fortis of Chap. 52. putting one Pound in a Glass Matrass with four Ounces of Leaf-Silver to dissolve and stop the Matras Take another Matras wherein put a Pound of the same Aqua fortis with five Ounces of Mercury purified with Salt and Vinegar after this manner Take common Salt sprinkle it with Vinegar in a Wooden-dish where add to it a little common fair Water to make it dissolve put in your Mercury and stir it well with a Wooden-Pestle to draw out the Blackness repeat washing them often with fresh Salt and Vinegar till there be no more Blackness then dry them with warm Linen or Cotton and pass it thro' the Glove then it will be purified and fit to put in your Aqua fortis When it is dissolved stop the Matras and keep it Take another Glass Body wherein put a Pound of Aqua fortis with three Ounces of fine Silver calcined Amalgamate the Silver with the Mercury as the Goldsmiths usually do and put it into a Crucible with its weight of common Salt purified as we have heretofore shewn Then put the Crucible on hot Coals that the Mercury may evaporate and that only the Silver remain at bottom which will be purified and calcined Then add to that calcined Silver an equal weight of common Salt purified as before mix them well together and put them over the Fire in a Crucible to calcine them afresh then wash them well with warm Water to take out the Salt then put this Silver into a Glass Vial fill'd with common Water which boil till one fourth part be consumed then let it cool and settle to the bottom then decant off the Water and put more upon it Reiterate this Process with fresh Water three times and at the fourth dry the Silver and put it into your Aqua fortis and stir it well and stop the Matras We have promised to give the way of purifying common Salt which is this Take what quantity you will of Sea-Salt dissolve it in a convenient quantity of common Water boiling it for the space of two Hours then let the Water rest that the earthy part of the Salt may settle to the bottom Then filter the Water and evaporate it in an Earthen Vessel or rather in a Glass Cucurbit till the Salt remain dry at the bottom Dissolve this Salt again making the Water boil then let it stand for the Dregs to settle after which filter it and evaporate it as before which you must continue to do till it leave no more Faeces or Dregs and it will be well purified and prepared To continue our Preparation of the Materials you must put into a Glass Matras a Pound of Aqua fortis with three Ounces of purified Sal-Armoniac that is to say filter'd and whitened till it leave no Faeces or Dregs as we have shewn in common Salt Then dissolve in that Water a quarter of an Ounce of Silver and stop the Vessel well Take another Glass Matras and put into it also a Pound of Aqua fortis with two Ounces of Sal-Armoniac being dissolv'd put into that Water of Cinnabar of Crocus Martis calcined with Sulphur as above of Vltramarine and of Ferretto of Spain prepared as in Chap. 22. of each half an Ounce the whole well pounded into Powder you must do this little by little as we have heretofore hinted for fear of breaking the Vessel by the fermentation which they make with the Aqua fortis then stop the Matras Put into another Matras a Pound of Aqua fortis and dissolve in it two Ounces of Sal-Armoniac as before add to it of Crocus Martis calcined as in Chap. 25 with calcined Tin known among the Glass-Men of Zaffer described in Chap. 17. and of Cinnabar of each half an Ounce the whole well powder'd and cast little by little into your Matras for the Reasons before assigned which require that great precaution then stop the Matras Take another Glass Body wherein put one Pound of Aqua fortis and dissolve in it two Ounces of Sal-Armoniac then add one Ounce of small Leaves of Copper calcined as in Chap. 31 half an Ounce of Scales of Copper thrice calcined as describ'd in Chap. 34 half an Ounce of Manganese of Piedmont prepared as in Chap. 18 and half an Ounce of Scales of Iron which fall from the Smiths Anvil the whole well pounded which cast little by little into your Matras for fear of breaking it then stop it well Put into another Glass Body one Pound of Aqua fortis and two Ounces of Sal-Armoniac The dissolution being made put to it little by little half an Ounce of red Lead one Ounce of Scales of Copper of Chap. 34 half an Ounce of crude Antimony and as much Caput Mortuum of Vitriol purified the whole well pulveriz'd then stop the Matras Take another Glass Matras put into it one Pound of Aqua fortis with two Ounces of Sal-Armoniac add to that Water of Orpiment of white Arsnick of Painters Lake half an Ounce of each the whole being well powder'd and put into a Matras with the same precaution as before stop it well We have not repeated at each Operation that you must put your Matras on an Ash Furnace over a gentle heat or in a warm Bath to hasten the Solution of the Materials because we have told you it must be always done in Chap. 58 in speaking of the Preparation of those things which serve to tinge the first Species of Chalcedony which may suffice for the instruction of those who employ themselves in this Art We will add that all the nine Matrasses mentioned in this Chapter must remain fifteen Days in the same heat stirring them often every Day that the Water may the better operate on the Materials subtilizing them and well opening their Tinctures Then put all these Materials with the Aqua fortis into a great Glass Body little by little that they may unite well together Close the Body and set it in the same heat stirring it well for six Days After that take a great Glass Cucurbit well luted half way up the Body of it put it on an Ash Furnace put into it all the Materials out of your Body fit to it a Head and Receiver lute well all the Joints then distil it during the space of twenty four Hours over a very gentle Fire for fear the Colours should be spoil'd that the Water pass gently over and the Spirits remain in the Powder which of green will become yellow Thus putting that Powder in the requisite Dose as we have taught in the first Species of Chalcedony into purified Glass Metal made of broken pieces of Crystal and not of Fritt and adding to it in its due time calcined Tartar Soot of Chimney Crocus Martis made with Vinegar observing all we have on this Subject remarked these Materials will give an opacity to Glass which may be worked twenty four Hours afterwards managing it well with proper Tools and often heating it and you 'll have
of a very fine Diamond Colour hard shining and sparkling like the true ones which you may polish and work up as the Goldsmiths This Sulphurous Trepoly which enters into the Composition of this Paste being not commonly known we will shew the way of making it that we may leave nothing imperfect which might be any Obstruction to the Proceedings of the Curious Take equal parts of Trepoly of crude Antimony and common Sulphur and grind them to a fine Powder on a Porphyry Stone and make them into a Paste with Vinegar which being dry will easily crumble This is the Sulphurous Trepoly which we make use of Some Persons in making the same Process of taking away the colour from Jargons and giving them the hardness and whiteness of Diamonds have made use of Barly-meol wherewith they make a Paste with distill'd Vinegar impregnated with Lead wherewith they stratifie their Stones or Jargons in a Crucible covered with another and well luted which they afterwards put in a gradual round or Wheel Fire for six Hours But this way they could not give them the true Diamond-colour Wherefore I advise those who would try this Experiment to follow our first Process which has several times succeeded There are moreover some who stratifie their Stones with pounded Coal which they put in a Crucible covered and luted which they set on the Fire six Hours so that the Crucible be always red hot I don't approve of this way because the Coals may dry the Humour of the Stone and calcine it CHAP. CXXXIX The Way to make Diamonds THE Quality and Colour of the Diamond being so well known we shall not enlarge upon them in this Chapter but only shew the way to counterfeit them make them endure the Fire and harden them Take of good Natural Crystal calcined and reduced to subtile Powder what Quantity you please fill a Pot with it and set it in a Glass-house Furnace twelve Hours to be melted and purified Then drop the melted Matter into cold Water then dry it and reduce it again to Powder add to that Powder its weight of our fine Salt of Tartar of Chap. 93. Mix these two Powders well and make little Pills of them with common Water Then wipe these Pills and put them into an Earthen Pot on a strong Fire there to grow red hot for twelve Hours space without melting Then put them into a Pot in a Glass-house Furnace where leave them two Days to be well melted and purified then put the Matter twelve Hours in the Annealing Furnace to cool little by little Then break the Crucible and you 'll have a fine Material for Diamonds which cut and polish at the Wheel CHAP. CXL Another Way of making the Diamond of Alanson HERE follows a way of making Diamonds of Alanson which is not quite so fine as the precedent but has notwithstanding several Advantages which attend it besides it is more easie since there only needs an ordinary Fire to succeed in it Take an Earthen glazed Pot set it on a little Furnace put in it Filings of Steel with some Vine-Ashes at discretion wherein place by one another Crystals cut and polished then pour common Water gently on it which warm and boil during the space of twelve Hours taking care to add boiling Water fresh into the Vessel as the Water in it consumes by boiling and take care it boil continually Then see if your Crystals have acquired the colour and hardness you expected If not continue the Fire some Hours longer and they will be like the true Diamonds of Alanson taking care to repolish them again at the Wheel to give them colour and brightness CHAP. CXLI The Way to give the true Colour and Hardness of a Diamond to Crystals and Diamonds of Alanson THERE is nothing in Nature which Art cannot imitate and oftentimes those things which seem most difficult prove to be most easie when managed with Judgment or when he that undertakes to do them has experimented any thing of the like Nature before and knows the Nature and Properties and Powers of his Subject Although the Imperfect Metals be immature or unripe they contain notwithstanding a great deal of fixed and volatile Gold which may be easily separated or attracted out by means of Art Imperfect Metals may be very much meliorated by Fire by a proportionable and agreeable coction There are also Crystals and Precious Stones which have no Natural hardness which may be given them by Art having all the Natural Dispositions thereunto required since they have the same Principle as the most fine and that they only want a little Sulphur which hinder'd their thorough coction Thus this Defect may be obviated in Precious Stones as well as Metals by giving them a due coction and so changing them for the better We will begin to give the most simple way of attaining it before we shew those that are more exalted You may give the colour and hardness of Diamonds to Crystals and Diamonds of Alanson by taking good Dutch Trepoly and making a Paste of it with Water out of the Smiths Forge wherein you must wrap up the quantity you design of Crystals or Diamonds of Alanson cut and polished then set it in a Crucible covered and luted on a gradual Fire where let it stand till the Crucible become red hot A little time after take it out and take out the Stones then polish them again at the Wheel to give them their colour To set them in Works take Indian Paper with Leaves of Tin like those you put behind Looking-glasses then let them be set by some good Goldsmith and they can scarce be distinguished from fine oneâ— except by very nice Discerners CHAP. CXLII Another Way to harden Crystals and Diamonds of Alanson CRYSTALS also acquire hardness in the Paste we are now going to describe because their Humidity exhales and they become more fixt Take Barly-Meal well sifted with Petroleum or Rock-Oyl then cut that Paste in the middle and put all your Stones in order so that they may not touch one another Then cover your Stones with the other half of the Paste then put it in a Crucible covered with another and luted well together and let it dry Then set this Crucible in a gradual Wheel-Fire from five to six Hours a small Fire the two first Hours which enâ—rease from two to two Hours till the end of the six then let the whole cool of it self Then break your Crucibles and you 'll find your Stones very fine shining and sparkling like fine Diamonds which repolish at the Wheel and set by a skilful Workman CHAP. CXLIII A Way to harden Crystals and Diamonds of Alanson and to make them sparkle as much as Natural Oriental Diamonds ALTHOUGH this be an important Secret and ill People may commit Cheats by it yet I will here give it for the sake of the Curious who only seek for their own Satisfaction Take one Pound of Load-stone a Pound of Quick-Lime and half a
Figures are drawn or impressed thereon And this may be so far improv'd and heightned as to admit of Performances rather to be thought the Essay of a Divine than Human Artist Witness that notable Piece of Chariot drawn by two Oxen of which Cardan takes notice in the fifty second Chapter of his tenth Book which was so completely done in Little that the whole might be covered with the Wing of a Fly The Ship rigg'd and Man arm'd which Howel says he saw Those little Statues of Men with several other Curiosities of Figure Vormicus also assures of Not to omit the Church of St. Mark at Venice where the Mosaick-Work is plentifully interlaced with History of all Sorts distinguishable by the Variety of Colours and Gildings and all consisting of several different Subjects In short what Account Agricola has left us of these Matters in his twelfth Book gives us no less cause to admire this Art than he had when he saw such notable Pieces of which he makes mention and which he assures us was deservedly very great The use of Enamel is very ancient however that of working on Metal is more modern and for the great Perfection to which it is arrived we are obliged to this present Age as we shall further shew in the Seventh Book where we will also endeavour to discover further and make greater Improvements therein CHAP. CXLVIII To prepare the Matter for Enamel NOW we proceed to shew the Ingredients by which the principal Matter for Enamel is prepared before the Colours can be applied of which we shall give Directions in the following Chapters Take Lead in Piggs thirty pound Plate-Tin of Cornwall thirty three pounds mix and calcine them as directed for Lead in Chap. LXXXI precisely observing the Directions there laid down This done fearce the Calx and put it all into a glazed Earthen Pot fill'd with Water put it over a fire and let it boil a little then take it off and pour the Water gently into another Vessel which will carry along with it the more subtile Calx Repeat this until no more of the Calx can be subtiliz'd which you may discover by the Pureness of the Water in pouring it out of one Vessel into the other After this calcine the Remains of what is in the first Pot as before and thus continue to calcine and subtilizetill you can get no more of the subtile Calx Lastly put the Waters out of all your Receivers into larger and set it on a slow Fire to evaporate The Fire must be very gentle for this Reason that the Calx do not founder or fall to the bottom but continue more fine and subtile than when it was first calcin'd Your Calx being thus prepared take thereof about fifty pound and as much Fritt of white Tarso beaten and searced as directed Chap. VI. To these add eight Ounces of Salt of Tartar finely searced and prepared as in Chap. XV. Mix all these Powders very well together in a Pot and let it stand in the Glass-house Furnace or Oven about ten hours to digest and purifie Then take them out and reducing them to an impalpable Powder keep it in a close dry place for use Thus must your Matter for Enamel be prepared to receive the Colours but of that more hereafter CHAP. CXLIX To make Enamel of a Milk-white Colour THIS Colour of all others is the purest 't is used for the Ornaments of Virginity the Emblem of Innocence as also the Symbol of Candour and Chastity Nay more we may even from it form a pretty and impressive Idea of the Brightness and Excellency of Faith and 't is what has ever been esteemed and revered by all Nations We have already shew'd how to tinge Glass of this Colour in Chap. LXX of the Third Book and now we will shew how to perform the like on Enamel with no less Beauty and very easily thus Take six pound of our prepared Powder in the former Chapter and forty eight Grains of Magnese of Piedmont prepared as in Chap. XVIII put them will together into one of your Furnace-Pots to melt and purifie over a very swift Fire which will be done in a little time The Matter being thus melted take it out of the Pot and throw it into very fair Water and being afterwards dryed put it again into the Pot to melt do thus with it thrice changing the Water When you have thus purified it if you find it justly white 't is good but if it be greenish add a little more Magnese and 't will become white as Milk and fit Enamel for Gold or other Metal Take it off the Fire and make it up into Cakes and keep them for use CHAP. CL. A Turcoise-blue Enamel THIS Colour of the Turcois or Turkey-stone is very fine for Enamel but withal very difficult to make well and requires a great deal of Experience Now 't is sufficiently known that Practice will at length make the most uneasie Beginners Masters of their Trade therefore we must not be discouraged if we fail in our first Tryals because by continuing to repeat them we shall at length be sure to perform well 'T is always supposed you understand your Undertaking and are sufficiently qualified to distinguish when you are in the right or wrong or you can never hope to succeed For this cause we ought not to stand dozing on every Unsuccess for Nature which never fails will still be ready to inform us provided we have Judgment enough to determine her Precepts Though we have taken occasion from the Turcois to make this Digression here it may nevertheless be a convenient enough Consideration in Cases of a sublimer Nature even in all the Undertakings of Man Since we are so naturally apt to be impatient and disturbed if we can't effect those Matters in as it were a moment of Time which Nature it self takes a whole Age to perform And this is what mostly arrests the Accomplishments of our greatest Designs and imposes on us a seeming Impossibility in the most easie things Thus Obscurity interposes in the brightest Essays of the Sun and we can't enjoy one day though never so serene and fair that is not more or less over-shadowed with Clouds Thus far I have made my Attempt on this Thought which I hope the Learned will freely pardon because I have discoursed nothing but Truth and what they already are much more familiar with and satisfied of But now for our Enamel which to make of this Turcois 〈◊〉 you must put of our prepared Powder Chap. CXLâ—â—â—â— six pound into a white glazed Pot to melt and purifie it then cast it into Water and when dry put it again into the Pot and being melted over again add to it at four times this Composition Scales of Copper thrice calcin'd as in Chap. XXXIV three Ounces of prepared Zaffer eighty six Grains of 〈◊〉 prepared as in Book I. forty eight Grains all these mixt and reduced into a very fine Powder stir the Matter
as possible and so let it dry throughly afterwards moisten the Paper on the Blank-side and with a blunt Graver draw off and trace the Lines of the Picture which will afterward remain perfect and distinctly on the Varnish-side of your Glass Quarre This Draught is for the Model you must paint your Fillings in and observe that the Tracings and Strokes of the Picture are to serve you in Shadowing which cannot be rejected without disadvantage to your piece The manner of painting on Glass is quite contrary to that of Limning or Painting on Cloath or Wood for in this the paint being but on one side is plainly visible on the other here the Settings off are first done then the compound Colours just run over and so continuing until perfected whereas on Linen c. the Settings-off or Heightnings are the last strokes and their Ground-colour or first is that which we end withal and make our last lay with in all pieces done on Glass We do not shew the Way to make up the Colours nor how to mix and finish the Artificial ones for that relates immediately to the Art of Painting of which several pieces are extant and not to this Art of Glass and these noted herein are the same as in the other Art of Painting on Cloath and not very uneasily prepared You must also paint on Glass just as in Miniature with Water-Colours laying your Picture underneath it as before and this will shew finer than if done in Oyl besides the Colours dry in a moment Your pieces being thus done in Oyl or Water-colour may receive a very additional and improving Beauty by over-laying all the Colours except the Ground with Leaf-Silver which will appear very glorious and lively on such as are transparent to wit Lakes Verditers c. CHAP. CCXV The Manner of Gilding on Glass WE promised to shew this Way of Gilding on Glass after we had done with Painting and this we will discharge here Take any Glass you please and moistening it over where you design to gild with gum-Gum-Water apply your Leaf-Gold and so let it dry cover the Glass over with any piece of hollow Glass and set it on an Iron-Plate at the Mouth of the Furnace to heat gently and when 't is well heated move it in further and in a very little time it will be red hot then withdraw it and let it cool slowly at the Furnace Mouth Thus if you have laid your Gold well on at first you 'll find it so well communicated to the Glass that 't is impossible for any Tryal to endamage the Gilding And after this method you may do with Globes and give them a wonderful Beauty which no Dust nor injury of Time can alter CHAP. CCXVI Another Way to Gild Glass THIS second Way is altogether as fine as the other besides the Gilding is better coated and less exposed to Injury Take a Glass and moisten it every where you design to Gild with Gum-Water and lay on your Leaf-Gold letting it dry this done run the Gold over with Water wherein Borax has been dissolved and so dust it with impalpable powder of Glass set it afterwards by degrees into your Furnace until it become red hot and the powder on the Gilding be melted and run then draw it out leisurely letting it cool at the Mouth of the Furnace and you 'll have your Glass very finely Gilded so that nothing in Nature can spoil it unless it be broken Or you may Gild on Glass with Linseed-Oyl c. as in Chap. 198. after the same manner as on China but the Ways we have just now given are so fine that we look upon them to be more excellent such as would make a choice may work by Directions in this present Chapter CHAP. CCXVII To imitate Precious-Stones in Colours on Globes or other Vessels of White Glass THIS Way of tinging is different from what we have already given and because we would not willingly leave out any thing that may serve the Curious we will give the Method in this Chapter You may thus tinge any Vessel of White Glass either Globular or Concave with Mouth-Glue letting it soak in Water for two Days and so boil it afterwards until it be all melted and let it cool ◠little Pour it Milk-warm into your Globe or other Vessel shaking it therein to wet it all over and so pou◠it out again Then your Colours being all ready i◠Powders first blow in the Vermillion through 〈◊〉 hollow Pipe so as to represent Clouds or Wavings in like manner blow in the Blue-Enamel Scales of Copper Orpiment and Lake all in fine powder these Colours will stick in Undulations because the Glew is moist you may do thus with any other Colours This done take Plaister well pulverized and put a good quantity thereof into the Vessel and shake it well all over before and until the Glew be quite dry and it will stick all round then shake out what remains loose and you 'll have the outside finely party-colour'd and Marbled c. When these Colours are well dried they will stick so to the inside that they will never come off but remain always fine set these Globes on Stands where they may be for Ornament and the pleasure of those who shall see and consider their Admirable Beauty The End of the Ninth BOOK OF THE ART OF GLASS BOOK X. Shewing how to Extract the Essential Tincture of all Herbs or Flowers as Yellow Red Green Blue Violet Purple-colour'd c. With their respective Lakes To make Ultra-marine German-Blue c. as well for the Art of Glass as Painting CHAP. CCXVIII NOT to omit any thing which at all concerns the Art of Glass we thought convenient in this Tenth Book to give the Publick a Method of Extracting all manner of Essential Tinctures from Herbs as well as Flowers a Work not only necessary for Painting but the Art of Glass too We shall also give Directions to make Lake of several Colours Vltra-marine of Lapis-Lazuli with German-Blue c. The manner we prescribe for making these Colours does equally qualifie them for tinging Glass Stones Enamel and for Paint on Enamel and Glass-work and all this so prepared as not to press on the Diversions or pall the Pleasure of the several Artists or other curious Persons who employ themselves that way for Recreation What can be more admirable than the Products and Liberality of Nature in bestowing such excellent Enamel on Flowers and Plants as contribute to furnish Painting with such fine and lively Colours which the Industry of Mankind can extract and so well adapt to the Conveniency of Art as to produce Effects finer and more beautiful than any other whatsoever The use of Flowers and Plants is not wholly confined to this Noble Art but they are also proper for Dying and have much more excellent success in Physick where their Vertues are infinite c. No Product in Nature is useless but the very meanest has its
necessary Properties and those which seem the most abject and venomous even the greatest Poisons have admirable Effects in Medicines when duly prepared and this the Professors of Physick are not unacquainted withal tho' very many pretend to those Studies whose Endeavours are far short of handing them through the secret Excellencies thereof CHAP. CCXIX. How to Extract Lake from Broom-Flowers WE will give several ways of making Lakes of several Colours The first with a Lixivium or Lee made of Soda of the Glass-house and fresh Quick-lime which must be pretty strong in which put your Broom-Flowers over a small Fire until all the Tincture be drawn from them the Flowers become White and the Lee receive the Yellow Colour Then take out the Flowers and put the Lixivium into a glazed Earthen Vessel to boil adding thereto as much Roch-Allom as it can well dissolve then take it off and put it into a large Vessel mixing it with fair Water so the Yellow will separate and descend to the bottom let it rest there a little and afterwards decant the Water off gently and so put in more fresh to it again and again until the Water has drawn off all the Salt and Allom from the Lixivium and it become clear Thus the Colour will be very well cleansed of the Salt and Allom and remain exceeding fine and bright spread it on pieces of White Linen and let it dry in the Shade on new-baked Tiles and you 'll have a most admirable Yellow-Lake for Painting CHAP. CCXX To Extract the Tincture of Poppies Iris or Flower-de-luce Red-Roses Violets and all sorts of GreenHerbs for making Lake of their Colour TO avoid unnecessary Repetitions we have thought fit to bring all these under one Chapter because the Method for extracting their Colours is the same in one as in t'other and done with the former Lixivium of Soda and Quick-Lime You must steep and boil each sort of Flowers or Herbs by themselves in the Lixivium giving it time to draw off the Colour entirely which you 'll soon perceive when the Faeces or Flowers grow white and the Lixivium deepened with the Tincture then pour off the Lixivium gently into your Earthen glazed Vessels and set them over a Fire putting in as soon as they begin to boil as much Roch-Allom as they can well dissolve and so take them off After this pour all together into a large Earthen Vessel glazed and pour into it fair Water to make the Colour precipitate let it stand and settle then pour off the Water and put in fresh and thus continue to change the Water until it pour off as clear as you put it in and taste flat or insipid so as you may conclude all the Soda Salt of Alom and Lime are drawn off Thus you 'll have at the bottom a very fine Tincture to make a pure and delicate Lake withal of the same Colour as your Flowers or Herbs that were used spread it on pieces of Linen dry them in the Shade on new-baked Tiles as before After the same manner you may draw any other Lake from whatsoever colour'd Herb or Flower you please CHAP. CCXXI Another Way to Extract the Tincture of Yellow Flowers of Field-Poppies Irises ordinary and deep coloured Violets Carnation and Red-Rose BorrageFlowers Red-Coleworts Flags c. Together with the Verditers of Mallows Burnet and other Herbs WE shall not give the same in this as in the foregoing Chapter that Preparation is common to all those in the Title thereof and so is this to these To avoid Prolixity and Repetitions You must have the Flowers or Herbs newly gathered fresh enough to stain a Card with their Juice pressed thereon else they 'll not serve your turn put these into a Glass Cucurbit with a pretty large Mouth pour in among them good strong-Strong-Waters to drown them by four Inches joyn a Recipient to it and lute the Joints very well letting them dry this done place the Alembick on a Sand Furnace keeping a very gentle Fire under it giving the Matter time to digest increasing it by very little and little and so the Strong-waters will rise on the Leaves and draw off the Colour then improve your Fire to distil your tinged Strong-waters into the Recipient out of which you must take and put them into another Alembick luting well the Jointures and let it distil in Balneo or over a very slow Ash-Fire and the Strong-water will distil off in their own Colour without any Tincture and may be kept for the like occasion again The Essence you 'll have at the bottom of the Cucurbit let it dry gently Thus you may have Lakes from all manner of Herbs and Flowers whatsoever CHAP. CCXXII To make a Scarlet-colour'd Lake THE Design of this Chapter is only to order the first Preparation for obtaining our Scarlet-colour whereof we will make a very delicate Lake Take Shearings of White Woollen-Drapery let them be fine as possible steep them a whole Day in cold Water press them afterwards very well to take off all the Greasiness and Allume it thus Put four Ounces of Roch-Allom and two Ounces of Crude Tartar in Powders into a small Kettle pouring thereon two Quarts of Water when this begins to boil put to them one pound of the Shearings and so let it boil a full Half-hour afterwards take it off and cool it for six Hours take out the Shearings and wash them in clean Water leave 'em to steep about two Hours press them after this and dry them keeping them for the use we shall prescribe in the next Chapter CHAP. CCXXIII. To Extract Scarlet-colour from Kerm-Berries for making a Fine Lake THE Name of Kermes is purely Arabick for in that Country these Berries grow on a small Tree or Shrub and from that their Native Soil were transplanted into Spain Portugal Provence and Languedoc where they now are plentiful several would perswade us that 't is a sort of Oak called in Latin Coccigera but the Leaves which are prickled like those on Holly only smaller shews us the contrary These Grains or Berries have several other uses than in Painting being of excellent Vertue in Physick Of them the Apothecaries make their Syrop called Alkermes and from the remainder of them which is left behind in the Strainer they draw a substance for the Dyers which is used in colouring of Stuffs Several ways may be given to extract the Tincture of these Grains for making Lake we 'll only insist on two the first is indifferent long but very excellent and produces a Tincture whereby iâ— made a most admirable fine Lake The way of making the Lake in France is very modern and 't is but of late they have had this Secret in Paris which was brought from Venice now since few are familiar with it we are willing to publish this that many may know how to Worâ— therein Take four Quarts of clear Water and four Pound of Wheaten-Bran two Drams of Oriental Piraster and as much Foenugrec
set all in a Kettle over a Fire till the Water be Milk-warm keep your Hand in it until you can bear the heat no longer then take it off cover it with a Cloath that the heat may continue the longer let it repose for twenty four Hours then run off the Lixivium and keep it for the following purpose Get a clean Earthen-Pot and put therein three Quarts of fair Water to half the Lixivium order a Fire and let this boil thereon which when it begins to do put in an Ounce of the Grains pounded impalpably in a Brass-Mortar and searced then pound a little crude Tartar to take off the remaining parts of the Grains on the bottom and sides of your Mortar and so put it in with the Grains when the Water begins to boil again take it off in an instant and set it to cool This done and the Water cold take the Shearings prepared in the former Chapter and let them stain therein about half an Hour Afterwards squeeze it into another Pot by expression and after you have thus drawn off all the Tincture put the Shearings into the last Pot stirring them about very well with a small Stick that they may stain the sooner boil all for about half an Hour over a small Fire else the Tincture will become black then take the Shearings out and put them well tinged into a Vessel of cold Water about half an Hour after pour off the Water gently and so put fresh on again then press and spread them to dry in a clean place where no Dust can come at them This done make the following Lixivium Put on a Hempen-cloath doubled Vine-stalk-Ashes or Ashe of Willow or some other lighter Wood pour thereon by degrees cold Water letting it strain through into a Vessel set underneath pour it again on the Ashes and when it is all run through set it to settle for twenty four Hours that the Ashes which it carried off may fall to the bottom this done pour the Lixivium by degrees into another Vessel rejecting the Sediment put your Shearings into this having warmed it When it begins to be cold let it boil over a gentle Fire and it will become red take a little of the Shearings press them well and if it remains without colour take off the Kettle immediately for the Lixivium has extracted it entirely spread a Linen-cloath o'er a Free-stone Bowl set the Shearings therein and pour on the Lixivium by little and little to strain and yield the Tincture then squeeze the Cloath and the Shearings therein to press out all the Colour that remained in them throw away the Cloath wash the Shearings clean and keep them for the like use another time Then put twelve Ounces of Roch-Allom well powdered into a Glass Body full of cold Water letting it dissolve quite when this is perfectly done spread a Linen-cloath over two Staves and set underneath a large Free-stone Vessel put all the Allom-Water into the Bottle of Tincture and strain it afterwards through this Cloath the Lixivium will go through it clear and leave the Colour behind but if it shou'd not be coloured 't is only straining it through again and you 'll have done Now to get the Tincture you must mix all that remains on the Cloath and gather it together spreading it afterwards over new-made Tiles which have not yet been allowed time to moisten on the pieces of Linen then mold them into Troches to dry suddenly without moulding which wou'd spoil them therefore you must take great care that the Tiles be not at all moist and if so to change them that it may dry the sooner and thus you 'll have a Lake of admirable colour for Painting you must lessen or improve the Colour as you find by a greater or lesser quantity of Roch-Allom CHAP. CCXXIV. A readier way to Extract the Tincture of Kerm-Berries THO the Menstruum given in the last Chapter made with Shearings of Cloath be a very good one for this purpose yet the following is a more easie and as effectual Take Strong-waters of the first Run or Distilling and put it into a long-neckt Glass Body dissolve therein a Pound of Roch-Allom adding an Ounce of Kerm-Berries finely powder'd and searced let it digest well shaking the Matrass from time to time and the Strong-waters will draw to them all the Tincture of the Kermes and be very sinely coloured then let all settle four Days and afterwards pour it gently into a glazed Earthen-Vessel Dissolve four Ounces of Roch-Allom in running Water and pour this into the Strong-Waters or Tincture of Kermes to cause a separation filter it through a Linen-cloath and the Strong-Waters will fall through White leaving the Tincture behind if they be any thing coloured strain them again and again until they be clear Take up the Lake or Colour with a clean Wooden-Spoon and make it into Troches drying them as directed in the former Chapter Thus you may have a quantity of this Colour or Lake as fine and good as the former CHAP. CCXXV. To make Lake or Tincture of Brazile THE Brazile which Dyers make use of is meant here take of the finest which comes from Fernambouck that being the best The way of extracting this Tincture is the same as the former from Kermes and may be effected two ways either with the first prescribed Menstruum or the Strong-Waters observe only not to put as much Allom to each Ounce of Brazile as to the Berries for that Tincture is deeper than this from Brazile and consequently requires more Stuff use therefore as much here as you find reasonable for Experience will give you the best instruction Take notice too that when you do it by the first Menstruum there is a greater quantity required of Brazile than was prescribed of Kermes-Berries to each Pound of Shearings in every thing else follow the former Directions and you 'll have a fine Colour or Lake less chargeable and altogether as good as the Tincture of Kermes for Painting CHAP. CCXXVI To Extract Tincture of Madder for Lake MAdder is the Root of a Plant common enough but generally comes from Holland and Zealand and used by Dyers if good 't is red 't is finer than Brazile and before you use it must be finely powdered to give the better colour You may use either of the former Menstruums of Shearings or Strong-Waters ordering your Quantities as directed for the Brazile if you follow the Preparation given in Chap. 223. you 'll have a fine colour from this Root which make into Troches drying them as before this will be a perfect Lake and very fine for use CHAP. CCXXVII How to make Ultra-marine of Lapis-Lazuli THIS Rich and Noble Blue drawn from an Azure-Stone commonly called Lapis-Lazuli 't is 〈◊〉 Opaque-Stone of a fine Sky-colour or Turkish-â—lue or like the Blue-Flowers which grow in Cornâ—â—lds 't is embellished with small Streaks and Sparâ—es of Gold-colour the best is that which is fixt â—â—at is can endure Fire without
as you please in clean Water for about a quarter of an Hour and keep it for use as the former This is excellent for washing the Lapis-Lazuli with it strengthens and improves the colour thereof is good for the Itch Scurvey c. and to take away the Witherings in the Fair Sex CHAP. CCXXX The Form of the Glasses for preserving the Liquids in which are employed on the Lapis-Lazuli THERE always remains some of your colour in the Waters or Lixiviums wherein the Lâ—â—â—s-Lazuli is prepared throughout all the Process you must therefore have a very large Vessel of Braâ—â— or Earthen-Ware glazed and polished very well at bottom wherein must be three Holes one in the middle of the side the next a little lower and the last about two Inches from the bottem stop these Holes without-side very close to prevent leakage Then pour all your Waters into this tho you then perceive no colour at all yet after ten Days you 'll have it at bottom whither it will descend gently and to get it you must go artificially to work first opening the first Cock or Hole and let out the Water above that before you open the other two and thus you may get the colour without muddying or losing any by the Waters which mix with the rest CHAP. CCXXXI To make strong Cement to mix with Lapis-Lazuli to separate the finer and better Stuff from the other ONE cannot so easily part the finer Lapis-Lazuli from its grosser parts without making use of this Cement to unbind the parts Take four Ounces of very pure and clear Venice-Turpentine six Ounces of Rosin of the Pine six Ounces of Grecian-Pitch three Ounces of very good Mastick three Ounces of fresh Wax an Ounce and half of Linseed-Oyl cleansed as shall be directed in Chap. 233. Put the Turpentine into a new glazed Earthen-Pot very clean to dissolve over a slow Charcoal-Fire and continue stirring it with a Wooden-Spatula throw into this by degrees the Rosin of the Pine in small pieces and stir it still very well thus put in successively the Pitch the Mastick in Powder and last of all the Wax sliced small stirring all continually about to mix and incorporate Take great care of your Fire least the Cement should blaze or burn all the Ingredients being hot of themselves and combustible Having well incorporated them pour in the Linseed-Oyl stirring it as before and so let it boil gently for a Quarter of an Hour To try whether the Cement be enough drop some of it off the Spatula into a Vessel of cold Water if it spread 't is not enough but if it do not 't is sufficiently boil'd so take it off Or else you may wet your Fingers and take a drop thereof roul and draw it out in length if it snaps and breaks of it self 't is a sign that 't is enough take it off and pour it boiling hot into an Hypocrass-Bag steeped before in hot Water take care to let it go all through into a Vessel of cold Water and for the better security squeeze it along from top to bottom with two flat Sticks that none may remain in your Bag afterwards work it well with your Hands till all the Water be drained from it and because being hot it may stick to your Fingers you may anoint them with some of the Linseed-Oyl The Cement being thus prepared keep it in a Vessel of cold Water shifting your Water every Day or every second Day and by this Method you may keep it for ten Years CHAP. CCXXXII To make a weaker Cement for separating the Colours of Lapis-Lazuli THIS second Cement which is the softer and milder ought to be first employed on the Powder of Lapis-Lazuli it draws the colour much quicker and better than the strong Cement which ought not to be used till after the milder the whole Secret of separating the Colours consisting in using the Cements for without a due care hereof it cannot be done perfect To make this Cement you must take four Ounces of very pure Turpentine four Ounces of Rosin of Pine six Ounces of Grecian-Pitch one Ounce of fresh Wax six Drams of Linseed-Oyl purified mix and incorporate them successively as before observe only that this is sooner done than the former because 't is weaker and will give the colour soonest therefore you must manage accordingly CHAP. CCXXXIII To purifie Linseed-Oyl THE use we have for Linseed-Oyl in our Cement obliges us to give this Preparation and way of purifying it as we promised whereby 't is made more fit for our purpose Take good and clear Linseed-Oyl of the colour of Saffron and put it into a Glass shaped like an Oxe-horn with an Hole at bottom to let out the Water which you must mix with the Oyl letting them settle until the Oyl rises all upmost then open the Hole and let the Water out and the Oyl remain behind then shake the Oyl again with more fresh Water let it settle and the Water run out as before do thus eight or ten times till the Water comes out as clear as it went in and so the Oyl will be pure and fit for your use keep it well stopt in a Glass-Bottle If you can't get Linseed-Oyl you may use Oyl of Bitter-Almonds without purifying for it needs none but take notice the Linseed-Oyl is best of any tho cheaper than t'other CHAP. CCXXXIV How to incorporate the Powder of Lapis-Lazuli with the strong or weaker Cement WE have given in Chap. 228. the way to prepare the Powder for mixing with the Cement to extract the Colours we now come to shew how to mix it with the Cement in order to extract the Vltra-marine from them for Painting Take a Pound of the Powder and the like quantity of Cement assigned in Chap. 231. observing always to take the first that was workt with the Hands cut the Cement small and the pieces being a little wet put them into a glazed Earthen-Pot over a Fire of red-hot Ashes to melt and take care it does not boil if it should you must prevent the the damage which it might cause by putting in some Linseed-Oyl The Cement being thus melted anoint all your Spatula over from the Handle downwards with the same Oyl and so put in the Powder by very little quantities and taking a great deal of time that they may the better incorporate and be sure to stir it all the while very well with the Spatula so as to make it all alike until it become like an Oyntment or Salve then off with the Pot and throw the Stuff boiling hot into an Earthen-Bason of cold Water and at that very instant take off all that sticks to the sides of the Pot when 't is cold enough to be handled if it appears well coloured 't is a sign you have work'd it well This done rub your Hand with Linseed-Oyl and work it as they do a Paste of Bread or Dough for one Hour that it may be throughly compact The longer
a well stopt Matrass in B. Mariae letting it remain till it resolve again into Water and this last shall be the Mercury-Water which you must preserve to employ on your Pearl CHAP. CCXLV Another Way to make these Pearls THIS is an easier way than the former for by Baking them as we shall shew you very much shorten the time which the Preparation would else take up however you must not expect them so Delicate and Natural as the first the Cause whereof is easie enough conceived for these Pearl having enlarged themselves in the Water as we already noted 't is reasonable to believe the hardning them afterwards in the Cold will be of a much more Natural Effect than if done with heat Take very fair Oriental Seed Pearl for this purpose and reduce it to impalpable Powder on a Marble to dissolve afterwards in mercury-Mercury-Water or clarified Juice of Lemons if this be not effected quick enough set it in a Cucurbit over warm Ashes and be very careful to take the Cream which in a little time will appear at top immediately off so withdraw the Dissolution from the Fire and let it settle a little this done pour it gently into another Glass Body and keep it a-part you 'll have the Pearl in a Paste at the bottom with which fill your gilded Plate Moulds made to what bigness or form you think fit pressing the Paste with the Silver Spatula and so shut them up four and twenty Hours after you must take and bore them through with a Porker's Bristle close up the Moulds and leave them in the Oven in a Paste of Barly Dough which being half Baked draw out and open taking away all the Pearl and steep them in the Dissolution just before directed to be kept a-part putting them in and out several times so close them in their Moulds and Bake them again with the like Paste as before only let this last be almost burnt up before you draw it out thus you 'll have the Pearl well baked and hardned This done draw it out open all the Moulds take away the Pearls and string them on one or more Gold or Silver Threads steep them in Mercury-Water given in the former Chapter for about a Fortnight after this dry them by the Sun in a well closed Glass Body so you 'll have very fine and splendid Pearl CHAP. CCXLVI Another Way THO this be a more common way than the preceding we will not omit it because every one may have his choice to take that Method which best suits with his Apprehension or Conveniency You must as in the former take very fair Oriental Seed Pearl ground to an impalpable Powder and dissolve it in Allom-Water then rack off that Water and wash the Paste of Pearl which remains at bottom first with some distilled Waters then iâ— Bean-Water and set it in B. Mariae or Horse-dung to digest for a Fortnight afterwards take out your Vessel and the Matter being come to the Consistence of a Paste mould up the Paste in the gilt SilverMoulds as before directed bore them with a Bristle string them on Gold or Silver Thread and hang them in a very well closed Limbeck of Glass to prevent the Air from coming in to spoil them Thus dried lap them one by one in Leaves of Silver and split open a Barble as if you were to Fry him and so close them all up in his Body make a Paste of Barly-Meal and Bake him in it as you would a Batch of Bread and no more afterwards draw it out and let them dry To give a Transparency and Splendour to these Pearls if you don't care for using our Mercury-Water instead thereof take the Herb Gratiâ— squeezed in Water put into this Water six Ounces of Seed Pearl one Ounce of Salt-peter an Ounce of Roch-Allom an Ounce of Litharge of Silver the whole being dissolved take your dried Pearls heat them first and then cool them in this Dissolution thus do for about six times at least heating and cooling them at this rate therein If your Pearl should happen to fail of coming to a sufficient hardness you may correct and make them exceeding hard by Baking them a second time after this manner Take two Ounces of Calamy or Lapis Calaminaris in impalpable Powder add to this two Ounces of Oyl of Vitriol and two Ounces of the Water of White Eggs put all these into a Retort lute thereto a Receiver and let them distil you 'll have from them a very fair Water with which and some very fine Barly-Meal make a Paste Coffin your Pearls in this and Bake them in an Oven as before they 'll thus become exceeding hard and recover their Natural Transparency There are many other Ways very good to make Pearl with Oyls which add to the Growth and Largeness of the Seed Pearl as much as you will have them but all these Preparations being very tedious and our Book large enough already we are of Opinion 't is best to let them alone for the present besides we have said enough to hand the Intelligent Readers to those Secrets discoursed off and taught them herein reserving the more enlarged and fuller Instructions for the first Edition we make hereof in two Volumes CHAP. CCXLVII. How to blanch fine Pearl THE Beauty of Pearl consists entirely in the Brightness of their White Colour such as are Spotted or of a dark Yellow being the least estimable you may however restore these last to a true Luster and Whiteness by letting them soak and cleanse first in Bran-Water then in Milk-warm Water and last of all steep them twenty four Hours in the Mercury-Water assigned Chap. 244. This done string and hang them in a well closed Glass Body to dry in the Sun as before The Bran-Water is made by boiling two good Handfuls of Wheaten-Bran in a Quart of Water until the Water has drawn all the Strength thereof to it and thus you are to use it afterwards for cleansing the Pearl you must string and lay them all together in a glazed Earthen Pan and pour thereon one third of this Water when they have soaked until the Water be tolerably cooled that you may endure the heat rub them with your Hands gently to cleanse them the better continue so until the water be cold throw out this cold water and pour on another third part of the Bran-water still boiling and so use it as the former throwing it away when cold and then pouring on the remainder of the water proceeding still after the former manner after this just heat some fair water and pour it on them to refresh and take away the Remains of the Bran shift this water pouring on more fresh warm water do thus thrice without handling them then lay them on a Sheet of very clean white Paper to dry in a Shade and last of all steep them in your Mercury-water to bring them to Perfection CHAP. CCXLVIII Another Way to Blanch and Cleanse fine Pearl THERE are
shut the Registers the vessel containing the Materials being exposed to the naked flame 3. For a Balneum Mariae if you put into the hole a Copper Vessel of the same Diameter in shape of a Copper the bottom whereof must be strong and flat and fill it with hot water wherein you may put the Vessel that contains your matter Which if it be a Matrass or Bolt-head you may let the Neck out at the hole at the middle of the Cover which covers the Balneum or vessel full of water 4. For a Balneum Vaporosum by putting in the same hole a vessel full of water that shall rise in vapours And in that vessel another which shall contain the materials two Inches above the water shutting this vessel with a fit cover least the vapours Exhale 5. For a Balneum Aereum or dry bath by putting in the same hole a vessel filled with hot Air shut close and therein also another vessel with the Materials 6. For a Sand or Ash Furnace and with filings of Iron if the vessel put in the hole and which is exposed to the naked Fire be filled with Sand Ashes or Filings of Steel and that you pu◠in the one or the other the vessel that contains the matter you are to work on 7. For a Lamp Furnace if in place of the Bars below you put a Porringer full of Ashes to contain the Vessel wherein your matter is provided you put also a Glass Bell on that Vessel to cover it that must stand on the Brim or Ledges of the Porringer well sitted to it to preserve the heat that arises and then put under that Porringer the Lamp on a little Trevet In short this Furnace may serve for almost all Chymical Operations whatsoever which would be too long here to mention CHAP. LIII The way of purifying Vitriol to make Aqua-Fortis stronger and more penetrative WE have promised in the preceding Chapter to shew the way of purifying Vitriol which consists in taking away its Yellowness which alone hinders the good effects it is capable of producing Take Roman Vitriol the best you can get dissolve it in common warm Water then let it stand three days then filter it and fling away the yellow Faeces then evaporate in Glass Bodies two thirds of the Water and put the Remainder into Earthen glaz'd Pans and set it in a cool place for the Crystals of it to shoot which in 12 hours time they will do about the Brims of the Pans in little transparent pieces like natural Crystal of an Emerald-Colour and at bottom there will remain a sulphureous Sediment which must be carefully separated and cast away Then you must take all those little green Crystals and dissolve them again in warm Water as before and then filter and evaporate them in the same Glass Bodies And set them again to crystallize as before in a cool place taking care to separate all the yellow Faeces you find Reiterate this Process of disolving and filtering evaporating and crystallizing the third time then you will have a well purified and refined Vitriol We will here add for the sake of the curious that those who make use of Vitriol instead of Roach-Allum to make Aqua-Fortis the Preparation whereof we have shewn in the precedent Chap. ought to take a special care in the Distillation that assoon as the Red Fumes are passed all the Spirits of Nitre are raised and that then the Fire must be extinguished for that which follows after is only Spirit of Vitriol which hinders the Operation of the Spirit of Nitre in the Solution of Metals You may also draw a parting Water in 12 hours time as some Refiners do during which time but little Spirit of Vitriol can arise with their fires CHAP. LIV. The way to make Aqua Regalis for the solution of Gold and other Metals except Silver AQua Regalis is nothing but a common Aqua-Fortis wherein you dissolve ¼ of its weight of Sal-Armoniac But to have a good and strong Aqua-Regalis you must take one pound of Aqua-Fortis prepared as in Chap. 52. put it in a Glass Matrass and add to it only 2 Ounces of Sal Armoniac then put the Matrass into a warm Bath or Pan of warm Water and stir it often that the Sal armoniac may be well dissolved in the Aqua-Fortis which will be tinged of a yellow Colour Then you must add as much Sal-Armoniac to it as the Aqua-Fortis can dissolve then let it settle a little and the Sal-Armoniac will leave at the bottom all its Terrestreity After that decant it gently off into another Vessel so that you don't trouble the settling at bottom or rather filter it through whited-brown Paper This Water will dissolve Gold and other Metals far better than the common Aqua Regalis except Silver which it toucheth not at all for reasons which Chymists are acquainted with CHAP. LV. Another way of making Aqua-Regalis far stronger than the former OUr Design being not only to shew Operations and Processes proper for Glass but also for the sake of Gentlemen chymically inclin'd whose Curiosities are not contented with what 's common or with ordinary Preparations those which we here give of Aqua-Regalis are among the number of those whose Virtues are far above the common Preparations they more intimately penetrating and dissolving Gold and other Metals than others rendring them more volatile and consequently more proper to be drawn over in Distillations The first is that which some Philosophers call the Water of the two Champions which is made with two parts of purified Sulphur two parts of purified Sal-Armoniac and one part of calcin'd Flints all reduced to powder and mixed well together Then take an earthen Retort which must have a little hole on the back or Curvature on the upper side through which you may put in the Ingredients For the more safety sake you may lute the Body of the Retort over well and let it dry then put it in the Furnace we have describ'd chap. LII and fit to it a great Glass Recipient by reason of the violence of the Spirits wherein you may put a little common Water to attract them lute the Joints of them as you do for Aqua-Fortis and let them be well dry'd before you kindle the fire for Reasons we have elsewhere assigned The Lute being dry and all in right Order you must begin by a gentle fire that the Retort may grow warm by degrees and afterwards gradually encrease it till it grow red-hot Then put in at the Hole of the Retort four Ounces at a time of the Ingredients you have prepared and stop it again presently Doing thus you will see in a little time great quantities of cloudy Vapours arise and pass into the Receiver and fill it which will dissolve little by little mixing themselves with the common Water and the Receiver will grow clear Assoon as you perceive this you must put four Ounces more of your Ingredients into the Retort and give time for
this first step towards extracting it as such whereby the Curious may succeed with small trouble CHAP. CLXVIII The Way to make Enamel of a Blood-colour Red. SINCE we have given a small Elogy to every other Colour 't is unjust for us not to continue the like on this which is a true Symbole of Blood by which the Glory of the Martyrs who with so much Generosity and Courage shed theirs for the Faith of Christ may be represented as well as of those many Brave and Heroick Persons who have interposed for the Preservation and Support of Church and State 't is therefore an Illustrious Badge of Eminent Courage Thus Alexander Hannibal Scipio and very many other Great and Noble Princes chose this Colour for their Livery and for their Shields To stain Enamel of this Colour take ten pound of common Frit mentioned in Chap. 12. add thereto six pound of Glass of Saturn prepared as in Chap. 82. the whole made into a very fine powder must be put into a glazed Earthen pot at the Glass-house Furnace to melt boil and refine after this cast thereon powder of thrice calcined Copper as in Chap. 34. at discretion stirring it all about that they may incorporate together with powder of red Tartar until the Mass become red as Blood observing whether the Colour be too pale and if so continue to put in more of these Powders of Copper and Tartar until it be perfectly stained and thus you 'll have a delicate deep Sanguine Enamel fit for all manner of Work you can desire to apply it CHAP. CLXIX Another Blood-colour Enamel THIS Enamel will be very beautiful and may serve instead of the Rose-colour Enamel hereafter prescribed To make it put ten pound of Frit for Crystal Chap. 6. and six pound of Glass of Saturn before mentioned into one of the Glass-house Furnace pots let it melt and purge well after this cast it into Water dry it and return it into the pot when 't is well melted again throw in at several times five or six Ounces of powder of thrice calcin'd Copper stirring the whole with the Iron Crook to mix and incorporate them well together and also a like quantity of powder of red Tartar still stirring it this being well boil'd and refined observe whether the Colour be perfect if not add equal parts of the Powders of Copper and Tartar according to your Judgment as much as you find necessary to bring it to a perfection let it remain to boil and purifie trying it again and again until you find it compleatly coloured CHAP. CLXX Another Red Enamel of a very Splendid Ruby-colour THE Beauty of this Enamel is very surprising and of as lively a Lustre as the Ruby it self which it communicates to all the Work wherein 't is used For this fine Effect we must have recourse to the fusible Manganese in Chap. 164. add twenty Ounces thereof to each pound of Crystal ground mentioned Chap. 163. let the whole be well purified then try the Colour and according as you find it add the greater or lesser quantity of Manganese or Crystal ground respectively until it be brought to its just degree of perfection as a Ruby and which ought to be very admirable CHAP. CLXXI. Another Ballas-Ruby-colour Enamel THE same Manganese must be had to make this fine Colour put ten Pound of Crystal ground â—n Chap. 163. in a glazed pot to melt and purge at the Glass-house Furnace throw the Matter into Water dry and melt over again do thus thrice and when the Mass is afterwards well melted tinge it with the fusible Manganese as before and 't will become Purple-colour'd Add to it at eight times impalpable Powder of Alom to bring it to a Red. Be very careful that the Alom do not blacken it but rather make it Yellowish and the Manganese dissipating 't will become Red and so make the Colour most perfect and just of a fine Ballas-Ruby CHAP. CLXXII Another Enamel of a Rose-colour for Gold NOTHING is fairer and of greater Gaiety than this for all Work where it may be used and therefore we 'll give you several ways for its Preparation Take ten Pound of Crystal ground in Chap. 163 melt it at the Glass-house Furnace in a glazed Pot add to it at four times five Ounces of red calcined Copper as in Chap. 33. stirring the Metal every time then put into it Crocus Martis Chap. 26. and Manganese as before prepared then let it alone to cleanse for six Hours and if the Colour is not true put in by little and little more Crocus Martis until it come to your liking and be of a fine Rose-colour CHAP. CLXXIII Another very fine Rose-colour AMONG our Rose-colour Enamels this seems the finest to make which take four Pound of Crystal ground of Chap. 163. let it melt in a glazed Pot at the Glass-house Furnace cast it afterwards into Water and melting it over again add by little and little an Ounce and half of Calx prepared as in Chap. 148. stirring the Metal every time to incorporate then let it alone for a little while until you perceive it of an Ash-colour when it comes to that forbear putting in any more Calx lest you make it too white then refine the Mass and after add to it Minium two Ounces purge refine and throw it out into Water and putting it into the Pot let it stand to melt and purifie over again about eight Hours then put in an Ounce and half of red thrice calcin'd Copper and as much crude white Tartar with a Dram of Blood-stone and the like quantity of fixt Sulphur in Chap. 165. these pulverized very fine and mixt together stir the Metal and incorporate them very well together afterwards see if the Colour answers your expectation if it be too deep add a little more Manganese to weaken it if it be too pale improve it with some more of the last Composition of Copper Tartar Blood-stone and Sulphur until it be to purpose And thus you have an Enamel of an exceeding fair Rose-colour CHAP. CLXXIV Another Rose-colour Enamel PRACTICE has already experienc'd so many ways to bring this fine Enamel to the most advanced Improvements that 't is impossible to expect any greater and for such as wou'd make it they may proceed boldly thus Set six Pound of Crystal ground as in Chap. 163. in a glazed Pot at the Glass-house Furnace to melt and cleanse then cast into it at four several times intermitting four Ounces of Calx as prepared of Lead and Tin in Chap. 148. stir the Matter very well at each time until it incorporate then let it all purge for a while and cast it Ladle-full by Ladle-full into Water and again put all into the Pot to melt and refine anew after this add to it an Ounce and half of red Copper pulverized and calcined as in Chap. 33. which will tinge the whole of a deep Colour but cast it in at three Intervals and stir it very well
in Painting Glass for before we proceed to prescribe the Rules how to work the Materials must first be considered The White is compounded of several Ingredients The first are small White River Peble-Stones heated red over a Fire in an Iron-Ladle and thrown afterwards into an Earthen-Dish full of cold Water to calcine them and this must be repeated several times until they be prepared afterwards being dried pound them with a Stone or Glass-Pestle in a Stone-Morter and so grind them upon a Marble to an impalpable Powder then mix a fourth part of Nitre with it and calcine them in a Crucible then pound and grind them again and calcine them a third time over a smaller Fire than your former and so take them off for Use. This done when you would Paint with it add equal parts in weight of Gip a sort of Talc found among Plaster-mold baked on the Coals to a Whiteness and reducible to Powder and Rocaille whereof we have already spoken grind them all three very well together in a hollow Plate of Copper with Gum-Arabick Water thus have you your White in good condition to Paint withal CHAP. CCIV. To prepare Black for painting on Glass AS this Colour cannot be omitted in any sort of Painting so in this the manner of using it is much the same and the Preparation easie You must grind Scales of Iron from the Smith's Anvil-Block for three Hours on the shallow Copper-Bason or Plate add to this one third of the same weight of Rocaille with a little Calx of Copper to hinder the Iron from turning Red in the Fire grind it to as impalpable a Powder as you can bring it to and so keep it in a close Vessel for use CHAP. CCV To prepare a Yellow Paint for Glass THIS Colour requires a more costly Preparation than the precedent because it cannot be well done without a tenth part of prepared Silver as we shall shew hereafter Take fine Silver in Plates from the Copple stratifie 'em in a Crucible with Powder of Sulphur or Nitre the first and last Lay being of the Powder and so calcine them in a Furnace this done cast it out as soon as all the Sulphur is consumed into an Earthen-Bason of Water and afterwards pound it in your Stone-Mortar until 't is fit for the Marble and so grind it with some of its Water wherein it was cooled for six Hours then add nine times its weight of Red-Oaker and grind them together for a full Hour and 't is done and fit for Painting on Glass CHAP. CCVI. To make a Blue for painting Glass THE whole Secret of this Preparation depends on the calcining the Ingredients and goodness of the Crucible Take two Ounces of Zaffer two Ounces of Minium and eight Ounces of very fine White Sand put all these into a Bell-metal Mortar and pound them very well and so into a Crucible covered and luted over a quick Fire for an Hour then draw off the Crucible and pound them again as before This done add a fourth of its weight in Salt-peter powdered and having mixed all very well together return them into a Crucible covered and luted which place again in the Furnace for two Hours at least continuing such another Fire as the former The Crucible being off and cool'd a second time grind the Mass as before and so put it into a Crucible again with a sixth part of Salt-petre and let it remain on the Fire for three Hours then take off the Crucible and immediately with an Iron-Spatula red hot take out the Matter lest it should stick being very clammy and hard to be emptied 'T is convenient to have strong Crucibles for this Calcination because it remains so considerable a while in the Fire and they must be luted with an extraordinary lute you may use that we have given directions for in Chap. 109. adding Powder of Borax to the Powder of Glass vitrified which helps the Fusion of the Glass which we have omitted there but the greatest stress lies in Baking the Crucible afterwards in a small Fire to cement the Pores and make the Earth compact as Glass which would be very much furthered if you threw on it a considerable quantity of Salt as it comes out of the Fire this would glaze it and capacitate it for retaining the Spirits in the Fire CHAP. CCVII. To make Red Colour for Glass Paint THIS requires as much caution as the Blue You must take Scales of Iron and Litharge of Silver of each a Dram Feretto of Spain half a Dram Rocaille three Drams and half grind all these for half an Hour on a shallow Copper-Plate in the mean time pound three Drams of Blood-Stone in an Iron-Mortar and add it to the rest then pound a Dram of Gum-Arabick in that Mortar to an impalpable Powder to take off the remains of your Blood-stone and so add it to the rest grinding them still continually lest the Blood-stone be spoiled The best manner of grinding these is to pour Water by little and little on the Ingredients as you grind them neither wetting them too much nor too little but just as much as will keep a good Temper as for Painting Afterwards put all into a foot Glass and so drop on it through a small hollow Cane of Wood or with your Finger as much Water as will bring it to the consistence of an Eggs-Yolk buttered or a little more then cover the Glass to preserve it from Dust and so let it stand three Days to settle After this decant the clearest and purest of the Colours that rise at top into another Glass without disturbing the Sediment and two Days after it has settled anew pour off again the purest of the Colours as before This done set it in the Body of a broken Matrass or Bolt-head over a gentle flow Fire to dry easily and so keep it for use When you have occasion for it take a little fair Water in a Glass and with it moisten as much Colour as you think convenient that will be excellent for Carnation as for the Faeces which are very thick dry 'em too and you may moisten these in like manner with Water for Drapery Timber-colour and such other as you think convenient CHAP. CCVIII To make a Purple-colour for painting of Glass THE Preparation of this Purple-colour is exactly like that of the Blue for this Reason we need not use any tedious Repetitions You must take an Ounce of Zaffer and an Ounce of very pure and clean Perigeux two Ounces of Minium eight Ounces of very fine white Sand pound all these in a Bell-metal Mortar and reduce it to an impalpable Powder put it afterwards into a good Crucible well covered and luted in the Furnace keep a very good Fire to it for an Hour then draw it out and as soon as it is cold pound the Mass over again in the same Mortar to this add a fourth part of its weight of Nitre mix them together and put them into
without any prejudice to the Draught from displacing them and so confounding the Figures and Pourtraits or from the Lead which must joyn them afterwards by obscuring any parts of the painting then mark out each piece on the Tablet by No. 1 2 3. for better distinction and so trace them over with the Black given in Chap. 204. with a Pencil as we shall further shew do this very exactly neither too slightly nor too thick and so let it stand two Days to dry before you paint it Then having all your Colours in readiness so as directed in the foregoing Chapters fill your Pieces off with Colours for which use the Nib of the Pencil especially in Carnation where you must be very exact you must also be very Circumspect and Expeditions and take a great deal of care not to blot or blur the Tracings and chose rather to paint on the other side of the Glass All the Colours except Yellow may be applied on the same side and that you must do on the contrary side because it is apt to mingle with the other Colours and if near the Blue will compose a Green so that for want of such precaution the whole Work may be spoil'd if the Yellow transmit it self perfectly through the Quarre it is as well as if it had been done on the same side and take notice by the Way that the other Colours have not so ready a Transition because they consist of a Grosser Body The Yellow ought to be very equally and justly laid on in a greater or lesser quantity as you 'd have your Shadows observe this too in the rest especially to lay them on as quick as possible as we have already said particularly the Azure Green and Purple require the most exactness of any Now to set off and heighten the Lights in piling a Beard describing Hair in Drapery or otherwise use the Handle or But-end of the Pencil a small pointed Stick or Quill wherewith take off the Colours in those places you would Enlighten which is easily done Such Works as are done in Grisaille you must paint after this manner Trace your Piece with Black and let it dry for two Days entirely do it over very lightly and equally with a Wash so thin laid on as not to efface the first Lines and let it dry for two Days after this run it over again with the same Wash where you find it convenient to give a second Tinge and let it dry two Days longer Then to give it the Lights and convenient Heightnings take the sharp But-end of your Pencil or pointed Stick or Pen as before and take off the Colour of the first Wash in the most necessary places and so your Work will be finished To make this Wash is easie Take a small Pewter Cup or other Vessel and put therein a quantity of black colouring then dissolve Gum-Arabick powdered in its weight of Wine and throw this on the Black in the Pewter-dish or Saucer that it may be very clear and not easily dry'd and that you may have your Wash for painting Glass in Grisaille or Gray CHAP. CCXIII. How to order your Glass in the Furnace after Painting and to manage the Fire AFTER your Glass is fully painted and the Draughts perfectly finished the difficulty will be to Bake the pieces so as to give it a consistency with the Glass by penetration which may be thus done You must work with the Furnace mentioned in Chap. 202. and its Stove of good Crucible Earth to contain all the Work which must be stratified on this manner Take good Quick-lime well digested searced and finely pulverized and for the better security let it digest thrice in a Potter's Furnace and so powder and searce it then make a very even lay thereof about half an Inch thick on the bottom of your Stove and then a lay of pieces of broken Glass and afterwards another lay of Powder and so another of Glass then another of Powder the reason of making this Stratification of powder and old Glass is to prevent any injury from the violence of the Fire which will be very smart under the Stove this done upon the third Bed of powder lay a lay of painted Glass and so continue S.S.S. each lay of powder and Glass being equally or evenly made untill all the pieces of paint are put in or the Stove full and upon the last lay of Glass lay the uppermost of powder somewhat thicker than the former then cover the Furnace with its Shrowds of Earth joyning and luting them well together all round with the best lute so that it may admit of no respiration but through the fire holes or the Opening of the Furnace whilst you draw out the proofs or Tryals you make as we have hinted elsewhere Your Furnace being thus ordered and the lute dry'd very well begin to heat it gently with some Charcoal on the outside of the Furnace at the enâ—rance and so by degrees and very leisurely improving it lest the Glass should be broken or the paint spoil'd continue thus for two Hours then thrust the Fire in further and let it remain there for an Hour putting it in by little and little under the Stove where leave it for two Hours longer then increase the Fire by degrees for two Hours and so continue to apply Fuel until the Furnace be full of Charcoal and you perceive the Flame convey its self through every hole of the Cover keep it thus very violent for three or four hours shutting the Door of the Furnace you must be very cautious and circumspect during the whole Work from the first two hours that the Fire remains at the Entrance Observe from time to time to draw forth your Tryals or pieces of proof in your Stove to see if the Colours be melted and the Yellow qualified you may perceive how the Work goes on by the sparkling of the Iron-bars under the Stove As soon as you find your Colours almost done improve the Fire with some very small Billets of dry Wood they must be very little for ease in putting them in and to prevent Smoaking and to make the Flame environ and reverberate over and round about the Stove which must be continued until you have finished this will be in twelve or fourteen hours then let the Fire go out and the Work cool of its self and so take it out and 't will be finished CHAP. CCXIV. Another Way to Paint on Glass THO the former way be very fine and lasting as can be yet we will here shew another more easie and altogether as effectual Take very White Glass varnish it very thin on one side with a White Varnish then having before made choice of some fine Impress or Cut on Paper just fit for the piece of Glass you design to paint its Fancy on dip it in Water and letting it soak and dry a little clap the Picture-side thereof to the Varnish-side of the Glass as exactly plain and evenly
you work it the better and easier the colour may be drawn afterwards make it up like a Loaf or Brick and set it in an Earthen-Dish to dry pouring thereon some fresh Water let it steep for fifteen Days the longer the better for extracting the Vltra-marine CHAP. CCXXXV To Extract the Ultra-marine NOW we come to take out the Vltra-marine from its Confinement to make it appear Triumphant and in its full Glory Take therefore the Loaf of Cement and Powder washing it in the same Water extraordinary well with your Hands weigh it to know the quantity of Oyl it requires and put it into an Earthen-Bowl or Dish very smoothly glazed rubbing first the Bottom with your Linseed-Oyl then pour in Water scarce warmed until it arise two Inches above the Matter let it stand in this condition a full quarter of an Hour or less in the Spring-time pour this Water afterwards into the Vessel mentioned Chap. 230. adding more warm Water to your Matter and so 't will soften Continue thus whilst there remains any Tincture thereon by this means all the substance that is good for any thing will be separated from the Cement which cannot be done otherwise Whilst it is imbibed in the warm Water you must move and roul it gently round with two Sticks or Spatula's of Box or any other well polished Wood rounded at the ends smooth like a Wallnut let them be about an Ell long and an Inch thick Whenever you perceive the Matter stick to the bottom of your Dish rub your Hands with Linseed-Oyl and stir it about leisurely so as to colour the Water which you must put along with the former in the mean time holding up the Matter with your Staves lest it should stick to the Vessel Take notice that a little steeping at first will tinge the Water very much and when the Cement is just yielding its colour it will discover certain Bluish Streaks on the Water like the Sun-Rays and then you must strain this Water out among the other through a Scarce that the grosser part of the Cement may remain afterwards pour in by little and little the fresh warm Water stirring the Cement easily that it may not dilate too much and give its colour all at once After you have thus stir'd it about five or six times close and amass it anew by which means you 'll see how much 't is diminished and what quantity of colour it has given If the Lapis be good and right you 'll find it will the first Steepings yield about four or five Ounces of Vltra-marine which keep apart by its self as the best and finest colour tho it appear grosser than the others of this sort by reason of the Gold-coloured Veins which are peculiarly therein For the second whereof you 'll have three or four Ounces you must follow the Processes aforementioned this indeed will be finer than the other but not so good a Colour keep it also by it self Draw off a third and this will be still siner than the former but paler and more bright coloured You must still pursue the same Directions to extract it letting your Water be but half luke-warm and take care to manage the Cement dextrously with the Spatula's and so preserve the Colour apart You may extract a fourth Colour after this rate but the Water must be hotter and you must press the Cement very well with the Spatula's to squeeze out the Colour and if meer Water will not do make use of the mild Lixivium of Chap. 229. this last Colour will be Grayish or Ash-colour'd and of no great value and therefore not at all to be mixt with any of the rest Observe here that you can't take up less than eight Hours full to extract the Colours nor than ten or twelve to allow the Water for setling and if you perceive the Colour does not come out free enough with the warm Water add a third part of our mild Lixivium and if that does not do use all Lixivium but let it be cold and when that fails too of effecting it sufficiently you must make a Lixivium of Vine-stalk Ashes and this being strained let it boil for half a quarter of an Hour until it be sharp enough to bite your Tongue and then let it settle and grow clear this is your last shift for extracting your Colour and with this heated wash your Cement very well and set it aside The whole design of all this trouble is only to serve for obtaining the greater quantity of Vltra-marine and this consists in the goodness of the Lapis Lazuli and the Cement which the Circumspection and care taken in all their Preparations must advance CHAP. CCXXXVI The Method of cleansing the Ultra-marine when 't is separated from the Cement AFTER you have extracted all your Colours out of the Cement and the Water quite setled and separated from them pour on some of the mild Lixivium before prescribed and so wash them with your Hands but don't rub it between them thus you 'll take away all the Grease of the Cement afterwards wash it three or four times in fair Water and let the Waters settle well before you put them into their proper Vessels You may else another way purge the Vltra-marine thus Take the Yolks of Pullets-Eggs that have been fed only with Corn and not with Greens prick these with a Pin and so moisten the Colours kneading the Mass with your Hands and washing it afterwards with your mild Lixivium until the Lixivium falls off clear again This done wash them three or four times over with fair Water letting the Waters settle well before you put them into their Vessels This last way of purifying the Vltra-marine is mighty effectual but here is another help to be used with it which is a very great Secret and performed thus After the Colours are quite washed according to former direction as well as possible you must cast therein by little and little a Bull's-Gall rubbing it by degrees with your Hands so wash them often in clear Water and you 'll have the Colour in full perfection CHAP. CCXXXVII To strain off the Ultra-marine already Washt and Purified IT is necessary to strain off the Vltra-marine and the rest of the Colours that if any Grease or Unctuosity of the Cement remain it may be taken quite away for these Colours require a Perfect and Extraordinary Purification For this Purpose take a fine Searce and pour thereon the last Waters with which you washed the Vltra-marine and so strain them afterwards through another fine Searce and a third time through Red Quintain or Crape but you must observe when you strain them to let them stand till you perceive them limpid and clear and so soak off the Water dextrously with a Spunge and be sure not to strain them promiscuously all together This being done to all the Waters let your Colours settle in their proper Vessels and dry in the Shade when dry put them into little Leather-Bags
tie these close rubbing and pressing them with your Hands this will make them very subtile and when the Bags are opened they 'll shew much fairer than before CHAP. CCXXXVIII To Correct the Colours just before prepared FEW Persons unless such as are very curious of their Work make any use hereof because of the time it takes up tho it would turn very much to their account for one Ounce of this Colour corrected will go farther than three that are not If you would make your Colours just before prepared much finer and effectual than they are mix them again with a strong Cement and let them remain therein for three Days afterwards proceed according to the last directions to separate them again reiterate this over again and you 'll have them exceeding good and tho they diminish somewhat in weight yet that Loss will be repayed considerably in the Beauty and Value CHAP. CCXXXIX Another Way to make Ultra-marine and draw off the Colours with more Expedition THIS Method of making Vltra-marine is much more ready than the former and Experience will shew whether the Colour be a gainer or loser thereby Take a Pound of Lapis Lazuli calcine it in a Crucible and quench it afterwards in Vinegar so let it dry and then reduce it to a very fine Powder grind it on a Porphyry with fair Water and so set it in a glazed Earthen Vessel in the Shade until it be dry if you find it coagulated all in a Mass you must Powder it again This done make a Cement of three Ounces of Grecian-Pitch four Ounces of Rosin of the Pine three Ounces of Mastick three Ounces of Frankincense two Ounces of Oyl-Olive set these over a slow Fire in a small Earthen Pot into which pour first the Oyl and when that 's hot put in the Rosin then the Pitch then the Incense and last of all the Mastick stirring them continually with the Wooden Spatula and let them boil a little Having made the Cement get another Earthen Vessel and put thereinto the Lapis Lazuli and pour on it the Cement hot stirring the whole together with the Spatula very leisurely until they perfectly incorporate let this stand a whole Day and when you would draw off the Colours pour thereon boiling Water stirring it very smartly When it begins to cool pour it out and so put in more hot Water do thus till the Water begins to draw off the Colour and so continue until it be quite extracted you may distinguish the Waters and so set them apart and obtain the Variety of Colour as in the former way If your Colour seems to be clammy or nasty you may correct it thus Add thereto Tartar dissolved in Water as much as will drown it and let it repose for one Day at least so wash it in warm Water and you will by that means have it very correct and well purified CHAP. CCXL Another Way to make Ultra-marine GRANTING the two former ways to be sufficient we will however here give a third which we believe may as well be pleasing to those who are not satisfied with the other as to such Persons as have a Curiosity for these sorts of Work and thus we propose to proceed Not to discourse of the Ways to try the goodness of the Lapis Lazuli which we have mentioned sufficiently already you must break it into gross pieces as small as Nuts then set these in a Crucible into the Furnace till they redden with heat and so cast them into cold Water do thus six or seven times and so reduce them to impalpable Powder in a Porphyry-Mortar well covered over lest the Powder which is very subtile should disperse away into the Air and then searce it with a fine Searce also covered After this take of Rosin of Pines ordinary black Pitch Mastick fresh Wax and Turpentine of each three Ounces of Incense and Linseed-Oyl each one Ounce melt all together in an Earthen Vessel stirring them very well that they may mix this Stuff being well incorporated cast it into Water and keep it for use To each Pound of Lapis Lazuli add ten Ounces thereof and set them to dissolve in a Pot over a small Fire first melting the Cement and then casting on the Lapis Lazuli by little and little observing such an order in this and continually stirring the Mass with a Stick that they may mix insensibly together afterwards cast the Mass into an Earthen Vessel of cold Water and anointing your Hands with Linseed-Oyl mould it up into a number of Cakes or Rolls which leave in cold Water for five Days shifting the Water every other Day This done put them into a large and very clean glazed Earthen Vessel pouring on them some clean hot Water when that cools pour in more hot and do thus till the Pastils soften with the heat of the Water This done put them into hot Water and let them be until it receive a Bluish colour strain this Water to reserve the grosser pieces and so put it into another glazed Earthen Vessel very clean adding more to the Pastils which strain through a fine Searce afterwards among the former continue this until all the Colour be extracted and no more remain behind Your Water must be only warm otherwise it will occasion a Blackness in the Colour which is to be taken care of and imports very much All your coloured Waters being in the Vessel you may cleanse them of any Unctuosity by reposing them for twenty four Hours in which time the Coâ—our will stick to the bottom then you may pour off â—he Water gently into another Vessel and it will carry off the Grease along with it strain it afterwards into the Vessel where the Colour is again through a fine Searce and all the Grease and Nastiâ—ess will be left behind do thus thrice stirring the Colour very well every time you return the Water â—o it that the Filth and Grease may ascend from it â—nd it will always stay in straining on the Searce beâ—ind the Water This done let the Colour precipitate entirely â—nd so pour off all the Water very leisurely for fear â—f disturbing it dry this Colour and you 'll have â—elicate Vltra-marine If you would imitate this Colour at little charge make use of our Blue-Enamel after the same manner and instead of the Lapis Lazuli observing without exception the like Regimen and Prescription just now delivered in every respect and by this means you 'll have a very pretty agreeable Colour to Paint with and for tinging of Glass Many other Ways might be given here for making Vltra-marine besides these we have already laid down but because the principal part of the Preparation is in every one the same we look upon these as sufficient and that it would be but needless to repeat any more That the Lapis Lazuli may be made by Art as fine and good as the Natural which is gotten from the Mines we allow and should freely
Crystal into Precious Stones as also by several other ways We 'll only add That there are several other less and particular Secrets by which it may be made soft and fusil like Wax and afterwards reduced to its former hardness in Water but these are little Curiosities that serve to no purpose Glass may receive either within or without any sort of Metallick Colours which makes it very proper for Painting Those which we shall teach to Extract from Metals and shew in this Book for the tinging of Glass give it a Lustre equal to Precious Stones and set it off with an unspeakable Beauty As we have given you the ordinary Preparations of all sorts of Metals Crystal Glass Rochetta Soda Tartar Manganese Salt Sulphur Vitriol Aqua-fortis and Regis Pastes Enamels Pearls and other things contained in this Work So we can safely say we have given you more of them than are common and some which have never been publick which we have all along taken particular care to do to oblige the Curious in this Art who will apprehend it better by reading the Book it self than we can tell them in the Preface But more particularly to shew our Ingenuous and Vnprejudiced Impartiality in this Affair and how little envy we have to the Students and Practisers of this Art we discover to them such extraordinary and precious Receipts in it as would have been Industriously concealed by any other Hand because they point out the Paths to Persons Conversant and Illuminated in these Studies even to their greatest Secrets and most hidden Recesses By what we treat of in this Book upon this Subject â—ne may perceive that there is nothing in Nature which Man cannot imitate And if we believe what Claudian â—ells us of that great Sphere of Glass made by Archinedes we shall have reason to be as much surprized as Claudian's Poem makes the Gods to be If the Reader â—ould know the reason why that Sphere was made of Glass â—e may see it in Cardan's Book de Subtilitate where â—e may see with it a Quotation of the Verses we here â—ention Besides what relates to the Art of making Glass we â—lso treat of the Ways of Painting on Enamel and Glass â—nd we also shew the Way of Extracting Tinctures of â—everal Colours of Herbs Flowers Roots Grain Wood Stones and other things for this sort of Painâ—ing and Tinging of Glass Altho this Art of Painting seems different from that â—f Glass yet they ought not to be separated since this Painting is performed with Minerals and that they melt â—n Fire like the Enamels One of the most Ingenious we have ever had for Painâ—ing on Glass was one Jaques de Paroy a Native of â—t Pourcain sur Allier who has Writ upon that Subject His Genius always leading him that ways he apply'd himâ—elf to it with a great Inclination and Industry and suceeded in it accordingly Whereupon he went to Rome to â—erfect himself as being the greatest and most general â—chool for Painting and Sculpture where he studied â— long time under the Famous Dominican After he atâ—ained to Perfection he went to Venice where he did â—everal fine Pieces Returning into France in the Province of Auvergne where he was Born he performed also some extraordinary Pieces in the Castle of the Count de Calignac and afterwards in the Church of St. Mederick in Paris where is yet to be seen of his the Judgment of Susannah which is very perfect and Exquisite as well as all the other Pieces of the Choir At length this Excellent Personâ— died at the Age of 102 Years in the City of Moulinâ— Burbonois where his last Funeral Obsequies were performed in the Church of the Jacobines There are likewise more of those fine Paintings whicâ— justly cause Admiration in all Learned Beholders to bâ— seen in the Church of St. Gervais at Paris and in thâ— Wooden-Chappel at St. Vincent's in the Great Church oâ— the City of Metz in that of St. Owen at Roan in thâ— Castles of Gaillon and Annet and in several other places which would be tedious to relate where in aâ— of them are to be seen some of those Prodigies oâ— Art The Way to become perfect in any Art is wholly to dâ— vote and give ones self up to 't but the most part of thosâ— who have so Zealously apply'd themselves to it and beâ— come Excellent therein have left no other Patrimony â—â— their Heirs but their own Empty Fame which they aâ—â— ways pursu'd when alive with far more Vigour than thâ— Goods of Fortune Witness Lisippus that Incomparabâ—â— Engraver why Died of meer Poverty because insteaâ— of seeking whereby to Live he continually employ'd him self about his Art And Miron who seem'd to have â—nimated his Statues cast them so happily in Brass lâ—â— so little behind him that no one would take the pains to â— his Executor to look after it We might give a Thousand Examples of these Truths and in what Esteem those who have excell'd in these Arts have been had by great Princes all over the World but the Subject would require a larger Discourse than we have allotted to this Preface which obliges us to come to a Conclusion only further desiring the Reader not to expect any Quaintness of Expression or Politeness of Stile but rather to content himself with the Exactness which we have always taken care to observe in giving him the Preparations we pretend to shew with all the Truth and Fidelity possible OF THE ART OF GLASS PART I. CHAP. I. Of the Original Antiquity and Vse of Glass IT has not been without Reason that several Learned Persons have compared Man to a Microcosm or Little World since he contains in himself all the Excellencies of the Greater and that God having created him after his own Image has given him an Absolute Dominion over all Creatures in this World Not only over Animals and Vegetables and those other visible mixt Bodies among which we are immediately conversant but also over Metals Minerals Semiminerals Pretious Stones Pearls Corals and whatever Treasures are hid in the Bowels of the Earth or Bottom of the Seas that he might make use of them for his own Pleasure and that by the Understanding God has given him he might know their Properties to make them usefull for his particular Occasions The Power of Nature is limited in all her Effects and Man alone can augment and enlarge by Art the Virtues and Powers which she has produced by separating the Pure from the Impure that which is more Subtil and Spiritual from the more Gross and Earthy which Nature her self cannot do by reason she has no Tools nor Instruments proper for such Separations especially of those Impurities which by proceeding from the Corruptions of the Matrixes where all her Generations are made perpetually mix themselves with all her Productions Besides that the Universal Seed or Spirit of the World which contains in it self the three Principles and four Elements whereof every thing in
Keep them so three days stirring them every day well during which you may add fresh filings little by little wherein you must be very Cautious for it riseth so much by Fermentation in the Aqu. Reg. that it will endanger breaking the Glass or running over After three days set your Cucurbite on a gentle Fire that all the Water may Evaporate till it leaves the Crocus behind dry which is admirable for Tinging Glass which keep for use CHAP. XXVIII Another way to make Crocus Martis THis way tho' it be easy makes a Crocus of no less Virtue and Beauty than the precedent To make it take fine filings of Iron or Steel without any rust let them stand in a Reverberatory Furnace with a very strong Fire the heat being at least to the fourth degree till it becomes of the Colour of Purple Then take it out of the Fire and when it is Cool put it into a Vessel full of Water and stir it briskly about and then presently pour off the Water into another Vessel which you may reiterate Thus there will remain in the first Vessel the Iron that is not yet Calcined which if you please you may put again into a Reverberatory Furnace In the second Vessel there will be the Crocus which set over a gentle Fire to evaporate the Water But you must not decant off the Water tho' it appears clear after it has settl'd for tho' the Crocus may seem to be precipitated to the bottom yet the Water Contains the most subtile parts of it imperceptibly suspended in it Having well Evaporated the Water you will have a very red Powder very fine and Extraordinary which keep for use CHAP. XXIX The last way of making Crocus Martis THis last way will be of some use to those who shall desire to have the Iron or Steel Granulated or in little drops the Metal whereof is difficult to Melt Take a bar of one or the other Metal of the weight of five or six pounds which heat as hot as you can in a Smith's Forge so that it may Sparkle when it comes out of the Fire At the same time another Person must have ready a long stick of Brimstone and large which is the best for this Operation and the Metal coming out of the Fire in the condition we have shewn you must thrust them one against another over a great Earthen Pan full of warm Water into which the Metal will drop in little drops or granuli melting like Wax when touch'd by the Sulphur then you must take those little grains and Stratifie them in a Crucible with Powder'd Brimstone and afterwards sett them in a Reverberatory-Fire where they will be reduc'd to a red Powder which grind and searce and keep for your use CHAP. XXX The way to Calcine little Plates of Copper to tinge Glass of a blue Colour WE have shewn the way to make Crocus Martis for Colouring Glass and now we will shew that of Copper which is very near in nature to the other as we have remarked And which dissolves in the same Acids and Corrosives Venus as well as Mars or Copper as well as Iron gives us different Colours which proceed from different ways of preparing them as we shall see in the following Chapters Merret pretends that Brass gives us a finer blue than Copper by reason of the Lapis Calaminaris which is mixt with it and partly causes the Colour Of all Metals Copper is only used as Allay to give malleability to Gold and Silver in Coin It melts easily in an indifferent heat but it is calcin'd into powder with difficulty There are several ways of Calcining Copper here follow five of them by help of fire The first is of Copper alone without any addition the second by the addition of Sulphur the third by Vitriol the fourth of Brass alone divers ways the fifth by a preparation of the Vitriol of Venus These preparations are the best and of more value than those prepared by Spirits and Corrosives All these different ways of Calcinations and Preparations of Venus shall be explained in several Chapters of this Treatise whither the curious Reader may have recourse The little Plates or Leaves whereof we are now to shew the preparation are a sort of Copper or Brass exceeding thin approaching the Colour of Gold called Festoons These Plates are made of this Colour by Lapis Calaminaris which does not only Colour the Copper but augments its weight this Brass being well calcined tinges Glass of a Blue and Sea-Green The way to calcine it is this To avoid the expence of buying new you may make use of those leaves that have been already used and worked they being good and cut them with Scissers into little pieces and put them into a Crucible covered and luted in the mouth of a Furnace to Calcine and let them stand there for four days at a Coal fire so that the leaves may not melt For then they would be unfit for this use The four days being expired the whole will be calcined beat them on a Porphury Stone and Searce them thro' a fine Sieve and you will have a blackish powder which you must spread on Tiles and put it into the same Furnace for four days longer then take it out and blow off the ashes that may be fallen on it then reduce it again into Powder searceing it thro' a fine Sieve as before and keep it for use You may know when it is well Calcined if the Glass rises and swells when you put it upon it if it does not you must calcine other leaves those being not Serviceable by reason they are burnt in the Calcination CHAP. XXXI Another way of Calcining these leaves of Copper to make a very transparent Red Yellow and Chalcedony TAke the same leaves as in the precedent Chap. Cut them into small pieces and Stratifie them with Sulphur pulveriz'd in a Crucible covered and luted Then set them on burning coals at the Mouth of the Oven to Calcine for Twenty Four hours then take it out and grind it small then put it in an Earthen Vessel in a Reverberatory Furnace where leaving it 10 hours take it out and powder it then keep it for use CHAP. XXXII To calcine Copper to a Red Powder which serves in several Processes for colouring Glass ALtho' Copper be of the same nature as Brass which serves to Colour Glass blue yet there is some difference between them for the latter will tinge it of several Colours which proceeds from the Lapis Calaminaris and some other mixtures in the preparation To make this powder Take what quantity you please of Copper in thin plates put it into a great Crucible into the Furnace till it be calcined without melting then being cooled reduce it into powder which will be very red and searce it whereof you may make divers uses as we shall shew hereafter CHAP. XXXIII To make Copper thrice calcin'd for colouring Glass THE same red Powder in the preceding Chapter
the Vapours arising again to dissolve as before then reiterate this Process till all your Ingredients are distill'd off Then unlute your Receiver and pour the Liquor into an Alembick and draw off the Phlegm in Balneo Mariae and rectifie it in an Ash-Fire Then your Water will be made and fit to dissolve any Metal but Silver CHAP. LVI Another way of making Aq. Reg. more easie and with less precaution THIS second way of making Aq. Reg. will be more easie than the former and the Water of as much force Take 1 pound of good Salt-Petre powder it and mix it with 3 Pound of Potters Clay or Flints calcined to Powder put the whole into a Glass Retort well luted and sit to it a great Receiver lute the Joints well then put it in a reverberatory Furnace and distil it according to Art in a gradual Fire When all the red Spirits are passed over as we have explained in speaking of Aq. fortis in the 52 Chapter Then draw off the Phlegm in Balneo Mariae which the Chymists and we hereafter will note by the two Letters B. M. then rectifie it in an Ash Furnace and keep it for use Then take a Pound of Sal Armoniac well powder'd and mix it with four Pound of Wood-Ashes out of which you have before extracted all the Salt with warm Water then put the whole into a Retort sit a Receiver to it and distil it in a Sand-Furnace and the Spirit of the Sal Armoniac will pass over into the Receiver Then unlute your Receiver and take off that Phlegm of the Spirit in B. M. and rectifie it in Ashes This done take equal parts of each of these Spirits then mix them together and distil them in an Ash-Furnace Then you 'll have a strong Menstruum for dissolving Gold I can't here omit that the Spirit of Sea-water Salt distill'd as Salt-petre has the same effects as the Water of the 2 Champions whereof we have given the Preparation in the preced Chap. and as that we have just now treated of and in the mean while is not so sharp nor corrosive You must to make it succesfully take 3 parts of Spirits of Sea-water Salt and add to it one part of Salt-petre then distil it together in an Ash-Furnace the better to unite them Then you 'll have an Aqua Regalis which will dissolve Gold sooner than the Spirit of Sal-Armoniac and which will make it rise and pass over in the Receiver thus you may this easie way make it more fit for the use you design it for But notwithstanding this you must not imagine that this Solution of Gold is a radical and total one because it will pass over in an Alembic and that so it is reduc'd into a Species of Aurum potabile For there is nothing but the one Sovereign Menstruum of the Philosophers which has that virtue as being homogeneous to it and formed of it That is the only Liquor in which it can putrisie and be totally resolved and regenerated again after the manner of the Phoenix to become a Spiritual and Glorious Body capable of performing all those wonderful Effects ascrib'd to it CHAP. LVII The way to Calcine Tartar WE have already given one Preparation of Tartar in Chap. 15. both for the Calcination of it and to extract the Salt and we have largely shewn in Chap. 5. of what importance it is to dry it throughly For that reason we will not repeat it here but refer the Reader thither To make this Calcination which is easie Take Tartar in great lumps the thickest and most shining you can get blow away all the Powder then put it in new Earthen Pots upon live Coals or in a little Furnace where you must leave it till it smoaks no more and all its humidity be exhaled and it be reduc'd into Lumps of a black purplish colour then it is calcin'd and well prepared Tartar may also be calcin'd by wrapping it in pieces of brown Paper then lay a Bed of live Coals and lay a bundle of it upon them then another Layer or Bed of Coals and on them another parcel of Tartar continue thus to do S. S. S. till all your parcels of Tartar are laid on observing that the upper Layer be always of Coals and leave the whole in that State till the Tartar be well calcined and leaves off smoaking then take it off and blow away the Ashes CHAP. LVIII A way to make a fair Chalcedony in Glass ALtho Chalcedony is not so dear as it has been heretofore since it is found in Europe yet People have not left off counterfeiting it by help of Art to make several Works of it no less beautiful than the true and much cheaper We will shew three different ways to prepare this Chalcedony which will make three different Species of it all of them very fair but whose Beauty may be also augmented by the number of Ingredients we compose them of and which cause those Diversities of Colours which that Stone ought to have Among the rest of the Ingredients we employ in this Subject there are some that give no colour to Glass as Tartar Soot Sal-Armoniac and Mercury Those that are of an unctuous Nature as Lead Soot Tartar the Azure-stone often hinder the Union of the Ingredients by reason of the Separation which may happen by the cooling the Metal which does not happen to those who know how to observe the degree of heat wherein the principal knowledge of this Art consists To make the first sort of Chalcedony Put two Pound of Aqua fortis whereof we have given the Preparation in Chap. 52. into a Glass Body with a long Neck four Ounces of fine Silver in small and thin Plates or granulated put the Body in an Ash Furnace over a soft Fire or in warm Water and the Silver will be presently dissolv'd At the same time take another Body and dissolve in it 6 Ounces of Quick-silver in a Pound and half of the same Aqua fortis After that pour both the Solutions together into a greater Body which put in the same Bath or warm Water or Ash-Furnace then add to it six Ounces of Sal-Armoniac which dissolve over a gentle Fire then put to it one Ounce of Zaffer and half an Ounce of Manganese prepared little by little with as much Ferretto of Spain also little by little for fear the Matter coming to swell too much should break the Vessel Add to all these Ingredients one Ounce of Crocus Martis calcined with Sulphur as much Scales of Copper thrice calcined which ought to boil like Manganese as much blue Lake that the Painters use and the same quantity of Red Lead the whole reduc'd into Powder In putting in these Powders you must gently stir the Glass Body that they may the better incorporate with the Aqua fortis nevertheless take care there be not too much heat then you must well stop the Matras or Glass Body stirring it well every Day for ten Days
you have well dried your Crystals thus calcined grind them to an impalpable Powder on a Marble or Porphyry Stone by putting a little on at a time and fearce it well through a fine Silken Sieve And since we use this Powder of Crystal for all Artificial Gems whereof we are going to treat your best way will be to keep a good quantity by you which you may always have recourse to in Working If you design to succeed in this Art very well you must not use ordinary Fritt of Crystal how good and fair soever it be nor Chalcedony nor Tarso nor any other Stones for the Glass made of them is far less fà ir and resplendent than that made of Natural Crystal which has the most lustre and approaches nearest precious Stones as we have already remarked in the preceding Chapter CHAP. XCIII The Way of making a very sine and pure Salt of Tartar NERI makes use of no Salt of Tartar in all his Preparations of Artificial Gems notwithstanding this Salt being prepared after a certain manner we shall here relate for the sake of the Curious It serves in a great measure to work the Crystal being a true Vehicle for the better introducing the Colours that are to be given and which is of use for the Tinctures several ways Those who in their Operations of Artificial Gems have made no use of Salt of Tartar have without doubt been ignorant of this fine Preparation of it for if you use ordinary Salt of Tartar there is a Sulphur and Foulness in it which renders Crystal obscure and consequently would be hurtful in these Operations To make this Salt you must first calcine your Tartar till it become Grey and not to perfect Whiteness and then dissolve it in warm Water to extract the Salt filter that Water and then evaporate it over the Fire then you 'll have remaining at the bottom of the Vessel a White Salt To take away all Foulness from this Salt dissolve it again in warm Water then evaporate it again over a gentle Fire take it off the Fire and cast it into cold Water and you 'll find it will leave on the surface of the Water a thick Froth which you must skim off with a Skimmer that has little Holes no bigger than a small Pins Head Put the Vessel again on the Fire and evaporate the Water as before then take it off the Fire and cast upon it fresh cold Water and skim it well as before Reiterate this Process till you find no more Froth then Evaporate the whole over a gentle Fire till it be dry and you will have a Salt of Tartar well purified which is not so fusil as the other because it is free from all that Unctuosity which causes the Fusion Keep this Salt of Tartar in a Vessel well stopped and use of it in Crystal with your Colours when you set them to melt Altho' this Salt of Tartar be very fine and pure yet it is not that of the Philosophers which has far more Virtue and opens more powerfully the Metals and Minerals where it is employ'd tho' it be of the same Nature as this and extracted from the same Principle The Philosophers have moreover another Salt of Tartar extracted from Metalline Matters and this last is far more Excellent than any others We will treat thereof at large in the Treatise we have promised where we will explain the Virtues both of the one and the other as well in Medicine as in the Business of Metals and shew several very Curious Effects performed by their means CHAP. XCIV To make a Past for Oriental Emerald WE have already shewn the way of tinging Crystal and Glass of Lead of a very fair Emerald-colour but not to make a Stone that shall imitate a true Natural Gem which may be used in Rings or otherwise which now we come to do There are divers sorts of Emeralds but at present they are all distinguished into either oriental or Occidental the Orientals are more hard and the others less We will shew several ways of Imitating tâ—e Emerald more or less full which will be all Beautyful This is the first Take two Ounces of natural Crystal prepared as we have shewn in Chap. 92. and 4 Ounces of common Minium or Read-Lead powder'd and Searced add 48 Grains of Verdigrease well pounded and of a good Colour with 8 Grains of Crocus Martis prepared with Vinegar as we have shewn Chap. 25. Mix the whole well together and put it into a good Crucible that will resist the fire in it you must leave an Inch empty Then cover the the Crucible with an Earthen Cover lute it well and dry it then put it in the hottest place of a Potters Furnace where they make their Earthen Vessels and let it stand as long as their Pots Being cold break the Crucible and you 'll find within a matter of the Colour of a very fine Emerald If you afterwards set it in Gold it will surpass in Beauty the true Oriental Emerald If it happens that your Matter is not enough resin'd and purified you must put it in again a second time in the same Furnace where it will be purified as much as needs be which you may know by lifting up the Cover if the Matter appears shining If it is not so lute the Cover on again and put the whole in the Furnace You may take notice once for all that you must not break the Crucible before the Matter be throughly baked and purified for if you do and so are obliged to put the Matter into another Crucible the Past will be painted and full of Blisters If you cannot easily come to a Potter's Furnace you may make one your self with little Charge wherein you may put twenty Crucibles at once each of different Colours so one Baking may serve for a great deal of Matter You must make use of dry and hard Wood to heat the Furnace as we have said before in baking Glass and continue the Fire twenty four Hours in which time your Matters ought to be baked and purified enough but for more Surety you may continue the Fire six Hours longer and they will be certainly baked enough Your Matter being thus rigâ—tly baked you may polish it at the Wheel as we have said and set it with a Foil in Gold as is done with true Gems and you 'll have a brighter Emerald than the Oriental CHAP. XCV Another deeper Emerald-Colour THAT which makes Emerald deeper than the precedent proceeds from the smaller quantity of Crystal employ'd in it with more of the other Materials which make it more fair but also more brittle You must Bake it at least six Hours longer than the precedent to take away that Imperfection which Lead usually gives The Dose of this Past is one Ounce of Natural Crystal prepared as we have shewn six Ounces and an half of Red-Lead seventy five Grains of Verdigrease ten Grains of Crocus Martis made with Vinegar the whole pulverized and
very well each time with your Iron Hook that the Powders may incorporate and for Reasons by us given elsewhere before Thus when your Matter is fully and well tinged take the Approbation of a Goldsmith on some of it as to the Colour that you may have the more assurance before you proceed to empty your Pot. Your own Experience must shew you how to proportion the Ingredients for tinging the Matter more or less If you perceive that the Tinging-powders are too predominant add the more principal prepared Powder if it be too faint add the greater quantity of the Tinging-powders And thus do to improve or lessen the Colour until it be compleat or to Satisfaction CHAP. CLI To make a very fine blue Enamel FEW Persons but are much taken with this Colour as being the most sightly agreeable of all others both from the esteem of its natural Beauty which makes it eminent above the rest of Colours as it has resemblance to that of the Heavenly Arch and is taken for the Symbol of Generosity You may make Enamel of this Colour with four pound of our principal prepared Powder in Chapter CXLVIII two Ounces of prepared Zaffer forty eight Grains of Copper thrice calcined mentioned in the precedent Chapter these reduc'd to a mixt impalpable Powder must be put into a white glazed Pot when the Metal is well melted cast it into Water and when 't is dry return it to the Pot after that let it stand upon the Fire until it be well digested and incorporate Then take it off and you have a very fine Enamel for Goldsmiths which make into Cakes and keep for use as before CHAP. CLII. Another blue Enamel THis Enamel is altogether as gay as the former only the Colour is not the same for which reason we prescribe it here which else would be unnecessary To make it take Principle Powder of Chap. 148. four pound Plates of Copper calcined as in Chap. 30. two Ounces prepared Zaffer as in Chap. 17. forty eight Grains mix and reduce 'em to an impalpable Powder put this into your white glazed Pot and having melted the Metals until they incorporate cast it into Water whence being dry return it to your Pot and let it remain therein until it purifie when the Colour is well mixt and even so as to satisfie you take it off and Cake it as usual CHAP. CLIII To make a pretty Green Enamel THE Gaiety of the Spring being conceived by this Colour renders it exceeding pleasant to the Eye 't is an Idea of Nature revived a Triumph over its Death and the Symbole of its Victory It may be very perfectly imitated if you put four Pound of the Principal Powder in your White glazed Pot and let it melt and purifie ten or twelve Hours in the Furnace afterwards cast it into Water dry it and put it again into the Pot and let it be fully refined then take Scales of Copper thrice calcined as in Chap. 34. two Ounces Scales of Iron at the Smith's Forge on the Anvil-Block forty eight Grains mix and reduce them to an impalpable Powder and throw it at three several times and Portions into your Pot of Principal Matter stirring the Metal very well that it may be equally tinged by the mixture of the Colours if it be to your Fancy and of a pleasant colour let it stand a while in the Fire until it be throughly incorporated thus take it off and you 'll have a delicate Green Enamel very proper for all sort of Goldsmiths Work CHAP. CLIV. Another Green Enamel THE colour of this following is something different from the former but no less excellent Take six Pound of Principal Powder two Ounces of Feretto of Spain prepared as in Chap. 23. forty eight Grains of Crocus Martis prepared with Vinegar according to direction in Chap. 25. make these into an impalpable Powder and mix 'em well and put them into your White glazed Pot let it remain in the Furnace to melt and refine the Matter cast it after this into Water and again into your Pot having dryed it before until it refine very well when 't is melted observe whether the colour be satisfactory and let it stand some hours longer to refine and when 't is taken off you 'll have a very fine Green Enamel for Goldsmiths If the colour be too faint add more tinging Powder proportionably enough to perfect it CHAP. CLV Another Green Enamel THERE is another way to make Green Enamel after this manner Put into a White glazed Earthen Pot four Pounds of Principal Powder and let it refine in the Furnace a little while cast the Metal afterwards into Water and being dryed again into the Pot then add at three equal Portions this Powder compounded of Scales of Copper thrice calcined two Ounces Crocus Martis prepared with Vinegar forty eight Grains these well mixt and powdered together stirring the Metal with the Iron Hook to incorporate it let it remain until it be well refined on the Fire and when 't is well and perfectly colour'd to satisfaction take it off and keep it for use CHAP. CLVI The Way to make Black Enamel THO this Colour be mournful and representing the Image of Death and Darkness yet 't is the Symbole of Constancy Prudence and Resolution the Life of Silence and Secresie and in short of all things which are lasting 'T is most necessary in this Art and can least of all be spared because it has a peculiar Beauty which sets it off among the more splendid and sparkling Pieces you may make a very fair Velvet-colour with 4 Pound of the Principal Powder in Chap. 148. two Ounces of prepared Zaffer and two Ounces of Manganese of Piedmont prepared as directed before mix and pulverize them altogether very well and put them into a glazed Earthen Pot in the Furnace for some Hours the Pot must be more than ordinary large because the Metal will rise very much When 't is purified cast it into Water and dry it and return it into the pot to be refined over again which will be in a little time then see whether the Colour be to your Fancy and accordingly as you find it put in more or less of the former Ingredients and having thus perfected it take it off and cake it this Enamel will be a good Velvet-black for Goldsmiths CHAP. CLVII Another Black Enamel THIS second sort is distinct from the other by the difference of the Quantities and the tinging Ingredients Take six pound of Principal Powder two Ounces of Zaffer prepared according to Chap. 17. two Ounces of Crocus Martis prepared with Vinegar as in Chap. 25. two Ounces of Feretto of Spain assigned in Chap. 23. pound and mix them very well together making an impalpable powder and put it into your glazed pot in the Furnace to melt and purifie when â—t is well digested cast it into Water dry it and put â—t again into the pot where let it remain a while to â—efine when 't
CLXXXIV To Enamel on Copper THO we have before touched upon the way of Enameling on Copper yet lest the Reader should too slightly apprehend it as not in order or a distinct Chapter therefore we are obliged to enter it here to avoid Imperfection The less use is made of this Metal in this Work the better for the Enamel never sticks to it perfectly but is easily scaled divided and broke off which never happens to Gold besides the Copper is so impure that its Fumes destroy the Beauty of the Enamel so much in the Furnace that they quite lose their Charm and Splendour by the Malignity of those Vapours Tho the Copper receives easily all thick or dark Enamels it can't be brought so well to endure the clear and limpid now if you would make use of these last you must first lay a lay of Green or Black and thereon a Leaf of Silver to receive the Enamel suitable for that Metal mentioned in the former Chapter so that in the main 't is much better to make use of Silver for the Transparent Enamels since the Copper is so apt to foul and the charge in either much the same In Enameling on Copper you must take a Plate of red Copper forged smooth and even applying your Enamel of what Colour you desire above and under the Plate as before then put this into the reverberatory Furnace and when it receives its polishing draw it out CHAP. CLXXXV To prepare the Enamel for the Metals BEFORE you apply your Enamel on the Metal you must give it this little Preparation which is the easiest and best approv'd on by the Goldsmith we will instance it in White Enamel because that is more generally made use of than any other Take White Enamel of the Sixth Book Chap. 149. pulverize it very fine pour on it a little Aqua fortis and let it afterwards purifie and refine in a small Glass Cucurbit Wash it afterwards often in fair-Fair-Water dry and keep it in a close Vessel for use To make use of it first pound a quantity thereof in a Stone Mortar wetting it with a little Water and so spread it on the Plates and into the Furnace with it as before Thus do with all your clear and transparent Enamels and you 'll have all your things in a readiness to go on with your Work as you think convenient CHAP. CLXXXVI To prepare the Colours for Painting on Enamel NOTHING can be more splendid than the Paint on Enamel and for this use must be chosen the liveliest and most Noble Colours and such as will easily vitrifie and melt All these assigned throughout the Sixth Book are as equally sufficient for this as for Enameling if you grind them first on your Marble with the best Oyl of Spike or mix'em together with the other Ingredients for that purpose as we shall give a fuller account in the next Chapter and of all the Matters to be used with calcined Enamels which serve to make up the Paint for Enamel mixing them well together as Painters do on their Pallets When you want some Colours of Enamel you may with Blue and Yellow make a good fair Green a Blue and Red mixt will produce a fine Violet a Red and White creates a Rose-colour a Black and White forms a gallant Gray and so of others Every Workman has his own Secret and peculiar way of Working but most of them make use of Rocaille for varnishing their Colours which has an ill effect because of too much Lead which is not perfectly purged off this lessens the Life and Splendour and it always continues as it were tarnished cloudy and dull But our Enamel being well refined will produce Work so fine and agreeable that 't is not possible to find any thing so illustrious and accomplisht and such as for their one private diversion would work herein and have not the conveniency of a Glass-house may easily be furnished by proceeding to make one according to the directions already given Notwithstanding the sufficiency of our Enamel for affording all sorts of Colours and Tinges in painting on Enamel we will yet prescribe other means for this no way inferiour thereto to answer the Advantage and Curiosity of those who Work at this Excellent Art CHAP. CLXXXVII To make White for Painting on Enamel THE best Workmen for the most part use the White Enamel ground which they can manage with address enough to heighten and illustrate their Lights which is necessary to be done to all their Colours as in Miniature But as it is difficult to preserve the Ground justly for improving those other Colours and ordering the Compositions all one as in Carnation you must take of our Crystal ground prepared with Tin and Lead purged and refined as in Chap. 158. or rather of our Milk-colour Enamel in Chap. 159. which is the fairest can be made cleanse it with Aqua fortis wash dry and grind it afterwards with Oyl of Spike Or you may prepare another White Ground without Lead thus Take very pure Tin calcined as in the Chapter aforesaid and let it vitrifie in a Glass-house Pot with eight times as much Crystal Frit as we have directed the Preparation in Chap. 6 pulverize these very fine and proceed precisely according to Prescription for Purification c. in Chap. 158. CHAP. CLXXXVIII To make a Black for painting on Enamel THO the Black Enamels prescribed in Chap. 156. and those succeeding it may serve to Paint on Enamel with this Colour without any other Preparation than grinding it with Oyl of Spike yet we will add here another Black no less excellent and fine arising from equal parts of Black-Enamel and Peregrine well calcined mix and reduce them to an impalpable Powder and then apply Oyl of Spike and you 'll have a Colour which will take with great facility on the Enamel CHAP. CLXXXIX A Yellow for Paint on Enamel WE will only make use of our Enamel prepared in Chap. 162. mixt and purified with Aqua fortis and after washed in clean Water as in Chap. 185. dry and grind this Powder with Oyl of Spike on your Marble and 't is fit for use With this Yellow and a Blue as we have already hinted may be made a fair Green but those Enamels described in Chap. 153. and the succeeding are so just and fine that 't is needless to use any other for that purpose this Preparation for the Yellow here laid down is sufficient also for it without any further trouble CHAP. CXC A Blue to paint on Enamel THE Enamels of this Colour assigned in Chap. 151. and 152. are the Noblest can be used in this Work purifie them with Aqua fortis and grind them with Oyl of Spike as before directed for the other Colours You may because it is vetrified make another fine enough Blue thus Take Painters Enamel prepared add to this put into a Glass-Bottle best rectified Aqua-Vitae enough to drown the Stuff by four Inches stop it well and set it in
cold take 'em out and paint them and put them in again to Bake a second time observing what directions we have already given concerning these Matters and when the Fire is gone out and the Furnace cold you have the Ware in perfection ready to take out for use You may make your China-Ware also of pure Earth let it not be red tho but White or Gray you may try the sufficiency of it after 't is prepared by Baking some beforehand and when it comes out of the Furnace sound and uncracked 't is good and fit for your purpose The Preparation consists in drying it well and reducing it to a very fine Powder then put it into fair Water wherein has been already dissolved a little Gum-Arabick but most of those that make it employ only Water without Gum after this you may make your Dishes set 'em to dry Polish Dry Glaze Bake Paint and finish them as before all which those who work at them know better than I can express it CHAP. CXCVI. How to Enamel the China FOR this take of our Milk-white Enamel Chap. 149. grind it very fine as Painters do their Colours put the Powder afterwards into a Glass-Cucurbit pouring some Aqua-fortis thereon let it digest a little to cleanse off its Impurities and become fine and transparent then pour off the Aqua-fortis washing the Powder in Water over and over again grind it afterwards with a little Gum-Water on your Marble and so glaze the Vessels with it within and without dry them in the Air and Bake them as before in the Furnace Or you may heat the Vessels to a Redness in the Furnace and melt the Enamel when it is in a perfect Fusion dip the smaller Vessels therein and pour of it on the larger for they will take no more on them than will serve them set them by turns in the Furnace stopping it very well to avoid the Air Bake cool your Furnace and finish them as before then take out the Dishes Paint and Bake them over again observing all our former Directions CHAP. CXCVII To paint the China THIS is done as the Enamel discoursed of in Chap. 192. but much more easily the Figures being only just dasht over in comparison to them however you must grind your Colours with Oyl of Spike on the Marble as we have said already and so paint on the Dishes Story Landscape or any other Fancy but you must never expect to have them thereon so compleat and handsome as those painted on the enamel'd Plates because the former are finisht standing and so enlarge in length or breadth whereas the other are done on flats and lying besides the Dishes are for the most part round and not so easily painted for if they cou'd be as neatly done as the Enamel they would be excessive dear CHAP. CXCVIII. To Gild China YOU must first grind some Shade-Earth on a Marble with Linseed-Oyl prepared as shall be shewn in Chap. 200. with which trace out your Figures which must be two whole Days a drying after this apply very thin Leaf-Gold and with a sharp Graver shape the Figures and then put the Dishes in an Oven as soon as the Batch of Bread is drawn out let the Heat be no greater than one's Hand may endure else the Vessels would crack leave them in it for two or three Hours or more if the Oven be not too hot you may else make use of our own Furnace by giving it the same moderate degree of heat as experienced Persons are well acquainted with CHAP. CXCIX Another Way THIS is much more handsome and lively besides that it cannot be effaced you may with it gild Vessels entirely or border or give them any lustre you think convenient for Ornament and it will look as well as fine Gold You must first wet over the Places you would gild with Gum-Water lightly then apply your Leaves and so let them dry this is enough for plain Gilding but if you would have it carved or figured you must make use of a Steel-Graver and afterwards bath the Gold with Water wherein Borax has been dissolved powdering it in the mean time with Crystaline Powder or Milk-white Enamel reduced to a very fine Powder then set the Dish on a Reverberatory Fire to melt and be polisht thus you 'll have as fine a piece of Ware as can be CHAP. CC. The Way to prepare Linseed-Oyl for Gilding of China IT is but just we should discharge our Promise of prescribing this Preparation Take a Paris Pint of Linseed-Oyl in an Earthen Pot which will hold about two Paris Pints put this on a Fire and when it begins to boil throw in twice the bigness of a small Egg of Gum-Arabick pulverized stir all well until it be dissolved then put in an Onion of an ordinary size and the like weight of Garlick cut small when the Oyl boils well and swells up by the force of the good Fire which must be underneath pour it out into another such Pot and so in and out of each Pot to the other until all be very well mixed then put it on the Fire again adding half an Egg-shell of Powder of Mastick and stir it very well as soon as it boils again it will foam and have a great Froth which must be scummed off and then take it off the Fire and brew the Ingredients together with the two Pots as before continue to do thus with it or stir it on the Fire until it rise no more This done take a very dry Toast of White Bead to take off the Grease the Oyl still boiling and when you put in the Toast you must at the same time put in some Pin-Dust stir all well together and let it stand for twenty four Hours afterwards strain the Oyl through a Linen-cloth in which is some very fine Sand the better to filtrate it and take off the Grease and so you 'll have it pure and clear which Bottle up for your Use. Or you may both ways being good enough first mix with the Oyl two Ounces of Gold Litharge pulverized adding the Gum-Arabick as soon as it begins to boil and to purifie it let it filter through a Linen-cloth full of Sand while it 's hot into a Glass-Bottle wherein is already half an Ounce of fine Camphire Powder shaking the Bottle very well until the Oyl be cold afterwards lay it in the Sun for fifteen Days and it will be entirely purged and the longer 't is kept will be the better This is all we have to say at present about China-Ware until we have further enlarged our Knowledge in the Matter which we have not much study'd because we did not intend to treat of it however we afterwards thought it incumbent on us so to discourse thereof as an Art dependant on ours and we hope the Reader will take this in good part until we may give him something more at large OF THE ART OF GLASS BOOK IX Shewing the Method of Drawing all sorts of Story
make the Counterfeits finer and harder and we are persuaded that the Preparation of those we shall assign will appear so easie and yet produce such fine Imitations as shall be very satisfactory CHAP. CCXLIII To imitate fine Oriental Pearl THE Difference between those which are at present wore by the Ladies and such as we shall prescribe as to the Goodness Hardness and Fineness of the Stuff we have already endeavoured to clear But before we proceed any further take these remaining Parts of the Furnace in Chap. 52. The Letter O is the Balneum Mariae P The Vessel for containing the Sand or Ash-Fire Q The Eyes or Holes of the Furnace R Their Cover which when they are set on draw in the Air and increase the Heat for Fusion the others are Crucibles We did also intend to give the Description of another Furnace at the close of the Fifth Book as well for the Service of the Matters in that as the Sixth Book You may however take it along with you here A is the Ash-hole you may add to it an Hovel for sucking in the Air which must be luted to it very firmly B is the Inside where the Ashes fall into this ought to be lofty for drawing the Air. C is the Grate and must be of very strong Iron Bars D is the Opening through which the Crucibles and Fuel is put in this ought to be of well tempered Iron and luted within side with very good Lute at least three Inches thick E is the Chamber where the Works are Baked F is the Coverlid of the Furnace which is to be Vaulted firm and made of the same Earth G is the Chimney over which you may set several Iron Plates one above t'other for drawing the Air. H is the Hovel or shelving place of Iron for the Ash-Hole I are Funnels for the Chimney Plates and the Hovel K is a Crucible If this Furnace be made five or six Inches thick it will bear all degrees of heat and serve very conveniently for Private Persons by making it of a suitable largeness instead of the Glass-house Furnace When you make your Fire of Wood there will be no occasion for the Hovel of the Ash-hole But to go on with our Pearl You must take two Pound of thrice distilled Vinegar one Pound of Venice Turpentine mix them together and so put the Mass into a Glass Cucurbit fit to it the Head and Receiver luting the Joynts let them dry and so set it on a Sand-Furnace to distil the Vinegar keep a gentle heat lest the Stuff swell up Afterwards put the Vinegar into another Glass-Cucurbit wherein you must hang a quantity at discretion of Seed Pearl strung on a Thread of Silver or Gold done about with a piece of very thin Silk these must hang in the middle of the Body so as not to touch the Vinegar This done head your Cucurbit with a Blind Head and lute it very well set it in a moderate B. Mariae well closed there to remain for a Fortnight the heat of the B. will elevate the Fumes of your Vinegar and they 'll continually circulate about the Pearl and so soften and bring them to the Consistence of a Paste which being once performed take 'em off and mould them up in what Form you please round long or Peaalike and as big as you think fit do this with Moulds of fine Plate gilded within you must not touch the Paste at all with your Hands but altogether Work it with a Plate Spatula which will fill the Moulds then bore them through with a Porkers Bristle or Gold-Wire and so let them dry a little then Thread them again with Gold-Wire and set them in a closed Glass which lay in the Sun to dry them to a hardness set them afterwards in a Glass Matrass in a Stream of Running Water leaving it there for twenty Days and about that time they assume their first solidity and hardness To give them Transparency and Splendour you must prepare some Mercury-Water after the Rate we shall prescribe in the next Chapter When you have taken them out of the last Matrass wherein they were for twenty Days as the Running Water hang them in a Vessel of Glass where the Mercury-Water is and so they 'll moisten swell and assume their Oriental Beauty This done shift them out of this Water into a Matrass closed Hermetically for fear that any Water should be admitted into it and so down with it into a Well leaving it there for eight whole Days then draw it up open the Matrass and you 'll have them as fine and good as any Oriental Pearls whatsoever This Method is a little long but withal 't is effectual and sure however 't is not thus the Philosophers or Virtuosi Work for they have another Way much shorter having regard only to one Spirit nor have I Experience enough in their Matters to make a Discovery thereof and if I had it cou'd not be done without disobliging them irreconcilably therefore take what I have delivered on this Important Subject in good part and be assured that if you were acquainted with that Secret which they so closely reserve there could be nothing done more by it as to Goodness and Beauty in this Work than by our prescribed Method which is very estimable and more precious than you 'll imagine whereof I can assign you no better or other Argument than Experience to convince you CHAP. CCXLIV To make Mercury-Water for giving Transparency and Splendour to the Pearls HAVING promised this Secret of making Mercury-Water to compleat the Transparency and Natural Lustre of your Pearls which is a Matter so highly valuable that a very considerable Sum has been offered in our Presence for the Discovery thereof to a certain Person yet we are free that Experience should have its due course of informing the Ignorant and shall for our part generously acquit our Engagement You must take Plate Tin of Cornwall calcined let the Calx be very fine and pure amalgamate one Ounce thereof with two Ounces of prepared Mercury well purified wash the Amalgama with Water until the Water remains clear and insipid then drying the Amalgama throughly put it into a Matrass over a Furnace keeping such a degree of heat as is required for Sublimation when the Matter is well Sublimated take off the Matrass and let it cool and so take out the Sublimate to which add one Ounce of Venice Sublimate and grind them well together on a Marble so put them into another Matrass close it very well and set it topsy-turvy in a Pail of Water and the whole Mass will resolve its self in a little time all into Mercury-Water This done filter it into a Glass Receiver and set it on a gentle Ash-Fire to coagulate and it will be brought to a Crystalline Mass take it 〈◊〉 and with a Glass Pestle and Mortar pound it very well to a very fine Powder which searce through a fine Searce and put it into
altering colour â—nd comes from Persia and the greater I dies it is â—â—so supposed it may be had from Africk as well as â—sia but questionless there does not come that â—enty thence as from the other places There is also found in Germany and Hungary a kind of Lapis-Lazuli but not fixt tho as hard as the former they call it Lesurstein and its colour Asurbleau but its colour changes in some time and becomes Greenish 't is used however by Painters The sixt Lapis-Lazuli has great Vertues in Physick and much more excellent ones than are ascribed to it by most Persons who indeed are ignorant of them and so are many of the Learned too but we 'll pass these over here and reserve them for another time in some other place This hint however may serve to advise the Curious to pry into the Matter and possibly discover its further Excellencies and Vertue 'T is called Vltra-marine because brought to us from beyond Sea or rather because the first thaâ— ever came into France was out of the Kingdom oâ— Cyprus a Maritime Country for so are those Countries called which border on the Sea-Coasts Before you proceed to Extract your Vltra-marine take some account of the Manner to know whetheâ— the Stone be good for unless it is singularly so you'â—â— lose your labour Put pieces thereof on live Coalâ— and blow them continually for an Hour if they râ—tain their first hardness and colour afterwards yoâ— may conclude them good but if they crumble bâ—tween your Fingers they are naught It may 〈◊〉 tried otherwise in an Iron-Ladle put into a Furnaâ—â— with some of the Stone to heat and so quench itâ— strong Vinegar if the Colour remains still unchaâ—â—ged and splendid you may assure your self ' â— good When you have made this Tryal calcine 〈◊〉 which to do the easier break the stone to piecâ— as small Hazel-Nuts wash them afterwards in waâ—â— Water and set them in a Crucible on a Winâ— Furnace or into an Iron-Ladle to re-unite thâ— cast them into a glazed Earthen Vessel of distilled Vinegar to quench them in do thus seven times to prepare them by Calcination for Powdering and to prevent their sticking to the Mortar Thus calcined dry 'em well and so powder them in a Stone-Mortar well cover'd and accordingly searce it with the same caution as Perfumers do their most delicate and finest Powders lest the best should go off and dispel its self in the Air And thus preserve this precious Powder with all imaginable care CHAP. CCXXVIII To make a Liquid for Moistning and Grinding the Powder withal c. T IS impossible to give all the Preparations for the Lapis-Lazuli in one Chapter they are too â—edious for that purpose and can't be so confined without Confusion this we intimate to justifie our â—ivision thereof into several Chapters For moistening and grinding your aforesaid Powâ—er of the Stone take a Pound and half of running â—ater and put this into a new Earthen-Pot add 〈◊〉 it an Egg-shell full of raw Honey boil it until it â—ave no more Scum take the Pot off and keep this â—ydromel or Liquid for use in Bottles as we shall â—ve occasion for hereafter This done take four Scruples of the best Gumâ—ragon grind it on your Marble with some of the â—ydromel and then put it into a Glass add thereto 〈◊〉 much Hydromel as you find convenient to bring it 〈◊〉 a Violet-colour so cover it and preserve it for 〈◊〉 This Liquid is good for your Powder of Lapis-Lazuli if the Colour be too Violet add the less hereof if otherwise the more as your Judgment or Experience shall direct Put half a Pound of Powder at a time into a small Porphyry or Marble Vessel the larger the Mortar the worse for you 'll lose more and be longer a grinding pour leisurely by little and little thereon some of your Violet Liquid grind these together for a full Hour still wetting it you may use three or four Ounces of Liquid to the half Pound of Powder and you 'll have it very good you must take care of grinding it too long for then it will lose its colour When 't is thus ground dry it on a Marble or Flat-stone where the Sun does not come at all cover it well to preserve it from Dust when 't is dry 't will Powder easily between your Fingers if it be rightly done if so let it alone on the Marble but if it be clammy or stick take it off for it has still some unctuosity of the Honey in it which must be cleansed away by a Cement Your Lapis being thus dry wash it well before you put it to the Cement for which you must use a glazed Earthen Bason round above like a Barber 's and well glazed within put your Lapis therein and pour thereon some of the mild Lixivium in the next Chapter as much as will rise above the Surface four Inches wash the Lapis very well with your Hands and then let it settle and 't will precipitate The Liquid being clear'd again decant it into a large Copper or Earthen-Vessel then let the Lapis dry in a Shade in the same Vessel 't was washed in and spread it afterwards on the flat Marble or Porphyry and there let it lie until quite dry Thus 't is prepared for mixing with the Cement of which we will give the Preparation in Chap. 231. and those next succeeding it CHAP. CCXXIX To prepare a mild and a strong Lixivium for the Lapis-Lazuli WE have promised to give this Preparation here and the manner of making hereof which we will shew together with another stronger to wash the Lapis withal when 't is mixt with the Cement as hereafter directed To make these Lixiviums take ten handfuls of Vine-stalk-Ashes well searced put this into a large Vessel that will hold thirty Pound of Water with a Faucet at bottom press the Ashes very well and put to them twenty Pound of warm Water when 't is sunk to the bottom open the Faucet so as it may only drop into an Earthen-Vessel when 't is all come out stop the hole and strain this Lixivium through a Felt Strainer and so keep it in a Glass or glazed Pot well covered This is the strong Lixivium Again pour in on the same Ashes the like quantity of warm Water and do as before so you 'll have an indifferent strong Lixivium which keep as the former Do this a third time and you 'll have the mild Lixivium mentioned in the preceding Chapter These three are very useful both for moistening and to draw the Powder of Lapis-Lazuli from the Cement wherewith it must be mixed as we shall shew in the succeeding Chapters which Separation being sometimes hard to perform we are obliged to have recourse to these Varieties of Lixiviums stronger or weaker as we find them convenient for the purpose You may yet make another Lixivium to take away the greasiness of the Cement thus Boil Calx of Tartar as much