The art of glass shewing how to make all sorts of glass, crystal and enamel : likewise the making of pearls, precious stones, china and looking-glasses : to which is added, the method of painting on glass and enameling : also how to extract the colours from minerals, metals, herbs and flowers ... : illustrated with proper sculptures / written originally in French, by Mr. H. Blancourt, and now first translated into English ; with an appendix, containing exact instructions for making glass-eyes of all colours.

OF THE ART OF GLASS. (Book 1)

PART I. (Book 1)

CHAP. I. Of the Original, Antiquity, and Vse of Glass.

IT has not been without Reason, that several Learned Persons have compared Man to a Mi∣crocosm, or Little World, since he contains in himself all the Excellencies of the Greater; and that God, having created him after his own Image, has given him an Absolute Dominion over all Creatures in this World: Not only over Animals and Vegetables, and those other visible mixt Bodies, among which we are immediately conversant; but also over Metals, Minerals, Semiminerals, Pre∣tious Stones, Pearls, Corals, and whatever Trea∣sures

are hid in the Bowels of the Earth, or Bottom of the Seas; that he might make use of them for his own Pleasure, and that by the Understanding God has given him, he might know their Proper∣ties, to make them usefull for his particular Oc∣casions.

The Power of Nature is limited in all her Effects, and Man alone can augment and enlarge by Art, the Virtues and Powers which she has produced, by separating the Pure from the Impure, that which is more Subtil and Spiritual, from the more Gross and Earthy; which Nature her self cannot do, by reason she has no Tools nor Instruments proper for such Se∣parations; especially of those Impurities, which by proceeding from the Corruptions of the Matrixes, where all her Generations are made, perpetually mix themselves with all her Productions: Besides that the Universal Seed (or Spirit) of the World, which contains in it self the three Principles and four Ele∣ments, whereof every thing in Nature is compos'd and nourish'd, is it self not free from Impurity; for in making its Circulations from Heaven to Earth, and from thence again to Heaven, where it is impregnated with all the Virtues of the Con∣stellations and Planets, it returns again, and de∣scends even to the Center of the Earth, there to be impregnated with a Body and Salt, and acquire the utmost Elementary Perfection; whence the Cen∣tral Fire forcing it to repass to the Surface, and thence into the Globe of Water and Air, after ha∣ving produced, in its passage, in all the Elements, an•• infinite Number of Mixtures, it ascends again into the Heavens, whence it penetrates and animates the whole Universe. It is by all these Circulations tha•• this Seed or Soul of the World becomes invested with Impurities, whereof the general or universal Spirit is tainted, so that the Pure and Impure ascend

and descend together in Confusion; insomuch, that only the Industry of Man can separate them, by ejecting the unprofitable excrementitious Parts, and separating and purifying its Principles, and then re∣uniting them, to make a Compound of a greater Virtue; so that of that Compound you may make a Species capable of producing its * 1.1 like: For the Nature of one Mixt or Compound, cannot produce or be chang'd into a Mixt of a different Nature; We must always sow Wheat to have a Crop of Wheat.

Hence it is that so many great Philosophers have told us, That Man, by the means of Art, might be∣gin where Nature left off, by purifying its Matters, and reducing them to their first Principles, and thence raising them to the utmost degree of Per∣fection; whether the End be to prolong Man's Life, or curing his greatest and most inveterate Diseases, as also of other Animals; or for Metals, Minerals, Pretious Stones, Plants, and other Vegetables. Now such Separation and Purification of Substances is not impossible, as long as you destroy not entirely the Subjects: But it must be perform'd by some∣thing that specifically agrees with their own respe∣ctive Natures; then (by it) you may make a per∣fect Reduction of their Substances, wherewith by means of Art, Man may perform all those things I have now mention'd, as to cure the most inveterate Diseases, convert what is imperfect into the most perfect; and it is hereby that you have display'd, that absolute Dominion which God has given him over all the Creatures.

It is not my present Design to enter into the depth of the Mysteries of this sublime Science, which I

leave to those true * 1.2 Philosophers, who are the only Creatures to whom God has reveal'd them, and whereof all other Men, like my self, are unworthy: but only to shew by sensible Demonstration, That Man, in many things, is capable of imitating Na∣ture by the Assistance of Art; and of performing several things by his Industry, and the Work of his hands, which look more like Miracles, than the Ef∣fects of Art. Those which make the Subject of the following Discourse, would be no less surprizing, if they were less common; but from the time our Eyes become accustom'd by constant use to any Object, the Esteem of it begins to be lessen'd, and fall; Witness Nature her self, whose Annual Renovation, tho' we are accustom'd to it, ought to be a perpetual Sub∣ject of Admiration.

Of all the Works of Art, that of Glass is not the least considerable, whether it be Natural or Artificial; it melts in the Fire without consuming, and is therein perfected or made fine like Gold, which is a perfect Metal, and there leaves behind it its Dross, becoming purified and whitened, which renders it more proper for making Dishes, Glasses, and other Vessels for Man's use, than any other Me∣tal, or Matter whatsoever. Nay, I may yet go far∣ther, and say, That Glass not only purifies it self in the Fire, but also assists to purifie and melt all other Metals, and render them more plyable and malleable, and so more easie to work upon to the ends they are design'd for.

In the Spagyrick Art, in Physick, in Chymistry, it is impossible to be without Vessels of Glass, whe∣ther for Sublimations, Distillations, or Putrefacti∣ons, Digestions, Circulations, or other Operations to which they are necessary for several Reasons; one

whereof is, That all the gradual Alterations, of the Matter therein contain'd, and what is done in it on the Fire, are visible to the eye; and another, That those Matters can neither be imbib'd by the Vessel, nor transpire thro' its Pores, nor it communicate any ill Scent or Taste, which might be noxious to the Health, if the Matter be prepar'd for Medicine: Moreover the Philosophers make use of no other Ves∣sels for their curious Operations, whether it be to extract the Philosophick Mercury, or purifie it, or for the Decoction of their Grand Elixir and Pana∣caea's, which they cannot perform without Glass; for otherwise they would labour in the dark, and could never well regulate their Operations: Besides the Volatility of their Spirits, which they must pre∣serve, is of so subtile and quick Penetration, that no other Vessels could hold them.

Churches, Palaces, Castles, and Particular Houses, owe their chiefest Ornaments as well as Convenien∣cies, to Glass; for that transparent Substance guards them within from too great Heat and Cold, with∣out hindring the Intromission of the Light. Looking-Glasses, and other great Plates of Glasses are as so many surprizing Objects to our Eyes, representing so distinctly and naturally all even from the least to the greatest Actions of the Objects before them; whereby also one may always keep him∣self in a neat and agreeable dress. Notwithstand∣ing not one in a Thousand of those who have them, ever reflect on the Admirableness of the Work, which is beyond doubt, one of the chiefest, and most perfect Pieces of Art, and than which Man can make nothing more wonderful.

Moreover, China-Ware for adorning Capboards and Tables, Dishes, divers sorts of Glasses, and Fi∣gures, and a thousand other Curiosities, of all sort; of Colours, which serve both for Pleasure and Use,

and employ the Poor all over the World; are they not well worthy of Admiration?

But if we consider the Painting and Representati∣ons in the Glasses of Churches, we must at the same time admire, that the Colours which we extract from Metals for that End, can be so very lively, as to re∣semble so many pretious Stones. If any of this Glass be cast into a Furnace, you may see what a vast number of Colours it is susceptible of, even beyond Comparison.

* 1.3 Glass is called by that Name, because it is a transparent Metal, while other Metals are opaque, there being only Glass that can shew what it contains within. The Name of Glass, which the French, Ger∣mans, and English have given it, seems to be taken from its resembling or approaching somewhat in its Colour to † 1.4 Azure, or Sky-colour. The Word Glass, also seems to be deriv'd, from its Resemblance to Ice (from Glacies), while the Fire does much the same thing in Glass, as the Frost in the Wa∣ter: Thus all Glass looks like Frozen Water; which made a modern Author merrily say, That it made Wine smile to see it self cherish'd in the bosom of its most Mortal Enemy.

Monzerus tells us; That when Looking-Glass was first invented, they were sold very dear, as if they had been made of some pretious Matter, and also by reason People took so much Pleasure in seeing themselves so lively pictured. To this we may add, That it is not above 200 Years since they came first to be in use, and that the way of making them was found out by a certain Person, who, melting some Glass in a Crucible, chanc'd to spill it on the ground,

where it running under a great Square Tile, where∣with the Floor was pav'd, oblig'd the Workman to take it up, where he found it in Form of a Looking-Glass-Plate, (which could not have been so form'd by the ordinary way of blowing), which began to employ his Thoughts all that Night, and thence he conceived, That Glass might be run into Plates like Metal, which he began to experiment from that day forward; and so he found out the way to those Consequences which meer Chance was the first occa∣sion of; as it had been also before of the very Mat∣ter whereof this Metal is compos'd, as we shall here∣after shew.

The use of Glass is so Antient, that it is difficult to assign the time of its first Invention: Pliny pre∣tends, that it was in the City of Sidon that the first Vessels of Glass were made, as may be seen in the 26th Chap. of his 36th Book.

Others affirm its Origin must be as antient as Bricks, by reason one can scarce make the one with∣out the other; this is the reason that has made some assert that this Art was known at the time of the Building of Babel, that being made of Brick, and that way of Building continu'd in Egypt, since we read, it was the sole employ of the Children of Israel in their Captivity to make them. This might be strengthen'd by a convincing Proof out of the Bible, whereof Moses was the first Author, where you read of Glass, which would not have been mention'd if it had not been in use in those Days.

The Passages we find of St. Iohn in the Apocalypse, seem to put a very high esteem on Glass; for in speaking of the Throne of God, Chap. 4. ver. 6. he says, And before the Throne there was a Sea of Glass like unto Crystal. And speaking of the Heavenly City, whereof he gives the Description Chap. 20•• Ver. 18. he says, And the building of the Wall of it, was 〈◊〉〈◊〉 Ia∣sper,

and the City was of pure Gold, like unto clear Glass. and at the 21. verse, And the twelve Gates were twelve Pearls, every Gate was of one Pearl, and the street of the City was pure Gold, as it were transparent Glass. That is to say, a Glass of Gold, or more properly, Gold Vitrifi'd, which is that Electrum of Ezechiel, where∣of St. Ierome makes mention. I may strengthen it yet further, by a passage out of Iob, Chap. 28. ver. 17. where speaking of the Wisdom of God, he says, The Gold and Crystal cannot equal it. Which does not only shew us the Antiquity of Glass, but also in what esteem it was had in those days, being always equall'd to Gold. This last passage is also Cited in a Translation of St. Ierome, and in several other Au∣thors, among whom, some have chang'd the word of Gold and Glass, to that of a Stone more precious than Gold. Others to a Carbuncle, or some other precious Stone. But, (say they,) all these names are under∣stood of only one and the same Stone, which the An∣tients believed gave Light by Night, and which is no where to be found. This last Opinion is very Mysterious, and that one only Stone, according to St. Paul, in the Epistle to the Romans, ought to be un∣derstood of the Divine Union with our Nature, by the Mystery of the Incarnation of the Word.

The great Hermes, the Father of the Philosophers, call'd that Stone, the Image of the Invisible God, which Moses (also) shut up in the Ark of the Cove∣nant, and which was call'd the Glory of God, shining in the Night like a burning Fire, or like a bright and and shining Star which gave light by Day, as you may see in Numbers. This it was, which these Au∣thors meant and understood, but which no others can comprehend, unless it be the true Philosophers. We design to treat more largely thereof in our next Work, Entituled, The Mystical Characters of Antiqui∣ty unveil'd and laid open, wherein we will make it ap∣pear,

that of those Characters were Compos'd the Two Tables of the Law, which were afterwards put into the Ark, and which are the two Pretious Stones which serve at present for Guides to the wise among the Philosophers, as they did heretofore for Figures to the Antients.

We might fetch the Origin of Glass from Tubal-Cain, the Son of Lamech; for he being the first Chy∣mist that found out the way of melting Metals, and the uses of Iron and Brass, whereof he forg'd Arms for War, as is noted in the 4th. Chap. of Gen. it is not improbable, but that he might be the first In∣ventor of Glass, because one can scarce avoid redu∣cing Calcin'd Metals into Glass, especially when the Fire is more than ordinarily violent, and the Mat∣ter remains longer in it than it ought. It was this which made Ferrandus Imperatus, say, that the Origin of Glass came from Fire, or from its Rever∣beration alone in those Furnaces where Fire was preserv'd in its full force. We own Fire to be the first Agent both of Nature and Art; but with this distinction, that that of Nature vivifies or en∣livens, and that of Art resolves and destroys, espe∣cially when it is too vehement: But he who knows how to direct and manage it, may make good use of it for the Separation and Perfection of the Matters wherein he works; whence it very often happens that several Persons seek that which they cannot find, and find that which they did not seek; wherefore we may truly say, that most part of our best Inven∣tions and Secrets, have been found out by meer chance, and as it were hazard of Art.

The great Hermes was not ignorant of the Art of making Glass, since he taught the Knowledge of it to the Aegyptian Chymists, but not that of the Trans∣mutation of Metals, tho' he possess'd it, as Kircher tells in his Oedipus; That since that time, that Peo∣ple

have always profess'd this Art, in which they were so Expert, that Flavius Vopiscus speaking of Alexandria, tells us, it was very Rich, and Fruitful in Corn, and that no one is there idle, one part of the Poor making Glass, and the other Paper.

We have another Evidence of the Antiquity of Glass, in the 4th Book of Lucretius: But the most part of Historians attribute the Invention of it to the Alchymists, who by endeavouring to counterfeit Pretious Stones, found out this Secret. It is to these great Men, indeed, we are oblig'd for almost all our Modern Knowledge of the most curious Se∣crets of Nature, they having unveil'd her most hid∣den Mysteries. The Profession of an Alchymist in those Days, was not Vilifi'd as it is now, it being esteem'd very Honourable, Kings themselves exerci∣sing it. We shall discourse thereof in the Work we have promis'd, and whence the word Chymistry is deriv'd, where we will prove its Antiquity by se∣veral passages out of the Holy Scripture. But we will here add, that the Chymists of this present Age are very far remov'd, both in Knowledge and Pro∣bity from those Antient ones, who never practis'd those base Sophistications, and a thousand other Tricks of that Nature, which the Modern do; which is the reason that this Art, so Noble and Sub∣lime in its Principles, is now a-days so much Vilifi'd, that to have the name of a Chymist, (of that sort,) is enough to render a Man detestable among honest Men. Also most part of those who set up for that Profession, are nothing but a sort of Quack Collectors of Recipe's, with which, under the false appearances of Fixation, of Augmentation of Gold and Silver, which they call Powders of Projection, &c. and which they pretend to do with common Mercury, the Im∣perfect Metals, Minerals, Salts, Powders, and o∣ther Ingredients, Heterogeneous to the principal

Matters, with these, I say, they abuse Credulous Per∣sons by their fair words often to their Ruine. It is not with common gross Matters that Philosophers work, nor can they bring any thing to Perfection, be∣fore they have converted their Matters into Fluid, Volatile, and Spiritual Substances, such as they were before their Coagulations; not by the means of Aquae Fortes and Corrosives, which the Antients knew no∣thing of; but by means of the same Liquors that en∣gender'd and nourish'd them, which is as it were their Parent, Homogeneous to them, and that Water of Life of the Philosophers, or rather the Key of Na∣ture, without which, you'll always work in vain. That which seems to the Eyes of the Credulous to be Augmentation, will never undergo the true Proofs of Silver and Gold; if it should chance to undergo some one tryal; you may be sure the second will make all the hopes of the pretended profit vanish in Smoak, and on the contrary, make you sensible of considera∣ble loss, both by the waste of the Matters, and the Charges expended on the way of managing them. Thus those who have so little Sense as to engage in these Matters, may one Day find themselves drawn in to their loss.

But let us return to the Origin of Glass; the Au∣thor of the Essays of the Wonders of Nature, tells us, That the Limon of Lac Cendevia, which is found at the Foot of Mount-Carmel, was the first Matter wherewith Glass was made. That some Mariners being about to make a Trevet for a Kettle, went a∣shore in a place where they found this Lac, that they took some of the Sand, and mix'd it with Nitre, wherewith their Ship was laden, and that making a Fire under the Kettle, they saw a Noble Stream as it were of running Crystal, or melted Jewels, whence they learn'd to make Glass of those two Matters, since which time, (says he,) they have also mixed

Load-Stone, seeing that will attract Glass as well as Iron; thence following they made use of certain fine Stones, and also of Sand, as the Indians also did of Crystal; but that in his time they made use of a Glassy Substance, extracted from an Herb, call'd So∣da, wherewith they mixed Sand to fix it. Pliny tells us something like this, in his 5th Book, Chap. 19. where he also asserts, that we were indebted to Chance for the first Invention of Glass, which was on the Banks of the River Belus in Syria, where certain Mer∣chants being drove a-shore in a Storm, were obliged for sometime to stay and make Fires and to dress their Provisions; that the place abounding with a certain Herb call'd Kali, which, by the great Fires they made, being reduc'd into Ashes full of Salt, and joyn'd with Sand and Stones proper for making Glass, which are Natural and plenty thereabouts, run down into a sort of melted Glass: Which shew'd them not only the manner of making Glass; but also Crystal, and several other ••ine things, which had not been found out without the Invention of Glass; the use where∣of is so necessary to pass away Life with Pleasure and Satisfaction, that Divine Providence has taken pecu∣liar care that no place on Earth should want Materi∣als to make it, all being stock'd with them in such a∣bundance, that they seem inexhaustible. Which once made a certain Artist pleasantly conclude, That the Art of Glass would last throughout all Ages; for the general Conflagration in reducing the Earth into Ashes, by reason of the vast quantities of Salts that are mixed with it, would at last vitrifie the whole Mass into a lasting Monument of the Art. It is true, the end of the World, according to the Holy Scri∣ptures, is to arrive by Fire, not by that material Fire we use in our Chimneys; but by that which we call Elementary and Central, whereof God will only augment the heat, which will so dry up and parch

the Earth, and exhaust all its humidity, that it shall not only be Calcin'd, but chang'd into a better Nature; afterwards to be inhabited by a new World of a Spiritual, Incorruptible and Glorious Nature, no more to be subjected to any change. What the two Authors we have just cited tell us, concerning the Origin of Glass, is far better clear'd, and more particulariz'd by Iosephus, in the 9th Chap. of his 2d Book of the Wars of the Iews, wherein he acquaints us with several surprizing things concern∣ing the Sand for making Glass, whereof we have been speaking. He takes notice that the River Be∣lus arises out of Mount-Carmel, and passes between Ptolemais and Tyrus; that it is not above 2 Fur∣longs from Ptolemais that near this River is the Se∣pulchre and Statue of Bel or Belus, Father of Ninus, first King of the Assyrians, whom the Babylonians wor∣ship'd for a long time, and Sacrific'd to, by the or∣der of Ninus, who was the first Author of the Idola∣try and Priesthood of the Chaldeans, according to Eusebius, lib. 1. and Isidore, lib. 8. That that Sta∣tue of Belus, whom the Pagans call'd Iupiter, was al∣most 100 Cubits high, (which is very remarkable,) and that in that place there is a Valley almost round, full of a clear Sand very fit for making Glass: And if the Ships which come thither for their Lading, chance to empty the place, it is immediately fill'd again, by the Winds driving it down from the Pre∣cipices of the Mountains which environ the Valley round; insomuch, that having for many Ages past, made use of this Sand, it still always remains in the same abundance. He also tells us in the same Book, Chap. 17. that this Sand has a strange Nature above any other, which is, that it will change any Metal into Glass that is thrown in among it; and that which is yet more strange, that all the pieces of Glass made of this Sand, and cast again upon it,

are immediately converted into Sand again: That there is also found among this Sand a Pretious Stone about the bigness of an Acorn, very fine and tran∣sparent.

Tacitus in the 5th Book of his Annals, makes also men∣tion of this River Belus, telling us it enters into the Sea of Iudea, at the Mouth whereof, the Sand that is gather'd up, by reason of the great quantity of Nitre contain'd in it, is easily chang'd into Glass in the Furnaces. And altho' the Shore is but small, that the Sand is notwithstanding inexhaustible. Strabo tells us the same thing in his 12th Book, and Pliny in his 6th, and also Agricola in his Treatise of Fossils: And one may say, that generally all Authors, who have spoke of Glass, have made mention of the place where this Sand is gotten, whereof Glass is made without any other mixture, wherein the Effects of Nature are to be ad∣mired, in affording us so fine and pretious a Metal in so base and common Matter. This ought to be an example to the Curious, and teach them, that those who seek for the prime Agent of Nature only in rare and pretious Matters, may be grosly mistaken, seeing it may often be found in the most Simple and Common; and often even in those things we tread under foot: So true it is, that Wise Nature, or ra∣ther the infinite Goodness of God, has so ordain'd the Business, that the Poor as well as the Rich, may partake of the most pretious and valuable Treasures, and as easily arrive to that Sovereign, Universal Me∣dicine, to cure all Diseases; otherwise God could not be said to have dispens'd his Benefits to all Man∣kind, and his Word, which is infallible, would not be true, when he says, That he is no respecter of Persons, but that every one who loves and fears him, shall be ac∣cepted by him. Which shews us, that it is his Will to be known by all Men, and that all those who live in his Laws, may hope to be possess'd of this hid∣den

Treasure, to employ the fruits of it to his Ho∣nour and Glory, which are the true Sentiments all good Christians ought to have; otherwise they ought never to hope for that Divine Treasure, which God only manifests to his Elect.

Several Authors have written, and among the rest Pliny, Cassius, and Isidorus, That in the time of the Em∣peror Tiberius, who reigned in the time of our Savi∣our, a certain Person, but Anonymous, an Archi∣tect by his Profession, having by an admirable Piece of Skill, set upright again in the City of Rome, a great Portico that lean'd to one side, and made the Founda∣tion firm and immoveable: Tiberius paid him, and ba∣nish'd him the City, forbidding him to return. In the mean time this Person had found out the means to make Glass malleable, and came again to Rome, and presented one of these Glasses to the Emperour, who, being angry with him for returning without his Leave, flung the Glass against the ground, which only bruised: That this Workman taking it up a∣gain, immediately mended it with a Hammer upon a little Anvil he had brought on purpose, expecting for it the Emperour's Pardon; but it happen'd quite contrary; for that Prince asking him, if there were any other that knew the Secret, he answering no, the Emperour immediately caused his Head to be cut off on the spot, for fear the Knowledge of this Secret, should come to be propagated to Posterity, and that Gold on that account should come to be no more valu'd than Dirt, and consequently all other Metals lose their Esteem and Value. In short, Glass would be more valuable than Gold, if it were malle∣able, by reason of its Transparency.

Our Age, fruitful in great Men, has had no less Advantage in the Reign of the late King Lewis the Iust, than that of Tiberius; since we are assur'd, That a certain Learned Man having found out the same Se∣cret 〈53 pages missing〉〈53 pages missing〉

calls it by the Name of Ferretto, nor makes any men∣tion of it.

CHAP. XX. To make Ferretto of Spain for Tinging Glass.

ALtho' Ferretto be found in Mines, yet it may be artificially made much better, as I shall shew in the following Chapter.

Excellent Ferretto used to be made heretofore in Cyprus, and at Memphis, the Metropolis of Egypt, but it is no more used in France, whether by reason they make no more of it there, or that we bring it no more from those Places, I cannot tell.

Neri and Merret, who have written of the Art of Glass, use only Copper or Brass to make Ferretto: We will give you their Preparations; but true Fer∣retto cannot be made without Iron or Steel, altho' Iron and Copper are somewhat of a like Nature; since 'tis easie to convert the former into the latter: wherein there is far more Virtue for several Operati∣ons than i•• the Natural Copper, and it is finer, more pure, and redder.

An ordinary way of making Ferretto is this; Take Filings of Iron very clean, and Sulphur beat to Pow∣der, put them in a Crucible Layer over Layer, or first one Layer of Sulphur, then one of Filings, and so on, beginning and ending with the Sulphur; which is called Stratification, or Stratum super Stra∣tum. After that you must cover the Crucible with another, or with a Tile, and lute it close, and set it into a Furnace with Coals round it for six hours, encreasing the Fire every two hours, that is, the two first hours let the Fire or Coals be half a foot from the Crucible; the two second about a quarter

of a foot, and the two last let it be covered all over with Coals. Then, the Matter being cool'd, you must pound it small, and keep it for Use.

CHAP. XXI. Another Extraordinary Way of making Ferretto of Spain, which is a great Secret.

THis way of making Ferretto is not common, nor much known; wherefore we will here teach it for Satisfaction of the Curious. It is of a very wonderful use, not only for Tinging Glass, but for several Chymical Operations, wherein we know the use of it, which is very surprizing, if a second and further Preparation be made of it, whereof we shall here make no mention, it being foreign to our Subject; but take that which serves for Tinging Glass as follows.

Take very fine Steel, for in the Perfection of that consists all the Excellency of the Work; make it in∣to thin Plates, or file it: also do the same▪ with Cop∣per or Brass, viz. make that also into thin Plates, or take the Filings of it, one part to two of the Steel; put them into a Crucible stratum super stratum, lute them, and put it on a gentle Fire for Eight Hours, then take it out, and melt the whole in a Wind-Furnace, then cast it in a Lingot, or in lit∣tle Plates, and the business is done.

To make use of this in Glass, you must calcine these Plates, then pound them, and searce them, and keep that Powder in a Pot close shut up for use.

CHAP. XXII. Another Way of making Ferretto of only Copper, for Tinging Glass.

NEri and Merret give the Name of Ferretto of Spain to the following Preparations, in this and the next Chapter; asserting that it communi∣cates several very fine Colours to Glass. The diffe∣rent ways of Calcining Metals, causes different Ef∣fects; which is known to the Experienc'd in this Art.

If the Ferretto we have taught in the precedent Chapters, be of vast use in Glass, and very ser∣viceable in Pastes, Enamels, and Glass of Lead, by reason of the great Resemblance it causes to Preci∣ous Stones; this and the following are of no less use.

Take thin Plates of Copper or Brass, cut them into pieces, and put them into a Crucible, in the Bottom of which you have laid a Bed of Sulphur pulveriz'd, then a Layer of Copper; then another of Sulphur, and then again of Copper: which you must thus continue stratum super stratum, till the Crucible is full. Then cover over the Crucible with another, or with a Tile, and lute it well, and dry it, and put it in∣to a Furnace among hot Coals in a good brisk Fire for the space of two hours. Then take out the Crucible, let it cool, and you will find the Copper or Brass calcin'd, which will break and crumble between your fingers like dry earth, of a blackish Colour. You must pound it to a fine Powder, and searce it and keep it in a Vessel well closed for use.

CHAP. XXIII. Another Way of making Ferretto of only Copper for Tinging Glass.

THis second way of making Ferretto is something more troublesome than the former, but its Effects in Glass are far finer. In this method you must take Vitriol instead of Sulphur, wherewith you stratifie the thin Plates of Copper in the Cruci∣ble just as in the precedent Chapter, then set this Crucible to Calcine in the Mouth of a Glass-Furnace, which the Italians call Occhio, and the French the little Working hole, where it ought to stand for the space of three days. Then take out the Crucible and add to the Copper new Rows or Layers of Vitriol, strati∣fying it as before; then you put the Crucible in a Reverberatory Fire in the same place as before; which you must continue to do for six times succes∣sively one after another, and then you will have a very Excellent Ferretto, which you beat to Powder, and it will tinge Glass of Extraordinary Beautiful Colours.

CHAP. XXIV. To make Crocus Ferri, commonly called Crocus Martis, to colour Glass.

WE will shew several ways of preparing Crocus Martis, some more Simple, others more Ex∣traordinary and Curious, both with and without Liqours or Menstruums, whereof the effects are dif∣ferent both in tinging Glass, and other uses, to which

it is put. Crocus Martis, which is made without Menstruums, depends on a very fine Calcination of the Iron, by means of which the Tincture that is Extracted, gives a very fine red to Glass, and so communicates it self to it, that it not only manifests it self, but makes all other Metalline Colours (which Ordinarily are hidden and dead in Glass) appear fair and resplendent.

As to the way of Menstruums, we may say that all Acid and Corrosive juices which Operate on Copper, will also do the same on Iron, so that you will al∣ways have a red Colour, more or less bright, and which may be mixed with Tinctures of other Metals to cause other different Colours.

We don't in this place understand by our two me∣thods of dry and wet (or with and without Menstru∣ums) for the preparation of Crocus Martis, those two ways which the Philosophers speak of, in the same Terms, their dry way or method being only a certain Vitrified matter, and their wet or Menstruous one, a sort of sweet * 1.5 Liquor without any Corrosive, wherein Metals will dissolve like Ice in warm Wa∣ter, and which afterwards cannot be reduc'd again into Metals by any way whatsoever.

The first way of making Crocus Martis take as fol∣lows; Take very fine filings of Iron, or those of Steel are better, mix them in a Crucible with three parts of Powder'd Brimstone, Stratum super Stratum (Commonly noted thus S S S.) Calcine them four hours at a very strong Fire, till the Sulphur be Con∣sumed: then take the Crucible out of the Fire, and let the matter Cool, then grind it to very small Pow∣der, and searce it through a very fine Sieve, then put that Powder into a Crucible, and lute it well, and put it into the Mouth of a Reverberatory Furnace for

the space of Fifteen Days or more; and of the Reddish Colour it was before it will become a very deep red almost like Purple: keep it in a close Ves∣sel for the use of Glass Colours; it will work many wonderful Effects.

CHAP. XXV. Another way of making Crocus Martis for Colouring of Glass.

THO' this second way of making Crocus Martis be very Easy, yet it ought to be Esteemed; since it tinges Glass of the true red Colour of Blood; it is prepared thus. Take filings of Iron, or, which is better, of Steel; mix them well in Earthen Pans with strong Vinegar, only sprinkling them so much that they may be throughly wet, spread them in Pans and set them in the Sun till they be dry, or if the Sun be hid by the Clouds set them in the open Air; then Powder them, and sprinkle them again with Vinegar, and dry them as before, then Pow∣der them again, and repeat this Process Eight times; at last grind and searce them well, and you will have a very fine Powder of the Colour of beaten brick, which keep in close Vessels for use.

This Crocus Martis thus made with Vinegar com∣plies very much with Greens, and the Emerauld Co∣lour of Glass of Lead. It is used also in Pastes for the same Colour with Verdigrease, and in Blacks.

CHAP. XXVI. Another way of making Crocus Martis with Aqua Fortis.

CRocus Martis may be prepared a third way, with Aqua Fortis, by which the red Colour of Iron is made yet more manifest in Glass; wherein it is so very resplendent and bright, that it seems almost incredible, if experience did not shew it.

Put fine filings of Iron or Steel into glaz'd Earthen Pans, sprinkle them with Aqua Fortis, and set them to dry in the Sun, and then reduce them again into Powder, and repeat this process several times, as you have done with the Vinegar, in the precedent, Chap. and having obtained a good red Colour as be∣fore, Powder it and searce it, and keep it for use.

CHAP. XXVII. Another way of making Crocus Martis with Aqua Regalis.

THis is a fourth way of making Crocus Martis, and perhaps the best of all, because in them you cannot find such Diversities of Colours as in this.

Dissolve, silings of Iron or Steel, in a Glass Body well Covered, in Aqua Regalis, that is in Aqua Fortis made Aqua Regalis with sal Armoniac, as we shall shew in the second Book. Keep them so three days, stir∣ring them every day well, during which you may add fresh filings little by little, wherein you must be very Cautious: for it riseth so much by Fermentati∣on

in the Aqu. Reg. that it will endanger breaking the Glass or running over. After three days set your Cucurbite on a gentle Fire, that all the Water may Evaporate till it leaves the Crocus behind dry, which is admirable for Tinging Glass, which keep for use.

CHAP. XXVIII. Another way to make Crocus Martis.

THis way tho' it be easy makes a Crocus of no less Virtue and Beauty than the precedent. To make it take fine filings of Iron or Steel without any rust, let them stand in a Reverberatory Furnace with a very strong Fire, the heat being at least to the fourth degree, till it becomes of the Colour of Pur∣ple. Then take it out of the Fire, and when it is Cool, put it into a Vessel full of Water, and stir it briskly about, and then presently pour off the Water into another Vessel, which you may reiterate. Thus there will remain in the first Vessel the Iron that is not yet Calcined, which if you please you may put a∣gain into a Reverberatory Furnace; In the second Vessel there will be the Crocus which set over a gentle Fire to evaporate the Water. But you must not de∣cant off the Water tho' it appears clear after it has settl'd: for tho' the Crocus may seem to be precipi∣tated to the bottom, yet the Water Contains the most subtile parts of it imperceptibly suspended in it. Having well Evaporated the Water you will have a very red Powder, very fine and Extraordinary, which keep for use.

CHAP. XXIX. The last way of making Crocus Martis.

THis last way will be of some use to those who shall desire to have the Iron or Steel Granu∣lated, or in little drops, the Metal whereof is dif∣ficult to Melt. Take a bar of one or the other Metal, of the weight of five or six pounds, which heat as hot as you can in a Smith's Forge, so that it may Sparkle when it comes out of the Fire: At the same time another Person must have ready a long stick of Brimstone and large which is the best for this Operation, and the Metal coming out of the Fire in the condition we have shewn, you must thrust them one against another over a great Ear∣then Pan full of warm Water, into which the Metal will drop in little drops, or granuli, melting like Wax, when touch'd by the Sulphur; then you must take those little grains, and Stratifie them in a Crucible with Powder'd Brimstone, and afterwards sett them in a Reverberatory-Fire, where they will be reduc'd to a red Powder, which grind and searce and keep for your use.

CHAP. XXX. The way to Calcine little Plates of Copper, to tinge Glass of a blue Colour.

WE have shewn the way to make Crocus Martis for Colouring Glass, and now we will shew that of Copper, which is very near in nature to the other as we have remarked; And which dis∣solves

in the same Acids and Corrosives. Venus as well as Mars (or Copper as well as Iron) gives us diffe∣rent Colours, which proceed from different ways of preparing them, as we shall see in the following Chapters.

Merret pretends that Brass gives us a finer blue than Copper, by reason of the Lapis Calaminaris which is mixt with it, and partly causes the Colour.

Of all Metals Copper is only used (as Allay) to give malleability to Gold and Silver in Coin: It melts easily in an indifferent heat, but it is calcin'd into powder with difficulty. There are several ways of Calcining Copper, here follow five of them by help of fire. The first is of Copper alone with∣out any addition; the second by the addition of Sulphur; the third by Vitriol; the fourth of Brass alone divers ways; the fifth by a preparation of the Vitriol of Venus. These preparations are the best, and of more value than those prepared by Spirits and Cor∣rosives. All these different ways of Calcinations and Preparations of Venus, shall be explained in several Chapters of this Treatise, whither the curious Rea∣der may have recourse.

The little Plates or Leaves, whereof we are now to shew the preparation, are a sort of Copper or Brass exceeding thin, approaching the Colour of Gold, called Festoons. These Plates are made of this Colour by Lapis Calaminaris, which does not only Colour the Copper, but augments its weight; this Brass being well calcined tinges Glass of a Blue, and Sea-Green. The way to calcine it is this.

To avoid the expence of buying new, you may make use of those leaves that have been already used and worked, they being good, and cut them with Scissers into little pieces, and put them into a

Crucible covered and luted, in the mouth of a Furnace to Calcine, and let them stand there for four days, at a Coal fire, so that the leaves may not melt: For then they would be unfit for this use. The four days being expired, the whole will be calcined, beat them on a Porphury Stone, and Searce them thro' a fine Sieve; and you will have a blackish powder, which you must spread on Tiles, and put it into the same Furnace for four days longer; then take it out and blow off the ashes that may be fallen on it; then reduce it again into Pow∣der, searceing it thro' a fine Sieve as before, and keep it for use.

You may know when it is well Calcined, if the Glass rises and swells when you put it upon it, if it does not you must calcine other leaves, those being not Serviceable by reason they are burnt in the Calcination.

CHAP. XXXI. Another way of Calcining these leaves of Copper to make a very transparent Red, Yellow, and Chalcedony.

TAke the same leaves as in the precedent Chap. Cut them into small pieces and Stratifie them with Sulphur pulveriz'd, in a Crucible covered and luted. Then set them on burning coals at the Mouth of the Oven to Calcine for Twenty Four hours; then take it out and grind it small; then put it in an Earthen Vessel in a Reverberatory Fur∣nace, where leaving it 10 hours, take it out and powder it, then keep it for use.

CHAP. XXXII. To calcine Copper to a Red Powder, which serves in several Processes for colouring Glass.

ALtho' Copper be of the same nature as Brass, which serves to Colour Glass blue, yet there is some difference between them, for the latter will tinge it of several Colours, which proceeds from the Lapis Calaminaris, and some other mixtures in the preparation.

To make this powder, Take what quantity you please of Copper in thin plates, put it into a great Crucible into the Furnace, till it be calcined, with∣out melting; then being cooled, reduce it into powder which will be very red, and searce it; whereof you may make divers uses as we shall shew hereafter.

CHAP. XXXIII. To make Copper thrice calcin'd for colouring Glass.

THE same red Powder in the preceding Chap∣ter serves here. Take of that Powder and put it on Tiles, and calcine it again in the Furnace four days; it will become black, and coagulated into one Mass: Powder it and searce it, calcine it again 5 or 6 days in the same Furnace, and it will become grey without coagulating any more, or running into Lumps, and will be in a conditi∣on fit to be dissolv'd. Of this Powder which the Italians call Ramina di Trecotte, is made Sky-colour'd blue, the colour of Turcois, the green of Emerald,

and several other colours. It must not be calcined above thrice, for it would no longer Colour Glass. You may know if it be calcined well, by casting some of it in a Pot of boiling Glass; if it swells as we have said before, if not, you must set it yet Twenty Four hours longer in the Furnace, or rather begin a new Process.

CHAP. XXXIV. Another way of making thrice calcin'd Copper with less charge and more ease.

WOrkmen who seek ways to spare their pains, will find this way of Calcination less Ex∣pensive than the others, and almost of equal beauty: Take the Scales which the Brasiers make when they hammer Pans, Kettles, or other works of Brass, as being much cheaper than new Copper. To calcine these Scales there is no need of Stratification as we have shewn before in other Copper, which is troublesom; they need only be well washed from all foulness; and being well dry'd, put them into one or more Crucibles, and set them just into the Mouth of the Reverberatory-Furnace for the space of four days: Being at length cool'd, pound or grind them and fearce them. Then set that powder a second time in the same Furnace to reverberate during four days longer; and you will have little Balls of a black Colour, which you must pound and searce again, and then put them the third time into the Reverberatory; and after four other days re∣duce them to powder as before; thus it will be prepared with less Expence, and as good to colour Glass, which will be easy to see by making tryal on melted Glass: For if it makes it rise when you cast it on, it is right.

CHAP. XXXV. Another Calcination of Copper call'd Aes ustum.

THe best and finest Aes ustum we have in France is brought from Holland; but several curi∣ous persons make it themselves far finer. That which makes the Beauty of the Dutch is the Sea-Salt, that they add to the Sulphur, and which they mix together in Powder to stratifie the Copper in a Crucible covered and luted as we have shewn; they take ⅔ of Sulphur and one third of Sea-water Salt; then they put the crucible on a hot fire of Coals, where they leave it till the Sulphur be wholly consumed▪ After that they take it out and it is of an Iron-gray, and reddish within: the Tin∣cture it gives Glass is very fine, and it is also service∣able for other Uses.

CHAP. XXXVI. Another better way of making Aes ustum.

CUrious Gentlemen who employ themselves sometimes in Chymistry, and do not grudge their time and charge as the Workmen doe who get thereby their lively-hood; have far finer and more In∣genious preparations of aes ustum, which render it of greater virtue, and more Power to tinge, We will only give the reader one of them.

Take thin Plates of the Reddest Copper which is the hardest sort, make it red-hot in a Crucible or otherwise, then extinguish it in a Lee of Urine, wherein common Salt has been dissolved; and reite∣rate this process till the Copper become of the colour

of Gold both within and without. After that you must cement those Plates with two parts of Sulphur, two parts of Salt-Petre, and one part of Vitriol cal∣cin'd ad rubedinem, the whole reduc'd to powder, wherewith you must stratifie those Plates in a Cruci∣ble, pressing close each Layer or Row; then you must cover it with another Crucible mouth to mouth, the upper having a hole bored at bottom, then lute them well together. The Lute being dry put the Crucible in a * 1.6 Round Fire during six hours, and hot ashes underneath. The first two hours the fire must be one foot distant from the Crucible the two second hours one half foot nearer; and the two last hours quite close covering the Crucible; You must take special care that the matter does not melt, and that the fire be not too great, for that would spoil all. The Crucible being cold, you must take it out, and emptying the matter pound it well; this is what we call Aes ustum. To make it fit for use you must wash it, to take away the Sulphur, and then dry it and keep it in a close Vessel.

There are other curious Persons who make an Aes ustum yet finer than this, and more penetrating in Colours; but the preparation is more costly and requires more time; for instead of Brimstone and Salt-Petre they make use of a purified Sulphur and fixed with Sal Armoniac; and instead of ordinary red Vitriol they use Roman Vitriol which they pre∣pare with Lee of Urine, and a fusil Salt, which after∣wards they put in a reverberatory. But since the others serve well enough for colouring Glass, and are easier to make, we shall not here give you the preparation of this last which would be too long, and being more serviceable to several other purposes which Experience testifies.

CHAP. XXXVII. The way to make Crocus Veneris.

SInce we have shewn the way to make Crocus Martis, it is but reasonable we should now shew you how to make Crocus Veneris. We cannot pass by in silence the Crocus which may be made of the Aes ustum, we have taught in the Precedent Chap. tho' we are certain the Glass-Makers will not make use of it, by reason of the length of time requir'd for preparing it: But the curious who are Ignorant of it will be glad to know it, wherefore we here shew it to oblige them. Take as much aes ustum of the Precedent Chap. as you please, add to it its weight of good Verdigrease, and as much Sal Armoniac fix'd and fusil; pound the whole together well, and dry them over the fire in an Iron Fire-shovel: Then pour into the shovel Lee of Urine, and make the whole boil till the Lee be entirely consum'd; Then put on more of the same Lee; boil it till the Lee be consumed as before, and reiterate it a third time. Then pound or grind the Matter and put it in a Reverberatory to Calcine well, then pound it again into an impalpable Powder, and put it into an Earthen glazed Pot; pour upon the same Lee of Urine, wherein you dissolve it, viz. to each pound of Lee, four ounces of Sal Armoniack fix'd and fusil. Then boil the whole over a little fire in ashes for a quarter of an hour, then decant off that Lee into some fit Vessel, for that will contain the Tincture of the aes ustum, and of the Green which it has Extracted. Put more Lee upon the Matter, and boil it yet a quarter of an hour over the same Fire, then decant off that Lee to the for∣mer;

thus continue to water it with fresh Lee and decant it off to the former as long as it will extract any Tincture from the matter. Then take all these tinctured Lees, and filter them thro' whited brown paper, then Evaporate three quarters over a gentle Fire. And put the remainder into an Alembick, with the Helm (or head) on, and the Receiver, and distil it till it be dry: Then you will find at bottom of the Alembick a Crocus Veneris, of a very wonder∣full Virtue for colouring Glass and other Chymi∣cal Operations, and some Medicinal Uses.

CHAP. XXXVIII. Another way more easie to make Crocus Veneris.

AS those who apply themselves to this Art, are not all equally curious in their Work, and good husbandry being in fashion in this Age; we will shew some more easie ways, and more ready to make Crocus Veneris, whereof this is one.

Take very thin Plates of Copper, put them into an earthen Pot with common Salt, S. S. S. and put this pot on the Furnace, where let it stand till the matter be very red: Then put the Plates with the Salt into cold Water, and wash them well to take away all Blackness. Reiterate the stratification of these plates with common Salt, calcining them at the fire, and washing them as before, as often as you please. After the last time pour warm water on that where the Plates have been extin∣guished, and then let it stand still some time, then empty it, and you will find at the bottom of the vessel a Crocus Veneris red as blood. You must wash it well several times to cleanse it, then dry it well

with a linen cloth, and keep it for use to colour Glass.

There are some who content themselves to take Aes ustum, prepared with Sulphur and common Salt, as we have shewn heretofore, and to heat it red-hot in the Fire nine times, and quench it as often in Linseed Oil; then dry it and powder it.

CHAP. XXXIX. Another easy way of making Crocus Veneris.

WE now give another easie way of making Cro∣cus Veneris. Take of Copper simply calcin'd one part, of Sulphur vivum eight parts well powder∣ed; mix them together in a large Crucible, which then set on a Coal-fire in a little Furnace, stirring the Matter continually with an Iron Rod, till the Sulphur be consumed; and reiterate this Process five or six times, then cast it thus refin'd into an Earthen Pan of boiling Water, stir it often with a Stick while the Calx descends to the bottom, then the Water being settled and clear, evaporate ¾ to extract the Crystals, or rather evaporate the whole, and you'll find at bottom of the Vessel a Crocus Ve∣neris very fine and red.

CHAP. XL. The first Colour of Sea-Green for a Tincture of Glass.

THE Colour of Sea-Green is given by the Ita∣lians to Beryl, which is a Precious Stone found at the Foot of Mount Taurus, by the River Euphra∣tes, which has the Green-blue of the Sea. It is found in the Indies of a Colour somewhat paler,

which makes it be called by different Names, and when the Colour is deeper, they commonly pass for other Precious Stones: It is therefore the Water expresses its Colour. We will treat more largely of it in our fifth Book, wherein we shall shew the way of imitating Precious Stones.

This Colour, which is one of the finest Sky-Colours, ought to be made in fine and well purifi'd Crystal, which the Italians call Bollito, for if you make it in common Glass it is not so fair: You must likewise put no Manganese in this Colour. To make it therefore very fine and beautiful, Take Crystal-Fritt, put it in a Pot in the Furnace, where being well melted and clear, you must skim off the Salt, which will swim on the top like Oil, with an iron Ladle: for if you should not take it off, the Colour would be foul and oily. The Matter being well purified, you must add to it, to every 20 pounds or thereabouts, 6 Ounces of the Powder of Copper calcin'd, as we have taught in Chapt•••• XXX. with a fourth part of Zaffer prepar'd, also in Powder, and well mixed both together; in p••••∣ting both these Powders into the Pot on the Cr••∣stalline Metal, you must do it little by little, for fear the Crystal rising and swelling should run over, whereof care must be taken, stirring it well all the while. This being done, let the Metal stand still and settle for the space of three hours, that the Colour may incorporate, then stir it again: then the Workman may make a proof of the Colour. Twenty four hours after the mixing of the Powders it may be wrought, for by that time it will be well coloured; but the Workman must first well mix the whole, for fear the Colour should not be preci∣pitated to the Bottom. Which must always be well observed in all Vessels wherein there are Colours, and the Doses of the Tinctures rightly proportion∣ed

to the Crystalline Metal in the Pots, according to the quantities we have set done.

CHAP. XLI. Another Sky-Colour, or Sea-Green.

YOU must use, for this Colour, which is a lit∣tle close, the same Crystal-Frit as in the prece∣dent, made with Rochetta or Polverine of the Levant; and having fill'd a Pot of it, let it be well purified, and take off the Salt that swims on the top; then put to it 20 Pound of Metal, six Ounces of the Pow∣der of calcin'd Copper little by little, stirring it, well, observing the same Rules we gave for Sea-Green before. Then you will have a very admi∣rable Colour, which you may make lighter or deeper as you please. Two hours after stir it again well, and you will see if the Colour pleases you; in which case let it stand still 24 hours without any stirring, and then it may be wrought as before.

CHAP. XLII. Another Sea-green colour in Artificial Crystal, which the Italians call Bollito.

THese colours are not to be made without a great deal of Precaution, which this needs as much as any. To succeed well, you must have in the Furnace a Pot filled with 40 pound of good Cry∣stall••Fritt, carefully skimm'd, boil'd, and purifi'd, without any Manganese: having arrived thus far, you must take 12 Ounces of the Powder of Small leaves of Copper thrice calcin'd, as we have shewn

chap. XXX. And half an ounce of Zaffer in Pow∣der, prepared as in chap. XVII. Mix these Pow∣ders together, then put them at four times into the Pot, that they may the better mix with the Glass, stirring them at each time well, as you put them in, for fear it should swell too much, and run over. Two hours after the whole is incorporated, well mixed, and pretty well settled, try if your colour is deep enough then let it rest, tho' the Sea-green or sky colour seems at first Greenish you need not be con∣cerned at that: For the Salt in the Glass will consume all that Greenness, and change it into Blue.

After your Metal has stood at rest 24 hours, it may be wrought, and you'll have the colour deeper or lighter, according to the quantity of Powder you have used in it. There is no other Rule in that, but the Phancy of the Workman, which is the reason it cannot be ascertained; besides the Matter we use to tinge Glass, makes it have some more colour, some less, which proceeds from the Preparation of it.

CHAP. XLIII. A fine Sky-Colour or Sea-Green in Crystal.

THis fine Colour requires a Crystal Fritt well purified from its Salt, as we have noted be∣fore; and which has not been put into Water. Put 60 Pounds in a Pot, and having well prepared it, put in one Pound and half of Scales of Copper in Powder, the Preparation whereof we have shewn in Chapter XXXIV. with four Ounces of Zaffer prepa∣red and mixed together; and stir the whole well with the Glass for the space of two hours. Then see whether you like the Colour, then let it stand

at rest 24 hours; then stir the whole again, as be∣fore, that it be well mixed with the Glass and the Colour incorporated with it; then it may be wrought. It will give a very fine Blue, as has been often experimented. The Colour may be heigh∣tened as you please; but take care you do not make it too high. If you mix with Fritt of Rochetta, as much Crystal Fritt, you'll have as fine a Blue as can be wished.

CHAP. XLIV. Another Sky-Colour or Sea-Green, made with less charge, to colour Glass.

THough, this Colour be inferiour to the last, yet it has its Beauties sufficient to satisfie both the Sight, and pay the Pains of the Workman. He must take the same Preparation of Scales of Copper, we have mention'd in the precedent Chap∣ter, and the same Dose of Zaffer, with as much Crystal made of Rochetta of the Levant, and Ba∣rillia of Spain, without any Manganese either in the one or other, and which has not been cast into Water, but well purified from its Salt; observing in this place all we have noted to be done in the other Preparations of Crystal and Sea-Green in the preceding Chapters, and you'll have a fine Sky-Colour or Sea-Green, fit for any Use.

CHAP. XLV. Another Sea-green far finer than the rest.

NEri seems to be the Inventor of this new Sea-green, and to have first Experimented it. It is made with Caput Mortuum of * 1.7 Vitriol of Venus without any Corrosive, which is a very curi∣ous preparation, we will shew it at the End of the 7th Book. This Caput Mortuum ought to be expo∣sed to the Air for some days, in a place where the Sun cannot come, where (by a Magnetical Virtue) it will attract the Universal Spirit; which will re∣store to it again Part of that it has lost by Extracti∣on it has Suffered, and will become of a whitish green Colour. Then pound it with the same dose of Zaffer prepared as in Chap. 43. put the whole into a Pot fill'd with Crystal Metal, very fine and well purified from its Salt, observing all we have noted on this Subject; and it will make an extraor∣dinary fine Sea-green.

CHAP. XLVI. To make a green Emerald-Colour in Glass.

WE will pass from Blue to Green, and from Venus to Mars, which enters into the pre∣paration of this. For making this Emerald Colour, take common Glass well purified from its Salt, without Manganese, as we have shewn in Chap. 12. Put it in a Pot in the Furnace, and when it is well

melted and purified, add to it (for Example) to 100 Pounds of Glass, 3 ounces of Crocus Martis Calcined with Vinegar as in Chap. 25. mix well the Glass at the same time to make it Incorporate with the Crocus, then let it rest an hour, that it may throughly take the Colour. This way nothing will come out Yellowish, and it will lose that Foulness and Blueness which the common Metal always hath, and it will become Green. Then add to the same dose of 100 Pounds of Glass 2 Pound of the Scales of Copper thrice calcin'd as in Chap. 34. And put it in at Six divers times, Mixing it well each time with the Glass, then let it stand 2 hours to imbibe the Tincture. After 2 hours stir it again, and see if it be as you would have it; if the Colour be too Blue you must add to it some Crocus Martis prepared as before and you will have a very fine Emerald Colour. Twenty four hours after, mix it as before; and then you may work it as you Please.

CHAP. XLVII. Another Emerald green more fair than the preceeding.

THe more pure the matter is, the finer the work will be that is made with it: Thus to make a more fair Emerald green than the preceed∣ing, take Crystal Fritt without Manganese, which has been twice washed in water to take out all the Salt; and put it in a Pot in the Furnace: Then add to it half of common White Metal also with∣out Manganese. These two matters being well melted, mixed, and purified, put to 100 pound of metal 2 pound and a half of powder of Copper Plates thrice calcin'd, prepared as in Chap. 33.

with 2 ounces of Crocus Martis Calcined and Rever∣berated with Sulphur as in Chap. 24. After having mixed them well together: You must put in those Powders at six different times, stiring well the matter each time, and Moreover observe all we have said in the Preced. Chap. You may make the Colour Lighter on Deeper, as you please, adding Crocus Martis if it be too Blue, and Calcin'd Pow∣der of Venus if it be not enough so; you will have from this a surprizing Burnet Green.

CHAP. XLVIII. Another wonderfull Green.

ALtho' this Colour is very admirable, yet we only make use of it in common Glass, made with Polverine and without Manganese. Being well melted and purified, you must put in equal parts of Powder of Scales of Copper thrice calcin'd, and Scales of Iron which fall from the Smith's Forge, without any other preparation than well washing them, to cleanse them from Ashes and Coals that mingle with them; afterwards well dry them, and Pound them as fine as you can and searce them: These Scales serve in room of Crocus Martis. You must observe the doses and way of Proceeding as we have heretofore noted, in Emerald Colours: These Scales of Iron will give an admirable Green; and they will drive out all the dull naturall Green which is in common Glass, and make it become Yellowish, or will give it a yellow Green, very Bright and Fair.

CHAP. XLIX. Another Oriental Emerald Green finer than the rest.

TO make this fine Emerald colour; put into a Pot 4 pounds of common Fritt of Polverine, 5 pound of common white Glass Pulveriz'd, 5 pound of Crystal Fritt well washed; add to this Composition 3 pound of Minium or Red-Lead, mix them all together, and in a little time they will be pretty well purified. After that, cast all that metal into water to Purifie it more, taking care that no part of the Lead sink to the bottom of the Pot wherein it is cast, for it will break it, if Speedy care be not taken to take up again what is Precipitated. This Glass thus washed, and after dryed ought to be put in the Pot again, to be melted and Purified during the space of one day; then you must add a little of the Caput Mortuum of Vitriol of Venus without Corrosive, whereof we have spoken Chap. 45. with a little Crocus Martis: stirring the metal, and moreover proceeding as we have shewn in the Preceding Chapter. Then you will have an admirable Oriental Emerald Green, which may be wrought as you please. The Mi∣nium or Red-Lead, we speak of may be had at any Drugsters; yet you may make it with com∣mon mineral Lead, which is better in this Opera∣tion than that in Pigs, and cheaper. Pound it well, then calcine it at a good Fire, and it will be reduced to a Red Powder.

CHAP. L. The way of making Turcois blue, a particular Colour in this Art.

WE ought to have put this Colour of Turcois after the Blue, and before the Green, but be∣cause it is a particular and principal Colour, we thought it would not be amiss to conclude this book with it. For this colour take a pot full of Crystal Fritt tinged of an Aqua-Marina Colour or Blue, whereof we have given several preparations; which colour must be fair and full, for all depends on that. It being well melted put into it little by little sea-salt decrepitated, white and reduced to Powder, mixing it well and softly as we have noted in speaking of other Metalline Colours; and the Blue from clear and transparent will become thick, for the Salt penetrating the Glass takes away its Transpa∣rency, and causes a Paleness; hence alone comes the Turcois Colour used in Glass. When the Co∣lour is right to the Workman's Fancy, it must be presently wrought, for the Salt will evaporate, and make the Glass transparent and disagree∣able. If in working this Metal the Colour fades or goes off, you must add a little more of the same decrepitated Salt as before, and the Colour will return.

We will here advertise the Workman, that he must take care that his Salt be well decrepitated, other∣wise it will always crackle, and be apt to fly in his Eyes, and endanger his Sight. You must (as I have said) put in the Salt by Intervals, till the Colour Pleases you.

It will suffice for this use, that the Fritt tinged Aqua-Marina or Blue, be made of one half Crystal Metal, and the other of Rochetta, and the Colour will be very fair and good.

The End of the First BOOK.

Notes

• * 1.1

  Without doubt the Author has an eye in this Expression to the Multiplication of Gold.
• * 1.2

  Adepti.
• * 1.3

  From the Latine Glastum, which is called Vitrum by Caesar in his Comment. lib. 5.
• † 1.4

  It naturally hath a Blueishness.
• * 1.5

  Such as Van Helmont's Alkabest.
• * 1.6

  Wheel-Fire.
• * 1.7

  Neri says of the Spirit of V.V.