book of the learned Synesius, a Greek abbot, taken out of the Emperour's library, concerning the philosopher's stone. , London : Printed for Dorman Newman ..., 1678.

Date: 1678

Bib name / number: Wing / B1023

Bib name / number: Arber's Term cat. / I 310

Physical description: [17], 160 p., [5] leaves of plates :

Copy from: Library of Congress