Or you may black the Varnish with a candle as we taught at the second Section of the eighth Chapter and then warm it over the fire till the varnish begin to melt CHAP. XIII The way of Etching upon the soft Varnish I. THE way of Etching is the same with that in the hard Varnish only you must be careful not to hurt your varnish which you may do by placing on the sides of your plate two little boards and laying cross over them another thin one so as that it may not touch the plate on which you must rest your hand whilst you work II. Then place the plate on a Desk if you so please for by that means the superfluous matter will fall away of it self III. But if you have any design to transfer upon the plate from any Copy or Print scrape on the backside thereof some red Chalk all over then go over that by scraping some soft Charcoal till it mingle with the Chalk and with a large stiff pencil rub it all over till it be fine and eaven and so lay down the design upon the plate with a blunt Needle draw over the out stroaks and as you work you need not scratch hard into the Copper only so as you may see the Needle go through the Varnish to the Copper IV. Always be sure when you leave the work to wrap the Plate up in Paper to keep it from hurt and corrupting in the air which may drie the varnish and in Winter time wrap the Plate up in a piece of wollen as well as paper for if the frost get to it it will cause the Varnish to rise from the Copper in the eating An inconveniency also will accrew by letting the Varnish lie too long upon the Plate before the work is finished for three or four months will consume the moisture and so spoil all V. The marking of the design upon the soft varnish is best done with black Lead or Chalk if the ground is white but with red Chalk if the ground is black VI. Having graved what you intend upon the varnish take some fair water a little warm and cast it upon the plate and then with a soft clean Sponge rub upon the white Lead to moisten it all over and then wash the plate to take away the whiting and drie it VII Or lastly with Aqua fortis mixed with fair water wash it all over and by this means you may take away the whiting which then wash with common water and drie it and thus have you the plate prepared for the Aquafortis CHAP. XIV Of using the Aqua fortis and finishing the work I. PUt soft Wax red or green round the brims of the Plate and let it be raised above the varnish about half a Barley corns length so that placing the plate level the water being poured upon the Plate may by this means be retained This done II. Take common Aqua fortis six ounces Common water two ounces mix them and pour it gently upon the plate so that it may cover it fully all over so will the stronger hatchings be full of bubbles while the fainter will appear clear for a while not making any sudden operations to the view III. When you perceive the water to operate a small time pour it off into a glazed carthen dish and throw fair water upon the Plate to wash away the Aqua fortis then drie the plate and where you would have the Cut to be faint tender or sweet cover it with the prepared Oil and then cover the Plate again with Aqua fortis as before leaving it on for eight or ten minutes or longer then put off the Aqua fortis as before washing and drying the Plate and covering with the prepared Oyl other places which you would not have so deep as the rest Lastly put on the Aqua fortis again for the space of half an hour more or less and then pour it off washing the plate with fair water as before As you would have your lines or strokes to be deeper and deeper so cover the sweeter or fainter parts by degrees with the prepared oyl that the Aqua fortis may lie the longer on the deep stroaks Then IV. Take off the border of Wax and heat the plate so that the oyl and varnish may throughly melt which wipe away well with a linnen cloth then rub the plate over with oyl Olive and a piece of an old beaver roll'd up which done touch it with the Graver where need is V. But if any thing be at last forgotten then rub the plate aforesaid with crums of bread so well that no filth or oyl remain upon the Plate VI. Then heat the plate upon a Charcoal fire and spread the soft varnish with a feather upon it as before so that the hatchings may be filled with varnish black it and then touch it over again or add what you intend VII Let your hatchings be made by means of the Needles according as the manner of the work shall require being careful before you put on the Aqua fortis to cover the first graving on the Plate with the prepared Oyl lest the Varnish should not have covered all over then cause the Aqua fortis to eat into the work and lastly cleanse the Plate as before CHAP. XV. Of Limning and the Materials thereof I. LImming is an Art whereby in water Colours we strive to resemble Nature in every thing to the life II. The Instruments and Materials thereof are chiefly these 1. Gums 2. Colours 3. Liquid Gold and Silver 4. The Grindstone and Muller 5. Pencils 6. Tables to Limn in 7. Little glass or China dishes III. The Gums are chiefly these four Gum Arabick Gum Lake Gum Hedera Gum Armoniack IV. The principal Colours are these seven White Black Red Green Yellow Blew Brown out of which are made mixt or compound Colours V. The Liquid Gold and Silver is either natural or artificial The natural is that which is produced of the Metals themselves the Artificial is that which is formed of other colours VI. The Grinding stone Muller Pencils Tables and Shells or little China dishes are only the necessary instruments and attendants which belong to the practice of Limning CHAP. XVI Of the Gumms and their Vse I. THe chief of all is Gum-Arabick that which is white clear and brittle the Gum-water of it is made thus Take Gum-Arabick bruise it and tie it up in a fine clean linnen cloath and put it into a convenient quantity of pure spring-water in a glass or earthen vessel letting the Gum remain there till it is dissolved which done if the water is not stiff enough put more Gum into the cloath but if too stiff add more water of which Gum-water have two sorts by you the one strong the other weak of which you may make a third at pleasure But if you be where Gum-Arabick is not to be got you may instead of that use the preparation of sheeps leather or parchment following Take
one ounce Labdanum half an ounce Mace Cloves Cinnamon Sanders Lignum Aloes of each one ounce Spikenard one ounce all being grosly beaten digest a month then in a glass retort distil in Balneo XII The twelfth sweet water called Aqua Moschata Take spirit of Wine two pound Musk three scruples Amber two scruples Civet one scruple digest in the Sun twenty days close stopped in a glass vessel a drop of this water put into any other liquor will very perfume it So may you extract the scent out of sweet Flowers with this difference that they lie but a little while because their earthy substance will make the spirit ill-favoured CHAP. XLV Of Perfuming Oils I. TO make Perfuming Oils by infusion II. This is taught fully at the fifth Section of the three and fortieth Chapter aforegoing II. To make Oleum Imperiale Take Ambergriese four drachms Storax Calamita eight ounces Rose-water Oleum Rosatum of each two pound Oil of Cinnamon and Cloves of each half a drachm put all into a glass and digest in horse dung twenty days this done gently boil all for a quarter of an hour which then let cool with a spoon take off the Oil which swims a top to which put of Musk and Zibet of each two drachms digest all in a gentle heat for twenty days and keep it for use Where note the Amber and Storax at bottom will serve to make sweet balls of to lay among cloaths or beads to carry in ones hands or for a perfume to burn III. To make Oil of Cinnamon Digest Cinnamon grossy bruised in spirit of Wine sharpned with oil of Salt in a glass vessel with a blind head closely luted in a gentle heat for ten days then distil in an Alembick as we have more at large taught in our Synopsis Medicinae lib. 3. cap. 47. Sect. 1. it is a wonderful Perfume the most fragrant and pleasant of all Oils as well in tast as smell the use of it will certainly take away a stinking Breath IV. To make Oil of Roses called adeps Rosarum Take Damask Roses pickle them with Bay salt and after three months with a large quantity of water distil in ashes with a gentle fire so have you Oil and Spirit or water which keep for other distillations Weckerus hath it thus Rosarum folia in umbra aliquandiu asservata in matula vitrea magna ponuntur cujus sit fundus latus ad dimidium vas impletur indè affunditur ipsis Rosarum foliis tantum aquae rosaceae stillatitiae quantum satis fuerit ut optimè madeant appositóque pileo vitreo caeco stipatisque optimè rimis cera gummata quindecim diebus equino fimo macerantur sic tamen ut mutato cùm frigescere coeperit fimo calor aequalis servetur Apposito mox matulae rostrato pileo igne moderato cinerum aqua omnis elicitur quae rursus in eadem matula optime priùs à foecibus mundata ablutáque ponitur calentis aquae balneo lentissimo igne elicitur dum tota in vas recipiens abeat Nam in fundo matulae remanebit oleum rosarum colore rubrum perspicuum Moschi odore suaviter fragrans This is the greatest of all vegetable perfumes and of an inestimable value V. To make Oil of Calamus Aromaticus It is made as oil of Cinnamon it is a very great perfume helps a stinking breath vomiting weak memory c. VI. To make Oil of Rhodium It is made as oil of Cinnamon is a very excellent perfume good for the head breath and the senses VII To make Oil of Indian Spicknard By infusion it is made by the first Section by distillation as oil of Cinnamon It is an eminent Perfume VIII To make Oil of Benjamin Take Benjamin six ounces in powder which dissolve in oil of Tartar and Aqua Rosarum of each one pound which distil with a close pipe in an Alembick So is made oil of Storax and Labdanum IX To make oil of Storax compound Take oil of Ben or sweet Almonds one pound Storax grosly beaten four ounces Benjamin Cloves of each two ounces digest till the Gums are melted over hot coals then press out the oil diligently CHAP. XLVI Of Perfuming Essences I. THe way to extract Essences is somewhat difficult viz by Distillation Calcination Digestion or Menstruum II. If by Menstruum use not a watry one for a watry essence nor an oily one for an oily essence because being of like natures they are not easily separated but on the contrary chuse an oily Menstruum for a watry essence and a watry Menstruum for an oily essence III. If the essence of any metal be to be extracted by a corrosive menstruum after the work is done separate the salts from the waters and use only those salts which will be easily taken out again Vitriol and Alom are very difficult to be separated by reason of their earthy substance IV. To extract the essence out of Musk Ambergriese Civet and other Spices or Aromaticks Mix the perfume with oil of Ben which in a glass bottle set in the Sun or Sand for ten days then strain it from the dregs and the essence will be imbibed in the oil Then take spirit of Wine and distilled fountain water which mix with the said oil and digest for six days then distil in sand so will the essence and water ascend the oil remaining at bottom without any scent that essence and water distil in Balnce in a glass vessel till the water be come off and leave the essence in the bottom in the form of oil V. Another way to do the same Infuse the matter in spirit of Wine a sufficient quantity digest and ferment for ten days then distil in sand as long as any water will come over but have a care of buring which distilled Liquor draw off in Balneo with a very gentle heat and the quintessence will be left in the bottom of a liquid form VI. To extract the essence our of Herbs and Flowers as of Sweet Majoram Basil Orange-flowers Jasemin c. Bruise the matter and put it into a glass vessel to ferment in Horse-dung for a month then distil in Balneo set it in dung for a week again and distil in Balneo again which reiterate so long as it will yield any liquor put the distilled matter upon the Caput mortuum distilling thus for six days draw off the water in Balneo and the essence remaining express in a press which being a week fermented in dung will yield the perfect scent colour and vertues of the matter desired VII To extract the essence out of Salts Calcine the Salt and grind it very small then lay it upon a marble in a moist Cellar setting under it a pan to receive the dissolution therein let it ferment for a month then with a gentle fire distil in Balneo cast away the insipid water which comes from it and set that which remains in the bottom to ferment another month then distil
six drachms melt the wax and mix the oils for a Perfume CHAP. L. Of Perfuming Tablets I. TO make red Muskardines or Tablets Dissolve gum Tragacanth in Rose water so that it may be as thick as Gelly wich make into paste with the following composition Take Amylum one pound fine Sugar half a pound Cochenele two ounces Musk three drachms all being in fine powder mix them and make tablets with the aforesaid Mucilage of Tragacanth square long round or of what form you please which dry in an Oven out of which bread hath been lately drawn but be sure you dry them till they be as hard as horns II. Another fort of Red Tablets Take of the aforesaid composition one pound Cloves Cinnamon Nutmegs Ginger of each two ounces Cochenele one ounce all being in fine powder make into tablets with the aforesaid Mucilage and dry as aforesaid III. To make yellow Tablets Take Amylum one pound fine Sugar half a pound yellow Sanders four ounces Saffron two ounces or you may dip the Amylum in strong tincture of Saffron and then dry it again Musk four drachms all being in fine powder make the mass into tablets with the aforesaid Mucilage adding oil of Cinnamon in drops two drachms dry them carefully in the shade IV. Another sort of yellow Tablets Take Amylum dyed with tincture of Saffron I pound Sugar half a pound Saffron two ounces Nutmegs Cinnamon Ginger of each one ounce Carroways half an ounce Musk three drachms Ambergriese one drachm all in fine powder make into tablets as aforesaid adding oil of Cinnamon two drachms which dry in the shade till they be as hard as Horns V. To make Muscardines or Tablets of any other colour You must make them after the same manner only adding the colour you do intend and in this case we think that it is better that the Amylum be dipt in the tincture and dryed first before you use it Where note that these Tablets when used are to be held in the mouth in which they will dissolve there by cheering the heart reviving the senses comforting the spirits strengthning nature restoring the body and indeed nobly perfuming the breath For them that do not love Musk you may make them without using instead thereof so much the more oil of Roses or Cinnamon CHAP. LI. Of making Pomanders for Bracelets I. THe first sort Take Orrice powder Cloves Mace Cinnamon of each half an ounce yellow Sanders Styrax sweet Assa of each two drachms Ambergriese Musk of each one drachm Balsam of Peru oil of Rhodium of each one scruple Civet two drachms all being in fine powder except the Balsam and Oil mix together and make into paste with mucilage aforesaid of which form Beads drying them in the shade for use II. The second sort Take Storax Labdanum one drachm and a half Benjamin one drachm Cloves Mace Spicknard Geranium Moschatum of each ten grains Musk Ambergriese of each six grains with mucilage make a Pomander for Bracelets III. The third sort Take Damask Rose leaves exungulated two ounces beat them impalpable Musk Ambergriese of each two scruples Civet one scruple Labdanum one drachm with mucilage of gum Tragacanth in rose-Rose-water aforesaid make a Pomander for Bracelets IV. The fourth sort Take Storax Benjamin of each an ounce and a half Musk two drachms oil of Cinnamon one drachm with Mucilage aforesaid make a paste of Pomander very excellent CHAP. LII Of Perfuming Wash-balls I. TO make Barbers Wash-balls Take purified Venetian Soap six ounces Macaleb four ounces Ireos Amylum of each seven ounces Cloves two ounces Labdanum Anniseeds of each one ounce Nutmegs Majoram Cypress powder Geranium Moschatum Camphire of each half an ounce Storax liquida half a drachm Musk ten grains all being in fine powder with a little fine Sugar beat all in a mortar and make them up into Wash-balls II. To do the same another way Take of the said Soap two pound juice of Macaleb two ounces Cloves Orrice of each three ounces Labdanum two ounces Storax one ounce all being in fine powder mix with the Soap of which make balls drying them in the shadow III. To make Balls of white Soap Take of white Soap five pound Iris four ounces Amylum white Sanders of each three ounces Storax one ounce all in powder steep in Musk water of which make paste for Wash-balls IV. Another sort very good Take of white Soap four pound Orrice six ounces Macaleb three ounces Cloves two ounces all in powder mix with the Soap with a little oil of Spike Rhodium or the like of which make Balls V. Another way to make them of Goats fat Make a strong Lixivium of Pot-ashes as that a new laid egg will swim thereupon which boil with Citron peels take of this Lye twenty pound Goats fat two pound boil it for an hour then strain it through a linnen cloth into broad platters of fair water exposing it to the Sun mix it often every day till it begins to grow hard of which you may form balls which you may perfume with Musk half a drachm Civet one scruple oil of Cinnamon ten grains VI. To purifie Venetian Soap Cut it small to which put some Rose water or other perfuming water boil them a while then strain it and it will be sweet and good then take off the Soap which swims a top with a spoon and lay it upon a tyle and it will presently be dry being white free from filth and unctuosity VII Another way to do the same Grate the Soap and dry it in the Sun or an Oven powder and sierce it then moisten it with some sweet water or oil of Spike which dry again in the shadow and keep it for use CHAP. LIII Of Perfuming Soaps I. TO make white musked Soap Take white Soap purified as aforesaid three pound Milk of Macaleb one ounce Musk Civet of each ten grains mix them and make all into thick Cakes or rouls II. Another kind of sweet Soap Take of the oldest Venice Soap which scrape and dry three days in the Sun purifying it as aforesaid two pound Ireos Amylum of each six ounces Storaxliquida two ounces mix them well whilest hot which put into pans to form Cakes III. To make soft Soap of Naples Take of Lixivium of Pot-ashes so strong as to bear an egg sixteen pound Deers Suet two pound set them upon the fire to simper put all into a glased vessel with a large bottom set it in the Sun for a while stirring it five or six times a day with a stick till it wax hard like paste Then take of this paste to which put Musked Rose water keep it eight days in the Sun stirring it as aforesaid so long as it may be neither too hard nor too soft then put it up in boxes or pots IV. To make the same Soap musked Put to the said Soap Rose water two pound fine musk in powder half a drachm then mix the said water as before V. Another exquisite
to end lean on the needle with an equal force leaning lightly where you would have the lines or stroaks fine or small and more heavy where you would have the line appear deep or large thereby the needle may have some Impression in the Copper IV. If your lines or hatches be too small pass over them again with a short round point of such a bigness as you would have the line of leaning strongly where you would have the line deep V. The manner of holding the needle with Oval points which are most proper to make large and deep stroaks is much like that of a pen only the flat side whetted is usually held towards the thumb but they may be used with the face of the Oval turned toward the middle finger VI. If you would end with a fine stroak you ought to do that with a very fine needle VII In using the Oval points hold them as upright and straight in your hand as you can striking your stroaks firmly and freely for that will add much to their beauty and clearness VIII In Landskips in places farthest from the sight as also nearest the light use a very stender point leaning so lightly with your hand as to make a small faint stroak IX In working be careful to brush off all the dust which you work off with the needles CHAP X. Of using the Aqua fortis I. IF there be any stroaks which you would not have the Aqua fortis eat into or any places where the varnish is rubbed off melt some prepared Oyl and with a pencil cover those places pretty thick II. Then take a brush pencil or rag and dip it in the prepared oyl and rub the back side of the plate all over that the Aqua fortis may not hurt it if by chance any should fall thereon III. Before you put the Aqua fortis to the plate gently warm or dry the plate by a fire to dry up the humidity which it might contract by reason of the Air and to prevent the breaking up the Varnish upon the first pouring the Aqua fortis thereon IV. Place the plate by the 12th Section of the 7th Chapter of this book and with the Aqua fortis in an Earthen pot pour upon the plate begiming at the top so moving your hand that it may run all over the plate which do for eight or ten times then turn it corner-wise and pour the Aqua fortis on it that way ten or twelve times and then turn it again corner-wise the other way pouring on the Aqua fortis eight or ten times as before doing thus several times for the space of half a quarter of an hour or more according to the strength of the water and nature of the Copper For there must be less time allowed to hard and brittle Copper for pouring on the Aqua fortis but more to the soft V. But you must have special regard to cast on the Aqua fortis as occasion shall require and work is casting it on at several times and on several places where you would have it very deep often where less deep fewer times where light less yet where lighter lesser yet and where so light as it can scarcely be seen once or twice wash it with water and cover it where you would have it lighter VI. Having thus covered your plates as occasion requires for the second time place the plate on the frame as aforesaid and pour on it your Aqua fortis for a full half hour VII Then wash it with water and dry it covering the places which require lightness or faintness that they may be proportionable to the design then pour on the Aqua fortis for the last time more or less according to the nature of your work and the deepnses that it requires VIII You may rub off the varnish or ground as occasion in your work requires with a Charcoal to see whether the water hath eaten deep enough by which you may judge of the space of time that you are after to employ in pouring on the Aqua fortis in the works you will have to do which if the shadows require much depth or ought to be very black the water ought to be poured on at the least time for an hour or better yet know no certain rule of time can be limited for this CHAP. XI Of Finishing the Work I. ALL the former operations being done wash the Plate with fair water and put it wet upon the fire till the mixture be well melted and then wipe it very clean on both sides with a linnen cloth till you have cleansed it of all the mixture II. Take Charcoal of Willow take off the rind of it and putting fair water on the plate rub it with the Charcoal as if you were to polish it and it will take off the varnish Where note that the Coal must be free from all knots and roughness and that no sand or filth fall upon the plate III. Take ordinary Aqua fortis to which add two third parts of water and with some linnen rags dipped therein rub the Plate all over so will you take away its discolouring and recover its former beauty IV. Then take dry linnen rags and wipe the plate so as to take off all the aforesaid water and then holding it a little to the fire put upon it a little oyl olive and with a piece of an old Beaver rolled up rub the plate well all over and lastly wipe it well with a dry cloth V. Then if any places need touching with the Graver as sometimes it happens especially where it is to be very deep or black perfect them with care which done the plate is ready for the Rolling Press CHAP. XII The way of using the soft Varnish THE Plate being prepared by cleansing it with a Charcoal and clean water wash it well and dry it then with fine white Chalk scraped and a fine rag rub it well over not touching it with your fingers II. Lay down your plate over a Chafing-dish of small coal yet so as the fire may have air then take the Ground or soft Varnish it being tyed up in a fine rag and rub it up and down the Copper so as it may sufficiently cover it not too thin nor too thick then take a feather and smooth it as well as possibly you can all one way and then cross it till it lie very well But you must take heed that the Plate be not too hot for if it lie till the Ground smoak the moisture will be dried up and that will spoil the work and make the Ground break or fly up III. Then grind some white Lead with Gum water so that it may be of a convenient thickness to spread on the Copper and with a large pencil or small brush strike the Plate cross over twice or thrice till it is smooth and then with a larger brush made of Squirrels tails gently smooth the white and then let it lie till it is drie IV.
Take Verdigriese ground finely one ounce put to it a good quantity of common varnish and so much oyl of Turpentine as will make it thin enough to work withal it is a good green And Verdigriese Alom of each one Drachm Logwood three Drachms boiled in Vinegar make a good Murry VII Gambogia Dissolve it in fair spring water and it will make a beautiful and transparent yellow if you would have it stronger dissolve some Alom therein it is good for Silk Linnen white Leather Parchment Vellom Paper Quills c. VIII To make Verdigriefe and Ceruse according to Glauber These colours are made with Vinegar in earthen pots set into hot horse dung but if you dissolve your Venus or Saturn with spirit of Nitre and precipitate your Venus with a lye made of Salt of Tartar and your Saturn with Salt water edulcorating and drying them the Venus will yield an excellent Verdigriese which will not corrode other colours as the common Verdigriese doth and the Saturn yields a Ceruse whiter and purer than the ordinary much better for Painting or Chirurgery IX Yellow Fustick benry Boil it in water or sleep them in Alom water it makes a good yellow for the same purpose X. Turnsole Put it into sharp Vinegar over a gentle fire till the Vinegar boil and is coloured then take out the Turnsole and squeeze it into the Vinegar in which dissolve a little gum Arabick it shadows very well on a Carnation or yellow XI Litmos Cut it into small pieces and steep it a day or two in weak gum Lake water and you will have a pure blew water to wash with XII Flory Blew Grind it with Glair of Eggs if then you add a little Rosset it makes a light Violet Blew mixed with White and Red Lead it makes a Crane feather Colour XIII Saffron Steeped in Vinegar and mixed with gum water is a good Yellow CHAP. XXI Of Compounded Colours for Washing ORange Colour Red Lead and Yellow berries make a good Orange Colour or thus take Arnotto half an ounce Pot ashes one Drachm water one pound boil it half away then strain it and use it hot It is good for white leather paper vellom quills parchment c. II. Green Take distilled vinegar filings of Copper digest till the vinegar is blew which let stand in the Sun ora slow fire till it is thick enough and it will be a good green Or thus Take Cedar green which is best of all or instead thereof green Bice steep it in Vinegar and strain it then grind it well with fair water and put to it a little honey and dry it well when you use it mix it with gum water III. To make fine Indico Take the blossoms of Wode three ounces Amylum one ounce grind them with Urine and strong vinegar of which make a Cake then dry it in the Sun and so keep it for use IV. A Blew to wash upon paper Take of the best azure an ounce Kermes two ounces mix them which temper with clear gum water and it will be a glorious Colour V. To make a Venice Blew Take quick lime make it into past with strong vinegar half an hour after put thereto more vinegar to soften it then add Indico in fine powder one ounce mix them and digest it in horse dung for thirty or forty days VI. Another excellent Blew Mix fine white Chalk with juice of elder berries full ripe to which put a little Alom water VII To make blew Smalt Take fluxible sand Sal Nitre and Cobalt mix them together VIII A lively yellow Dissolve orpiment in gum water to which put a little ground Vermilion grind them together and you shall have a very lively colour IX A light green Take Juice of Rew Verdigriese and Saffron grand them well together and use them with gum water Or thus Take sap green flower de bice or tawny green which steep in water Verditure and Ceruse mixe with a little copper green make a good light colour X. Blew Ultramine blew bice smalt and Verditure ground singly with gum water or together make a good blew XI Brown Ceruse red lead English Oker and pink make a good brown XII Spanish Brown To colour any horse dog or the like you must not calcine it yet not calcined it is a dirty colour but to shadow Vermilion or lay upon any dark ground behind a picture to shade berries in the darkest places or to colour wooden posts wainscot bodies of trees and the like it is very good being burnt XIII Flesh colour Mix white Indian lake and red lead according as you would have it light or deep and to distinguish a mans flesh from a womans mingle with it a little Oker XIV Colours of Stones Verdigriese with Varnish makes an Emerald with Florence lake a Ruby with Ultramanine a Saphyr XV. A never fading green Take juice of flowers of Flowerdeluce put it into Gum water and dry it in the Sun CHAP. XXII Of mixing Colours and shadowing I. IN mixing be careful not to make the colour too sad nor take the pencils out of one colour and put them into another II. In mixing colours stir them well about the water severally till they are well mixed then put them together making the colour sadder or lighter at pleasure III. Green is shadowed with Indico and yellow berries IV. Blew is shadowed with Indico Litmose and flory or any of them being steeped in lees of Soap ashes and used with gum water V. Garments are shadowed with their own proper colours or you may mingle the colour with white for the light and shadow it with the same colour unmingled or you may take the thinnest of the colour for the light and shadow with the thickest or bottom of the same VI. Sap green is only used to shadow other greens with and not to be laid for a ground in any garment VII Lake ought not to be shaded with any colour for it is a dark red but for variety you may shadow it with Bice or blew Verditure which will make it like changeable Taffata VIII The shadow for Yellow Berries is Umber but for beauties sake with red Lead and the darkest touches with Spanish brown and for variety with Copper green blew Bice or Verditure IX White sets off blews and blacks very well Red sets off well with yellows Yellow with reds sad blews browns greens and purples X. Blew sets off well with yellows reds whites browns and blacks and Green sets off well with purples and reds CHAP. XXIII Of Colours for Landskips I. GReen mixed with white pink bice masticot smalt indico or ceruse or blew verditure mixt with a few yellow berries makes a good green for Landskips II. For the saddest hills use umber burnt for the lightest places put yellow to the burnt umber for other hills lay copper green thickened on the fire or in the Sun for the next hills further off mix yellow berries with copper green let the fourth part be done with
fire let the Impression be smoaked and if any superfluous fume be taken wipe it off with a Hares foot XI Then join the sides of the flask together putting them with the woolen cloaths between the Oaken plates which put into the Press and skrew them a little XII Then the Metal being melted put it into the mould being hot which if it be Silver or blanched Brass or Copper it will run well enough XIII But if it runs not well you may cast in about the hundred part of Mercury sublimate and an eighth part of Antimony for so it will not only run well but also be a harder metal XIV Lastly the Medal being cooled take it neatly out and keep it Where note 1. That so long as the Impression or mould is not spoiled you may still cast more Medals therein but when it decays you must perfectly renew the whole work as at first 2. That you may blanch them with a pure whiteness by the ninth Section of the nine and twentieth Chapter of this Book or thus if they be of whitened Brass Take Sal armoniack one ounce and an half Salt-peter two ounces and a half Leaf silver twenty four grains mix them and evaporate them in a Luted crucible having a hole in the cover till all the moisture is gone being cold beat all into fine powder of which take one ounce Salt Alom Tartar of each one handful fair water a sufficient quantity mix and boil all in a glazed vessel in which put the Medals boiling them till they are purely white then rub them with the Tartar in the bottom very well wash them in fair water and dry them 3. That if the Medals be of Gold or of a golden colour you may heighten it with Verdigriese and Vrine CHAP. XXXII Of Glass and Precious Stones I. TO melt Crystal Beat Crystal to bits and put them into an Iron spoon cover it and lute it well and heat it in the fire till it is red hot which quench in oyl of Tartar this do so often till they will easily beat to powder in a mortar which will then easily melt This is of use to counterfeit Jewels with II. To make a Cement for broken Glasses Glair of Eggs mixed with Quick-lime will join broken pieces of Glass together and all earthen pots so as that they shall never be broken in the same place again Or thus Take old liquid Varnish and join the pieces with bind them together and dry them well in the Sun or in an Oven and they will never unglew again but put no hot liquor into them then Or thus Take White-lead Red-lead Quick-lime Gum sandrack of each one ounce mix all with glair of eight eggs Or thus Take White-lead bole liquid varnish as much as sufficeth Or thus Take White-lead Lime glair of Eggs as much as sufficeth Or thus Take fine powder of glass Quick-lime Liquid varnish of each a sufficient quantity Or thus Take Quick-lime powdered liquid varnish glair of Eggs of each alike grind them upon a stone this is a strong glew even for stones Or thus Take Calcined flints and egg-shells of each alike and with whites of Eggs and gum tragacanth or dissolution of Gum Sandrack make glew this in few days will be as hard as stone Or thus Take calcined flints two pound Quick-lime four pound Linseed oyl so much as may temper the mixture this is wonderful strong but with liquid varnish it would be stronger Or thus Take fish glew and beat it thin then soak it in water till it is like paste make rouls thereof which draw out thin when you use it dissolve it in fair water over the fire letting it seeth a while and scumming of it and whilest it is hot use it This not only cements glass but Tortoise shell and all other things III. To wake Glass green Green glass is made of fern ashes because it hath much of an alkaly salt Crystal or Venice Glass is tinged green with Ore of Copper or with the Calx of Copper five or six grains to an ounce IV. To counterfeit a Diamond Take a Saphyre of a faint colour put into the middle of a crucible in quick Lime and put it into a gentle fire and heat it by degrees till it is red hot keep it so for six or seven hours let it stand in the crucible till it is cold lest taking it out hot it should break so will it lose all its colour and be perfectly like a Diamond so that no file will touch it if the colour is not all vanished at the first heating you must heat it again till it is perfect V. To prepare the Salts for counterfeit Gems The Salts used in making counterfeit Gems are chiefly two the first is made of the herb Kali the second of Tartar their preparations are according to the usual way but in Glass vessels VI. To prepare the matter of which Gems are made The matter is either Crystal or flint that is clear and white put them into a crucible in a reverberatory heat the crucible being covered then take them out and cast them into cold water so will they crack and easily reduce to powder of which powder take an equal quantity with Salt of Tartar or Sal Alkali to which mixture add what Colour you please which must be either Metalline or Mineral put them into a very strong Crucible filling it about half full cover it close and melt all in a strong fire till it become like glass Where note in melting you must put an Iron red into it and take up some of it and if it is free from bubbles grains or specks it is fused enough if not you must fuse it till it is free VII To make a counterfeit Diamond of Crystal Put Crystal in a crucible and set it in a glass furnace all night and then bring it to fine powder mix it with equal parts of Sal Tartari digest all night in a vehement heat but yet not to melt then take them out and put them into another vessel which will stoutly endure the fire let them stand melted two days and take out the mass VIII To make a Chalcedon Mingle with the powder of Crystal a little calcined silver and let it stand in fusion twenty four hours IX To make counterfeit Pearls Mix Calx of Luna and Egg-shells with leaf silver ground with our best varnish of which make paste and having bored them with a hogs bristle dry them in the Sun or an Oven X. To counterfeit a Ruby Take Sal Alkaly four ounces Crystal three ounces Scales of Brass half an ounce leaf gold six grains mix all and melt them in a reverberatory XI To counterfeit a Carbuncle Mix Crystal with a little red Lead putting it into a furance for twenty four hours then take it out powder and searce it to which add a little Calcined brass melt all again and add a small quantity of leaf gold stirring it well three or four hours and
barden them again lay them in strong White-wine Vinegar XIII To make Horns soft Take Urine a Month old Quick-lime one pound calcined Tartar half a pound Tartar crude Salt of each four ounces mix and boil all together then strain it twice or thrice in which put the horns for eight days and they will be soft XIV Another way to make them soft Take ashes of which glass is made Quick-lime of each a pound water a sufficient quantity boil them till one third part is consumed then put a feather into it if the feather peel it is sodden enough if not boil it longer then clarify it and put it out into which put filings of Horn for two days anoint your hand with oyl and work the horns as it were paste then make it into what fashion you please XV. Another way to soften Horns Take juices of Marubium Alexanders Yarrow Celandine and Radish roots with strong Vinegar mix them into which put Horns and digest seven days in horse-dung then work them as before XVI To cast Horns in a mould like as Lead Make a Lixivium of Calcined Tartar and Quick-lime into which put filings or scrapings of Horn boil them well together and they will be as it were pap tinge it of the colour you would have it and then you may cast it in a mould and make thereof what fashioned things you please XVII To make Ivory white If Ivory be yellow spotted or coloured lay it in Quick-lime pour a little water over it letting it lye twenty four hours and it will be fair and white CHAP. XXXVI Of Dying Yarn Linnen Cloth and the like I. TO Dye a sad Brown First infuse the matter to be dyed in a strong tincture of Hermodacts then in a bag put Saffron and ashes stratum super stratum upon which put water two parts mixed with Vinegar one part strain the water and Vinegar through hot fifteen or sixteen times in this Lixiviate Tincture of Saffron put what you would dye letting it lie a night then take it out and hang it up to dry without wringing which do in like manner the second and third times II. To Dye a Blew Colour Take Ebulus berries ripe and well dried steep them in Vinegar twelve hours then with your hands rub them and strain through a linnen cloth putting thereto some bruised Verditer and Alom Note if the Blew is to be clear put more Verditer to it III. Another excellent Blew Dye Take Copper scales one ounce Vinegar three ounces Salt one Drachm put all into a Copper vessel and when you would dye put the said matter into the tincture of Brazil IV. Another excellent Blew Dye Take calcined Tartar three pugils unslak'd Lime one pugil make a Lixivium and filtrate it to twelve or fifteen quarts of the same water put Flanders blew one pound and mix them well set it to the fire till you can scarcely endure your hand in it then first boil what you would dye in Alom water then dry it afterwards dip it in hot Lye twice or thrice then put it into the Dye V. A good red Dye Take Brazil in powder fine Vermilion of each half an ounce boil them in Rain water with Alom one drachm boil it till it is half consumed VI. Another excellent good Red Dye Take of the Lixivium of unslak'd Lime one pint Brazil in powder one ounce boil to the half then put to it Alom half an ounce keep it warm but not to boil then dip what you would dye first in a Lixivium of Red wine Tartar let it dry then put it into the Dye VII Another very good Red. Take Rosset with gum Arabick boil them a quarter of an hour strain it then first boil what you would dye in Alom water two hours after put it into the Dye VIII To make a fair Russet Dye Take two quarts of water Brazil one ounce boil it to a quart put to it a sufficient quantity of Granie and two drachms of Gum Arabick IX A good Purple Colour Take Myrtle berries two pound Alom calcined Brass of each one ounce water two quarts mix them in a Brass kettle and boil half an hour then strain it X. A Yellow Colour Take berries of purging Thorn gathered about Lammas day bruise them adding a little Alom in powder then keep all in a Brass vessel XI Another good Yellow Put Alom in powder to the Tincture of Saffron in Vinegar XII A very good Green Colour Take Sap green bruise it put water to it then add a little Alom mix and infuse for two or three days XIII To take out Spots Wash the spots with oyl of Tartar per Deliquium two or three times and they will vanish then wash with water Spirit of Wine to wash with is excellent in this case If they be Ink spots juice of Lemmons or Spirit of Salt is incomparable washing often and drying it so also Castle Soap and Vinegar CHAP. XXXVII Of the Dying of Stuffs Cloaths and Silks I. TO make a substantial blew Dye Take Woad one pound and mix it with four pound of boiling water Infuse it twenty four hours then die with it all white colours II. To make a firm black Dye First Wad it with the former Blew then take of Galls one pound water sixty pound Vitriol three pounds first boil the Galls and water with the Stuff or Cloath two hours then put in the Coperas at a cooler heat for one hour then take out the Cloath or Stuff and cool it and put it in for another hour boiling it Lastly take it out again cool it and put in once more III. To make an excellent Yellow Dye Take liquor or decoction of Wheat-bran being very clear sixty pound in which dissolve three pound of Alom then boil the stuff or cloath in it for two hours after which take Wold two pounds and boil it till you see the colour good IV. To make a very good Green Dye First Dye the Cloth or Stuff Yellow by the third Section then put it into the Blew Dye in the first Section of this Chapter V. To make a pure clear Red Dye Take Liquor or Infusion of Wheat-bran being strained and made very clear sixty pounds Alom two pounds Tartar one pound mix and dissolve them with which boil the Stuff or Cloath for two hours take it then out and boil it in fresh Wheat-bran liquor sixty pounds to which put Madder three pounds perfect the colour at a moderate heat without boiling VI. To make a very pleasant Purple Dye First Dye it Blew by the first rule of this Chapter then boil it in the former Red at the fifth rule hereof Lastly finish it with a decoction of Brazil VII To Dye Crimson in Grain First boil it in the Red at the fifth rule of this Chapter then finish it in a strong tincture of Cochenele made in the Wheat-bran Liquor aforefaid VIII To make a Bow-dye or Scarlet Colour Take water an hundred pounds Cremor Tartari and Aqua
oil thereto when the skin is thus suppled and rarified you may cure them either by our liquor of Talk at the first Section of the seven and thirtieth Chapter or mercurial Cosmetick at the seventh Section of the seven and thirtieth Chapter or our Lac Virginis and oil of Tartar at the ninth and tenth Section of the seven and thirtieth Chapter or by often washing with juice of Limons III. To take away Freckles Take juice of Limons put it into a glass bottle to which put fine Sugar and borax in powder digest it eight dayes in Sand then use it or mix Sal Tartari with whites of eggs and apply it or often use our compound Cosmetick at the eleventh Section of the seven and thirtieth Chapter or oil of Tartar alone for some weeks but if all fail you must have recourse to our Liquor of Talk at the first Section of the seven and thirtieth Chapter or Mercurial Cosmetick at the seventh Section of the seven and thirtieth Chapter IV. To take away Spots from the face or skin This is done by anointing with oil of Tartar for ten days and after all that to wash it with a Lixivium of Quicklime in which Sal armoniack hath been dissolved for a long time or you may use the Cosmetick at the third Section of the seven and thirtieth Chapter camphorated V. To cleanse a scurffy Skin If the creature be fat foment first with a Lixivium of Salt of Tartar but if lean make a fomentation of Borrage Bugloss and Mallow leaves which use for some days this being done bath the place where the scurff is with Spiritus Nicotianae made by fermentation which being dryed in anoint first with oil of Tartar then with oil of Almonds repeating the three last works so often till the scurff goes away If all these fail you must have recourse to our liquor of Talk or Mercurial Cosmetick or those at the fifth and eighth Section of the seven and thirtieth Chapter which without doubt will peform your desire VI. To free the Skin from Tetters and Ring-worms Dissolve Sublimate one ounce in a glass of Red-wine by boiling with which wash the place morning and evening letting it dry of it self for three or four days together and it will certainly cure if they be not inveterate our liquor of Talk at the first Section of the seven and thirtieth Chapter or Mercurial Cosmetick may sufficiently do or you may anoint with this ointment Take Sal Tartari two drachms burnt Alom three drachms powder and incorporate with whites of eggs or this take Sulphur vive three drachms Camphire one drachm Hogs-griese two ounces mix and make an ointment VII To take away wrinkles from the Skin Take oil of Almonds lees of oil Olive and make them into an ointment with wax powder of Camphire and Mastich with which anoint Oil of Myrrh to anoint with is eminent in this case or wash with a decoction of Briony roots and figs of each alike or dissolve Gum Tragacanth in Lac Virginis and wash with that Excellent good is a strong decoction of Pomegranate pills in White-wine to wash often with VIII To take away Warts The juice of the greater Spurge with Salt anointed takes them away so also a continual washing with a Lixivium of Quicklime and Salt of Tartar The juice of Verrucaria performs the same A plaister of Cantharides with a defensative is very good in this case so also this following wash take Saccharum Saturni three ounces Sal Armoniack one ounce Vitriol common six drachms Quicklime eight ounces boil all in water four pound to the consumption of the half with which often bath the warts and then wash with our Mercurial water Black Soap hath often been found very good but especially a plaister of Turpentine IX To heal Chaps in the Skin Our Pomatum in this case is most excellent yet this following is commendable Take Capons griess mixed well with Camphire and anoint with Oil of Turpentine two drachms mixed with Vnguentum Populeon two ounces is very good So also oil of Roses mixed with Sheep Suet and wax to an ointment X. To heal Burnings and Scaldings Excellent good is the Vnguentum Rubrum in our Synopsis Medicinae lib. 3. cap. 58. Sect 1. both to draw out the fire and to heal To draw out the fire also glair of eggs mixed with Rose water is very prevalent so also is Salt raw Onions Soap Yest Oil of Tartar and the like To hinder the rising of the blisters Hens dung three ounces mixed with hogs griese four ounces and Salt of Tartar one ounce is very good so also a cataplasme of Honey and crums of bread but best of all a plaister of strained Opium which performs all the intentions to admiration If the blister break it may be presently skinned by anointing with oil of eggs and washing often with Lac Virginis strewing upon the sore powder of Bole Tutty Ceruse or the like XI To take away scars and marks of the Small Pox. Take of oil of Tartar one ounce and half Ceruse dissolved in oil of Roses one ounce Borax and Sal Gem of each one drachm mix and make an ointment with which anoint Oil of Tartar alone performs this work well so Salt of Tartar mixed with powder of Mirrh and oil of Roses XII To beautifie the Hands To make them soft often anoint with the oil of Almonds or our Pomatum at night going to bed washing them the next norning with decoction of wheat-bran after a while wash them with Salt of Tartar dissolved in fair water perfumed with oil of Cloves Oranges Rhodium or Cinnamon Or this take Venice Soap dissolved in juice of Limons one pound Virgin-honey four ounces Sublimate Orice root Sugar Salt of Tartar Alom Borax of each one ounce Balsom of Peru two drachms oil of Cloves one drachm oil of Rhodium and Cinnamon of each half a drachm make a mixture to wash the hands withal Or this take powder of Venice Soap one pound Orice root eight ounces A mylum six ounces mix them and make an ointment with liquid Storax and oil of Benjamin a sufficient quantity it wonderfully whitens smooths and sweetens the hands To anoint also with a Bulls gall is very good XIII To help hands which are swoln and look red or blew with cold What we even now said in the last Section may be said again here to which we add that a long bathing of them in a larther of Castle Soap is very good if it be done or if a repercussive plaister be applied made of barley meal Saccharum Saturni and oil of Myrtles washing after the coming off of the Cataplasme with juice of Limons or white wine Vinegar a plaister of Turpentine mixed with Salt is good Often to anoint the hands with oil of Roses Almonds or Pomatum at night and the next morning with the Lac Virginis prevails much Oil of Anniseeds Caraways and Fennel prepared chymically as also Cloves and Oranges mixed with oil of Almonds and often used
are eminent above all other things CHAP. XXXIX Of making a Sweet Breath I. ASthinking Breath comes from one of these four causes viz. putrified Lungs defective Teeth a distemper of the Head or obstruction of the Stomach II. To remedy a Stinking Breath coming from putrified Lungs Take Vnguentum Nicotianae one ounce Oleum Succini two drachms mix them and anoint the breast outwardly inwardly give cleansers as oil of Sulphur allayed with Rose water morning and evening as also Antimonium Diophoreticum ten grains five times a day for several days together then heal by giving oil of Almonds mixed with a few drops of oil of Cinnamon or Pills of Turpentine Lastly morning noon and night let this bolus be adhibited take Nutmegs Mace Ginger of each fifteen grains honey two drachms oil of Cinnamon ten drops mix them and continue it for some weeks III. To help the defects of the teeth 1. If the teeth be furred over rub them every morning with cremor Tartari in powder and wash them with White-wine 2. If the teeth be black allay oil of Sulphur or Vitriol in Rose water and scowr them well therewith with the end of a stick and a rag till all the blackness be gone then rub them with oil of Almonds perfum'd with oil of Cinnamon 3. If the teeth be loose first rub them with this powder take Galls Pomgranate flowers Sumach Cyperus of each one ounce Roch Alom half a pound powder them all for use then use this Gargarisme Take Galls one ounce Myrrh Pomgranate peels of each half an ounce boil them in white wine vinegar for a Gargarism Lastly morning noon and night wash the gums with good red Wine by this means the teeth will be fastned and the gums restored 4. If they be in danger of rotting take ashes of Harts-horn magistery of Corral of each one ounce musk or instead thereof oil of Cinnamon ten grains mix for a dentifrice to rub the teeth withal it will keep them white and sound 5. If they he rotten and hollow make little pellets of strained Opium Myrrh and oil of Cinnamon and put them into the hollow tooth 6. If they ach use the aforesaid pellets or make little ones of Laudanum Paracelsi and put them into the hollowness or if they be not hollow tye a little pill of the same up in a fine thin rag and hold it between the aking teeth 7. If they stink often wash them with wine or spirit of wine in which a few drops of oil of Cinnamon and adeps Rosarum is dissolved IV. To rectify a Stinking Breath arising from distemper of the head Consider the cause of the distemper whether it arises from the Pox Imposthumes or the like and follow the method instituted in the Cure of those diseases and then the cause being taken away the effects you will find will soon cease yet nevertheless these following pills are excellent take Calx of refined Silver made by spirit of Nitre and well dulcified by washing in warm rain water one ounce Resinae Scammonii one ounce and half mix them for a mass of pills of which take eight or ten grains at night going to bed every third fourth or fifth day V. To rectifie a Stinking Breath arising from the obstruction of the Stomach This is done by opening and cleansing the Stomach thus Take every morning going to bed half a drachm of Pil. Ruffi for ten or twelve days together or thus first vomit with Vinum Benedictum one ounce or more according as Strength requires twice or thrice then take Pilulae Rudii half a drachm at a time in the morning fasting drinking after it some warm broth or posset drink which repeat every third or fourth day four or five times VI. To rectifie the Breath when it smells of any thing that is eaten Chew Coriander seed or Zedoary in the mouth drinking a good draught of wine after the scent of the wine is taken away by eating four apples or Quinces or by chewing troches of Gum Tragacanth perfumed with oil of Cinnamon CHAP. XL. Of beautifying the Hair I. TO Dye the Hair black This is done with the Calx of Lime made by Spirit of Nitre mixed with fair water and the hair washed therewith with a Spunge it is the most excellent thing of that kind that is yet known II. To keep the hair foom falling off Take Myrtle berries Galls Emblick Myrobalans of each alike boil them in oil Omphacine with which anoint it is an excellent Medicine yet as old as Galen III. To remedy Baldness This is a hard thing to cure yet the following things are very good Rub the head or bald places every morning very hard with a course cloth 'till it be red anointing immediately after with Bears griefe when ten or fifteen days are past rub every morning and evening with a bruised Onion till the bald places be red then anoint with honey well mixed with Mustard seed applying over all a plaister of Labdanum mixed with mice dung and powder of Bees do this for thirty days If all the former fail bath with a decoction of Bur-dock roots made with a Lixivium of Salt of Tartar two parts and muskadel one part immediately applying this Unguent take Thapsi or Turbeth one drachm in powder bears griese one ounce mix them which use for sixty days if this make not the hair come the defect is incurable IV. To take away hair from places where it should not grow Take Quicklime four ounces Auripigmentum one ounce and a half Sulphur vive Nitre of each half an ounce Lixivium of Salt of Tartar a quart mix and boil all so long in a glazed earthen pot till putting a quill therein all the feathers peel off and it is done First soment the place with warm water a little before you use the aforesaid medicine a quarter of an hour after wash with very hot water then anoint with the aforesaid Unguent and in a quarter of an hour it will do the work when the hairs are faln away remember to anoint with oil of Roses now to keep them from ever growing again anoint for some days with an ointment made of the juices of Henbane and Nightshade Opium and Hogs griese V. To make the hair curl Wash the hair very well with a Lixivium of Quick-lime then dry it very well that done anoint it with oil of Myrtles or oil Omphacine and powder it well with sweet powder putting it up every night under a cap if the party be naturally of a cold and moist constitution the washing anointing and powdring must be perpetually used once or twice a week during life the hair being put up every night VI. To make hair lank and flag that curls too much Anoint the hair throughly twice or thrice a week with oil of Lillies Roses or Marsh mallows combing it after it very well VII To make the hair grow long and seft Distill Hogs griese or oil Olive in an Alembick with the oil that comes there-from anoint
the hair and it will make it grow long and soft use it often VIII To preserve the hair from splitting at ends Anoint the ends thereof with oil Omphacine or oil of Myrtles they are eminent in this case to preserve the hair from splitting so also an ointment made of Honey Bees wax and oil Omphacine or Bears griese CHAP. XLI Of the Art of Perfuming in general I. IN this Art two things are to be considered viz. 1. The way and manner of making of Perfumes 2. The way and manner of Perfuming II. The Perfume it self is considered 1. In respect of its Form 2. In respect of its Composition III. The Form of the Perfume is either Water Oil Essence Unguent Powder or Tablets IV. The Making and Composition is taken from the Form and matter V. The Matter is either Vegetable Animal or Mineral VI. The way of Perfuming is according to the matter to be perfumed VII The matter to be perfumed is either natural as Hairs Skins Cloaths Air c. or Artificial as Pomanders Powders Wash-balls Soaps Candles and other things of like nature CHAP. XLII Of the Matter of which Perfumes are made I. THe ground of Vegetable Perfumes is taken from Flowers Seeds Herbs Roots Woods Barks and Gums II. The chief Flowers for this use are of Clove-Gilliflowers Roses Jasemin Lavender Oranges and Saffron III. The chief Seeds or fruits are Nutmets Cloves Carrawaies Grains Seeds of Geranium Moschatum and the Nut Ben. IV. The chief Herbs are Geranium Moschatum Basil sweet Majoram Tyme Angelica Rosemary Lavender Hysop sweet Trefoyl Mint and Bay-tree leaves V. The chief Roots are of Calamus Aromaticus Ginger China Caryophyllata Indian Spicknard and sweet Orrice or Iris. VI. The chief Woods are of yellow Sanders Xylobalsamum Lignum Aloes and Rhodium VII The Barks and Peels are of Cinnamon Mace Oranges Limons and Citrons VIII The chief Gums are Frankincense Olibanum Labdanum Styrax liquid Styrax Balsamum Verum Ambergriese Styrax Calamita Benjamin Amber Camphire IX The chief matters of Perfumes taken from Animals are Musk Zibet Cow-dung and other turds X. Of Minerals there is one only which yields a Perfume and that is Antimony CHAP. XLIII Of the Oil of Ben. I. THe little Nut which the Arabians call Ben is the same which the Latins call Nux Vnguentaria and the Greeks Balanos Myrepsta out of which is taken an Oil of great use in the Art of Perfuming II. To make the Oil of Ben. Blanch the Nuts and beat them very carefully in a mortar and sprinkle them with wine put them into an earthen or Iron Pan and heat them hot then put them into a linnen cloth and press them in an Almond press this work repeat till all the Oil is extracted so have you Oil of Ben by expression III. In like manner you may express the Oil out of Citron seeds incomparable for this purpose to extract the scent out of Musk Civit Amber and the like because it will not quickly grow rank yet Oil of the Nut Ben is much better IV. This Oil of Ben hath two properties the one is that having no scent or odour of it self it alters changes or diminishes the scent of any Perfume put into it the other is that it is of a long continuance so that it scarcely ever changeth corrupts or putrifies as other Oils do V. To make a Perfume thereof put the Musk Amber c. in fine powder thereinto which keep in a glass bottle very close stopped for a month or more then use it VI. Or thus Blanch your Nuts and bruise them Almonds may do though not so good and lay them between two rows of Flowers suppose Roses Jasemin c. or other Perfumes when the Flowers have lost their scent and fade remove them adding fresh ones which repeat so long as the Flowers are in season then squeez out the oil and it will be most odoriferous VII Lastly by this last you may draw a sweet scent out of those Flowers out of which you cannot distil any sweet water CHAP. XLI Of sweet Waters I. THe first sweet Water Take Cloves in powder two drachms yellow Sanders Calamus Aromaticus of each one scruple Aquae Rosarum Damascenarum fifteen pound digest four days then distil in an Alembick to this new distilled water put in powder Cloves Cinnamon Benjamin Storax Calamita of each one drachm distil again in Balneo lastly put the water into a glass bottle with Musk and Ambergriese of each ten granis keep it close stopt for use II. The second sweet Water Take Damask Roses exungulated three pound Flowers of Lavender and Spike of each four ounces Clove-gilliflowers and Flowers of Jasemin of each two pound Orange-flowers one pound Citron peels four drachms Cloves two drachms Cinnamon Storax Calamita Benjamin Nutmegs of each two scruples all in powder Aquae Rosarum six pound digest ten days then distil in Balneo to the distilled water add of Musk and Ambergriese of each thirty grains III. The third sweet water Take Roses Clove-gilliflowers of each one pound Flowers of Rosemary Lavender Jasemin Majoram Savory Time of each three ounces dry Citron peels one ounce Cinnamon Benjamin Storax Calamita of each two drachms Nutmegs Mace of each one drachm bruise the Herbs and Spices well digest in the Sun two days then distil in Balneo to the distilled water add Musk in powder one scruple IV. The fourth sweet Water Take Cloves Cinnamon of each one drachm Mace Grains Musk Ambergriese Citron peels of each half a scruple Benjamin Storax Calamita of each one scruple Aqua Resarum twelve pound digest fifteen days then distil in Balneo V. The fifth sweet Water Take Rosemary-flower water Orange-flower water of each five pound Ambergriese one scruple digest ten days then distil in Balneo VI. The sixth sweet Water Take Roses two pound Macaleb half a drachm Ambergriese ten grains bruise what is to be bruised digest in sand three days then distil in Balneo VII The seventh sweet Water Take green peels of Oranges and Citrons of each four drachms Cloves half a drachm flowers of Spike six ounces Aquae Rosarum Damascenarum six pound digest ten days then distil in Balneo VIII The eighth sweet Water Take of the water at the fifth Section six pound Musk ten grains mix and digest them for use IX The ninth sweet Water Take Aquae Rosarum Aquae Florum de Jâ—semin of each four pound Musk one scruple digest ten days then distil in sand X. The tenth sweet Water Take Damâ—sk-rose Musk-roses Orange-flowers of each four pound Cloves two ounces Nutmegs one ounce distil in an Alembick in the nose of which hang Musk three scruples Amber two scruples Civet one scruple tyed up in a rag dipt in bran and the white of an egg mixed XI The eleventh sweet Water called Aqua Nanfa or Naphe Take Aqua Rosarum four pound Orange-flower water two pound waters of sweet Trefoyl Lavender Sweet Majoram of each eight ounces Benjamin two ounces storax
Soap Take of the aforesaid Lixivium or oil of Tartar per deliquium twelve pound oil Olive three pound mix them Amylum two pound Roman Vitriol one ounce in powder Glair of eggs two ounces put all together and stir continually for four hours time then let it stand the space of a day and it is done You may perfume it as before this makes the hair fair VI. Another exceeding the former Take Crown-soap Vine-ashes of each one pound make it into Cakes with powder of Roch Alom and Tartar of each alike which you may perfume at pleasure VII To get the juice or milk of Macaleb Take the sweet and odoriferous grains of Macaleb which beat in a mortar with Rose water or some perfuming water till it becomes like pap then press out the juice or milk which use within two or three days lest it spoil CHAP. LIV. Of Burning Perfumes I. TO make perfumed lights Take Olibanum two ounces Camphire one ounce beat them into powder of which make with wax balls or rouls which put into a glass lamp with Rose water and lighted with a candle will give a fair light and a very good scent II. Another for a Lamp Take sweet oil Olive one pound Benjamin Storax in powder one ounce Musk Ambergriese of each one scruple mix all with the oil which put into a lamp to burn and the oil will yield a fragrant odour III. To make perfumed Candles Take Labdanum Myrrh Xyloaloes Styrax calamita of each one ounce and a half Willow Charcoal one ounce Ambergriese Musk of each ten grains make them into paste with mucilage of Gum Tragacamb in Rose water which make into rouls like Candles and dry for use IV. A perfume to smoak and burn Take Labdanum two ounces Storax one ounce Benjamin Cloves Mace of each half an ounce Musk Civet of each ten grains all in fine powder make up into cakes with mucilage of gum Tragacanth in Rose water which dry and keep among your cloaths which when occasion requires you may burn in a chafing-dish of coals V. Another smoaking perfume to burn Take Labdanum two drachms Storax one drachm Benjamin Frankincense white Amber Xylo-aloes of each two scruples Ambergriese Musk of each five grains make all into Cakes as aforesaid VI. Another very excellent Take Storax Benjamin of each one ounce wood of Aloes half an ounce Ambergriese Musk Civet Balsam of Peru oil of Rhodium of each two scruples Ivory burnt black a sufficient quantity powder what is to be powdred and mix all together which make into a paste with the Ivory black and the mucilage aforesaid make little cakes and dry them which keep in glasses close stopt for use VII Another very good but of less cost Take Olibanum one pound Storax Calamita and Liquida of each eight ounces Labdanum six ounces Willow charcoal a sufficient quantity with mucilage of Tragacanth make a paste as aforesaid CHAP. LV. Of Animal and Mineral Perfumes I. THe Animal Perfume of Paracelsus Take Cow-dung in the month of May or June and distil it in Balneo and the water thereof will be an excellent perfume and have the scent of Ambergriese See our Synopsis Medicinae lib. 3. cap. 75. Sect. 5. II. Lard muskified a great perfume Take hogs lard very pure one drachm Musk Civet of each half a drachm mix them well for boxes III. The Mineral Perfume of Antimony Dissolve Antimony in oil of Flints Crystal or Sand coagulate the solution into a red mass put thereon Spirit of Wine and digest till the Spirit is tinged pour it off and put on more till all the tincture is extracted put all the tinctures together and evaporate the Spirit of Urine in Balneo and there will remain a blood-red liquor at bottom upon which put Spirit of Wine and you shall extract a very pure tincture smelling like Garlick digest it a month and it will smell like Balm digest it a while longer and it will smell like Musk or Ambergriese Besides being a perfume it is an excellent sudorifick and cures the Plague Feavers Lues Venerea c. IV. After the same manner you may make as substantial a perfume of Sulphur or Brimstone The making of the oil of Flints we have taught at the seven and fiftieth Section of the nine and twentieth Chapter of the third Book CHAP. LVI Of the Adulteration of Musk Civet and Ambergriese BY reason that these choice Perfumes are often adulterated or counterfeited we shall do our endeavour to discover the cheat lest any being deceived thereby should suffer loss I. Musk is often adulterated by mixing Nutmegs Mace Cinnamon Cloves Spicknard of each alike in a fine or impalpable powder with warm blood of Pidgeons and then dryed in the Sun then beaten again and moistened with Musk water drying and repeating the same work eight or ten times adding at last a quarter part of pure Musk by moistening and mixing with Musk water then dividing the mass into several parts and rouling them in the hair of a goat which grows under his tail II. Others adulterate it thus By filling the Musk cods with Goats blood and a little toasted bread mixed with a quarter part of Musk well beaten together The cheat is discerned by the brightness of the Goats blood III. Or thus Take Storax Labdanum powder of Xylo-aloes of each four ounces Musk and Civet of each half an ounce mix all together with Rose water The cheat is discerned by its easie dissolving in water and its different colour and scent IV. Or thus Take Goats blood powder of Angelica roots Musk of each alike make a mixture V. To adulterate Civet Mix with it the Gall of an Oxe and Storax liquefied and washed or you may adulterate it by the addition of Honey of Crete VI. To restore the lost scent to Musk or Ambergriese This is done by hanging it some time in a Jakes or house of Office for by these ill scents its innate vertue and odour is excited and revived CHAP. LVII Of the way of Perfuming Cloth Skins Gloves and the like I. TO Perfume Skins or Gloves Put a little Civet thereon here and there if Gloves along the seams then wash in Rose or musked water four or five times or so long as that they savour no more of the leather pressing them hard every time then lay them in a platter covered with the said water mixed with powder of Cypress a day or two take them out press them and dry them in the shadow being half dry besmear them a little with Civet mix'd with oil of Jasemin or Ben on the inward side chafing them with your hands before a fire till you think that the Civet hath pierced or gone through the leather leaving them so a day or more then rub with a Cloth that the Gloves or Leather may grow soft leaving them so till they are almost dry being drawn and stretched out then hold them over some burning Perfume to dry and wetting them again with Musk water do thus
twenty times lastly take Musk and Ambergriese a sufficient quantity which mix with oil of Jasemin Benjamin or Ben dissolve at the fire with a little perfumed water with which with a pencil strike the Gloves or Leather over on the outside besmearing the seams with Civet lasty lay them for six or eight days between two mattresses so will the Skins or Gloves â—e excellently perfumed II. Another way very excellent Take three pints of Wine Sheeps suet or fat one pound boil them together in a vessel close covered this done wash the Griese six or seven times well with fair water then boil it again in White-wine and Rose water of each one pound and a half with a small fire till the half be consumed then take the said griese to which put pulp of sweet Navews roasted half a pound boil all in Rose water half an hour then strain it and beat it in a mortar with a little oil of Jasâ—min and Musk with which besmear your Gloves after due washing as aforesaid rubbing it well in by the fire III. Another way for Gloves Wash new Corduban Gloves wash them well three or four days once a day in good White-wine pressing and smoothing them well lastly wash them in musked water letting them lye therein for a day then dry them with care This done steep Musk Amber Bazil of each one drachm in a quart of sweet water in which dissolve gum Tragacanth three drachms boil all gently together and in the boiling add Zibet one scruple with which besmear the Gloves rubbing and chafing it in then drying them according to Art IV. Or thus First wash the Gloves or Skins in white-wine then dry them in the shade then wash them in sweet water mixed with oil of Cloves and Labdanum of each alike lastly take Musk Civet Ambergriese of each the quantity of six grains oil of Musk half a drachm mucilage of gum Tragacanth fifteen grains mix them well together in a mortar which chafe into the wash'd Gloves before the fire V. Cloths Linnen or Woolen Coffers Trunks and the like are best perfumed with little cost with the â—â—oak of burning Perfumes CHAP. LVIII Of making various sorts of Ink. I. TO make good black writing Ink. Take ponderous galls three ounces in powder White-wine or in place thereof rain water which is better three pound infuse them in the Sun or in a gentle heat two days then take Roman Vitriol well coloured and powdred which put therein and set all in the Sun for two days more shake all together to which add of good gum Arabick in little bits one ounce with a little white Sugar which dissolve over a gentle fire II. To make red writing Ink. Take Raspins of Brazil one ounce white lead Alom of each two drachms grind and mingle them infuse them in Urine one pound with gum Arabick eight scruples III. Another way to make red Ink. Take Wine-vinegar two pound Raspings of Brazil two ounces Alom half an ounce infuse all ten days then gently boil to which add gum Arabick five drachms dissolve the Gum strain and keep it for use IV. To make green Ink to write with Make fine Verdigriese into paste with strong Vinegar and infusion of green galls in which a little gum Arabick hath been dissolved let it dry and when you would write with it temper it with infusion of green Galls aforesaid V. Another way to make green Ink to write with Dissolve Verdigriese in Vinegar then strain it and grind it with a little honey and mucilage of gum Tragacanth upon a porphyry stone VI. To make blew Ink to write with Grind Indico with honey mixed with glair of eggs or glew water made of Ising lass dissolved in water and strained VII To make red writing Ink of Vermilion Grind Vermilion well upon a porphyry stone with common water dry it and put it into a glass vessel to which put Urine shake all together let it settle then pour off the Urine and putting on more Urine repeat this work eight or ten times so will the Vermilion be well cleansed to which put glair of Eggs to swim on it above a fingers breadth stir them together and setling abstract the glair then put on more glair of eggs repeating the same work eight or ten times also to take away the scent of the Urine lastly mix it with fresh glair and keep it in a glass vessel close stop'd for use When you use it mix it with water or vinegar VIII To make Printers black This is made by mingling Lamp black with liquid Varnish and boiling it a little which you may make thick at pleasure You must make it moister in winter than in Summer and note that the thicker Ink makes the fairer letter If it be too thick you must put in more Linseed oil or oil of Walnuts so may you make it thicker or thinner at pleasure IX To make red Printing Ink. Grind Vermilion very well with the aforesaid liquid Varnish or Linseed oil X. To make green Printing Ink. Grind Spanish green with the said Varnish or Linseed oil as aforesaid And after the same manner may you make Printers blew by grinding Azure with the said Linseed oil CHAP. LIX Of making Sealing Wax I. To make red Sealing Wax Take white Bees wax one pound Turpentine three ounces Vermilion in powder well ground oil Olive of each one ounce melt the wax and Turpentine let it cool a little then add the rest beating them well together II. To do the same otherwise This is done by taking away the Vermilion and adding instead thereof red Lead three ounces to the former things III. To make green Wax Take Wax one pound Turpentine three ounces Verdigriese ground Oil Olive of each one ounce complete the work by the first Section IV. To make black Wax Take Bees Wax one pound Turpentine three ounces black earth Oil Olive of each one ounce mix and make Wax as aforesaid V. To make Wax perfumed This is done by mixing with the Oil Olive aforesaid Musk Ambergriese or any other eminent Perfume as oil of Cinnamon adeps Rosarum or the like one drachm more or less according as you intend to have its scent extended VI. After the same manner you may make Scaling wax of all colours having what scent you please by mixing the scent intended with the Oil Olive and putting the colour in in place of the Vermilion CHAP. LX. Of the various ways of making Artificial Pearls I. THe first Way Dissolve mother of Pearl in spirit of Vinegar then precipitate it with oil of Sulphur per Campanum not with Oleum Tartari for that takes away the splendor which adds a lustre to it dry the precipitate and mix it with whites of eggs of which mass you may make Pearls of what largeness you please which before they be dry bore through with a silver Wire so will you have pearls scarcely to be discerned from those which are truly natural II. The second way Take Chalk
you have graved part of your work it will be needful to scrape it with the sharp edge of a burnisher or other graver carrying it along eaven with the plate to take off the roughness of the stroaks but in doing it beware of making scratches VI. And that you may the better see that which is engraven with the piece of Felt or Castor at the fourth Section of the second Chapter dipt in oyl rub the places graven VII Lastly whatsoever appears to be amiss you may rub out with the burnisher and very exactly polish it with your piece of Felt or Castor and oyl which done to cleanse the plate you may boil it a little in wine vinegar and rub it gently with a brush of small brass wire or hogs bristles CHAP. V. Of the Imitation of Copies or Prints I. HAving a piece of Bees wax tyed up in a fine holland rag heat the plate over the fire till it may be hot enough to melt the wax then rub the plate with the wax tied up in the rag till you see it covered all over with wax which let be very thin if it be not eaven heat it again by the fire and wipe it over gently with a feather II. If you would coppy a printed picture to have it print off the same way then clap the print which you would imitate with the printed side next to the plate and having placed it very exactly rub the backside of the print with a burnisher or any thing that is hard smooth and round which will cause it to stick to the wax upon the plate then take off the print beginning at one corner gently and with care lest you tear it which may be caused also by putting too much wax upon the plate and it will leave upon the wax the perfect proportion in every part Where note if it be an old picture before you place it upon the wax it will be good to track it over in every limb with a black-lead pensil III. But if you would have it print the contrary way take the dust of black-lead and rub the backside of the print all over therewith which black side put upon the waxed plate and with your needle or drawing point draw all the out-lines of the design or print all which you will find upon the wax This done IV. Take a long graver either Lozenge or round which is better very sharp and with the point thereof scratch over every particular limb in the outstroke which done it will not be difficult to mark out all the shadows as you engrave having the proportion before you V. Lastly for Coppies or Letters go over every letter with black-lead or write them with ungumm'd Ink and clap the paper over the waxed plate as before CHAP. VI. Of Engraving in Wood. THe figures that are to be carved or geaven in wood must first be drawn traced or pasted upon the wood and afterwards all the other standing of the wood except the figure must be cut away with little narrow pointed knives made for that purpose This graving in wood is far more tedious and difficult than that in Brass or Copper because you must cut twice or thrice to take out one stroak and having cut it to be careful in picking it out lest you should break any part of the work which would deface it II. For the kind of the wood let it be hard and tough the best for this purpose is Beech and Box let it be plained inch thick which you may have cut into pieces according to the bigness of the figure you grave III. To draw the figures upon the wood Grinde white Lead very fine and temper it with fair water dip a cloth therein and rub over one side of the wood and let it dry throughly This keepeth the Ink if you draw therewith that it run not about nor sink and if you draw with Pastils it makes the stroaks appear more plain and bright IV. Having whited the wood as before if it is a figure you would copy black or red the blankside of the print or copy and with a little stick or swallows quill trace or draw over the stroaks of the figure V. But if you paste the figure upon the wood you must not then white it over for then the figure will pill off but only see the wood be well plained then wipe over the printed side of the figure with Gum Tragacanth dissolved in fair water and clap it smooth upon the wood which let dry throughly then wet it a little all over and fret off the paper gently till you can see perfectly every strock of the figure dry it again and fall to cutting or carving it CHAP. VII Of Etching and the Materials thereof I. ETching is an artificial Engraving of Brass or Copper plates with Aqua fortis II. The Instruments of Etching besides the plate are these nine 1. Hard Varnish 2. Soft Varnish 3. Prepared Oyl 4. Aqua fortis 5. Needles 6. Oyl-stone 7. Brush-pensil 8. Burnisher 9. The Frame and Trough III. To polish the Plate Although in chap. 2. of this Book we have sufficiently taught how to polish the Plate yet nevertheless we think it convenient to subjoyn these following words First the Plate being well planished or forged chose the smoothest side to polish then fix it upon a board a little declining and rub it firmly and eavenly all over with a piece of Grindstone throwing water often on it so long till there be no dints flaws or marks of the hammer wash it clean and with a piece of good Pumice stone rub it so long till there be no rough stroaks or marks of the Grindstone wash it clean again and rub it with a fine Hoan and water till the marks of the pumice stone are rubbed out wash it again and with a piece of Charcoal without knots being heat red hot and quenched in water the outside being pared off rub the plate with water till all the small stroaks of the Hoan be vanished lastly if yet there remain any small stroaks or scratches rub them out with the end of the burnishing Iron so shall the Plate be fitted for work IV. To make the hard Varnish for Etching Take Greek or Burgundy Pitch Colophonium or Rozin of each five ounces Nut-oyl four ounces melt the Pitch and Rozin in an earthen pot upon a gentle fire then put in the Oyl and let them boil for the space of half an hour Cool it a little upon a softer fire till it appear like a Glewy syrrup cool it a little more strain it and being almost cold put it into a Glass bottle for use Being thus made it will keep at least twenty years V. To make the soft Varnish for Etching Take Virgin-wax three ounces Mastich in drops two ounces Asphaltum one ounce grind the Mastich and Asphaltum severally very fine then in an Earthen pot melt the Wax and strew in the Mastich and Asphaltum stirring all upon the fire till they be
well dissolved and mixed which will be in about half a quarter of an hour then cooling it a little pouring it into a basin of fair water all except the dregs and with your hands wet before it is cold form it into rouls VI. To make the prepared Oyl Take Oyl Olive make it hot in an Earthen pot and put into it a sufficient quantity of tried sheeps suet so much as being dropped upon a cold thing the oyl may be a little hardened and firm boil them together for an hour till they be of a reddish colour lest they should separate when you use them This mixture is to make the fat more liquid and not cool so fast for the fat alone would be no sooner on the pencil but it would grow cold and be sure to put in more oyl in Winter than in Summer VII To make the Aqua fortis Take distilled White-wine Vinegar three pints Sal Armoniack Bay-falt of each six ounces Vertegriese four ounces Put all together into a large well glazed earthen pot that they may not boâ— over cover the pot close and put it on a quick fire and let it speedily boil two or three great walms and no more when it is ready to boil uncover the pot and stir it sometimes with a stick taking heed that it boil not over having boiled take it from the fire and let it cool being close covered and when it is cold put it into a glass bottle with a glass stopple If it be too strong in Etching weaken it with a glass or two of the same Vinegar you made it of There is another sort of Aqua fortis which is called Common which is exhibited in Synopsis Medicinae lib. 3. cap. 7. sect 4. pag. 656. But because that Book may not be in every mans hand we will here insert it it is thus Take dried Vitriol two pound Salt-peter one pound mix them and distil by a Retort in open fire by degrees VIII To make the Etching Needles Chose Needles of several sizes such as will break without bending and of a fine grain then take good round sticks of firm wood not apt to split about six inches long and as thick as a large Goose quill at the ends of which fix your Needles so that they may stand out of the sticks about a quarter of an inch or something more IX To whet the points of the Needles with the Oylstone If you would have them whetted round you must whet their points short upon the oyl stone not as sowing Needls are turning them round whilst you whet them as Turners do If you whet them sloping first make them blunt upon the oyl stone then holding them firm and steady whet them sloping upon one side only till they come to a short and roundish oval X. The Brush pencil is to cleanse the work wipe off dust and to strike the Colours eaven over the ground or varnish when laid upon the Plate XI The burnisher is a well hardened piece of steel somewhat roundish at the end Its uses are what we have spoken at the sixth Section of the first Chapter and the third Section of the second Chapter XII To make the Frame and Trough The Frame is an entire board about whose top and sides is fastned a ledge two Inches broad to keep the Aqua fortis from running off from the sides when you pour it on the lower end of this board must be placed in the Trough leaning sloping against a wall or some other thing wherein you must fix several pegs of wood to rest the plate upon The Trough is made of a firm piece of Elm or Oak set upon four legs whose hollow is four Inches wide and so long as may best fit your use the hollow must be something deeper in the middle that the water running thither may fall through a hole there made for that purpose into an earthen pan well leaded The inside of this board and trough must be covered over with a thick oyl colour to hinder the Aqua fortis from eating or rotting the board CHAP. VIII The way and manner of using the hard Varnish I. HAving well heat the polished Plate over a chafing-dish of coals take some of the first varnish with a little stick and put a drop of it on the top of your finger with which lightly touch the Plate at equal distances laying on the varnish equally and heating the plate again as it grows cold keeping it carefully from dust or filth then with the ball of your thumb tap it upon the plate still wiping your hand over all to make it more smooth and equal And here beware that neither the varnish be too thick upon the plate nor your hand sweaty II. Then take a great lighted candle burning clear with a short snuff placing the corner of the plate against a wall hold the varnished side downward over the candle as close as you can so it touch not the Varnish guiding the flame all over till it is all perfectly black which you must keep from dust or filth till it is dry III. Over a fire of Charcoals hang the varnished plate to dry with the varnish upwards which will smoak when the smoak abates take away the plate and with a pointed stick scratch near the side thereof and if the varnish easily comes off hang it over the fire again a little so long till the Varnish will not too easily come off then take it from the fire and let it cool If the varnish should be too hard cast cold water on the back-side of the plate to cool it that the heat may not make it too hard and brittle This done IV. Place it upon a low desk or some such like thing and cover that part which you do not work on with a sheet of fine white paper and over that a sheet of brown paper on which may rest your hand to keep it from the varnish V. If you use a ruler lay some part of it upon the paper that it may not rub off the varnish and have an especial care that no dust or filth get in between the paper and the varnish for that will hurt it CHAP. IX The way and manner of Etching I. IN making lines or hatches some bigger some lesser straight or crooked you must use several sorts of needles bigger or lesser as the work requires II. The great lines are made by leaning hard on the needle its point being short and thick but a round point will not cut the varnish clear or by making divers lines or hatches one very close to another and then by passing over them again with a thicker needle or by making them with an indifferent large needle and letting the Aqua fortis lie the longer thereon The best needles for this work are such as are whet sloping with an oval because their sides will cut that which the round ones will not III. If your lines or hatches ought to be of an equal thickness from end
and red lead and Ceruse stain it wherefore you must deepen your colours so that the Orpiment may be highest and so it may agree with all Colours XVII Masticot Grind it with a small quantity of Saffron in gum-water and never make it lighter than it is it will endure to lie upon all colours and metals XVIII Saffron Steep it in Glair it may be ground with Vermilion XIX Pink-yellow If you would have it sad coloured grind it with Saffron if light with Ceruse mix it with weak gum-water and so use it XX. Oker de Luce Grind it with pure Brazil-water it makes a passing hair colour and is a natural shadow for gold XXI Vmber It is a more sad colour Grind it with gum-water or gum-lake and lighten it if you please with a little Ceruse and a blade of Saffron XXII Vltramarine If you would have it deep grind it with litmose-Litmose-water but if light with fine Ceruse and a weak Gum-Arabick water XXIII Indico Grind it with water of Gum-Arabick as Ultramarine XXIV Blew bice Grind it with clean water as small as you can then put it into a shell and wash it thus put as much water to it as will fill up the vessel or shell and stir it well let it stand an hour and the filth and dirty water cast away then put in more clean water do thus four or five times and at last put in Gum-Arabick water somewhat weak that the Bice may fall to the bottom pour off the gum-water and put more to it wash it again drie it and mix it with weak gum-water if you would have it rise of the same colour but with a stiff water of Gum-lake if you would have a most perfect blew if a light blew grind it with a little Ceruse but if a most deep blew add water of Litmose XXV Smalt Grind it with a little fine Roset and it will make a deep Violet and by putting in a quantity of Ceruse it will make a light Violet XXVI Litmose blew Grind it with Ceruse with too much Litmose it makes a deep blew with too much Ceruse a light blew grind it with the weak water of Gum-Arabick Take fine Litmose cut it in pieces lay it in weak water of Gum-lake for twenty four hours and you shall have a water of a most perfect Azure with which water you may Diaper and Damask upon all other blews to make them shew more fair and beautiful XXVII Orchal Grind it with unslak'd Lime and Urine it makes a pure Violet by putting to more or less Lime you may make the Violet light or deep as you please CHAP. XIX Of Mixt and Compound Colours I. MVrry It is a wonderful beautiful colour composed of purple and white it is made thus Take Sinaper-lake two ounces white Lead one ounce grind them together See the 24 Section II. A Glass grey Mingle Ceruse with a little Azure III. A Bay colour Mingle Vermilion with a little Spanish brown and black IV. A deep Purple It is made of Indico Spanish brown and white It is called in Latine Purpureus in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 from 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 a kind of shell fish that yields a liquour of that coulour V. An Ash colour or Grey It is made by mixing white and Lamp-black or white with Sinaper Indico and black make an Ash colour It is called in Latine Caesius and color Cinerius in Greek 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 and 〈◊〉 〈◊〉 〈◊〉 〈◊〉 〈◊〉 VI. Light Green It is made of Pink and Smalt with white to make it lighter if need require VII Saffron colour It is made of Saffron alone by infusion VIII Flame colour It is made of Vermilion and Orpiment mixed deep or light at pleasure or thus Take red Lead and mix it with Masticote which heighten with white IX A Violet Colour Indico white and Sinaper Lake make a good Violet So also Ceruse and Litmose of each equal parts X. Lead colour It is made of White mixed with Indico XI Scarlet colour It is made of Red Lead Lake Vermilion yet Vermilion in this case is not very useful XII To make Vermilion Take Brimstone in powder one ounce mix it with Quicksilver a pound put it into a Crucible well luted and upon a Charcoal fire heat it till it is red hot then take it off and let it cool XIII To make a bright Crimson Mix tincture of Brazil with a little Ceruse ground with fair water XIV To make a sad Crimson Mix the aforesaid light Crimson with a little Indico ground with fair water XV. To make a pure Lake Take Urine twenty pound boil it in a Kettle and scum it with an Iron Scummer till it comes to sixteen pound to which add gum Lake one pound Alom five ounces boil all till it is well coloured which you may try by dipping therein a piece of linnen cloth then add sweet Alom in powder a sufficient quantity strain it and let it stand strain it again through a dry cloth till the liquor be clear that which remains in the cloth or bag is the pure Lake XVI To make a Crimson Lake It is usually made of the flocks shorn off from Crimson cloth by a Lye made of Salt peter which extracts the colour which precipitate edulcorate and dry in the Sun or a Stove XVII A pure Green Take white Tartar and Verdegriese temper them with strong white Wine Vinegar in which a little gum Arabick hath been dissolved XVIII A pure Violet Take a little Indico and tincture of Brazil grind them with a little Ceruse XIX A pure Purple colour Take fine Brimstone an ounce and an half Quicksilver Sal Armoniack Jupiter of each one ounce beat the Brimstone and Salt into powder and make an Amalgamie with the Quicksilver and Tinn mix all together which put into a great glass Goard make under it an ordinary fire and keep it in a constant heat for the space of six hours XX. To make a Yellow Colour Take the yellow chives in white Lilies steep them in gum water and it will make a perfect yellow the same from Saffron and Tartar tempered with gum water XXI To make a Red colour Take the roots of the lesser Bugloss and beat them and strain out the juice and mix it with Alom water XXII To make excellent good Greens The Liver of a Lamprey makes an excellent and durable grass green and yellow laid upon blew will change into green so likewise the juice of a blew Flower-de-luce mixed with gum water will be a perfect and durable green or blew according as it is used XXIII To make a Purple colour Take the juice of Bilberries and mix it with Alom and Galls and so paint with it XXIV To make a good Murry Temper Rosset with a little Rose water in which a little gum hath been dissolved and it will be good but not exceeding that at the first Section of this Chapter XXV To make Azure or Blew Mix the Azure with glew water
and not with gum water XXVI To make a Yellow Green or Purple Buckthorn Berries gathered green and steeped in Alom water yield a good yellow but being through ripe and black by the eighteenth Section of the twenty first Chapter of the third Book they yield a good green and lastly being gathered when they are ready to drop off which is about the middle or end of November their juice mixt with Alom water yields a good purple colour CHAP. XX. Of Colours for Drapery I. FOR Yellow garments Take Masticot deepned with brown Oker and red Lead II. For Scarlet Take Vermilion deepned with Sinaper lake and heightned with touches of Masticot III. For Crimson Lay on Lake very thin and deepen with the same IV. For Purple Grinde Lake and Smalt together or take blew Bice and mix it with red and white Lead V. For an Orient Violet Grind Litmose blew Smalt and Ceruse but in mixture let the blew have the upper hand VI. For Blew Take Azure deepned with Indie blew or Lake heightned with white VII For black Velvet Lay the garment first over with Ivory black then heighten it with Cherrystone black and a little white VIII For black Sattin Take Cherrystone black then white deepned with Cherrystone black and then lastly Ivory black IX For a pure Green Take Verdegriese bruise it and steep it in Muscadine for twelve hours then strain it into a shell to which add a little Sap green but put no gum thereto X. For a Carnation Grind Ceruse well washed with red Lead or Ceruse and Vermilion XI For Cloth of Gold Take brown Oker and liquid Gold water and heighten upon the same with small stroaks of Gold XII For white Sattin Take first fine Ceruse which deepen with Cherrystone black then heighten again with Ceruse and fine touches where the light falleth XIII For a russet Sattin Take Indy blew and Lake first thin and then deepned with Indy again XIV For a hair Colour It is made out of Masticot Umber yellow Oker Ceruse Oker de Rous and Sea-coal XV. For a Popinjay green Take a perfect green mingled with Masticot XVI For changeable Silk Take water of Masticot and red Lead which deepen with Sap green XVII For a light Blew Take blew Bice heightned with Ceruse or Spodium XVIII For to shadow Russet Take Cherrystone black and white lay a light russet then shadow it with white XIX For a Skie colour Take blew Bice and Venice Ceruse but if you would have it dark take some blew and white XX. For a Straw colour Take Masticot then white heightened with Masticot and deepned with Pink. Or thus Take red Lead deepned with Lake XXI For Yellowish Thin Pink deepned with pink and green Orpiment burned makes a Marigold colour XXII For a Peach colour Take Brazil water Log water and Ceruse XXIII For a light Purple Mingle Ceruse with Logwood water or take Turnsole mingled with a little Lake Smalt and Bice XXIV For a Walnut colour Red Lead thinly laid and shadowed with Spanish brown XXV For a Fire colour Take Masticot and deepen it with Masticot for the flame XXVI For a Tree Take Umber and white wrought with Umber deepned with black XXVII For the Leaves Take Sap green and green Bice heighten it with Verditure and white XXVIII For Water Blew and white deepned with blew and heightned with white XXIX For Banks Thin Umber deepned with Umber and black XXX For Feathers Take Lake frizled with red Lead CHAP. XXI Of Liquid Gold and Silver I. LIquid Gold or Silver Take five or six leaves of Gold or Silver which grind with a stiff gum Lake water and a good quantity of salt as small as you can then put it into a vial or glazed vessel add so much fair water as may dissolve the stiff gum water then let it stand four hours that the gold may settle decant the water and put in more till the gold is clean washed to the gold put more fair water a little sal Armoniack and common salt digesting it close for four days then put all into a piece of thin Glovers leather whose grain is peeled off and hang it up so will the sal Armoniack fret away and the gold remain behind which keep Or thus Grind fine leaf Gold with strong or thick gum water very fine and as you grind add more thick gum water being very fine wash it in a great shell as you do bice then temper it with a little quantity of Mercury sublimate and a little dissolved gum to bind it in the shall shake it and spread the Gold about the sides thereof that it may be all of one colour and fineness which use with fair waters as you do other Colours The same observe in liquid Silver with this observation That if your Silver by length of time or humidity of the air becomes rusty then cover the place with juice of Garlick before you lay on the Silver which will preserve it When you use it temper it with glair of eggs and so use it with pen or pencil Glair of Eggs is thus made Take the whites and beat them with a spoon till that rise all in a foam then let them stand all night and by morning they will be turned into clear water which is good glair II. Argentum Musicum Take one ounce of tin melt it and put thereto of Tartar and Quicksilver of each one ounce stir them well together until they be cold then beat it in a mortar and grind it on a stone mix it with gum water write therewith and afterwards polish it III. Burnished Gold or Silver Take gum-lake and dissolve it into a stiff water then grind a blade or two of Saffron therewith and you shall have a fair gold when you have set it being throughly dry burnish it with a dogs tooth Or thus having writ with your pen or pencil what you please cut the Leaf Gold or Silver into pieces according to the draught which take up with a feather and lay it upon the drawing which press down with a piece of wool and being dry burnish it IV. Gold Armoniack This is nothing but that which we have taught at the fourth Section of the sixteenth Chapter of this Book V. Size for burnished Gold Take Bole Armoniack three drachms fine Chalk one drachm grind them as small as you can together with fair water three or four times letting it dry after every time then take glair and strain it as short as water with which grind the Bole and Chalk adding a little gum Hedera and a few blades of Saffron grind all as small as possible and put them into an Ox horn I judge a glass vessel better and set it to rot in horse dung for six weeks then take it up and let it have air and keep it for use It s use is for gilding parchments book covers and leather thus lay this size first upon the parchment then with a feather lay the Gold or Silver upon
all Where note that the single colours at first laid upon the Pallet and tempered serve for shadows for all complexions and that all deepnings ought to be with black Lake and pink tempered together CHAP. IV. Of Colours for Velvet I. FOR black Velvet Take Lamp black and Verdigriese for the first ground that being drie take Ivory black and Verdigriese shadow it with white Lead mixed with Lamp black II. For Green Take Lamp black and white Lead and work it like a russet Velvet and let it drie then draw it over with Verdigriese tempered with a little pink III. For Sea Green Take only Verdigriese and lay it over Russet If a Grass-green put a little Masticot to it shadow these greens with Russet which lay according to the deepness of the green IV. For Red. Take Vermilion and shadow it with Spanish brown and where you would have it darkest shadow with Seacoal black and Spanish brown with the aforesaid colours drie it and then gloss it over with Lake V. For Crimson or Carnation Take Vermilion to which add white Lead at pleasure VI. For Blew Take Smalt tempered alone VII For Yellow Take Masticot and yellow Oker and where you would have it darkest shadow it with Umber VIII For Tawney Take Spanish brown white Lead and Lamp Black with a little Verdigriese to shadow where need is when drie gloss it over with Lake and a little red Lead IX For hair colour Take Umber ground alone and where it should be brightest mix some white Lead about the folds lighten or darken with white Lead and Umber X. For Ash colour Take Charcoal black and white Lead lighten with white Lead a colour like to a dark russet will be an Ash colour XI For purple Take Smalt and Lake of each alike temper them light or deep as you please with white Lead XII Lastly note that in painting Velvet you must at first work it somewhat sad and then give it a sudden brightness CHAP. V. Of colours for Sattins I. FOR Black Take Lamp-black ground with oyl and tempered with white Lead and where you would have it shine most mix Lake with the white Lead II. For Green Take Verdigriese ground alone and mixed with white Lead adding Pink where you would have it brightest to the deepest shadows add more Verdigriese III. For Yellow Take Masticot yellow Oker and Umber ground each by themselves where it should be brightest use Masticot alone where a light shadow use Oker where darkest use Umber IV. For Purple Take Smalt alone and where it should be brightest use white Lead V. For Red. Take Spanish brown ground alone mix it with Vermilion and where it should be brightest mix white Lead with the Vermilion VI. For White Take white Lead ground alone and Ivory black which temper light or dark VII For Blew Temper Smalt and white Lead where it should be saddest use Smalt where lightest white Lead VIII For Orange colour Take red Lead and Lake where brightest red Lead where saddest Lake IX For Hair colour Temper Umber and white Lead where it should be brightest put more white Lead and where the greatest shadow use seacoal Black mixed with Umber CHAP. VI. Of Colours for Taffatie Cloth and Leather TAffaties are painted much as Sattins thus Take such colours as are fit for the purpose and lay them one by another upon the work and shadow them with others II. Cloth is the same work with Sattin save you must not give to cloth so sudden a shining gloss III. Cloth of Gold is made of brown Oker and liquid Gold water and heighten upon the same with small gold stroaks IV. For Buff mix yellow Oker and White lead and where it should be dark by degrees mix it with a little Umber when you have done size it over with Umber and seacoal Black V. For yellow Leather take Masticot and yellow Oker shadow it with Umber VI. For black Leather take Lamp black and shadow it with white Lead VII For white Leather take white Lead and shadow it with Ivory black CHAP. VII Of Colours for Garments in general I. FOR Black Let the dead colour be Lamp black and Verdigriese being dry go over with Ivory black and Verdigriese but before the second going over heighten it with white II. For Hair colour Take Umber and White for the ground umber and black for the deeper shadows Umber and English Oker for the meaner shadows white and English Oker for heightning III. For Blew Take Indico and White first lay the White then the Indico and White mixed then deepen it with Indico and when drie glaze it with Ultramarine which will never fade Smalt will turn black and Biee will turn green IV. For Purple Take Smalt tempered with Lake and white Lead then heighten with white Lead V. For a sad Red. Take Indian Red heightned with White VI. For a light Red. Take Vermilion glaze it over with Lake and heighten it with White VII For a Searlet Take Vermilion and deepen it with Lake or Indian red VIII For Green Take Bice and Pink heighten it with Masticot and deepen with Indico and Pink. IX For Yellow Take Masticot yellow Oker Umber lay Masticot and White in the lightest places Oker and White in the mean places and Umber in the darkest glaze it with Pink. X. For Orange colour Lay the lightest parts with red Lead and White the mean parts with red Lead alone the deeper parts with Lake and if need is heighten it with white XI For a sad Green Mix Indico with Pink for a light Green mix Pink and Masticot for a Grasâ— green mix Verdigriese and Pink. XII Remember always to lay yellows blews reds and greens upon a white ground for that only giveth them life CHAP. VIII Colours for Metals and precious stones I. FOR Iron Take Lamp black and white Lead if you would have it rusty take seacoal black and mix it with a little white II. For Silver Take Charcoal black and white Lead where you would have it darkest use more Charcoal work silver somewhat rustish and give it a sudden â—â—â—ss with white Lead only III. For Gold Take Lake Umber red Lead Masticot lay the ground with red Lead and a little dry Pink where you would have it darkest shadow it most with Umber where lightest with Masticot Note in grinding the red Lead for the gold size put in a little Verdigriese to make it dry sooner IV. For Pearls Temper Charcoal black with white Lead till it be a perfect russet then make the Pearl with it and give it a speck of white Lead only to make it shine Where note that Ceruse tempered with oyl of white Poppy is excellent to heighten up Pearls V. For precious stones For Rubies c. lay their counterfeit grounds with transparent colours and Lake Vedigriese and Verditer give them a shining colour CHAP. IX Of Colours for Landskip I. FOR a light Green use pink and Masticot heightned with white for a sad green Indico and
coloured Mantle a chaplet of red and white Roses Natural affection in Citron colour Envy in a discoloured green garment full of eyes IX Joy in a green robe and a mantle of divers colours embroidered with flowers a garland of Myrtle in her right hand a Crystal Cruise in her left a golden Cup Pleasure in light garments trimmed with silver and gold Laughter in several Colours X. Wit in a discoloured mantle Jollity in flame colour Pastime in purple trimmed with gold XI Opinion in black Velvet black cap with a white fall Impudence in a party coloured garment Audacity in blush colour XII Honour in a purple robe wrought with gold Liberty in white Safety in Carnation CHAP. XVII Of Colours for Painting Glass I. YEllow Take a very thin piece of pure fine silver and dip it into melted brimstone take it out with a pair of plyers and light it in the fire holding it till it leaves burning then beat it to powder in a brasen mortar then grind it with Gum Arabick water and a little yellow Oker II. Yellow Take fine silver one Drachm Antimony in powder two drachms put them in a hot fire in a crucible for half an hour and then cast it into a brassmortar and beat it into powder to which add yellow Oker six Drachms old earth of rusty Iron seven Drachms grind all well together This is fairer than the former III. White This is the colour of the glass it self you may diaper upon it with other glass or Crystal ground to powder IV. Black Take Jet and Scales of Iron and with a wet feather take up the Scales that fly from the Iron after the Smith hath taken his heat grind them with gum water V. Black Take Iron scales Copper scales of each one Drachm heat them red hot in a clean fire shovel then take Jet half a Drachm first grind them small and temper them with gum water VI. Red. Take Sanguis Draconis in powder put to it rectified spirit of wine cover it close a little while and it will grow tender wring it out into a pot that the dross may remain in the cloth the clear preserve for use This is a fair red VII Carnation Take tin glass one ounce jet three ounces red oker five ounces gum two drachms grind them together It is a fair Carnation VIII Carnation Take jet four Drachms tin glass or litharge of silver two Drachms gum and scales of Iron of each one Drachm red chalk one ounce grind them IX Green Take Verdigriese and grind it well with Turpentine and put it into a pot warming it at the fire when you use it X. Blew Provide the clearest leads you can get of that colour beat them to powder in a brazen mortar take Goldsmiths Amel of the same colour clear and transparent grind each by it self take two parts of lead and one of Amel grind them together as you did the silver The same understand of Red and Green CHAP. XVIII Of the way of Painting upon Glass I. THere are two manner of ways of painting upon glass the one is for oyl colour the other for such colours as are afterwards to be annealed or burnt on II. To lay oyl colours upon glass you must first grind them with Gum water once and afterwards temper it with Spanish Turpentine lay it on and let it dry by the fire and it is smished III. To anneal or burn your glass to make the colours abide you must make a four square brick furnace eighteen inches broad and deep lay five or six cross Iron bars on the top of it and raise the furnace eighteen inches above the bars then laying a plate of Iron over the bars sift through a five a lay of slack'd lime over the plate upon which lay a row of glass upon that a bed of lime and upon that lime another row of glass thus continue stratum super stratum till the furnace is full IV. Lay also with every bed of glass a piece of glass which you may wipe over with any Colour these are called watches and when you think your glass is burnt enough with a pair of plyers take out the first and lowest watch and lay it on a board and being cold try if you can scrape off the Colour if it hold fast on take out that row always letting it abide the fire till the colour will not scrape off CHAP. XIX Of Washing and the Materials thereof I. BY washing here we intend nothing else but either to set out Maps or Printed Pictures in proper Colours or else to varnish them II. The Instruments and materials of washing are chiefly six to wit I. Alom-water 2. Size 3. Liquid Gold 4. Pencils 5. Colours 6. Varnish III. To make Alom water Take Alom eight ounces sair water a quart boil them till the Alom is dissolved IV. To make size Take glew which steep all night in water then melt it over the fire to see that it be neither too strong nor too weak then let a little of it cool if it be too stiff when it is cold put more water to it if too weak more glew using it lukewarm V. Liquid Gold It is exactly made by the first Section of the 21 Chapter of the second Book VI. Pencils are to be of all sorts both fitch'd and pointed as also a large pencil brush to past Maps upon Cloth another to wet the paper with Alom water a third to starch the face of the picture withal before it be coloured and a fourth to varnish withal VII The colours are the same with those which we mentioned in Chap. 17. lib. 2. to which add 1. Of Black Printers black Franckford black 2. Of Red Vermilion Rosset 3. Of Blew Verditure Litmos Flory 4. Of Yellow Cambogia Yellow berries Orpiment 5. Brazil Logwood ground and Turnsole Cochenele Madder CHAP. XX. Of Colours simple for Washing I. PRinters black Vermilion Rosset Verditure and Orpiment are to be ground as we have taught at the fifth Section of the 22 Chapter of the fecond Book II. Brazil To some ground Brazil put small Beer and Vinegar of each a sufficient quantity let it boil gently a good while then put therein Alom in powder to heighten the Colour and some gum Arabick to bind it boil it till it taste strong on the tongue and make a good red III. Logwood Ground Logwood boiled as Brazil makes a very fair transparent Purple Colour IV. Cochenele Steeped as Brazil was boiled makes a fair transparent purple as thus take Cochenele and put it into the strongest Sope lees to steep and it will be a fair purple which you may lighten or deepen at pleasure V. Madder Take Madder four drachms ground Brazil one ounce Rain water a quart boil away a third part then add Alom half an ounce boil it to a pint then gum Arabick one ounce which boil till it is dissolved cool it stirring it often and strain it for use It is a good scarlet die for Leather VI. Verdigriese
good Gold in Aqua regia mixed with a due quantity of a deep blew solution of crude Copper in strong spirit of Urine produces a transparent green And so blew and yellow Amel fused together in the flame of a Lamp being strongly blowed on without ceasing produces at length a green colour VIII An urinous salt largely put into the dissolution of blew Vitriol in fair water turn'd the liquor and corpuscles which resided into a yellowish colour like yellow Oker IX Verdigriese ground with salt Armoniack and the like digested for a while in a dunghil makes a glorious blew X. The true glass of Antimony extracted with acid spirits with or without Wine yields a red tincture XI Balsam of Sulphur of a deep red in the glass shaked about or dropt on paper give a yellow stain XII If Brimstone and Sal Armoniack in powder of each five ounces be mixed with quick-lime in powder six ounces and distilled in a Retort in sand by degrees you will have a volatil spirit of Sulphur of excellent redness though none of the ingredients be so So also oyl of Anniseeds mixed with oyl of Viâ—riol gives in a trice a blood red colour which soon decays XIII Fine silver dissolved in Aqua fortis and precipitated with spirit of Salt upon the first decanting the liquor the remaining matter will be purely white but lying uncovered what is subject to the ambient air will lose its whiteness XIV Sublimate dissolved in a quantity of water and filtred till it is as clear as Crystal mixed in a Venice glass with good oyl of Tartar per deliquium filtred three or four drops to a spoonful yields an opacous liquor of a deep Orange colour after which if four or five drops of Oyl of Vitriol be dropt in and the glass straight way be strongly shaked the whole liquor will to admiration be colourless without sediment And if the filtred solution of sublimed Sal-armoniack and Sublimate of each alike be mixt with the solution of an Alcaly it will be white XV. Spirit of Sal Armoniack makes the solution of Verdigriese an excellent Azure but it makes the solution of Sublimate yield a white precipitate XVI So the solution of filings of Copper in spirit of Urine made by fermentation gives a lovely Azure colour which with oyl of Vitriol a few drops to a spoonful is deprived in a trice of the same and makes it like fair water And so a solution of Verdigriese in fair water mixed with strong Spirit of Salt or dephlegmed Aqua fortis makes the greenness almost totally to disappear XVII Quick-filver mixed with three or four times its weight of good oyl of Vitriol and the oyl drawn off in sand through a glass Retort leaves a snow white precipitate which by affusion of fair water becomes one of the loveliest light yellows in the world and a durable colour XVIII Tin calcined per se by fire affords a very white calx called putty Lead a red powder called Minium Copper a dark or blackish powder Iron a dirty yellowish colour called Crocus Martis and Mercury a red powder XIX Gold dissolved in Aqua Regia ennobles the Menstruum with its own colour Silver Coyn dissolved in Aqua fortis yields a tincture like that of Copper but fine silver a kind of faint blewishness Copper dissolved in spirit of Sugar drawn off in a glass Retort or in oyl or spirit of Turpentine affords a green tincture but in Aqua fortis a blew XX. Vermilion is made of Mercury and Brimstone sublimed together in a due proportion XXI Glass may have given to it a lovely golden colour with Quick silver but it is now coloured yellow generally with Calx of silver yet shell silver such as is used with pen or pencil mixed with a convenient proportion of powdered glass in three or four hours fusion gave a lovely Saferine blew XXII Glass is tinged Green by the Glass-men with the Calx of Venus which Calx mixed with an hundred times its weight of fair glass gave in fusion a blew coloured mass XXIII Putty which is Tin calcined as it is white of it self so it turns the purer sort of glass metal into a white mass which when opacous enough serves for white Amel. XXIV This White Amel is as it were the Basis of all those fine Concretes that Gold-smiths and several Artificers use in the curious art of Enamcling for this white and fuseable substance will receive into it self without spoiling them the colours of divers other Mineral substances which like it will endure the fire XXV Glass is also tinged blew with the dark mineral called Zaffora and with Manganess or Magnessia in a certain proportion which will tinge glass of a red Colour and also of a Purplish or Murry and with a greater quantity into that deep colour which passes for black XXVI Yellow Orpiment sublimed with Sea Salt yields a white and Crystalline Arsenick which Arsenick coloured with pure Nitre being duly added to Copper when 't is in fusion gives it a whiteness both within and without XXVII So Lapis Calaminaris turns Copper into Brass XXVIII And Zink duly mixed with Copper when 't is in fusion gives it the noblest golden colour that was ever seen in the best gold XXIX Copper dissolved in Aqua fortis will imbuc several bodies of the colour of the solution XXX Lastly Gold dissolved in Aqua Regia will though not commonly known dye Horns Ivories and other bones of a durable purple colour And the Crystals of Silver made with Aqua fortis though they appear white will presently dye the Skin Nails Hair Horn and Bones with a Black not to be washed off CHAP. XXIX Of Metals I. TO barden Quick-silver Cast your Lead separated from its dross into a vessel and when it begins to cool thrust in the point of a stick which take out again and cast in the Argent Vive and it will congeal then beat it in a mortar and do so often when it is hard melt it often and put it into fair water doing it so long till it is hard enough and may be hammered II. To tinge Quick-silver of the colour of gold Break it into small pieces being hardned which put into a crucible with the powder of Cadmia stratum super stratum mixed with pomegranate peels Turmerick beaten fine and Raisons cover the crucible and lute it well dry it well and then set it on a fire for six or seven hours that it may be red hot then blow it with bellows till it run which then let cool whilest covered with coles and it will have the colour of gold III. To fix Quick-silver being hardned This is done with fine powder of Crystal glass laid with the metal stratum super stratum in a crucible covered and luted heating it all over red hot and then melting of it IV. To make Quick-silver malleable First harden it by the first Section then break the metal into small pieces and boil it a quarter of
with which anoint any Copper vessel then put that vessel into another and set it into a digestive heat for two months after which cleanse it with a brush and water and it is done XXVI Another way to whiten Copper Take Arsnick calcined with Salt-peter and Mercury Sublimate which cast upon melted Copper and it will be white like Silver XXVII To soften Copper Melt burnt Brass with Borax in a crucible quench it in Linseed oyl and then beat it gently on an Anvil boil it again and quench it in oyl as before doing thus five or six times till it is soft enough and this will neatly unite with Gold of which you may put in more by half than you can of other Brass XXVIII To tinge with Iron a gold colour Lay in a crucible plates of Iron and Brimstone stratum super stratum cover and Lute it well and calcine in a fornace then take them out and they will be brittle put them into a pot with a large mouth and put in sharp distilled Vinegar digesting till they wax red over a gentle heat then decant the Vinegar and add new thus doing till all the Iron be dissolved evaporate the moisture in a glass Retort or Vesica and cast the remaining powder on Silver or other white Metal and it will look like Gold XXIX To make Iron or Silver of a Brass Colour Take Flowers of Brass Vitriol Sal armoniack of each alike in fine powder boil it half an hour in strong Vinegar take it from the fire and put in Iron or Silver covering the vessel till it be cold and the metall will be like to Brass and sit to be gilded or rub polished Iron with Aqua fortis in which filings of Brass is dissolved XXX To tinge Iron into a Brass colour Melt the Iron in a crucible casting upon it Sulphur vive then cast it into small rods and beat it into pieces for it is very brittle then in Aqua fortis dissolve it and evaporate the menstruum reducing the powder by a strong fire into a body again and it will be good Brass XXXI To whiten Iron First purge it by heating it red hot and quenching it in a water made of Ly and Vinegar boiled with Salt and Alom doing this so often till it is somewhat whitened The fragments of the Iron beat in a mortar till the Salt is quite changed and no blackness is left in the Liquor of it and till the Iron is cleansed from its dross then Amalgamate Lead and Quick-silver together and reduce them into a powder lay the prepared plates of Iron and this powder stratum super stratum in a Crucible cover it and lute it all over very strongly that the least fume may not come forth and put it into the fire for a day at length encrease the fire so as it may melt the Iron which will quickly be and repeat this work till it is white enough It is whitened also by melting with Lead the Marchasit or fire-stone and Arsnick If you mix a little silver with which it willingly unites with it it gives a wonderful whiteness scarcely ever to be changed any more by any art whatsoever XXXII To keep Iron from Rusting Rub it over with Vinegar mixt with Ceruse or with the marrow of a Hart if it be rusty oyl of Tartar per deliquium will presently take it away and cleanse it XXXIII To cleanse Brass Take Aqua fortis and water of each alike shake them together and with a woolen rag dipt therein rub it over then presently rub it with an oyly cloth lastly with a dry woolen cloth dipt in powder of Lapis Calaminaris it will be clear and bright as when new XXXIV To soften Iron Take Alom Sal armoniack Tartar of each alike put them into good Vinegar and set them on the fire heat the Iron and quench it therein or quench it four or five times in oyl in which melted Lead hath been put six or seven times XXXV To make Iron of a Gold colour Take Alom of Melancy in powder Sea water mix them then heat the Iron red hot and quench it in the same XXXVI To make Iron of a Silver Colour Take powder of Sal armoniack unslak'd lime mix and put them into cold water then heat the Iron red hot quench it therein and it will be as white as silver XXXVII To soften Steel to grave upon This is done with a Lixivium of Oak ashes and unslak'd Lime by casting the Steel into it and letting it remain there fourteen days Or thus Take the Gall of an Ox Man's Urine Verjuice and juice of Nettles of each alike mix them then quench steel red hot therein four or five times together and it will become very soft XXXVIII To barden Iron or Steel Quench it six or seven times in Hogs blood mixed with Goose grease at each time drying it at the fire before you dip it again and it will become very hard and not brittle XXXIX To solder on Iron Set the joints of Iron as close as you can lay them in a glowing fire and take of Venice glass in powder and the Iron being red hot cast the powder thereon and it will solder of it self XL. To counterfeit Silver Take Crystal Arsnick eight ounces Tartar six ounces Salt-peter two ounces Glass one ounce and an half Sublimate half an ounce make them severally into fine powder and mix them then take three pound of Copper in thin plates which put into a Crucible with the former powder stratum super statum to calcine covering it and luting it strongly let it stand in the furnace for about eight or ten hours then take it out and being cold break the pot and take out all the matter and melt it with a violent fire casting it into some mold Then take purged Brass two pound of the former metal one pound melt them together casting in now and then some of the aforesaid powder after which add half as much of fine silver melting them together and you have that which is desired lastly to make it as white as Silver boil it in Tartar XLI Another way to counterfeit Silver Take purified tin eight ounces Quick-silver half an ounce and when it begins to rise in the first heat take powder of Cantharides and cast into it with a lock of hair that it may burn in it being melted put into it the powder aforesaid then take it suddenly from the fire and let it cool XLII To purge the Brass It is cleansed or purged by casting into it when it is melted broken glass Tartar Sal armoniack and Salt-peter each of them by turns by little and litle XLIII To tinge Lead of a golden colour Take purged Lead one pound Sal Armoniack in powder one ounce Salt-peter half an ounce Sal Elebrot two drachms put all into a crucible for two days and it will be throughly tinged XLIV To purge Lead Melt it at the fire then quench it in the sharpest Vinegar
melt it again and quench it in the juice of Celandine melt it again and quench it in salt water then in Vinegar mixed with Sal armoniack and lastly melt it and put it into ashes and it will be well cleansed XIV To make Lead of a golden colour Put Quick-silver one ounce into a Crucible set it over the fire till it is hot then add to it of the best Leaf-gold one ounce and take it from the fire and mingle it with purified Lead melted one pound mingle all well together with an Iron rod to which put of the filterated solution of Vitriol in fair water one ounce then let it cool and it will be of a good colour Dissolve the Vitriol in its equal weight of water XLVI To take away the ringing and softness of Tin Melt the Tin and cast in some Quick-silver remove it from the fire and put it into a glass Retort with a large round belly and a very long neck heat it red hot in the fire till the Mercury sublimes and the Tin remains at bottom do thus three or four times The same may be done by calcining of it three or four times by which means it will sooner be red hot than melt XLVII To take away the softness and creaking noise of Tin This is done by granulating of it often and then reducing it again and quenching it often in Vinegar and a Lixivium of Salt of Tartar The creaking noise is taken away by melting it seven or eight several times and quenching it in Boys Urine or else oyl of Walnuts XLVIII To take away the deaf sound of Tin This is done by dissolving it in Aqua fortis over a gentle fire till the water fly away doing thus so long till it is all turned to a calx which mixed with calx of silver and reduced performs the work XLIX To make that Tin crack not Take Salt Honey of each alike and mix them melt your Tin and put it twelve or more times into it then strain out the Tin and it will purge and leave cracking put it into a crucible which lute and calcine it four and twenty hours and it will be like calx of gold L. To take away the brittleness of any Metal First calcine it and put it under dung then do thus when it is red hot at the fire or melted quench it often in Aqua vitae often distilled or use about them Rosin or Turpentine or the oyl of it or wax suet Euphorbium Myrrh artificial Borax for if a metal be not malleable unctuous bodies will oftentimes make them softer if all these or some of these be made up with some moisture into little Cakes and when the metal yields to the fire by blowing with the bellows we cast in some of them and make them thick like mud or clear thenset the Metal to the fire that it may be red hot in burning coals take it forth quench it in them so let it remain half an hour to drink in Or anoint the Metal with dogs grease and melt it with it for that will take away much of the brittleness of it and make it so that it may be hammered and wrought LI. To colour Metal like gold Take Sal armoniack White Vitriol Stone Salt Verdigriese of each alike in fine powder lay it upon the Metal then put it into the fire for an hour take it out and quench it in Urine and the Metal will have the colour of gold LII To make a kind of Counterfeited Silver of Tin This is done by mingling Silver with Tin melted with Quick-silver continuing it long in the fire then being brittle it is made tough by keeping it in a gentle fire or under hot Embers in a Crucible for about twenty four hours LIII To Solder upon Silver Brass or Iron Take Silver five peny weight Brass four peny weight melt them together for soft Solder which runs soonest Take Silver five peny weight Copper three peny weight melt them together for hard Solder Beat the Solder thin and lay it over the place to be Soldred which must be first fitted and bound together with Wire as occasion requires then take Borax in powder and temper it like pap and lay it upon the Solder letting it dry then cover it with quick coals and blow and it will run immediately then take it presently out of the fire and it is done Note 1. If a thing is to be Soldred in two places which cannot be well done at one time you must first Solder with the hard Solder and then with the soft for if it be first done with the soft it will unsolder again before the other be soldred 2. That if you would not have your Solder run about the piece to be Soldred rub those places over with Chalk LIV. To make the Silver tree of the Philosophers Take Aqua fortis four ounces fine Silver one ounce which dissolve in it then take Aqua fortis two ounces in which dissolve Quick-silver mix these two Liquors together in a clear glass with a pint of pure water stop the glass close and after a day you shall see a Tree to grow by little and little which is wonderful and pleasant to behold LV. To make the Golden tree of the Philosophers Take oyl of Sand or Flints oyl of Tartar per deliquium of each alike mix them well together then dissolve Sol in Aqua Regis and evaporate the menstruum dry the Calx by the fire but make it not too hot for then it will lose its growing quality break it into little bits not into powder which bits put into the aforesaid liquor a fingers breadth one from another in a very clear glass keep the liquor from the Air and let the Calx stand still and the bits of Calx will presently begin to grow first swell then put forth one or two stems then divers branches and twigs so exactly as you cannot but wonder to see Where note that this growing is not imaginary but real LVI To make the Steel tree of the Philosophers Dissolve Steel in rectified spirit or oyl of Salt so shall you have a green and sweet solution swelling like brimstone filter it and abstract all the moisture with a gentle heat and there will distil over a liquor as sweet as rain water for steel by reason of its dryness detains the Corrosiveness of the spirit of Salt which remaineth in the bottom like a blood red mass and it is as hot on the tongue as fire dissolve this blood red mass in oyl of Flints or Sand and you shall see it grow up in two or three hours like a tree with stem and branches If you prove this tree at the test it will yield good gold which it draweth from the oyl of Sand or Flints the said oyl being full of a pure golden Sulphur LVII To make oyl of Flints or Sand. Take of most pure Salt of Tartar in fine powder twenty ounces small Sand Flints pebbles or
put it into the fire letting it lye till it breaks grind it impalpable and mix it with whites of eggs of which form pearls boring them as aforesaid dry them then wet and cover them with leaf silver III. The third way Take prepared Crabs eyes ground into impalpable powder and with glair make Pearls which bore as aforesaid dry them and boil them in Cows milk then in the shade free from dust dry them well they will please IV. The fourth Way Take potters earth and make them of what form you please dry them in the Sun or in the gentle heat of a furnace then wet them with glair of eggs lightly coloured with Bole armoniack and cover them with leaves of filver being first wet with water when they are dry polish them with a tooth and they will be Oriental Then take bits of Parchment and wash them in warm water till the water grows somewhat thick boil and strain it and use it warm then fasten each pearl through its hole upon a fine piece of wire and plunge them into the water of Parchment taking them out again then turn them round that the glewy liquor may equally cover them thus the silver whiteness will the better shine through so that the pearls will seem to be truly natural and being compared will rather exceed V. The fifth Way Calcine Muscle and snail shells in a Crucible till they are very white even as snow with glair make Pearls which bore by the first Section dry them in the Sun dip them in red wine dry them again and they will be fair VI. The sixth Way Take Sublimate two ounces Tin-glass one ounce mix them and sublime them together and you will have a sublimate not inferiour to the best orient Pearls in the world of which with glair you may form what you please VII The seventh Way Take any of the aforesaid particulars and mix them instead of glair with ground Varnish made of gum Animae and the Alcool of wine of which make pearls these will in all respects be like the natural for these will no more dissolve in water than the truly natural which all those that are made of glair of eggs are unavoidably subject to VIII The eighth Way After dissolution precipitation edulcoration siccation and formation put the pearls into a loaf of bread and bake it in the Oven with other bread so long till the loaf is much burnt then take them out and wash them first in good juice of Limons then in clear Spring water and they will be as fair as the truly natural Or after baking give them to pidgeons to eat keeping them close up and in the dung you will find the pearl exceeding fair where note you must give the pidgeons nothing to eat in three days time IX The ninth Way After dissolution of small oriental pearls in juice of Limons make the form thereof with clarified honey moistning your hand with Aqua Mellis this done perfect them as before X. The tenth Way Take filtrated juice of Limons powder of pearl of each six ounces Talk one ounce put them into a glass and stop it close set it fifteen days in horse-dung and it will be a white paste of which form pearl bore them and dry them in the Sun at last in paste of barley meal viz. a barley loaf four fingers thick stick the pearl so that they may not touch stop the holes and cover them with paste set it into an Oven and bake it with bread and you will find them hard and clear XI The eleventh Way Having formed them of the matter intended bored and dryed them put them into to Quicksilver set over a glowing heat stirring them well about that the Quicksilver may stick to them then dip them into glair of eggs upon a glowing heat and they are done or being dry boil them in Linseed oil and wash them in warm water XII The twelfth Way Take pearl three ounces prepared Salt one ounce filtrated juice of Limons so much as will cover them four fingers breadth let it stand so long till it be a paste the glass being very close stopped shake all together five or six times a day and when it comes to a paste put it into a glass with strong spirit of Vinegar lute another glass over it digest it three weeks in a cool place under the earth so long till all be dissolved then mix it with a little oil of eggs or snail water till it be like pearl in colour then put this paste into silver moulds and close them up for eight days after which take them out and bore them by the first Section and put them again into the mould for eight days this done boil them in a silver porringer with milk lastly dry them upon a plate in a warm place where neither wind nor dust may come and they will be much fairer than any oriental pearl XIII The thirteenth Way After the preparation of the matter in juice of Limons or Aqua fortis with clean hands make them into paste and wash them in distilled water which put into edulcorate calx of silver and digest in Horse-dung for a month so will they be fair and very oriental XIV The fourteenth Way Dissolve the matter in Aqua fortis which let over-top it a fingers breadth in a glass gourd till all be incorporated into one body which put into silver moulds which have holes through them and having stood one day bore them through the holes as they lie in the mould with a silver needle being quite dry take them out put them into a glass close covered in the Sun till they be quite dry then put them upon a silver wire and let them lie covered in their own fat that is that fatty substance which swims on the top of the menstruum in their dissolution so long till they are very fair then being strung put them into a glass egg and let them stand nine days in digestion and they will be as fair as the natural XV. The fifteenth Way Take Tobacco-pipe clay of which form little beads by the fourteenth Section dry them in the Sun and burn them in a potters surnace then cover them with Bole armoniack tempered with whites of eggs being dry dip them in water lay on leaf silver which dry again and polish them with a tooth then take clean shavings of parchment cut small and washed well with warm water boil them in a new pot with a slow fire till they become somewhat thick strain it and being warm put in the pearl upon a needle or fine wire that the hole may not be stopped take them out turn them round that the water or glew may not settle in one place dipping them so often drying them every time till they be thick enough and they will appear full as fair as the truly natural CHAP. LXI Of the Consummation or Perfection of the Art of Painting I. AS Invention gave way to the advancement of Art so