1) Please indicate who you are partnering with and the folio number of your sand recipe (use Heading 1 from the above menu for your names to generate a Table of Content entry)
2) Below your names and the folio number please copy paste (in Normal font) the French transcription (tc) and translation (tl) of the sand recipe you want to work on to this page.

Celia and Sofia - 083r

Transcription:

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

<ab id=”p083r_b6”>Albastre calcine dans un crusol a foeu de charbon tant quen le<lb/>
touchant il vienne en pouldre Esta{n}t froit pulverises le subtilem{ent}<lb/>
& passes par un double tamis & le rendes co{mm}e impalpable Et d avecq<lb/>
une lb de albastre il fault une ℥ de sel armoniac Mesles bien<lb/>
& incorpores tout ensemble Puys le mettes dans une cave cave ou<lb/>
lieu humide et de ceste paste moulles ce quil vous fauldra & apres<lb/>
seiches le moule au foeu & y gectes tel metal quil vous plaira<lb/>
pendant que le sable est chault & vous gecteres aussy net que le principal<lb/>
& le sable sert tousjours le mectant en lieu humide & seichant au foeu</ab>

Translation:

<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>

Shiye and Zhiqi - 87v:

Transcription:

<title id=”p087v_a1”>Sable ardoise et terre bruslee</title>

<ab id=”p087v_b1”>Le sable fort brusle perd sa liaison lardoise se recuit<lb/>
& moule net apres il est vray que souvent elle soufle co{mm}e faict<lb/>
aussy la terre bruslee co{mm}e faict aussy tout sable gras</ab>

<note id=”p087v_c1”>Je trouve quil ne fault<lb/>
poinct frapper sur les sables fort subtilies<lb/>
car cela les estonne & faict empesche de<lb/>
despouiller nect<lb/>
Mays il fault<lb/>
presser fort<lb/>
et les humecter<lb/>
asses</note>

<title id=”p087v_a2”>Magistra</title>
<ab id=”p087v_b2”>Les fondeurs prenent de la racine de jeune orme quand il<lb/>
est en sabe & le font bouillir en vin ou pour mieulx vinaigre<lb/>
Et en font provision pour tout lan dans un barriquet</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<lb/>
tamis apres mis dans de la gemme fondue se brusle & senflamme<lb/>
& vient tout rouge & enflamme co{mm}e du fer Estant froit il est<lb/>
tout noir Et se subtilie fort bien sur le porphire layant<lb/>
ainsy præpare & rendu sans asperite sur longle je lhumectay avecq<lb/>
glaire dœuf battue & le battis fort jusques a ce quil nestoit point<lb/>
pasteux ains en pouldre Je le trouvay de fort bonne despouille<lb/>
& en moulay en plomb & estaim fort net Mays il veult estre<lb/>
bien recuit & a laise</ab>

<ab id=”p087v_b3b”>Aultres le battent fort dans un mortier en petite quantite a<lb/>
chasque fois & ainsy il sacache et rend fort subtil puys le recuisent<lb/>
mediocrement seulement pour le secher apres ils le broyent a sec<lb/>
sur le porphire Et ainsy il se rend co{mm}e impalpable Et nest pas trop<lb/>
deseiche Il et retient corps & liaison de la terre dont il participe<lb/>
Et est mieulx que quand il est tant brusle Estant humecte avecq<lb/>
glaire doeuf passe par lesponge il despouille fort net M fort<lb/>
net en bas relief Mays non pas figures fort relevees Parta{n}t<lb/>
despuys jexperimentay de [lexper] lhumecter seulem{ent} avecq du<lb/>
vinaigre bien fort Il despoilla dune figure quauparavant<lb/>
je navoys peu faire despoiller Et croy que moillant le plus<lb/>
subtil dune fasson co{mm}e de glaire & le grossier pour remplir de<lb/>
chasses deau sel ou vin quilz ne sallient pas si bien Mays<lb/>
co{mm}e ils sont dune nature & humectes de mesme Ils sembrassent<lb/>
& 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>

Translation:

<title id=”p087v_a1”>Sand, slate, and burned earth</title>

<ab id=”p087v_b1”>Sand, when overheated, does not hold as well. Slate is baked and will mold clean, yet it is true that often it becomes porous, just like burned earth also does, as well as any kind of greasy sand.</ab>

<note id=”p087v_c1”>I find that one should not hammer on sand [already] very finely pulverised, because it would damage it, and then [the sand] wouldn’t be able to release the cast cleanly. Still, one must press it hard, and moisten it sufficiently.</note>

<title id=”p087v_a2”>Magistry</title>

<ab id=”p087v_b2”>Founders harvest the roots of a young elm when it is sappy, and boil it in wine, or better yet vinegar. They prepare a year’s worth of it and store it in a cask.</ab>

<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>

Giulia and Jef - 80v:

Transcription:

<title id="p080v_a1">Fondeurs de menus ouvrages destain</title>

<ab id="p080v_b1">Ilz gectent communem{ent} de souldure mesmem{ent} les choses qui<lb/>
ne doibvent point venir vuides Car celles la requierent<lb/>
lestaim fin & doulx Qui touteffois ne despouilleroit pas<lb/>
& ne viendroit pas vuide sil estoit mesle ou avoyct de<lb/>
lestain de glace mesle parmy[271] co{mm}e ilz en mectent un peu en lestain<lb/> doulx Ilz gravent leurs ouvrages sur des pierres dequoy<lb/>
se font les coulx ou filieres des barbiers qui se trouve<lb/>
par grandes escailles vers les montaignes & retire a<lb/>
lardoise Il y en ha de trois couleurs de rougeastre<lb/>
qui nest pas si parfaicte que les aultres pourceque elle ne<lb/>
dure pas tant au foeu & co{mme} Lune dard de couleur<lb/>
dardoise obscure laultre blancheastre Quand ilz ont<lb/>
quelque relief ilz limpriment premierement sur du carton<lb/>
espes dun doigt pour leur servir de patron[272][273] Puys avecq un petit compas & petits ferrem{ens}<lb/> dont ilz sont assortis ilz gravent leurs figures ayant premierem{ent}<lb/>
aplani leurs pierres & usees lune contre laultre ilz font<lb/>
leurs p moules de trois ou quatres pieces pour faire<lb/>
un rond ou quarre qui se joinct parfaitem{ent} a cause que<lb/>
les pierres se rendent fort esgalles Plustost que gecter
ilz frottent de suif le moule qui la bien tost bu a cause<lb/>
quil est chault Puys ayant de la subtile pouldre<lb/>
de chaulx vive dans un linge ilz poncent le moule en<lb/>
frappant du linge dessus puys souflent un peu dessus<lb/>
cela empesche de soufler Le principal est de faire<lb/>
des souspirails Si louvraige est grandet ilz les font<lb/>
en ceste sorte co{mm}e tu voys represente Ilz persent en quelque<lb/> endroit de la medaille qui est le moings aparent Et puys avecq<lb/>
un foret ilz percent le moule au coste de la medaille<lb/>
Et silz veulent que leur ouvraige demeure perce en<lb/>
quelque endroit ilz enchassent un peu de liege en cet<lb/>
endroit dans le moule Et le plomb ou estaing ne si<lb/>
attaque point</ab>

<note id="p080v_c1a">Fais que les chevilles de ton<lb/> chassis entrent alaise affin quen[274]<lb/>
[ouvrant] le chassis souvre aisem{ent}<lb/>
sans rien esbranler Que tes chassis destain<lb/>
se joignent bien & que la table soit<lb/> bien unye</note>


<note id="p080v_c1b">Essaye de graver<lb/> avecq vinaigre<lb/>
distille</note>


<note id="p080v_c1c">Essaye les coquilles<lb/> dhuistres calcinees<lb/>
on dict quelles sont<lb/>
excellentes pour<lb/>
mouler</note>

[image]

Translation:

<title id="p080v_a1">Casters of small tin work</title>
<ab id="p080v_b1">They usually cast from solder the things that should not become hollow, because these require fine and soft tin. However, these things would not otherwise lose their coat or become hollow if they are mixed or include glass tin in them, just like they mix a little [glass tin] in the soft tin. They engrave their work on stones of which the sharpening stones[431] or barber's files are made. These are found in great flakes near the mountains, and resemble slate. You can find these [rocks] in three colors: one reddish, that is not as perfect as the others because it does not sustain heat; [another] one is the color of dark slate, and the other is whitish. When they work a relief, first they print it on paper maché[432][433], which is one finger thick, to serve as a pattern. After planing the stones and rubbing them together, they use a compass or little iron [434][435]tools to engrave their figures. They make their moulds with three or four stones, to make a circle or a square with the stones which join perfectly because the stones are of equal size. Before casting, they rub the mould over with tallow, and it [the mould] absorbs it quickly because it is hot. [Then, having [put] fine powder of quicklime into a cloth, they rub the mould using pounce[436][437][438][439] in beating the linen on top, then blow it a little on top; this prevents bubbles [from forming].?] The main thing is that you make some vents. If the work is big, they do as it is shown [on the picture]. They make a hole in the medal, somewhere where it is least visible, and with a bit[440] they pierce the mould on the side of the medal. And if they want their work to last, they pierce [it] somewhere and fit in a piece of cork. Lead or tin will not damage it. </ab>
<note id="p080v_c1a">Make sure the pegs of your frame fit in easily so it will open with ease without moving anything else. Your tin box moulds should fit well, and the table should be very flat. </note>
<note id="p080v_c1b">Try to engrave with distilled vinegar.</note>

<note id="p080v_c1c">Try calcinated oyster shells; they are said to be excellent for moulding.</note> [image]

Caroline and Stephanie - 93r

Transcription

<title id=”p093r_a4”>Sable</title>
<ab id=”p093r_b4”>La cendre blanche de tout boys qui se tient encores au boys<lb/>
qui brusle et nest point tombee au bo foyer moule fort net</ab>

Translation

<title id=”p093r_a4”>Sand</title>
<ab id=”p093r_b4”>The white ash of all kinds of wood, which still sticks to the wood while
burning, and which has not fallen into the hearth, molds very clean</ab>