makingandknowing - Donefer-Hickie

Recipes in 640 Involving the Use of Glass
NOT INCLUDING: glassware (cups, vials, mortar&pestle, etc.), recipes for painting on glass (except when the nature of the material is explictly discussed), and looking-glass tin (which I think is the tin-alloy used to mirror glass, but more research on that process will be necessary for me to be sure).

003v
<ab>
<margin>top</margin>
<m>Coral</m> made of <m>red enamel</m> withstands filing and polishing.</ab>
<ab>
<margin>right-top</margin>
It is made like <m>cement</m>, which is stronger when mixed with crushed <m>glass</m> rather than with <m>brick</m>. In the same way, together with the
<m>vermilion</m>, one mixes in <m>opaque red enamel</m>[a], finely ground. It is the same way with all <m>enamel</m> colors.</ab>
p006v
<head>For cages</head>
<ab>You can embellish them with <m>thin</m> <m>enamel</m> <m>canes</m>[a][b][c] of various colors by covering the <m>yellow latten</m> or <m>iron</m> wire
with said canes. These you will break neatly into the length that you want if you make a small notch with a cutting <tl>file</tl> at the point where you want to break them,
and they will not break anywhere else. You can bend them with a <m>wood</m> en model over a brazier or by the heat of a <tl>lamp</tl>. A cane can be stretched out as
long as you want in a small <tl>furnace</tl> made like a <tl>reverberatory oven</tl> but with openings on both sides. And once the large cane is red, they seize the hot end
of it with <tl>small pincers</tl> that have long beaks, with one end of the beak inside the end of the cane, so that it may be stretched without becoming blocked[d]. The
other end of the cane is held with the hand, as it is not hot. Once the cane is stretched enough, the one who is working seated with his <tl>stove</tl>, the size of a carnation
pot, placed in front of him, breaks it off and carries on.
p010r
<head>Imitation <m>jasper</m></head>
<ab>Take <m>horn</m> as is used to make lanterns, quite thin, and underneath imitate your <m>jasper</m>, <m>cornaline[a]</m>, and other <m>stones</m>. That will
look more appropriate than doing it on glass, which is too shiny. And the <m>horn</m> gives a lustre and a fatty [b]polish similar to <m>jasper</m>.</ab>
<ab>You know how you can imitate <m><pa>rose</pa></m>s with scrapings of the said <m>horn</m>. The colors for this <m>jasper</m> need to have as a base clear
<m>turpentine</m> or <m>spike lavender</m> varnish. And matte, opaque colours are not appropriate, no matter how fine they are. You have to <m>oil</m> the
unpainted underside with <m>spike lavender oil</m>.</ab>
<ab><margin>top</margin>
Thin <m>glass</m> looks very fine for this effect</ab>
<ab><margin>left-top</margin>
You can inlay beds with it, and on the joints you can throw <m>talc</m> or <m>metal filings[c]</m> on the fresh cement of the said joints. You have to bond them with
<m>gum amoniacum</m> soaked in <m>vinegar</m>. To better imitate <m>marbled jasper</m>, apply heavy <m>yarn</m> dyed various colors and intermingled. After
applying all the colors, scrape oblique lines into them then apply <m>gold</m> and <m>silver</m> leaves. If you apply colors made of <m>turpentine</m> on the
<m>horn</m>, give it a backing of <m>silver</m> or of <m>tin</m> leaf<m>.</m> You
P011v
<head>Making <tl><m>diamond</m> points</tl> for engraving</head>
<ab>These are for sketching what you want to draw on <m>stones</m> and for engraving. When these <tl>points</tl> are too dull and cannot engrave, it is necessary to
rub <m>diamond</m> against <m>diamond</m>; one can rub them with <m><tl>pumice stone</tl> powder</m>. It is necessary to strip what you want to engrave on a
<tl><m>lead</m> wheel</tl> or with a <m><tl>stone</tl></m> or with <m><tl>glass</tl></m>, because the polishing is like varnish or <m>glass</m> and stops the
<m>diamond</m> or <m>sapphire</m> from engraving well. This is why it does not engrave easily on <m>horn</m>, which is polished and fat. But when the polish has
been taken off, it is easy to engrave.</ab></div>
P012v
<head>To whiten <m>enilanroc</m></head>
<ab>Some believe the <m>ceruse</m>-color crust that is on top to be natural. Others say that it is a lost secret of ancient <pro>lapidaries</pro>. Others say that it is
<m>enamel</m> that has been reheated. And, from this crust, one can form multiple ciphers, letters, circles and other bizarre motifs. As to the means, I proceeded thus: I
once wanted to add a layer of <m>arsenic</m> ground on <m><tl>marble</tl></m>. However, I did the experiment without it, and I put the above mentioned thing,
<m>enilanroc</m>, in a small <m>iron</m> <tl>casket</tl> on the fire of my <tl><pro>goldsmith</pro>'s forge</tl> with three or four small half-burnt <m>coals</m>
and blew on it only with my mouth. However, the thing caught fire and became all white, not only on its surface but also inside. And then I let it cool on its own near the
fire, since otherwise, exposing it suddenly to cold air, it would have cracked. While it was all white, I passed it through my <tl><m>lead</m> wheel</tl> [a]and I found it
to be as hard as it was before. And after scraping off a little of the white, I found it to be of a clear fleshy tone. Finally, I polished it and observed that it took quite a
beautiful polish luster and that it could compare with a quite beautiful <m>agate</m> for the purpose of engraving it with some beautiful face and applying it to a table of
</ab>
<cont/>
</div>
[a]check meaning
``
<page>013r</page>
<image>http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f31.image</image>
<div>
<cont/>
<id>p012v_3</id>
<ab>
<m>agate</m> of various colors. But because this overall whiteness did not correspond with the white crust on the surface that I was seeking, leaving the rest of the thing
its natural color, I made a hole in a <m>brick</m>, precisely the same size as the object, and put it inside. Then I heated two <tl><pro>glassmaker</pro>'s soldering
irons</tl> until they became red hot and, when they were red hot, I applied them one after the other onto the surface of the object until I got the white crust I was looking
for, on which I made the drawing that I wanted, revealing the red background, with a <tl><m>diamond</m> point</tl>, and I polished it with <m>hog bristles</m> and
<m>tripoli</m>. I don't know if it would be better to reheat it under hot <m>ashes</m>, and if it would be good to encase it in <m>alabaster</m>, which is quite cold, as I
did in the <m>brick</m>.</ab>
</div>
P020r
<head>@<pro>Glazier</pro></head>
<ab><m>Glass from <pl>Lorraine</pl></m> is smoother and more even than <m>plate glass</m>. It is more durable and enduring. But commonly it is tainted with veins
as if with straight lines and wrinkles, which happens because once the <pro>glassmakers</pro> have made it put it still hot on <m>straw</m> which therefore stains it. One
can, however, rub it off with some varnish, <m>salt</m> and other <m>drugs</m> used by <pro>glassmakers</pro>. <m><pl>Lorraine</pl> glass</m> is sold by
<ms>band</ms>s and each <ms>band</ms> is composed of three <ms>panel</ms>s. A <ms>band</ms> costs usually X <fr><cn>soul</cn></fr>s. The <m>plate
glass</m> is made in <pl>France</pl>, it is whiter and clearer but it does not last as long as that from <pl>Lorraine</pl>. It is also commonly blown And in that case, it is
better to cut little lozenges rather than large square pieces in the shape of a frame because they cannot sit themselves well evenly.</ab>
<ab><margin>left-bottom</margin>
The <m>plate glass</m> is sold in <ms>set</ms>s. Every set contains 4 <ms>plate</ms>s that are usually sold at 10 or twelve <cn>lb</cn>s.</ab>
</div>
P021v
<head>Defense of a town</head>
<ab>There is nothing more efficient for defending a breach than mortars placed at the front line, as soon as the initial assault. They carry a lot of ammunition and are filled
with cart <m>nails</m>, big <m>steel</m> dice, bits of <m>chains</m> and similar items. And when one senses that the enemy is close, one lights everything on fire.
Grenades, well-constructed and thrown at the right moment, also cause much damage. And to make them worse, one can add some roughly crushed <m>glass</m>, either
in the mold or in the crucible, when one casts them. This worsens the wounds. The grenades must not be too brittle, but it is good that they be somewhat alloyed with the
material of the grenade so that instead of breaking up, they resist shock better and inflict more violence.</ab></div>
P024r
<head>Grenades</head>
<ab>Grenades should be made from the finest metal you can find, for there is fine metal and rough metal. Fine metal is that of big bells, because one puts in more
<m>copper</m> to give them a bigger voice, and for small bells one puts more <m>tin</m> to give them a clearer sound. The metal of big bells is made with 3 quintals of
<m>rosette</m> and twenty or xxv lb. of <m>tin</m>. Each grenade should weigh four to six lb. In order to throw them, they must be full of powder mixed with coarsely
pounded glass. And in a quarter lb. of powder, one must put half an ounce of glass, so that on the face or places where the powder will have an effect, the wounds will be
worse. The best harquebus powder is required. The hole needs to be as large as the thickness of a swan's feather, and there is no need to make it into a screw, it is enough to
make it even. Then you make a pipe of well soldered <m>fer blanc</m>, which can enter into the hole up to the middle of the grenade and which juts out the width of one
finger. You will fill it with good powder, pounded in a mortar and lightly tempered with good <m>spirits</m> or strong <m>vinegar</m>. One does so in order to slow
down the powder. And in order to know if it will be slow enough to allow time to throw the grenade without danger, try this powder thus tempered in another pipe. You can
keep your loaded grenades in a very dry place, and on the contrary you should keep your pipes filled with that tempered powder tight together in a humid place. And
nonetheless, you should have some already inserted into grenades, so that you are always equipped. And every 3 days you will change them if you notice they have become
too dry. To throw your grenade, take it firmly in one hand and with the other hand light your pipe with a wick, and throw it swiftly amidst the troops. The grenade should
have twice the thickness of a knife spine.<lb/>
</ab>
</div>
P031v
<head>Painting on glass</head>
<ab>For blue, they take some of the roughest <m>azure d'email</m> and grind it on shale, and mix in two or three rosary beads' worth of <m>lead rock</m> or more,
according to the quantity of work. And having done their drawing with <m>noir d'escaille</m> (which is painted towards the light with the piece of <m>glass</m>
upright), they lay all their pieces down over white <m>paper</m> so that by the whiteness of the <m>paper</m> they can judge the lighting of their scenes and put down
all colors of the same kind at the same time. Then they reheat.</ab>
</div>
P032v
<head><pro>Glassmakers</pro></head>
<ab>They have no way to produce a perfect red that needs to be annealed. Try, however, the <m><pl>German</pl> red</m> which is scaled red. They produce their
ordinary red with some <m>sanguine</m>, <m>iced pewter</m>, <m>lead rocks</m>, and some <m>iron file dust</m>. This red is to be applied on both sides of the
<m>glass</m> because it is more colourful. If it were applied on one side only it would look pastel orange.</ab>
</div>
P036v
<head><pro>Glassmakers</pro>' glass</head>
<ab>It is said that in <pl>Lorraine</pl> and <pl>Flanders</pl> <m>linking glass</m> is made of <m>fern ashes</m> and <m>pebbles</m>. First they blow up a long still
that another worker breaks off and cuts vertically with big shears. Then this long still expands by being placed on a stone or large platine in a furnace slightly colder than
one for melting. Furthermore, they flatten it by rolling <sup>over</sup> it a big and long iron stick. Then they take it out of the annealing furnace. Similarly, they make
some in <pl>England</pl> that are quite beautiful. Close to <pl>Rouen</pl> in <pl>France</pl>, flat glass is made with some <m>saltworth</m> and <m>pebbles</m>
and is whiter and softer than the <pl>Lorraine</pl> one, because it can be melted with a candle, unlike the <pl>Lorraine</pl> one. This flat <m>glass</m> is blown up in a
long still -- the end of which someone else cuts and blows up whilst turning it, then flattens it using a plane which is on the ground, and then reheats it. Thus the middle of
the still, where it began, always stays the same.</ab>
<ab><margin>left-middle</margin>The <m>glass</m>, when wet, can be broken again with the flame of a candle, but not as precisely as with hot iron.</ab>
</div>
P037v
<head><pro>Glass-maker</pro></head>
<ab>
Some do not lay <m>gris d'escaille</m> on the <m>glass</m> to work on it, but trace straight on the <m>glass</m> with <m>noir à huile</m>. However, it is important
that the <m>wood</m> be <m>degreased</m>, because if it has even a little <m>grease</m> [on it], the color will not take at all. And even, if the working <pro>glassmaker</
pro> has a stink from his nose or his mouth, and he breathes on the <m>glass</m>, the color will not take on it. Those who came up with the invention of working
in small works of softened <m>enamels</m> use only <m>azure enamel</m>, which is blue, and <m>esmail colombin</m>, which is the color of purple, which they
soften with <m>rocks</m> or <m>lead glass</m>. As for yellow, they make it from <m>silver</m>, red from <m>sanguine</m>, as is said elsewhere, black and gray and
shadows from <m>scale black</m>, either strong or weak, carnation from light <m>sanguine</m>. Green is made first from yellow, then they overlay <m>azure
enamel</m>, either strong or weak, depending on whether they want to make it bright or dark.
</ab>
p038r
</div>
<head><m>Sapphire</m></head>
<ab><pro>Stone cutters</pro> sometimes choose old pieces of antique <m>glass</m> in church windows, which are much thicker than those of today & are of more vivid
colors. If it is for <fr><del>souf</del></fr> <m>sapphire</m>, they choose beautiful blue & from such a place that there are no <del>pieces</del> grains, if it is possible.
And having cut it into squares with <m>emery</m>, they cut it in bevel & polish it. In this manner, they imitate very beautiful <m>sapphires</m>. The old azure
<m>enamel</m> for <m>silver</m>, verging on aquamarine, was very suitable for imitating <m>sapphires</m>, but it is scarcely found. <m>Aquamarines</m> are
imitated with white <m>glass</m>, but they take it from the bottom of the glass.</ab>
</div>
P039v
<head>Tracing a history on <m>glass</m></head>
<ab>If you want to trace a history in intaglio on <m>glass</m>, you can do so in different ways. Place your <m>glass</m> pane[b] <del>on</del>, as thin as possible, over
the printed history, & having cleaned the <m>glass</m> well with <m>lye</m> & <m>ashes</m> so that it is not at all greasy, trace over the lines visible to you with
<m>oily black</m> or <m>scales black</m> with a <fr>pinceau</fr>, if you want to paint with colors in the manner of <pro>glaziers</pro>, who spread a wash of
<m>scales black</m> all over their <m>glass</m> pane & then scratch & uncover what they want to coat with color, leaving that which is necessary for shading. But if
you want to make gilt histories on <m>glass</m> with a background of colors, which imitates the b[c]asse-taille of <pro>goldsmiths</pro>, gild the whole <m>glass</m>
pane with <m>gum water</m> or <m>garlic juice</m> or <m>fig-tree milk</m>. Then moisten your printed history with two wet <m>linen cloths</m> & lay it down on
the gilt <m>glass</m>. Then with a <tl>pin</tl> mounted on a small <tl>stick</tl>, follow the lines of your history as if you wished to pounce it, & thus you shall vividly
trace it on the gilding of the <m>glass</m>. & next you shall uncover the background & what needs to be empty 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 fill the background with <m><fr>azur
d’esmail</fr></m> or <m>verdigris</m> or fine <m><fr>l[d]aque platte</fr></m>, tempered with <m>clear turpentine</m>, mixed with a little <m><fr>larme de
mastic</fr></m> if you want the colors to be more unified & not to run. Next, apply 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/>
P041v
<head><pro>Glassmaker</pro>'s <m>black</m></head>
<ab><m>Filings of iron</m> taken from bars that have been in the fire for a long time, which are thick, are much better than the common soft ones that fall under the anvil
in the forge, because they imitate <m>niello</m>. To said <m>black</m>, described elsewhere, some people add a little <m>minium</m>.
</ab>
</div>
P041v
<head>Colors and <m>gilt</m> on <m>glass</m></head>
<ab>You should not put as strong <m>gummed water</m> on <m>glass</m> for the <m>silver</m> layer as for the <m>gold</m> layer because a <m>silver</m> leaf is
twice as strong as <m>gold</m> leaf. Also, <m>silver</m> is harder and therefore does not scratch as easily. And if <m>gum</m> was not a little [too] strong for
<m>silver</m>, it would not crack so clearly. When you work, the exhalation of your <m>breath</m> humidifies the leaf lying on the <m>glass</m>, and therefore it
would be good, when working, to heat it up a few times. You have to very thoroughly wash what you want to be empty and used as a surface painted with colors, because if
it is not really clean of the <m>gum</m>'s <m>grease</m> and viscosity, and of other things, the colors will not be so clear on it. To advance your work you can smooth
with a <m>pumice stone</m>, or [you can do this] to better lay down <m>gum</m> and leaf on a cut <m>paper</m>. This way, you will have to do very little repairs. If
you want a <m>gold</m> color there without <m>gold</m>, mix soaked dried <m>saffron</m> with a little bit of <m>massicot</m>.
</ab>
</div>
P042r
<head><m>Wax</m> for seals and impressions</head>
<ab>For large <m>wax</m> seals, you should always have tepid water handy, and keep your <m>wax</m> in it. Yet previously you should have kneaded it with your
hands, so as to make it very smooth and even, for otherwise the water would penetrate the <m>wax</m> and prevent it from holding together. Afterwards, you can imprint
whatever you want. Cover the <m>wax</m> in three or four sheets of <m>paper</m>, and, with a round and smooth stick similar to a pestle, roll it out as if to polish it. It
will then stick to the <m>paper</m>, helping you to take it off from the seal. In this way you will imprint better than if you were dripping molten <m>wax</m>. You can
carve figures and color them in gold, in silver, or paint them with <m>couleurs à vernis</m>, and transfer them onto a <m>glass</m> pane painted with <m>couleurs à
tourmentine & mastic</m>. And if you want to apply these designs by inlaying, use <m>gum ammoniacum</m> mixed with <m>vinegar</m>, and it will stick well.</ab>
P042v
<head>Pounce for scratching <m>satin</m></head>
<ab>After pouncing with crushed <m>flour</m> or <m>chalk</m>, in order that the dots of the pounce not be erased, go over the trace with <m>egg white</m> beaten
with the <m>milk</m> or <m>bark of a fig tree</m>, which will immediately make the <m>egg white</m> clear up like water, without becoming opaque, it will maintain
the trace that you will go over again and scratch with a piece of glass or penknife.</ab>
P047v
<head><m>Melting</m></head>
<ab>Some to make it flow neatly, put half <m>metal</m> and half <m>copper</m>. Others take a part of <m>potin</m> and a part of <del>copper</del><m>latten</m>.
Others take a part of <m>latten</m> from candlesticks and a part of <m>latten</m> from a basin. And among basins, the <m>latten</m> from larger ones is harder than
that from skillets because the material needs to be softer in order to give them such a small circumference. From the large ones, from which they take the more ample
circumference, the harder material can be taken.[a] The harder the <m>latten</m>, the better it flows and the neater it casts, but it must be cast very <del>neat</del> hot.
<del>One</del> As one wishes to cast, one put[b]s <m>lead</m> on the material[c], which makes it flow and run and goes up in smoke and be careful that the mold does
not get damaged. And if you want to cast pieces on <m>fire</m>, mix more <m>rosette</m> than <m>latten</m>, so that it is less brittle. The crucibles used to melt
<m>metal</m> should be better than those used by <pro>glassmakers</pro> because glass is not as heavy as <m>metal</m>. And in this instance, the crucibles need to be
luted with <m>earth</m> and crushed <m>glass</m>.</ab>
P048v
<head><m>Lead tin</m></head>
<ab>They crack if they are often melted again and thicken and burn, so that even if a salmon is made, the <m>tin</m> becomes thick at the bottom if it is not stirred often
during casting. It is better for casting to melt some <m>lead</m> and some <m>tin</m> and to renew it each time. The <m>antimony</m> makes them breakable, the
<m>iced tin</m> makes them whiter. <pro>Pewterers</pro> mix a pound of <m>iced tin</m> with a quintal of <m>fine tin</m> and two and a half or three pounds of
<m>red, mild cauldron copper</m>, which is better than <m>latten.</m> There is <m>fine and mild tin</m> and <m>sour tin</m>. <pro>Pewterers</pro> cast the sour
as grills to sell it better. They go better and more cleanly in <m>stone</m> moulds than in <m>copper</m> molds because <m>copper</m> is fat and draws[a] the
<m>mild tin</m> when heated. Or when casting a large work, three quarts of <m>lead</m> with one pound of <m>mild tin</m> produces a very liquid mixture which is
appropriate for casting and is as shiny as a mirror. Laxunge[b] <m>glass</m> lightens them. All things that lighten <m>metals</m> a lot and remove their thickness and
natural density and make them as liquid as water make them appropriate for casting because their thickness stops them from flowing. The <m>mild tin</m> is more even
than the <m>sour tin</m>, which is whiter and seems to have been polished like a mirror.</ab>
P049r
<head><m>Lead</m> casting</head>
<ab>Those who cast these small items, sold in front of the churches, melt half a pound of <m>lead</m> on a pound of <m>tin</m>, and cast in a <m>stone</m> frame.
And if they want their work [to be] whiter, they use half of <m>tin</m> and half of <m>lead</m>, but the first mixture is the best, and does not make bubbles.You have to
cast it hot enough, otherwise it won't flow. Some [people] smoke their molds with a <m>rosin</m> <m>candle</m> for neat casting. The <m>antimony</m> makes the
matter harsh and breakable. The <m>looking-glass</m> <m>tin</m> makes the work whiter, but does not make it flow more than with <m>tin</m> that is correctly made
with pure <m>lead</m>. Those who make very precise <m>lead</m> castings use puncheons[a]. <pro>Tintiers</pro>[b] cast with <m>copper</m> molds. It is said that
one makes <m>lead</m> adhere to <m>glass</m> by using <m>resin</m>. Some people put a quarter of <m>tin</m> on <m>lead</m>. <m>Glass</m> <m>tin</m>
makes the work stronger.</ab>
<ab>
<margin>left-top</margin>
Poncet[c][d].They cast by using the souldure the <pro>glass-makers</pro> use. Lump [of metal] of [...] Calcinated <m>oyster shell</m>.</ab>
Note from p050v
[i]"donner une chaude" is a technical term used by goldsmiths as well as glass makers and iron workers.
P051r
<head>Cutters of printing [g][h]plates</head>
<ab>To clean the <m>copper</m> plates or to have used ones print better, boil them for four or five hours in a good <m>detergent</m> with quite used <m>laundry
water</m>. Then make your <m>ink</m> with some <m>linseed oil</m> instead of <m>walnut oil</m> and press with the rollers. The <m>copper</m> plates are ready
sooner than the <m>wood</m> ones, but they are not so clean to print promptly. The <m>wood</m> ones are tedious but would have sooner printed twenty sheets against
two [sheets] of the other. To print with <m>wood</m>, the secret is firstly to poach, that is to say to lay the transferred pattern or drawn piece down on the <m>wood</m>
plank and to make sure that the drawn side is stuck to the <m>wood</m>. Once dry, you will gently rub with a moist <m>handkerchief</m> the reverse side of the
<m>paper</m> which, by being rubbed, will become so fine that what will remain will almost only be the drawn part, which, after, one should trace while cutting the
pattern. You could do that to ornamented <m>glass</m> and <m>glass</m> layered with <m>black</m> cut pieces, to then scrape and layer your <m>colors</m> on the
uncovered [side]. To make <m>ink</m> for <m>copper</m> plates</ab>
P056v
<ab>
<m>Lake</m> takes a long time to dry in <m>oil</m> and for that reason you have to crush <m>glass</m> with it, but you have to choose <m>crystallin</m> because it
is neater. And since it would be too difficult to be crushed by itself, you have to heat it red hot, then, when it is entirely red, throw it into cold <m>water</m> and it will
crumble and pulverize itself to then be crushed easily. After being crushed with a lot of <m>water</m>, it looks like crushed <m>lead white</m>, but for this reason it has
no body. I think it could be good for casting.</ab>
P060r
<head>Oil</head>
<ab><m>Nut oil</m> extracted as if from [b]<m>peeled almonds</m> is very white, <sup>like</sup> <m>Palma christi <sup>oil</sup></m>.[c] And when the
<m>oil</m> is a little thick the colors are softer, for if the <m>oil</m> is too clear the colors flow and do not bind, even those that are not that thick. Greasy <m>oil</m>
that is not easily soaked up is appropriate for varnish. The <m>oil</m> is sufficiently desiccative when it dries as quickly as common varnish. <m>Oils</m> do not dry as
quickly in cold countries as in hot countries. <m>Oil</m> left in the sun becomes very clarified but becomes greasy if you add some <m>ceruse</m> or filed
<m>lead</m> or <m>white lead</m> or <m>glass</m>powdered and calcined. To avoid this, put the flask in clear <m>water</m>.</ab>
P061v
<head>Grinding colors</head>
<ab>A slab of <m>glass</m> one inch[e] thick is more appropriate than anything else for grinding colours neatly, especially for <m>lacquer</m> and for
<m>whites</m>.</ab>
</div>
P065r
<head>Greasy colors</head>
<ab>After the laid-down colors are absorbed, if some part remains shiny and does not seem dry, it means that this part is greasy, and that the second colors you lay down
would not adhere either, unless you scrub this part with <m>soap</m> or breathe on it, because humidity will make the colors adhere.</ab>
<ab>
<margin>left-bottom</margin>
All greasy colors, such as <m>ceruse</m>, <m>minium</m>, <m>massicot</m>, <m>ochre</m>, and <m>white lead</m> are good for making <m>gold</m> color.
</ab>
<ab>
<margin>left-bottom</margin>
Any color or thing that thickens when mixed with <m>water</m>, while being crushed [m]has body. But those that lack it, such as crushed <m>glass</m> and
<m>lake[n]</m> etc., become clear.</ab>
P068r
<head>Casting</head>
<ab>I have tried four kinds of sand for <m>lead</m> and <m>tin</m>: <m>chalk</m>, crushed <m>glass</m>, <m>tripoli</m> and burnt <m>linen</m>, all four are
excellent. As to the <m>chalk</m>, it needs to be of the softest kind available, like the <m>Champagne chalk</m> used by <pro>painters</pro>. It releases very cleanly,
needs not be dampened with <m>magistry</m> or with anything else, but is used in its natural dry state and finely pulverized.[a][b] 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 <m>chalk</m> 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 <m>chalk</m>. Crushed <m>glass</m> can be made
from ordinary <m>glass sand</m>, however <m>cristallo glass</m>[c] is more excellent, because <m>common glass</m> contains <m>saltwort</m> only, while
<m>cristallo glass</m>[d] contains both <m>salt of tartar</m>[e] and <m>saltwort</m>. 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 <m>glass</m>, of whichever sort, among the largest possible glowing <m>coals</m>, unless some
other violent heat source is available. And once the glass is red hot, throw it into <m>water</m>.</ab>
p069r
On Sands for Casting:
<ab>
<margin>left-middle</margin>
<m> <ab><m>Sand of calcined glass</m> lasts for many fusions. But there are only the first ones.[b] It also puffs out.</ab>
Putty</m> is considered excellent for these two <m>metals</m>.</ab>
<cont/>
</div>
<ab><m>Oil</m> and <m>tallow</m> make fill with bubbles[b], and <m>crushed glass</m> and <m>copper</m> alone.</ab>
<ab>
<margin>left-middle</margin>
Some want to mold large works in <m>brass</m>[e] mixed in the <m>sand</m> some ground <m>glass</m> to give the <m>soil</m> unity. But it makes it filled with
bubbles.[f] And you have to repair the work.</ab>
P084v
<head><m>Sand</m> from a <pl>Toulousain</pl> mine</head>
<ab><m><pl>Toulousain</pl> sand</m>, which is harvested from the Côteau du Puy-David, deep down in the earth, is excellent on its own, but to make it sustain multiple
castings, I mix it with pulverized and moistened <m>sandever</m>, which hardens it, holds well together with it, and enables as many castings as you like. Try to moisten
the crushed <m>glass</m> and other sands with the <m>essences of the aforementioned salts</m>. Like all <m>natural sand</m>, it needs to be reheated well. Before
putting it to use, one pulverises it, because it is in a lump, and then one reheats it in a <m>copper</m> boiler (or similar) until it ceases to smoke.</ab>
<ab>
<margin>left-bottom</margin>
It is necessary to reheat it before using it. It becomes better for casting because it is reheated, but when it has been used too much, it must be refreshed with new sand.</ab>
P084v
<head> <m>Sand</m>, for the most excellent <m>lead</m> of all, for large and small reliefs</head>
<ab> I took <m>white lead</m> and crushed it dry on <m>porphyry</m>, to make it very fine. Then I moistened it a lot with very well beaten <m>egg white</m>, 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>
<ab>
<figure><margin>left-bottom</margin>
X
</figure>
</ab>
<ab>
<margin>left-bottom</margin>
Mix it well with the knife.</ab>
<cont/>
</div>
``
<page>085r</page>
<image>http://gallica.bnf.fr/ark:/12148/btv1b10500001g/f175.image</image>
<div>
<cont/>
<id>p084v_a4</id>
<ab>and place it on a flat well-clean table, and since it has a desiccative quality, I knew it would dry out. I left it to dry for a while to reduce it to a powder and mold it with
<m>sand</m>, it having been ground into small pieces with my fingers and the sharp side of a knife. I <m>oil</m>ed my medal because <m>oil</m> cleans it without
damaging it. And after cleaning and drying the medal with a <m>cloth</m> and small bristle brush of <m>pork skin</m>, I lightly <m>oil</m>ed it once more with clear
<m>walnut oil</m>, and gently swiped it with a <m>cloth</m> so that [the medal] would not be too <m>oil</m>ed; having already considered that in this way [the medal]
should come out easily, because the <m>white lead,</m> wet with <m>glair</m>, which would not damage the <m>oil</m>. This worked very well. I molded a medal
very cleanly in high relief, without it having any lumps, which a lot of good <m>sands</m> such as <m>felt</m>, burnt <m>bone</m>, and <m>iron dross</m> failed to
do on the first attempt. I re-cooked it and my mold became hard like marble. And then I knew that <m>sands</m> used to mold big relief must be very moist with some
kind of <m>water</m>, which gives body and firmness, like <m>egg white</m>, <m>gummed water</m>, [or] one [<m>water</m>] boiled with <m>elm root</m>. And
lightly <m>oil</m> your medal. It can take as many firings as you want because it is as hard as glass. But soft <m>lead</m> and sour <m>tin</m> must be cast at a very
hot temperature.</ab>
<ab>Since that moment, I have realized that even though this <m>sand</m> is excellent, can be cast often and molds very neatly, it is fat and it makes bubbles. In this way,
the <m>soft lead</m> does not suit the mold well. But I have tried to mix it with lean <m>sand</m>, such as <m>pumice</m>, <m>metal scrapings</m>, and similar
things, in order to give it body, and to help it come off easily, because lean <m>sand</m> [alone] does not come off easily; and yet it takes <m>metal</m> well.</ab>
<ab>
<margin>left-top</margin>
Try to mix <m>white lead</m> or <m>minium</m> with other sands.</ab>
P085r
<head>Green <m>varnish</m> for <m>copper</m> medals</head>
<ab>After casting them neatly, cover them with <m>glass salts</m>, which we use for sand, and moisten it. Within three or four days they will be green. Oil them after,
and place them under some <m>manure</m>.</ab>
P089v
<head><m>White <pro>glassmaker</pro>'s sand</m> mixed with <m>ammonia salt</m></head>
<ab>You can find this <m>sand</m> in <pl>Cominge</pl>, near the town <pl>Aurignac</pl>. This sand is dry and as white <del/> as salt. <pro>Glassmakers</pro> and
<pro>potters</pro> use this sand ground on the <m>porphyry</m> until it becomes as fine as possible. Easy to grind, this sand looks like <m>calcined alabaster</m>, 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 <m>porphyry</m> with <m>gummed water</m> or <m>pure water</m>, then apply a thick coat (as thick as mustard or a little bit thicker) over the medal,
which has already been lightly rubbed with <m>oil</m>, <m>walnut oil</m> or, even better, <m>aspic oil</m>. For best results,<del/> 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>
P093v
<head><m>Purple</m> and <m>lake</m></head>
<ab>It is made of <m>azure</m> and <m>lake</m> which is also tested on the palette with <m>white</m>. The one which gives a clear red rose color, tending slightly
towards purple, on a <m>polished knife</m> or on <m>glass</m>, is esteemed beautiful. The dark red one is not as pleasant.</ab>
</div>
P099r
<head>Thin white <m>sand</m></head><ab> without bond is perfect for casting and it becomes thicker[f] if you crush it very finely on <m>porphyry</m> or you
calcinate it by making it red-hot several times, and if it becomes <m>vinegar</m> or thinner with <m>water</m>, as you know, it casts as well very precisely in a core, as I
did the experiment. But don't soak it with salted water if you want to anneal it quickly for salt boils on fire and creates more dust while it is being pressed by the fire. I think
that reheated cores gently would not react like this. I cast very neatly as a core some matter and […]. white <m>sand</m> smells <m>sulphur</m> when it is reheated, and
I think that it would melt. And since the material has been cast into it, it takes in the mold a luster as if it were leaded or vitrified. I think that <pro>glassmakers</pro>
could use it.</ab>
P100r_4
<head>Vitrified <m>saltpeter</m></head>
<ab>
Melted with <m>pebbles</m>, it makes the <m>glass</m> very white. But rather, it needs to be calcined on a hot tile or <tl>paddle</tl>. And mix the liquid remains of the
v[a]apor with as much white, calcined <m>pebbles</m>. It is true that, in the little <tl>oven</tl>, it does not make it very clear. But for big windows, it makes the
<m>glass</m> very clear, & white & clean.</ab>
</div>
<div>
<id>p100r_5</id>
<head>Windows through which the sun will not pass</head>
<ab>Take the aforementioned calcined <m>saltpeter</m> & expose it to a humid air or place, and it will convert itself into a liquid which, if rubbed on both sides of the
windows, the sun will not pass through; rather, it will cast shade. One needs to put the <m>saltpeter</m> on any clean place, & put glowing <m>coals</m> on it, and
continue all over until it no longer burns.</ab>
<ab>
<margin>left-bottom</margin>
It also serves for melting &for adding in with <m>alkali salt</m> for cleaning <bp>hands</bp>.</ab>
</div>
P100v_1
head><m>Gemstones</m></head>
<ab>Take white <m>pebbles</m> that are found along rivers, along gravel banks, & paths and that are somewhat transparent. If they are perfectly transparent, it will be
better. If not, use the best & whitest ones that you can find. Calcine them three or 4 times in your <tl><fr>four à vent</fr></tl> & quench them in <m>water</m> or
<m>vinegar</m>. Afterward, take a <figure><ms>℥</ms></figure> of them and pound them in a completely pure <tl><m>copper</m> mortar</tl>, with a <tl>pestle of
pure <m>copper</m></tl>, and grind them until they become very fine and soft powder; this is a sign that they have taken enough of the substance of<m>copper</m> to
give them greenness. Then in your <figure><ms>℥</ms></figure> of <m>pebbles</m>, add in three <figure><ms>℥</ms></figure> of good <m>minium</m>,
unadulterated by <m>brick</m> or something else, and strongly pound everything together again in a <tl><m>bronze</m> mortar</tl>. And in all of this, add in a <ms>
<fr>gros</fr></ms> of <m><fr>sel de verre</fr></m>, & some and the common people put in <m>sandever</m> that they find it among the <pro>glassmakers</pro> or
<pro>apothecaries</pro>. But <m>alkali salt</m>, as you know, is better.
P101r
<head><m>Topaz</m></head>
<ab>The same dose can be observed for all <m>gemstones</m>, which is one <ms>part</ms> the weight of calcined <m>pebbles</m> with three <ms>parts</ms>the
weight of <m>minium</m>, pounding all separately in a <tl><m>copper</m> mortar</tl> for <m>emeralds</m>, & in an <tl><m>iron</m> mortar</tl> to make
<m>topazes</m> or <m>amber</m> color, with <tl>pestles</tl> similar to the <tl>mortars</tl>. <m>Emerald</m> & <m>topaz</m> are of the same heat, an
<ms>hour</ms> & a half, otherwise they could burn. <m>Ruby</m> wants more time & more fire, & colored with <m>gold</m> leaf. I believe that <m>pumice
stone</m> or <m>fire-stone</m> for the <m>ruby</m> would be better. See <m>ename[a]ls</m>. Also try to mix pieces of colored <m>glass</m> or <m>enamels</m>
instead of <m>pebbles</m>. If the mass is not colored enough, pound it further in the <tl><m>iron</m> mortar</tl>.</ab>
P102r
<head>Provisions for the work of Colchos</head>
<ab>7 limbecks of <m>glasse[a][b]</m>
2 lbs. of <m><figure>☿</figure></m>
One measure of coarse <m>salt</m>
6 <m>unleaded</m> <m>earthenware</m> vessel
2 large <m>unleaded</m> pots for calcinating
2 alembics to distill <m>vinegar</m>
4 pots of good <m>vinegar</m>
3 or 4 lamps
2 lbs. of <m>cotton</m>
One pair of scissors</ab>
</div>
P107r
<ab><m>Crocum ferri</m> must be heated into a <pro>glassworker'</pro>s furnace during four days.</ab>
</div>
P118r
<head>For grottoes[a]</head>
<ab><m>Stone</m>s made from water called <m>stuf</m>; <m>charcoal</m>; the confection of <m>tin</m> and pure[b] <m>brass</m>; <m>paper</m> ground up
and mixed with ground up <m>glass</m>; <m>cork</m>; <m>heated parchment</m>, <sup>and</sup> <m>white coral</m>, all of them are appropriate for making
grottoes. But, once dry, bizarre pieces of <m>wood</m>, which [the bizarre pieces of wood] are found in the forests and among <sup>regular</sup> mushrooms and <fr>
<pa>potirons</pa></fr> <sup>growing on</sup> trees, are better than all of them because they are light. Mix in with small pieces of <m>looking-glass tin</m> which
have a shiny luster. Grind in a little of a different kind of <m>marcasite</m> in order to clean the <m>earth</m> away, then powder the work, which is very beautiful. If
there is no spring in the grotto, glue all of this with strong <m>glue</m>, and then the work is done. You must show all kinds of <m>mines</m>. The <m>sulfurous
marcasites</m> which do not have a grain but are even like <m>looking-glass tin</m> are very beautiful.</ab>
P120r
<head><m>Sand</m> for casting <m>gold</m></head>
<ab>Take <m>common sand</m> made of <m>alum, plaster</m> and <m>brick</m>, according to the composition above-mentioned. Add to it some more <m>feather
alum</m>. And add as well something[g] a third part of <m>crocum ferri</m>. However whatever quantity is never harmful, because [<m>crocum ferri</m>] is the one
that makes <m>gold</m> shiny and makes it come out of its cast easily. But it is best if your <m>crocum</m> has previously been left for three days and three nights in
the furnace of <pro>glassworkers</pro>, in a flat box, where it is not very thick so that it will reheat better.</ab>
<ab>
<margin>left-top</margin>
You can easily cast <m>gold</m> with the <m>common sand</m> of <pro>goldsmiths</pro>, but [make sure] that you add some substance that makes it runny. Before
the invention of <m>crocum</m>, one cast flowers in <m>silver</m>, but not in gold. This has only been known in Germany for forty years.</ab>
<ab>
<margin>left-middle</margin>
<m>Sublimate</m> is often used by <pro>goldsmiths</pro> for <m>gold</m>. Some people add <m>sulphur</m>, but they are all wrong, because <m>sulphur</m>
makes things sour, even if it heats [well.], And <m>sublimate</m> gets agitated,boils and bubbles. It is very good to clean <m>gold</m> because its exaltation draws [the
bad stuff] out that disappears in the smoke. But to heat up <m>gold</m>, and to keep the heat, there is only the color of <m>verdigris</m>, <m>salt of ammoniacum</m>,
<m>saltpeter</m>, and <m>borax</m>. This makes it runny and you will be able to throw in a branch from the Santoinge[h].[i]</ab>
P0120v
<ab>a sign that there is some humidity and if the flower was also watery it would rot. Moreover the sand must not be <del/> rough because its weight would make the
flower lose its original shape. Once you have chosen it accordingly, take a <tl>box</tl> in which you first make a layer of sand on which you will display the stalk of the
flower laid in a way that the flower does not touch nor the bottom nor the edges of the <tl>box</tl> and stands in the air. Then add more <del/> sand on the stalk so that it
remains strong and solid. Finally take some of the same sand and sprinkle and subtly display it with two <tl><bp>fingers</bp></tl> on the flower like the flow of an <ms>
<tl>hourglass</tl></ms>. And once the flower is <del/> covered, strike with your <bp><tl>fist</tl></bp> the table on which the <tl>box</tl> is displayed, so that the sand
lowers and surrounds everything. Finally cover the entire flower, and lay other flowers, one after the other, as many as the <tl>box</tl> can hold. Then put the <tl>box</tl>
in <tmp>warm sun</tmp> for <ms><tmp>several days</tmp></ms>. And as the flower dries, the sand that goes with it continues to press and prevents it from rotting and
tightening and consequently, it dries and keeps its original shape. And to do so, make sure to chose boufarcis, <pa>marigold</pa>s, the <pa>yellow meadow's
flowers</pa> called <la><pa>rammenlus</pa></la> or <la><pa>palta lupina</pa></la>, <pa>amaranth</pa>, and similar flowers like <pa>broom</pa> and others which
you will know from experience.</ab>
<ab>
<margin>left-top</margin>
The sand the <pro>goldsmith</pro>s use to sand <m>enamel</m>s and the white one which the <pro>glassworker</pro>s use and any type of fine sand which does not
have much body, put it through a <tl>sieve</tl> made of <m>horsehair</m> because this matter must not be very thin. Then dry it well in the <env>sun</env> for <ms>
<tmp>several days</tmp></ms> in order to remove the dampness and ventilate it as you would do with <m>wheat</m> so that the dust goes away. Once cleaned of dust
and dried, use it as you know.</ab>
P123r
Using crused glass to “lute” the crucible before using it to melt argento
P136v
<head>
<m>latten</m> casting</head>
<ab>
Take <m>latten</m> from skillet pans, used to make baby's cereal, which is doulx and apt for the cast. Some people say that counter from <pl>Germany</pl> contain a lot
of <m>calamine</m>. However, when they are tempered, <m>calamine</m> evaporates, <m>calamine</m> mixed with melted <m>latten</m> always evaporates,
because <m>latten</m> becomes red again, thanks to the reiteration[a] of melting. However, fresh <m>calamine</m> and only fresh <m>calamine</m>, which is blended
with remelted <m>latten</m>, makes <m>latten</m> run, and allow a clean cast. Because <m>calamine</m> which is added to remelted <m>latten</m> is half-damaged
compared with its natural state. This half-damaged <m>calamine</m> make <m>latten</m> porous and agitated because it has a tendency to evaporate. Thus add only very
fresh <m>calamine</m> to melted <m>latten</m>. Make sure to cast your mold very hot, you mold must become red-hot, like molds to cast <m>gold</m>,
<m>silver</m>, <m>copper</m> and metal. If you pour fresh <m>calamine</m>, avoid its smoke which is pernicious. To cast a medal, I took thirty counters from
<pl>Germany</pl> and xii <m>clous de rosette</m> made of doulx <m>latton</m>, like for claires[b] medals which are made of soft <m>latten</m>. This matter
contains a lot of calamine like all kind of yellow <m>latten</m>, and make a lot of smoke which prevent <m>latten</m> from running, and make it porous, that is why it
is necessary to make many vents and to cast very hot, <m>latten</m> must be as white as <m>water</m>, or as melted <m>silver</m> or as a polished mirror of
<m>steel</m>. The second fusion will come out much better because evaporated <m>calamine</m> does not make as much smoke. If you use a molding frame that does
not break and holds its own, the second [casting] will come more neatly out of the mold, because the frame is impregnated with the smoke of <m>calamine</m>. If you
add <m>sal ammoniac</m> to your <m>latten</m>, this <m>latten</m> will be clear and shiny, but will be even more shiny with <m>huile tingente[c]</m>. Do not use
another sand than the above mentioned to mold a noyau, and the mold must become red-hot, like a mold to cast <m>gold</m>. Make a lot of vents. If you cast yellow
latten with the prepared tutty you will not get any smoke.</ab>
<ab>
<margin>left-top</margin>
This metal is capricious to cast because of the smoke of the <m>calamine</m>. Do not leave it out of the fire, as some do with <m>silver</m>. Because when air or wind
touch it, the mold gets cold at once. When you cast it, this metal always leaves burrs, like when casting <m>glass</m>. <pro>Foundry workers</pro> do not usually use
this very yellow <m>latten</m> as much because of the <m>calamine</m> which is heated. They cast <m>red copper</m> and turn it yellow with fresh
<m>calamine</m>, or with some prepared tutty. Before casting, clean it with <m>charcoal</m> with a quere[d] made of <m>copper</m> or <m>iron</m>. Then cover it
with a cloth soaked in <m>lard</m> blended with <m>saltpeter</m>, or <m>sal ammoniac</m>, in order to protect it from wind, which would cool it down.</ab>
</div>
P147v
<head><m>Latten</m> casting</head>
<ab>I have taken the one you find in <m>latten</m> skillets, which have been beaten and forged quite thinly. Having well-heated it, I threw in two or three grains, like
beads of <m>sal ammonicac</m>. This will clarify it like a mirror, having turned very white from all the heating, I threw in it some crushed raw and pure
<m>calamine[d]</m>. The I casted it in its very red mold. Il cast cleanly and thin like <m>paper</m>, and hollow on the back. Because it has become crusty I cooked it
again, which to means to say, I reddened it, and left it to cool, then put it in <m>bleach</m>, made partly with raw <m>tartar</m> and half of common <m>salt</m>.
Having boiled it well, I brushed it in clear <m>water</m>, because the first time it was</ab>
<ab>
<margin>left-bottom</margin>Do not let it cool down when melting. It always makes into filaments, as you would find with melted <m>glass</m>, because of the
<m>calamine</m>. Usually, the soft <m>letten</m> of skillets, becomes red from casting, even when it has been in the fire for a longtime, because the <m>calamine</m>
evaporates. But the brittle <m>letten</m> of candleholders becomes yellow, as well as the[e] <m>filings</m> made of needles.</ab>
<cont/>
</div>
<head><m>Latten</m></head>
<ab><m>Latten</m> is wonderful to cast. It is necessary to be cast very hot. And to master it better, throw in some <m>sal ammoniac</m> to clarify it. You can also add a
bit a <m>red copper</m>, and if you wish to, add in a bit of <m>tin</m> to make it runnier. It always leaves filaments like melted <m>glass</m>. It does not require as
long of a cast as others.</ab></div>
P154v
<head><m>Latten</m></head>
<ab><m>Latten</m> is wonderful to cast. It is necessary to be cast very hot. And to master it better, throw in some <m>sal ammoniac</m> to clarify it. You can also add a
bit a <m>red copper</m>, and if you wish to, add in a bit of <m>tin</m> to make it runnier. It always leaves filaments like melted <m>glass</m>. It does not require as
long of a cast as others.</ab></div>
P156v
On casting a fly: <ab>
<margin>left-top</margin>
Having been cast in gold, one enamels the wings with window glass from Lorraine, which is and transparent.</ab>