then cast the melted Matter into Water and carefully take the remaining Lead from it then put the Matter after it is dried into the same Pot again and seven or eight Hours after it will be again melted Reiterate this process of casting the melted Matter into the Water and separating the Lead that sticks to the Pot as before then this Glass will be cleansed and purified from all the foulness and unctuosity the Calx and Powder would leave in it and be very resplendent You must put it again in the Pot where it will melt and purifie in a little time When it is melted put to it six Ounces of Scales of Copper thrice calcin'd in Powder as in Chap. 34 with twenty four Grains of Crocus Martis made with Vinegar as in Chap. 25 also in Powder and mix them together This Powder must be cast in at six times always mixing well the Glass and taking at each time the interval of saying the Creed Let it rest one Hour and then stir it again and see if the Colour pleases you If it be as you would have it let it stand eight Hours that the whole may well incorporate Then stir it well and let it rest a little that the Faeces may precipitate to the bottom of the Pot then it may be wrought and the colour can scarce be distinguished from true Emerald CHAP. LXXXV Another Way of making Glass of Lead of a fairer Emerald than the former FOR this colour which will be far fairer than the precedent you must change one Ingredient of the other Chapter and instead of Scales of Copper thrice calcined put the same Dose of Caput Mortuum of Vitriolum Veneris prepared as at the end of the seventh Book then proceed exactly as in the former Chapter and you 'll have a very exquisite Green CHAP. LXXXVI To make a Glass of Lead of the Colour of Topaz TOPAZ is a lighter colour than Emerald and casts Rays the colour of Gold wherefore the colour can't be well imitated except this way Take fifteen Pound of Crystal Fritt in Powder and ten Pound of Calx of Lead also in Powder mix them well and searce them very fine then put them in a Pot heated at the Furnace where leave it eight Hours that it may be melted Then cast the Matter into Water and take out of the Pot all the Lead if there be any that remains Put the Matter again into the Pot to be melted and cast it by intervals into the Water Add to that Matter half its weight of Glass tinged of a Golden colour as in Chap. 62. incorporate and purifie well the whole together and you 'll have a Glass of the true colour of Oriental Topaz fit to be wrought CHAP. LXXXVII To make a Sky or Sea-Green in Glass of Lead WE have shewn several Ways in the first Book to tinge Glass of a Sky-colour or Sea-Green which would be needless to repeat here That we now shew which is made in Glass of Lead has no less Beauty Take sixteen Pound of Crystal Fritt ten Pound of Calx of Lead mix them together and put them gently into a Pot heated in the Furnace where they will be in good fusion in twelve Hours time Then cast that Matter into Water as I have shewn before and take the remaining Lead out of the Pot and put yout Matter in again to melt Eight Hours after cast it again into Water taking the remaining Lead out of the Pot then it will be well purified Put it in again to melt in the same Pot and when it is in good fusion cast in at four different times four Ounces of small Copper Leaves prepared as in Chap. 30 with a quarter of an Ounce of Zaffer prepared as in Chap. 17. After having mixed these Powders well together and the Matter at each casting of it in Two Hours after stir the Matter well in the Pot with an Iron Rod and make an Essay to see if the Colour be full enough then let it stand ten Hours to purifie and to give the Colour time to incorporate with the Glass Then it may be wrought to the Uses you design it stirring it well and letting it rest a little to settle before you Work it CHAP. LXXXVIII To make a Granat Colour in Glass of Lead THE Vivacity of this Colour appears no less in Glass of Lead than in Crystal if it be made carefully To make it take twenty Pound of Crystal Frit with sixteen Pound of Calx of Lead and after having added three Ounces of Manganese of Piedmont to it and half an Ounce of Zaffer both prepared as we have shewn put the whole into a Pot heated in the Furnace Twelve Hours after cast that melted Matter into the Water and take out the Lead that remains behind in the Pot. Then put the Matter again in the same Pot where it will be purified ten Hours after You must mix it well with the Iron and let the Faeces precipitate then see if the Colour pleases you then work it to what Uses you please and you 'll have a Glass of Lead of a fine Granat-colour CHAP. LXXXIX To make a Sapphire-Colour in Glass of Lead THE Beauty of Sapphire is no less imitable in Glass of Lead than the Colours of other Precious Stones and its clear Blue Transparent Colour will have as much Splendour To make it mix together fifteen Pound of Crystal Frit in Powder and twelve Pound of Calx of Lead then searce it pounding again what does not pass through the Sieve Add to that two Ounces of prepared Zaffer twenty four Grains of Manganese of Piedmont also well prepared mix the whole well together put it in a Pot heated in the Furnace and let it stand to melt during the space of twelve Hours Then cast the vitrified Matter into Water and carefully take away the Lead that remains in the Pot then put the Matter again into the same Pot and let it stand to be re-purified Twelve Hours Then see if the Colour pleases you and you may Work it You 'll have a Colour like the true Oriental Sapphire CHAP. XC The Way to make a Golden-colour in Glass of Lead THIS Colour is as fine in Glass of Lead as in Crystal It takes that Colour both from the Lead and the Ingredients mixed with it Take sixteen Pound of good Crystal Fritt in Powder to which add the same weight of Calx of Lead also in Powder and well searced then add six Ounces of Copper Scales thrice calcin'd as in Chap. 34 and forty eight Grains of Crocus Martis made with Vinegar as in Chap. 25 the whole mixed well together put it in a Pot heated in the Furnace Twelve Hours after cast the Glass in Water and take the remaining Lead out of the Pot and then put the Matter again into the same Pot to be well purified during Twelve other Hours After that stir it well and see if the Colour pleases you if it chance to be greenish add
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
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
finely and you 'll have a blackish Powder reiterate this Calcination thrice with the like proportion of Sulphur as before and the third time let it remain until the Copper become Red and Yellow then take it off and pound it in a Brass-Mortar and searce it finely pounding what remains over again untill all be searced and you 'll have a very well coloured Calx of Copper most effectual and proper for extracting this fair Vitriol of Copper whereof we will give the Preparation in the next Chapter CHAP. CLXXVII To make Vitriol of Venus without Corrosive THOSE who make Vitriol of Venus have not all one and the same method most of them dissolve the Copper in distilled Vinegar Spirit of Nitre or some other Corrosive for our part Water alone is the Dissolvent or rather Agent to extract the Tincture as we shall shew Take Glass Cucurbits as many as will serve your turn to contain all your Calx of Copper and put six Pound of fair running Water to a Pound of Calx into each Cucurbite place them on a moderate Sand-Furnace for four Hours to evaporate until one third of the Water go off let the Furnace cool and afterwards decant the remainder of the Water into other Glass Vessels and dry the Sediment in a Crucible on the Furnace let this Water settle for two Days and then you 'll find in the bottom of the Vessel small Grains of Copper of a blackish Colour you must filtrate or strain the Water and preserve all the Grains together to add to the former Sediment having first well dried them and keep the Water Take all these Sediments and to each Pound add six Ounces of Powder of Sulphur as before putting it into your flat-bottom'd Earthen Pot to calcine as in the former Chapter take care to stir it well as long as the Sulphur fumes and it stands over the Fire else it will stick to the Pot and not calcine take it off and powder it immediately in a Brass-Mortar searce the Powder and you 'll find it black mix this again with Sulphur proportionably six Ounces to a Pound and put it to calcine anew stirring it very well as before directed let it stand a while on the Fire to alter the Matter from a Russet to a Yellow then take it off and pound it instantly in a Brass-Mortar before it cool and then searce it all finely over Put a Pound of this Powder with six Pound of Water into each Cucurbit and these Cucurbits on a slow Sand-Furnace where let it stand four Hours to the consumption of one third of your Water which decant into other Vessels let it settle two Days then filtrate these Waters and pour them among the former gathering the Sediments that remain in the bottom and mix them with these in the Cucurbits Dry the remaining Sediments as before and repeat the calcination anew with the same proportionable quantity of Sulphur then extract the Tincture filtrate and mix the filtrated and tinged Waters with the former exactly observing the Order already taught and continue to do thus six times so will the Copper remaining in the bottom of your Vessels become as it were a soft impure Earth deprived of all its blueness which throw away as fit for nothing for all the Vertue of the Copper is contained in the Waters put these all carefully together to extract from them this precious Vitriol of Venus as hereafter directed CHAP. CLXXVIII The Way to extract a fair Vitriol of Venus from our our Coloured Waters OF all the Preparations to be taught for this rare Work this is the most easie and vulgar there being no more required than to evaporate and crystalize the Matter but as we are to leave nothing in the Dark we resolve to explain every circumstance thereof for the benefit of our Readers and such as wou'd know it We have said you must mix together all your coloured Waters now we will tell you what must be done with them you must have a low Glass-Cucurbit that will hold two Paris Pints or more which put into a moderate Ash or Sand-Furnace put therein three Pound of the Tincture to evaporate gently and put the rest into Glass-Bottles set round your Furnace so that they may be heated and ready to fill the Cucurbit as fast as the Exhalation consumes its Tincture which may be done with a Glass Ladle or the Bottles themselves lest the Waters being cold might cause the Cucurbit to burst and so all would be lost Reduce ten Pound of this by evaporation to two and half or three at most which will be a very high Tincture pour it into two or three glazed Earthen Vessels and place them all Night in a moist cold place and you 'll find the Vitriol at bottom and sticking to the sides of the Vessels like little long Icicles which will have the true colour of Oriental Emeralds pour all the remaining Waters into the Cucurbit and dry the Vitriol that it may not stick preserving it in a close Vessel Place your Cucurbit again on the Furnace to evaporate anew at the consumption of half the Waters and crystalize the strong Tincture as before Thus whilst any Water remains evaporate and crystalize until all be consumed to the end that none of this may be lost whose Vertues are infinitely useful not only in the Art of Glass and the Metallick but in Physick too for the curing of many Chronick Distempers which we pass over in silence as foreign to our Subject and continue to prescribe the rest of this rare Work to conceal nothing from the Curious but give them entire satisfaction CHAP. CLXXIX The Method of drawing the Spirit of the Vitriol of Venus which has a wonderful Blue and how to separate the Caput Mortuum for tinging of Glass THE Caput Mortuum of Vitriol of Venus which we prescribe to tinge Glass of a Sea-green and whereof we discoursed in Chap. 45. has ingaged us to give this most excellent and hidden Secret of Nature which the Philosophers have never explained but by ambiguous Riddles and veiled Parables to conceal the Knowledge thereof from the Vulgar We confess 't is not without some regret we condescend to it in this Ungrateful Age wherein very few deserve to be instructed or truly admire and so perfectly love the Mysteries of Sage Philosophy as to imitate the Vertue and Charity of its devoted Professors 't is however in consideration and for the sake of this small number of Votaries that we have explained and delivered many excellent things in this Book which we might but out of regard to such have laid aside as foreign to the Art of Glass but our desire to please them has promoted the opening these intricate Paths and leaving them in a condition to be enlarged by our small Discovery under the serious Speculations and smart issues of their own Wit Now to finish our precious Essay you must take a Pound of this Vitriol into a Glass Retort strongly
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-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
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
of this Chapter But before you put the Cucurbite or Body on you must lay Sand four Inches deep and thick Iron-Bars to bear the weight then fit a head and lute the joints well with a lute made of fine Flour and Lime powdered and mixt with whites of Eggs then put on the Joints roulers of fineLinen then lute it again and then put on Linen roulers again three or four times each time letting it dry before you put on the next rouler And then this will bear the Violence of the Fire and the penetrating force of the Spirits of the Aqua-Fortis After that you must put this Body of the Alembick in a deep Earthen-Pan made of the same Earth as Crucibles filled with Sand so that it be buried in the Sand to within two Inches of the joints then set it in a Wind Furnace fit and capable to maintain an equal Fire We here give you the figure of it this Furnace may serve for several uses as we will hereafter Explain Your Alembic being thus fitted you must put to the head a Glass Receiver very capacious the better to resist the force of the Spirits otherwise all may break Lute it well to the Mouth of the Alembic as you did the joints before and with the same precaution of letting it dry each time in the Air taking care not to kindle the Fire in the Furnace till the lute of all the joints be dry for that is very necessary The whole being thus in right order kindle a small coal Fire for the space of three hours during which time the windy humour that is in the Materials and which would break them will be drawn of into the Receiver So continue a moderate Fire for six hours then encrease it little by little putting on at last billets of dry Oaken-Wood to the coals for six hours more till the Alembic or head begin to be tinged yellow and the Spirits begin to rise Observe to continue this Regimen or degree of Fire till the head and receiver begin to grow red then augment it till the Alembic become of a deep red continue this degree of the Fire as long as that Colour lasts till all the Spirits are drawn of and the Head and Receiver begin by degrees to grow clear and reassume their common Colour in cooling which sometimes will be two days first Notwithstanding you must continue the Fire some time afterward then let the Furnace cool of its self taking care that whilst the Alembic and Receiver are still red and the Fire in force that you admit no cool Air into the place and that nothing cold touch them which would break them When all is cold cover the head and receiver with wet Linen cloaths that the Spirits which are about the Head and Receiver may the better sink to the bottom of the Receiver and let it stand so twelve hours Then bath the joints and the luting with warm Water that you may the better loosen the bandage and so take off the head from the Receiver otherwise it would be difficult to do it then you may break the body which will be good for nothing and take out the Faeces which reduce again into Powder add to each Pound of that Powder four Ounces of refin'd Nitre and put the whole into a Cucurbit or Body whereon pour all the Aqua-Fortis before distill'd then put on the Head and Receiver and lute it and dry it well as you did before having put it on the same Sand Furnace during the first four hours make a gentle Fire which afterwards may be encreased little by little till the Head and Receiver begin to grow clear and all the Spirit is drawn over After which let all cool covering the Head and Receiver with wet Cloaths then let it stand twelve hours as before Then unlute the joints again with warm Water and put the Aqua-Fortis into Glass Vessels well stopt that the Spirits may not exhale and keep it so for uses hereafter to be mentioned This is the Aqua-Fortis which is commonly called Water of separation and the best that can be made There are some that instead of Roch-allom take the best Roman Vitriol or the like You may know whether the Vitriol be proper for this use or not by rubbing it on a piece of well polished Iron if it be it will leave a Copper Colour on it Then this Vitriol the purification whereof we will give in the next Chapter will make an Aqua-Fortis far more penetrating than the former Now we come to shew how to make the lute which we promised which tho' common is very usefull in this Case You must take one Part of Lome a fat Earth which is found in Rivers 3 Parts of Sand of common Wood Ashes well sifted and of the Shearings of woollen Cloath each one half mix the whole well together and putting water to them make a soft past to which add one third part of common Salt Powder'd and work them all well together then use them in luting your vessels Here follows the description of a usefull Furnace which may serve instead of several others the Number whereof would be troublesome it being proper for several Operations To render this Furnace more Intelligible to those who are not acquainted with it we have here given a Cut of it whereon we have marked A. B. C. the places made use of with their Names that they may by the same Letters here set down again be the better understood A. is the Ash-hole into which all the Ashes on the Iron Grates which go cross it fall down and which are taken out with a little Iron shovel or a sort of Iron Peel B. is the space or whole room of the Ash-hole C. Is the Fire-Grate which ought to be of square Iron Bars lying with the Edges upwards that the Ashes may not lie thereon which they would do if the flats were upwards D. is the place where the Fire is made of Coal or Wood. E. is the Door of it F. is several holes wherein are put Iron Bars which go cross from one side to the other to keep up the vessels wherein the matters to be worked are contained stopping up the other holes that are not used with Lute G. is the Work hole or little Laboratory of the Furnace H. is a semicircular opening with the like hole in the Cover to put the neck of the Retort through when you distil in a Reverberatory or otherwise I. is the inner part of the Work-hole of the Furnace K. is two Registers L. is the Cover of the Furnace for 8 Registers M. is a round hole which serves for a Register to Reverberate and to pass the neck of the Matrasses through which are in Balneo whether in digestion or otherwise N. is the Registers which are to be opened or shut to augment or diminish the heat of the Fire of the Reverberatory 2. For a Reverberatory Furnace if you cover the work-hole with its cover or door and
the Furnace This Glass being well purify'd may be wrought and it will give a Black like Velvet fit for many things CHAP. LXVIII Another Way of giving Glass a much fairer Velvet Black ANOTHER Way of giving a Black Velvet Colour to Glass much fairer than the former is to take twenty Pound of Crystal Fritt in Powder with four Pound of Calx of Lead and Tin of each an equal quantity mix the whole well together and put them into a Pot heated in the Furnace and when this Glass is well melted and purified you must cast in three Ounces of Steel calcined and powder'd and three Ounces of Scales of Iron from the Smiths Forge powder'd and mixed with the Steel mix the whole well as you cast them in that the Glass may not rise and the better to incorporate them Then let all rest twelve Hours during which time stir them sometimes then you may work it And you will have a Velvet Black Colour very fair wherewith you may work as you please CHAP. LXIX Another Velvet Black fairer than the precedent THIS last Way of making a Black surpasses in Beauty the preceding Take one hundred Pound of Rochetta Fritt two Pound of Tartar six Ounces of Manganese prepared reduce all to Powder mix them together put them into a Pot which you must put into the Furnace leisurely that the Matter don't rise too much Then let it melt and purifie during the space of four Days or thereabouts mix the Materials well cast them into Water the better to purifie and then melt them again and you 'll have a Black of an extraordinary Beauty which may be wrought as you please CHAP. LXX To make a Milk White Colour in Glass THE Milk White to be done well requires no less exactness than the Blue To succeed in it take twelve Pound of good Crystal Fritt two Pound of Calx of Lead and Tin one of each and half an Ounce of Manganese of Piedmont prepared as we have shewn The whole pulverized and mixed together and put them into a Pot heated in the Furnace where let them stand twelve Hours then mix the whole well and make an Essay of it If the Colour don't please you add to it some Calx of the two Metals before mentioned which incorporate with the Glass well mixing it Eight Hours after the Glass will be fit to work and white as Milk CHAP. LXXI Another Fairer and Whiter Colour THIS second way of giving Milk White to Glass is much better than the precedent and the Working more exquisite We only make use of the Calx of Tin without mixing any Lead and we put sixty Pound of that Calx to four hundred Pound of pure Crystal Fritt with two Pounds and an half of Manganese of Piedmont prepared the whole being well pulverized and mixed must be put in a Pot heated in the Furnace there to purifie during eight Days Then cast the Matter into the Water the better to purifie it then put it to melt again in the same Pot after having dry'd it If it be transparent you must add to it fifteen Pound of the same Calx of Tin as before mixing it well with the melted Metal to make it the better incorporate twenty four Hours afterward it will be finer and whiter than Snow and ready to work CHAP. LXXII The Way to give Glass the Colour of Lapis Lazuli LAPIS LAZVLI which is a fine Blue and full of Veins of Gold will not be easie to imitate without a great deal of Care and Industry in its Preparation To make this fine Colour we must make use of the same Matter of the fine White in the preceding Chapter and when it is in fusion in the Pot you must add to it little by little the Blue Enamel in Powder that the Painters make use of mixing well the whole together each time and that as often as there is occasion to make this Colour Then try if it please you and when it is to your Mind let it stand two full Hours then stir it well and make a second Essay of it If the Colour be perfect let it stand ten Hours and then mix it again If it keeps in the same State without changing colour you may employ it in making what Vessels you please which will be of the true colour of Lapis Lazuli If in working this Glass it chances to rise you may cast in a little Leaf-Gold which will make the Glass approach yet nearer to Lapis Lazuli and which will in a moment stop the rising of the Metal as Sugar will do in boiling Oyl CHAP. LXXIII The Way to make a Marble-Colour in Glass WHITE Marble being very simple it is easie to imitate the way of doing it only requires Crystal Fritt which must be worked as soon as it is melted before it be purified for so it will give a very fair Marble Colour CHAP. LXXIV The Way of making a Peach-Colour in Glass TO make this Colour which is a very agreeable one take Glass prepared and tinged of a Milk White whereof we have spoken in the precedent Chapters and when it is in good fusion put in some Manganese of Piedmont prepared as in Chap. 18 and that little by little stirring the Matter well at each time till the Colour become as fine and perfect as you desire it but you must work the Glass in time otherwise the Colour will be lost and you will have a very fair Peach Colour CHAP. LXXV The Way of tinging Glass of a deep Red. OPAQUE Colours have a Body but the Transparent ones none wherefore this deep Red must be mixed with Matters that give it one as we will shew You must take twenty Pound of Crystal Fritt one Pound of pieces of White Glass and two Pounds of calcined Tin mix the whole well together and put it in a Pot in a Furnace that it may purifie That being well melted cast in an Ounce of calcin'd Steel well pounded and an Ounce of Skales of Iron from the Anvil well pulveriz'd and mixed together stirring well the Glass with an Iron Stirrer when you are putting in the Powder to hinder it from rising too much You must take care not to put in too much of the Powder for that would make the Glass black whereas it ought to be clear shining and of an obscure yellow Colour Then take about six Drachms of calcined Copper prepared as in Chap. 32 cast it upon the melted Glass often mixing it to three or four times and the Glass will be as red as Blood If the Workman like the Colour he must presently work it for fear it should become black and the Colour be lost wherein you must take great care If notwithstanding this the Colour comes to be lost you must add more Scales of Iron in Powder and it will return This Work seems somewhat wearisom but you must not think of that but prepare and finish the business carefully otherwise you will not succeed CHAP. LXXVI The Way of
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
is for your purpose take it off and cake â—t as usual and you 'll have a very good and most conâ—enient Enamel for the Goldsmiths to set in Colours â—nd Enamel with CHAP. CLVIII Another Black Enamel HERE is a third Way of making the Velvet-black Enamel much fairer and of a finer gloss surâ—assing the former To make which you must take four pound of â—rincipal Powder four Ounces of red Taâ—tar two Ounces of Manganese of Piedmont prepared reduce these to very fine powder and put them into a glazed pot bigger than ordinary because the Metal will rise let it melt and digest in the Furnace and cast it into Water and after it is dry again into the pot there to remain until it melt and refine anew when you find the Colour sufficient for your use make it up into Cakes and keep it for the Goldsmiths CHAP. CLIX. To make Purple-coloured Enamel PURPLE is a Colour highly in request with all Grave Philosophers as if it did express the End of their Expectation the Fulness of their Delight and Desire it was so mightily esteemed by the Ancients that among the Romans the Emperors the Princes the Renowned Chiefs and other Magistrates of that Puissant Empire only made use thereof And the Lacedemonians who looked upon themselves to be the most Ancient People on Earth cloathed themselves with it that they might be the more eminently distinguished so great an Affection they bore to this Noble Colour The Emperors of Greece had so much value and regard for Purple that they sought out the choicest and most exquisite to have the young Princes of the Blood Born in intimating by this a Glorious Omen of their Generosity the Colour truly implying a perfect Symbole of Heroick Vertue and by which their Illustrious Parentage and Royal Descent from Kings and Princes was most eminently shewn The Art of Dying in this Rich and Noble Colour was formerly so very considerable among the Ancients that such as practised it in the City of Tyre were exâ—mpâ—â— as well as the Nobility or Members of the Government from all manner of Taxes and Contribâ—â—ions which Priviledges and Advantage have a very near resemblance to those which our Art of Glass have received and this costly Colour is equally estimable in both and besides the Employment of this latter admits only of Gentlemen by whom alone â—uch Priviledges are enjoyed without derogation from their Nobility as we have shewn in Chap. 3. The grand Prerogatives of these two Gentile Arts are Arguments which may serve easily to convince us that they have nothing in the practice of them either Mean or Vulgar but have in them always something of Elevation and Sublimity beyond all other Occupations And 't is observable that such as wrought in the first enjoy'd the Priviledges of Nobility and that such of the Nobility as Exercise themselves in the latter may do it without prejudice to their Birth Now to make Enamel of a Purple-colour you must take four pound of Principal Powder as prepared in Chap. 148. add to this two Ounces of Manganese of Piedmont prepared as we shall direct in Chap. 164. put these into a White glazed Earthen pot allowing it large enough to bear with the Ebullitions and raising of the Metal When it 's throughly melted cast it into Water dry it and put it again into the pot to refine then consider whether it be well enough coloured and accordingly make it up into Cakes and keep it for use as before CHAP. CLX Another Purple Enamel WE will give you another Way to make Enamel of this Colour no less delicate than the former for all manner of Goldsmiths Work Take six pound of our Principal Powder three Ounces of Manganese of Piedmont prepared six Ounces of thrice calcined Scales of Copper as we have before prescribed reduce all these to an impalpable Powder and let them dissolve and refine in the White glazed pot in your Furnace afterwards cast the Metal into Water dry it well and return it into the pot to refine over again examine the Colour if it be right take it off and cake it up for use as before CHAP. CLXI To make Enamel of Violet-colour THIS Colour as it is the nearest to it succeeds the Purple and is a mixture of Red and Blue 't is worn by the Fathers of the Church Militant for their proper Livery as being altogether Heavenly and by which the Character which they bear is best signified To make it take six pound of Principal Powder as in Chap. 148. two Ounces of Manganese of Piedmont prepared and forty eight Grains of thrice calcined Scales of Copper make 'em all into a very fine powder and being well mixt put them together into your White glazed Earthen Pot in the Furnace let it melt and digest then cast it into Water and dry it put it again into the Pot and let it refine very well try its Colour and if 't is agreeable take it and cake it and you 'll have a very fine Violet-colour'd Enamel proper for all manner of Goldsmiths Work of that sort CHAP. CLXII The Way to make Yellow Enamel YELLOW is the Colour of Gold and may therefore deserve all its Commendations which are so extraordinary great that they require a whole Volume to contain 'em but we 'll only satisfie our selves to intimate that it bears the likeness of the first and more perfect Body which rouls under the Heavenly Arch And can there be any other so great Comparison 'T is likewise the Symbole of true Nobility and of all excellent Causes You may make this rich Colour with six pound of Principal Powder three Ounces of Tartar seventy two Grains of prepared Manganese the whole reduced to an impalpable Powder well mixt and put into a glazed Earthen pot large enough to dispense with the Ebullition and raising up of the Metal let it stand in your Glass-house Furnace to melt and incorporate after cast it into Water dry it and leave it in the pot again to refine very well then try the Colour and if it be sufficient make it up into Cakes as before directed and you 'll have a very taking Yellow Enamel for all sorts of Metal but Gold which by its resemblance it would only dull and spoil the Beauty unless it were placed among other Colours as the Goldsmiths already are very well acquainted withal CHAP. CLXIII The Way to make a Crystal-Ground for our Red Enamel THE Red requires a Chrystal more lasting than any of the former therefore we will give you a Composition here sufficient for that purpose Take twenty four Pound of Salt of Polverine Rochetta or Soda prepared as directed in Chap. 5. and six pound of Frit as in Chap. 6. these mixt and finely powder'd must be steept in Water to bring the Mass into a Body like Paste and then make it up into small thin Cakes lay them on Tiles in a Lime-kiln or Potters-Furnace for six Hours to calcine or near the Glass-house
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-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
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
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
assign the Method for it if there were a scarcity thereof in France but since we have of it in abundance 't is much better to employ the time in working the usual way than spend it unprofitably by taking a more tedious Method CHAP. CCXLI. To make German-Blue NOTWITHSTANDING we have in the preceding Chapter shewn how to imitate very nearly the Vltra-marine Blue with ordinary Enamel whereof we have given the Preparation in Chap. 190. yet we will shew too the Way to make German-Blue by Art which is a Colour very fine and convenient to Paint withal Take four Ounces of Mercury or Quick-silver siâ— Ounces of Flower of Sulphur and a Pound of Sal-Armoniack pound these very well in a Stone-Mortar till all the Mercury be quite suppress'd and no longer precipitable then put the Mass into a Glass Body the bottom luted up to the middle set this on a very slow Ash-Fire let it stand uncovered until all the moisture be exhaled then head it very close and so improve the heat by degrees until you bring the Mass to a Sublimation and thus you 'll have a very fine and delicate Azure or German-Blue which reduce to very soft Powder on a Marble or Porphiry keeping it afterwards for uses in Painting The End of the Tenth BOOK OF THE ART OF GLASS BOOK XI Wherein the Manner of imitating all sorts of Pearl is shewn and done so effectually as to give them an equal Splendour and Beauty with those which are Naturally produced in the Sea CHAP. CCXLII. ALL the Ancients who have treated of the several Sorts and Properties of Precious Stones have at the same time discoursed of Pearls because they claim a place among the first and best of Jewels in respect of their Value as well as their Beauty and the fixt Quality which they contain they having been at all times sought after for the Ornament and Pleasure of Ladies as they are at this Day for these Reasons we thought it convenient to give them a Place among our Works that from our Experience the Curious might be informed how to make such Arâ—ificially as fine and splendid as those which Nature forms in the Depth of the Ocean We avow that the Production of Pearls is very different from that of Precious-Stones because the latter proceeds from the Earth and the former quite contrary from the Shell-Creatures which are shrouded in the Bottom of the Sea these receive their Nourishment from the same Liquld Substance which crntributes to the Growth of the Shells and this Slimy Substance is resolved from the Watry Humour of the Creature by three several Processes The first dries it by degrees the next brings it to an hardness and last of all 't is at certain times emplyed by the Animal for the Increase of its Shell and the place where this is effected in the inmost inveloped recesses thereof Now the first Principle of these and all other Precious Stones descends from Above to wit the Universal Seed which alone can give Birth and Increase to all the Tenants of this vast Universe and these Precious Stones as well as the Metals are nourished in the Womb of the Earth so the living Creatures bear each other the Foetus within its Parent c. The Oriental Pearls are generated in the Fish which contains them with the Mother as the Occidental or Western in our Oysters but the Beauty of these two is very different the Oriental being of a Silver White and exceeding splendid to the Occidental the best of these latter seldom arriving to any higher than the Colour of Milk We will not here take notice of the particular Places of the East where they are found but only inform you That the best and most beautiful come from the PersianGulf about the Isle of Ormus Bassora They are found in Europe not only in the Sea but in Rivers and Fresh Water we have them from Scotland Silesia Bohemia Frisia Lorrain c. in all which Places they are found very fine only those of Frisia are very small 'T is thought the Fish wherein the Pearl is generated becoming Sickly and Weak and not able to dispose of the Slimy Moisture for the Growth of its Shell it remains in the Body thereof and is dried Hence the Birth of the Pearl and so by a continual supply of the like Substance still coating it a-new it becomes large just as the Stone in the Bladder of Man and other Creatures engenders and is fed by a Clammy Humour which cannot be emitted by Urine but remains behind and so hardens and becomes a Stone After the like manner the Bezoar Stone is bred in the Indian Goats of the Kingdom of Golcondea and in the Galls of Wild-Boars in India and the Hedgehogs of Malacca so several other Stones to which they give the Name of Bezoar are found in the Galls of Beeves Deer Goats and other Animals in France and elsewhere all which have great Vertues in Physick How great and effectual those Pearls are in Physical Matters and what Successes they reach there is not to our Purpose we only intend to shew the way of imitating their Beauty by Art so finely and with such exactness of Lustre as not to leave it in the power of any to distinguish them easily from the true and Natural ones they being made of the very finest sort of Paste that can be and the same Stuff as the true ones Poverty and Pride are two inseparable Companions among our French such Ladies as make use of pure Pearl are those that can afford it and the little Creatures that cannot reach the Price but would however appear gay are obliged to have recourse to the Counterfeit and content themselves with Imitation only of Nature 'T is some Years since the Use of these latter was introduced in France which now not only the Puny Ladies but those of Birth and Quality do wear this proceeded all from that Fashion which insensibly reached still at the larger Pearls which these Ladies coveted for Ornament and because they could not be furnished enough with true they made use of the Artificial whence the Common Sort of Persons receiv'd the Advantage to vie with Persons of the First Rank and Quality which they don't fail to do without Consideration of either Estate or Condition but only to conform with the Mode The Counterfeit Pearls which are usually made are just the Colour of the Pastes and of no Continuance but for the present they are done with a Composition of Brittle Glass and Wax a little melted and for Colouring they use prepared Mercury Mouth-Glue or any other Drug to give them a Brightness which soon Peels off and Scales away especially in the Heat of Summer The Way which we will give is not only very good and solid but exceeding fine being effected with Seed Pearl we grant these Pastes to be much dearer than the former but consider their Fineness and that they 'll last for ever we shall also shew how to