makingandknowing - Reich Annotations Prep

03/06/2016
Possible Annotations:

p006r "To lay down and set burnished gold and give red or green or blue" - meaning of the term "fat", uses a lot of different kinds of materials in ways that could explain how to work with them
p007v_a2, a3, and a4 "Against Windy Colic", "To Relieve the Pain of Gonorrhea", and "Against Gonorrhea" - not relevant to colors, but I'm really curious as to why these recipes are in here, stuck where they are, and whether the use of the materials can convey information about those materials.
p011v_2 "Getting rid of red eyes or black eyes" - again, a medicinal-type recipe, but I wonder whether it has significance for the recipe before or after it, such as if those recipes contain ingredients which cause eye irritation; if this is a practical recipe, it would suggest that the reader is intended to apply the methods within the book
p013v_1 "To recognize good cendree d'azur for oil" - this recipe explicitly deals with the qualities of a colorant
p015v_5 and 6 "Ears" and "Toothache" - again, medicinal recipes and how they relate to materials, although here I'm wondering about their relation to practice, i.e. was there a set of accepted safety precautions that artisans used when working with caustic materials?
p016v_a1 and a2 "Against Gonorrhea" and "To take fine forehead hair off" - the second one is particularly interesting because it's the first cosmetic recipe we've seen. It also requires the use of silk right before a recipe that explains silk, so there is a potential flow there.
p020v_1, 2, 3, 4, 5, and 6 "To whiten the face", "against windiness, colic, etc.", "Beet root", "Against burns", "A common saying", and "A form of regimen" - another cosmetic recipe, another three health recipes, instructions for gardening, and something on architecture, all in the middle of a discussion on cannons.
p029v_5 "Oil extracts" - the text reads "Apothecaries say that anything with [sic] does not stick to a mortar while ground is oleaginous."
p029v_6 "Dragon's blood" - describes care and use of the ingredient, with many references to its properties.
p031v_2 "Brushes" - a nice little explanation on what makes a good brush, just before the explanations on painting.
p037_3 "Yellow Amber" - this explanation of the material also uses the material as an indicator for health, suggesting a possible link between crafts and medicine - maybe in the way that the artisan attempts to mimic or even recreate the natural world, he must understand the qualities of the natural world in the materials he uses to do so, and in some cases, these materials, because they themselves are natural, reveal information about people or can be used to manipulate people.
p038v_2 "Against nose bleeding and for dyeing" - again, a strange link between colorants and medicine, and this recipe uses dragon's blood
p039r_2 "Dyers woad" - explanation of how to tell if the product is good for dying based on taste and texture
p044r_a5 "Dyes from flowers" - not so illustrative of material properties, but could yield interesting results
p044v_2 "Excellent water against the pest by the master of Monstorin" - medicine; the interesting thing here is the smell, which comes up in a few other places, and so this recipe could be an interesting way of getting out how the artisan interacted with smells and why some smells were considered good and others bad.
p046r_1 "Sulfur oil for the teeth" - another cosmetic recipe, which sets sulfur as the opposite of clove oil and rose honey. Almost identical to p047r_1 "For teeth"
p046r_2, 3, 4 "Wheat oil", "against the falling sickness", and "against cold gouts" - with the previous recipe, all different uses for oils
p047r_3 and 5 "Against epilepsy or dizziness" and "Against diarrhea and dysentery"
p052v_2 "Colors" - how to maintain "moist" and full colors
p056v_1 - instructions for preparing a variety of paints, but the last paragraph is most interesting, begins "in order to remove the grease of marbles." Deals a lot with the quality of greasiness.
p061r_3 "White lead" - deals with "body"
p063r_6 "Verdigris and other very beautiful gray green" - different materials for mixing crushed verdigris with, which change the quality of the color.
p064r_2 "Greasy oil" - a distinction that would have been lost on me
p065r_4 "Greasy colors" - more on greasiness
p066v_1 "to prevent the growth of breasts or to diminish ones that are too large" - another cosmetic recipe, and perhaps the first one that may refer to women in the manuscript
p066v_2 "Against the bruising of the eyes"
p077r_a2 "Oriental medicine against all disease"
p079v_2 "Antidote against the smoke of metals"
p102v_2 "Infusion of anthos or rosemary" - a medicine for the elderly
p103r_1 and 2 "excellent burn relief" and "against dog's gall"
p103v_1 "enema"
p105r_2 "drying colors" - "soot black and others will not dry in oil unless you add verdigris"

*p166r_a1 "For the workshop" - someone should go back and look at this, because it looks like the ending of a book, even though the book keeps going for a few pages after

Thoughts:
Definitely work on dragon's blood, if it hasn't already been done

03/07/2016
Main annotation:
Dragon's blood and its properties as a material.
Primarily working from:
<id>p029v_6</id> <head><m>Dragon’s blood</m></head>
<ab>Have a well chosen drop of it which shows its transparent red and put it in a <m>glass bottle</m> with enough quantity of the best <m>eau de vie</m> possible and close it diligently so it does not get exposed to air otherwise it will be worth nothing and leave it so for a long time, because the longer it stays, the more beautiful and better it will be and it will dissolve if it is good otherwise it will become like <m>lees</m>. When you want to use some, make a small hole in the bottle stopper and pour some and close it again each time and apply it on gold. Good <m>dragon’s blood</m> can be found in grands lopins like <m>cattle cake</m><add>this one has no worth if it is sophisticated</add> and broken it shows on its edges some transparent scale as light red enamel, it is also lumpy in some points like small rubies. The <m>eau de vie </m>must be very strong and plusieurs passes.</ab>
<margin>left-bottom</margin> The darker <m>dragon’s blood</m> is the best and the larme is the most dying one, which you can find in lapin like <m>pitch</m> and <m>big nuts</m> which look like<figure/>
<margin>left-bottom</margin> I put it in some ordinary <m>eau de vie</m>, adding some <m>aqua fortis</m> to give it strength. At the beginning the <m>water</m> turned slightly colored, but at the end it just looked like some tragacanth <m>gum</m> with which they sophisticate I think the <m>dragon’s blood</m>.
<margin>left-bottom</margin> When it is applied on <m>gold</m>, it is prone to break, this is why some apply on it some <m>turpentine oil</m>. Cold stops the <m>water</m> from pouring and taking the color off. And for that, you can hold it by the fire.</note></div>

I am thinking of following this set of instructions for keeping and using dragon's blood to get a sense of the material experience of interacting with it, and from this look to other recipes to see how dragon's blood was used both as a pigment and as a medicine, and whether any of its properties can indicate why it was appropriate for both.

Also explore these recipes:
<title id=”p007r_a3”>Doublets</title> [doable]
<ab id=”p007r_b3”>Good dragon’s blood soaked in spirits produces its own mastic or glue. So do vert de vessie and saffron.</ab>

<id>p038v_2</id> <head>Against nose bleeding and for dyeing</head> [partially doable]
<ab>Pound some of the kind of “<m>vinete</m>” or “<m>lapathum acutum</m>” that is red-veined, which is called <m>dragon’s blood</m>, and apply it on the bleeding person’s forehead. This herb is a strong dye & makes beautiful violet.</ab>

<id>p040v_01</id> <head>Cross of the commanders of <pl>Malta</pl></head> [doable]
<ab>The fine rouge clair which is the background of the white <m>enamel</m> cross is of fine <m>dragon’s blood</m> drops soaked with <m>eau de vie</m> or <m><pl>Indian</pl> laque plate</m>, which I believe is made in <pl>Flanders</pl>, distempered with clear <m>turpentine</m> and <m>mastic</m> drops and applied on a <m>silver</m> leaf, not the one used by <pro>painters</pro> but a thicker one, which is burnished by the <pro>makers of foil backings for gemstones</pro> or by <pro>goldsmiths</pro>, and that gives it its fine brilliance.</ab></div>

<title id=”p098r_a1”>Varnish for lutes</title> [partially doable]
<ab id=”p098r_b1”>They take a little turpentine and some turpentine oil, or spike lavender [oil], and some amber pulverized and very finely sieved & proceed as with that of mastic, & they add some dragon’s blood to color it and turn it red. And others some terra merita to turn it yellow.</ab

<id>p102v_1</id>
<head>Painting on <m>crystal<m> or <m>glass</m></head> [doable]
<ab>They paint without any traces of <m>oil</m>, except for faces where they outline the nose and the mouth in very fine black work. Then they make strokes and highlight them in white, and then they apply a coat of <m>flesh-tinted color</m>. As for the background, they do it in natural <m>azur</m> from <pl>Acre</pl> to make it more beautiful, or <m>lacquer</m> for a quickly-done red, or for a finer red, <m>dragon’s blood</m>. But it is necessary to apply it little by little so that it is smooth and of one color, and in the same way for other colors. Then they apply underneath it, a leaf of <m>topaz</m>, <m>gold</m> or <m>silver</m>.</ab> </div>

<id>p165r_5</id> <head><m><al>Dragon</al>’s blood</m></head> [doable]
<ab>You can imitate <al>dragon</al>’s blood with <m>lacquer</m>, which surpasses it in beauty, if [when] diluted in <m>oil</m>, you use it to ice <m>gold</m> or <m>silver</m>. Diluted with varnish, it fades.</ab>

Particularly the imitation dragon's blood and the instructions for using dragon's blood as a dye/cure for nosebleeds could be useful. The imitation version could help to give a sense of what qualities were valued in its appearance, and how those differed from the qualities that were inherent to its feel or smell. The recipe for the nosebleed cure is important because it is being used in both applications simultaneously.

I will also look into secondary literature on dragon's blood, and other primary sources from the early modern period, both in other craft manuals and in medical texts (probably folk medical texts, rather than those intended for physicians, but it could still be useful to look at both). I may also see if I can find examples of paintings or objects that use dragon's blood.

Second Annotation:
I will work with Sophie on dyes, particularly the two recipes that have information on material properties of dyestuffs:
<id>p038v_2</id> <head>Against nose bleeding and for dyeing</head>
<ab>Pound some of the kind of “<m>vinete</m>” or “<m>lapathum acutum</m>” that is red-veined, which is called <m>dragon’s blood</m>, and apply it on the bleeding person’s forehead. This herb is a strong dye & makes beautiful violet.</ab>
and
<id>p039r_2</id> <head><m>Dyers woad</m></head> [not doable, but a useful comparison - perhaps if we can look at raw woad?]
<ab>It is grown in <pl>Auragnes</pl> where the soil is so fertile that if you grew wheat there every year, it would fall over from the kernels being too full. This is why <m>dyers woad</m> and wheat are cultivated alternately. For cultivating </m>dyers woad</m>, the soil is ploughed with <m>iron</m> shovels like those of gardeners. Then with rakes, clods of earth are broken up and tilled as for the sowing of some vegetable gardens. It is usually sowed on Saint Anthony’s day in January. Eight harvests can be made. The first ones are the best. The best of Auragne’s <m>dyers woad</m> is the one from <pl>Carmail</pl> and the one from <pl>Auraigne</pl>. And sometimes the <m>dyers woad</m> is good in one field and worthless in another that is closeby. The quality of the <m>dyers woad</m> can be recognized when you put it in your mouth and it tastes like vinegar, or when you crumble and break it, there are silver or golden mold-like veins. It is pressed in the dyers’ cistern, and to fill a cistern, six bales are needed. Several <m>wool</m> flocks are kept there. And if it produces 15 dyings, it is said to be worth 15 florins, if it produces 20 dyings, 20 florins. The good kind will dye up to 30 times and usually up to 25 or 26.</ab>

3/17/2016
Experiments:
The entry that deals most with dragon's blood is very specific about keeping it and keeping it sealed. I think one way to get at the material properties of this pigment is to see what happens if it is kept incorrectly. I'd like to do a controlled experiment where I have two portions of dragon's blood, one of which is handled as the manuscript dictates, the other of which is kept in a perforated or open container. At various intervals of time, I want to use samples of the dragon's blood to make a dye as the manuscript orders. I am curious to see whether these considerations about how to keep the material affect the quality of the color, or if it changes the material in some other way, or if instead this is a sort of workshop protocol to prevent spilling. I think this could help reveal how the process of working with these materials went, rather than just the effects of the material itself.
I am also wondering if there is a way to test the effects of dragon's blood on bleeding, as the second recipe suggests. I am wondering if it would be possible to get some raw meat to test the effects - if there is a vein in the meat, and the vein is cut, we might be able to simulate a bleeding forehead. Is dragon's blood astringent? Is it cold? Is it antiseptic? What is the effect of this material on bleeding flesh, and does the property used in that process have any connection to its use as a pigment?

3/22/2016
Others on dragon's blood:
Cennino Cennini: "On the Character of a red called dragonsblood. Chapter XLIII. A color known as dragonsblood is red. This color is used occasionally on parchment, for illuminating. But leave it alone, and do not have too much respect for it; for it is not of a constitution to do you much credit." p.26

Merrifield:
Introduction: "Dragons'-blood, a resin of a dark red colour, which drops in tears from the tree called Pterocarpus draco. It has been used from a very early period in miniature painting, but is not considered a durable colour. Its tint was varied by adding to it an alkali, or soap, when it was called "carmine," or "ponso." When a large quantity of soap was added, it was called "cremesino." p.clxxxvi
Manuscripts of Jehan le Begue: Table of Synonymes: "Drachonis sanguis est color morellus seu rubens obscurus." p.25 Translation (me): Dragon's blood is a purple [color of mulberry] color or dark red.
Manuscripts of Jehan le Begue: Eraclius on the colours and arts of the romans, section LIII[242]: "On the mixture of colours, and what the colours are, particularly lakes, which are used for want of other colours.--It is evident that all colours are corrupted by mixing them; although, indeed in tempering "folium," lime made from hard stone is used, lest the colour should fade for want of body. For when "folium" is distempered with a pernicious quantity of albumen, that is white of egg, it can [not?] be employed with great beauty and advantage. The juice of dragon's blood, and "sandis," that is, madder -- is used either pure or with red chalk; other juice of a similar kind are also mixed with green or yellow earth. "Criscula" [chrysocolla] comes from Marcedon, and is dug in copper mines. Indicus by its name shows whence it is brought." p.248
Bolognese Menuscript: 130. To make lake as before in another manner. -- Take of gum lac 5 lbs., reduce it to powder and sift it through a close sieve; then take filtered urine, which has stood for 20 days, and place a small kettle on the fire, into which put the urine, and when you see the scum which floats upon the urine, remove it with a perforated ladle, and when the urine is well skimmed and warm, add 3 oz. of roche alum in powder, and make it boil again, and then again while it is still boiling take off the scume with the ladle, and when it is well skimmed and clear, take gum lac, sifted, and put it into the urine and alum continually mixing it over a slow fire for the space of 3 misereres. Then take it off the fire and put it into a clean wooden vase, and afterwards take 6 ounces of verzino in very fine powder, either rasped or pounded in a bronze mortar, and put it over the fire in a small glazed jar with a little water, and make the said verzino boil; afterwards strain it into a vase through a thin and close woollen cloth, and let it cool for one natural day; then take the urine with the alum which is in the before mentioned wooden bowl, and put into it this water which has been boiled with the verzino and then strain and mix it well together. Afterwards take 2 lbs of roche alum, and put it into two metadelle of clear water, boil it, and afterwards put the alum water into the urine, and mix it well and let it settle for a day; strain it through a strainer and let it settle for another day. Then let it dry, and when nearly dry, cut it into pieces as you please, and let it dry hard. And observe, that you may make lake in this way from various stones and of various kinds, namely, from that from which the crimson colour is made, from dragon's blood, from grana, from vermiculis, from minio, from verzino, and from the flowers of herbs." pp.446-8
Paduan Manuscript, Diverse Colours: 131. To make a colour of dragon's blood. -- Dragon's blood is ground up with sal ammoniac and pounded gum; it will be much better for the addition of white lead and minium." p.706
Brussels Manuscript, Chapter 1 of Flat Painting: [Prinicpal colors for the painting palette, including white lead and fine azure] "3rdly, Venetian lake, which makes a most brillian flesh colour and scarlet; 4thly, Spanish vermilion; 5thly, la cendree; 6thly, carcoal black; 7thly, massicot, which serves for the fine yellow; 8thly, "verd de terre," 9thly, dragon's blood; and, 10thly, "la rosette."

Ibn Qayyim al-Jawziyya:
Penelope Johnstone, trans., Ibn Qayyim al-Jawziyya: Medicine of the Prophet, (Cambridge, The Islamic Texts Society), 2008, p.65: "[henna's] effect on abscesses is similar to that of dragon's blood plant."

Hildegard von Bingen:
Priscilla Throop, trans., Hildegard von Bingen's Physica, (Rochester, Healing Arts Press), 1998, p.230 Book Eight: Reptiles, Section 1: Dragon: "Everything in its flesh and bones is harmful for human medicine, except its fat. When the dragon sends out its breath, its blood is dried up and not fluid. When its breath is within it, its blood is moist and flows. Whence there is not even any medicine found in its blood. [paragraph break] A person who has a stone in him should take some dragon blood and put it in a damp place so that it gets a bit moist. He should then place the blood in pure water for a short time, until the water takes some heat from it. Having removed the blood, he should drink a moderate amount of that water on an empty stomach. He should soon eat some food. He should do this with the blood and water for nine days, and the stone in him will be broken up by the strength of the blood, and he will be liberated. No one should eat or drink any of this blood pure and simple. If anyone were to do this, he would immediately die."

Trotula:
Monica H. Green trans., ed., The Trotula, (Philadelphia, University of Pennsylvania Press) 2002.
paragraph.33 [in "On Excessive Flux of the Menses]: "If it happens from an abundance of phlegm and black bile, let any of the hieras be given with warm water[...] After the purgation, there ought to be applied some sort of constrictive both externally and internally. [...] After eating or during meals, let there be given to them to drink powder of hematite stone mixed with rainwater, or a powder of coral and gum Arabic, pomegranate, myrtleberry seed, and purslane, Armenian bole, and powder of buck's-horn plantain, great plantain, knotgrass, dragon's blood, burnt elephant bones, and quince seed." (p.70)
paragraph 70 ["On Ulcers of the Womb"]: [...] But if the veins have putrefied, let dragon's blood or myrrh or [Armenian] bole or frankincense or birthwort be given. From these uncompounded things, make an enema or a pessary." (p.76)
paragraph 254 [in "On Various Kinds of Adornments"]: "For coloring the hair so that it is golden. Take the exterior shell of a walnut and the bark of the tree itself and cook them in water, and with this water mix alum and oak apples, and with these mixed things you will smear the head (having first washed it), placing upon the hair leaves and tying them with a bandage for two days; you will be able to color [the hair]. And comb the head so that whatever adheres to the hair as excess comes off. Then place a coloring which is made from oriental crocus, dragon's blood, and henna (whose larger part has been mixed with a decoction of brazilwood), and thus let the woman remain for three days, and on the fourth day let her be washed with hot water, and never will [this coloring] be removed easily." (p.115)
paragraph 307 [In "On Whitening the Teeth"]: "So that a woman who has been corrupted might be thought to be a virgin. Take one or two ounces each of dragon's blood, [Armenian] bole, cinnamon, pomegranate rind, alum, mastic, and oak apples, or however much of each you want singly, [and[ reduce them into a powder. All these things, having been heated a little in water, let them be prepared together. Put some of this confection in the opening which leads into the womb." (p.123)
paragraph 308: "In another fashion, so that the vagina may be constricted. Take hematite, oak apples, [Armenian] bole, and dragon's blood, grind each one very finely so that the powder is able to pass through a cloth, and mix the powder with juice of plantain and dry it in the sun. And when you wish to use it, take some powder with the above-mentioned juice and insert it by means of a pessary, and let her lie for a little while with her thighs and hips tightly together. This powder is good for bloodflow from the nose and for [excessive] menses." (p.123)
Potio Sancti Pauli, paragraph 225: [...] Properly it is given to epileptics, cataleptics, analeptics, and those suffering in the stomach; it is given with wine in which incense or mixed peony has been cooked.[a very long list of herbs, berries, and animal parts, including dragon's blood, is included]." (p.131)

4/24/2016
Notes on primary sources

Francis Bacon, Natural History, "Century VII"

This book contains Bacon's "experiments" on a variety of topics pertaining to medicine, plants, ad the nature of life. This chapter is mostly focused on plants
The chapter starts (p.429) with "Experiments in consort touching the affinities and differences between plants and inanimate bodies", which discusses how different kinds of living things are related to one another. Bacon explains that animate and inanimate objects (which here I think he means literally as "having a soul" and "not having a soul", rather than "moving" and "immobile") have two main differences, even though both have "spirits and pneumatical parts": 1) animate objects have a spirit that extends through all there parts, and is present in central loci throughout the body - he explains that this is expressed in the blood, which flows through and provides life to the whole body; whereas inanimate objects are segmented, so that the parts are not connected by any kind of life-giving substance or force, even though there may be some kind of spirit or animating force within individual segments. 2) Animate objects have "kindled" spirits within them, which does not pertain to the inherent heat or cold of the object [I'm not entirely sure what this means, but I think it's an explanation of how "alive" the object in question is]
- (p.430) Bacon clarifies that plants are animate and other objects, such as metals, are inanimate. This is significant to him because plants have life spans, propagate themselves, and grow their shapes
(p.431) the chapter continues with "Experiments in consort touching the affinities and differences of plants and living creatures, and the confiners and participles of them", which details why plants are different from other living things. Both plants and animals have spirits running throughout, and are inflamed, but animals have "cells' that are the foci of the spirits, whereas plants do not, and animals have more spirit than plants do.
(p. 433) The chapter's next section: "Experiments promiscuous touching plants", which seems to be just various thoughts on specific plants and their attributes. These include Indian figs, a Persian tree, plants that yield clothing fibers (hemp, flax, cotton, nettles, and sericum), a flower that opens and closes with the time of day, plants with mossy roots, plants with dew that sticks to the beards of goats that graze on them, irrigating trees with wine, how to transport plants across great distances, cinnamon, really big and hearty grape vines, creating syrups out of fruits and flowers, preserving fruits (particularly grapes), herbs and whether to eat them raw or cook them, parts of plants that can nourish people, the qualities of seeds, qualities of juice, oak trees, trees that bear fruit on the bottom versus the top boughs, trees that bear fruit older, trees that emit milk when they are cut [like the fig milk that the manuscript talks about], mushrooms, dragonsblood as a uniquely red-sapped plant, moss, hemlock for pain, sweet unripe fruits, salty herbs, barley/malt, etc.[the list continues for several more pages]
- (p.444) section 641: "There is hardly found a plant that yieldeth a red juice in the blade or ear; except it be the tree that beareth sanguis draconis; which growth chiefly in the island Soquotra: the herb amaranthus indeed is red all over; and brasil is red in the wood: and so is red sanders. The tree of sanguis draconis groweht in the form of a sugar-loaf. It is like that the sap of that plant concocteth in the body of the tree. For we see that grapes and pomegranates are red in the juice, but are green in the tear: and this maketh the tree of sanguis draconis lesser towards the top; because the juice [p.445] hasteneth not up; and besides, it is very astringent; and therefore in slow motion."
  - [I think this explanation is really interesting in light of the manuscript. The red color, and the fact that it runs into the sap, is the most important aspect of the dragonsblood plant. Based on Bacon's discussion of how plants have an animating substance running through them, it seems like having this red sap has implications for what the tree is, inherently. Bacon certainly seems to be implying that the qualities of the sap have implications for its humoral nature, and therefore its ability to be used, especially on people. Bacon also mentions that dragonsblood comes in "the form of a sugar-loaf" which seems consistent with the manuscript's description of it in cakes. Finally, Bacon mentions that dragonsblood is astringent, and this is very helpful for my annotation, because that was essentially my conclusion through my meat experiment, but the fact that Bacon knew this suggests that the manuscript author, or at least some of his contemporaries, knew it too.

Paulus Aegineta "Simples"

(p.171) "Cinnabaris" - "Cinnabaris, Sanguis Draconis, is possessed of moderately acrid power with some astringency."
- the editors' (?) commentary explains that Sanguis Draconis here means the "concrete juice" of the Dracaena Draco, based partly on Dioscorides (v. 109) and Pliny (H.N. xxxiii, 38). They also look to Harduin, where the confusion between cinnabar and dragonsblood originates. Constantinus (Africanus? in De Simpl. 341) "calls it the juice of a plant, possessed of styptic powers, and therefore used as an astringent both internally as a suppository, and externally when so applied."
  - [the focus here on astringency is again really helpful. I should look back into the manuscript to see if it talks about cinnabar, but it so far does not mention it in the context of dragonsblood]
(pp. 569-70) "The plaster from dragon's blood (cinnabaris), for tophi and all other scirrhous swellings. It is called pampathes. Of litharge, lb. j; of old oil, sext.j; of squama aeris, oz. j; of burnt copper, oz. j; of sanguis draconis, scr. xviij; of a living magnet, oz. j; of Phrygian stone, dr. vj; of the stone pyrites, of calamine, of scraped verdigris, of frankincense, or each, oz. j; of piphryges, oz. ij; of aloes, oz. iss; of galbanum, oz. iss; of the Scythian stone onites, scr. xviij; of the blood-stone, oz. j; of bee-glue, lb. j, scr. xxviij; of wax, oz. xvij; of the stone perdicites (another edition has perdiciaton), oz. j; of dittany, scr. xij; of dried rosin, lb. j; of fat of the ostrich, lb, j. Triturate the stones with the litharge, adding of the flower of salt, lb. ij, gradually until the whole be consumed."
- [I'm not totally sure what to do with this recipe, since I don't know what tophi and scirrhous swellings are, nor do I particularly understand the system of measures used here. However, I do have the sense that dragonsblood used for swellings again suggests an astringent quality.