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 5)

BOOK V. (Book 5)

CHAP. XCI. Shewing the Way to prepare Natural Crystal, and to make a very fine Salt of Tartar, and several sorts of Pasts, for Emerald, Topaz, Chrysolite, Iacinth, Granat, Sap∣phire, Beryl or Egmarine, Carbuncles, Rubies, and se∣veral other Colours, of so great Beauty that they sur∣pass the Natural Stones themselves in every thing but Hardness.

WITHOUT doubt it will seem surprizing to several, that Art should be capable of imitating the Natural Colour of Precious Stones in so great Perfection, as that the Beauty of the Artificial should surpass that of the Natural Ori∣ental

ones, in every thing excepting their hardness, which they have been many ages in acquiring: and I doubt not but several Ingenious Men are this day searching after means to give them that too. The Curious will find in this Book all that is necessary to attain this Art, nay, and to do something more than I mention. For since Art can easy imitate Na∣ture, it is not to be doubted but that Ingenious Men may some time or other arrive to give the same per∣fection to Crystals that precious Stones have acquired in the Bowels of the Earth.

The Natural, or Rock Crystal, which we make use of, as the Basis of our Artificial Gems, is the only Stone that does not proceed from any Metal, being the first substratum of others, only made of a congealed Water, with a subtil Earth, as other precious Stones. Its Virtue proceeds from Mercury, and the Spirit of Raphael, having also a great Sym∣pathy with Saturn and Iupiter, whence it is proper for healing several Diseases. All the diversities of Gems proceed only from a sulphur or an unctuous Substance, which insinuates its self in their Compo∣sition, which fixes them more or less and also tinges them. This Sulphur is an Exhalation of Metalline and Mineral Spirits, forced up by the Central Fire, which virtually contains divers Colours, and which are determin'd and brought into act by proper Subjects.

Thus Granat and other precious Stones agree with Crystal, as Mercury does with Saturn, their harmony in the Heavens assures us of these reasons and proportions here on Earth.

Precious Stones derive their Origin from the Stars and the Primum Mobile, as do the Metals both per∣fect and imperfect, of the colour of Sulphur, and the qualities whereof they partake, and wherein they agree with the Stars. Great and wonderful

Operations might be performed with these Precious Stones, if they were separated from the Impurity of their terra damnata, and reduc'd by the universal Men∣struum into their first principles. It is only by this Menstruum, or mundane Spirit, that Metals and Mi∣nerals can also be so dissolv'd, that being full of their Attractive Virtues.

We can boldly assert that this universal Spirit con∣tains in it self all the secrets of Alchymy; and that without it, it is impossible to have the Tincture, Wa∣ter, and Salt of Precious Stones, or to make use of the admirable Virtues God has imparted to them. Yet I don't dispute but that there is a certain Acid Water Extracted from a Simple, wherein a dissolu∣tion of Gems may be made, and an admirable Ma∣gisterium, and a Precious Treasure for the Health, being prepar'd secundum Artem. That Water will also extract the Tincture of Gold, the Virtue of which is not less for preservation of Life, and curing several Malignant Fevers.

As to Artificial Gems, which are the Subject of this Book; all the Art consists in rightly imitating the Tinctures of those that are fine, which must be extracted from Subjects that resist the Fire. The Tinctures we give them are fixed in the Crystals though volatile, without altering their Colour. As for example Verdigrease being put on the Fire, becomes of another Colour, but being in fusion with the Crystal it fixes and changes not its Colour; for natural Colours always return to their principle, and the great quantity of fixed, always retains some of the volatile. You must therefore for this end take permanent Colours which change not, being mixed one with another. For example Blue and Yellow make Green, you must therefore take a Blue that cannot be altered by the Yellow you mix with it; and a Yellow that cannot be altered by the Blue▪ and so of others.

Isaac Hollandus, who has writ much on the Art of making Gems, shews us a very fine way, by which he has performed things almost incredible. We will give you some of his Preparations, among those we de••••gn to treat of, and add several curious Matters to wha•• he has said of them, both for Pasts, Tinctures, and t•• Fabrick of Gems, to Encourage the Lo∣vers of this Art to set their Hands to work at it. It is true the way is troublesome and tedious, but any one that will diligently apply himself to it, will find himself sufficiently rewarded for his pains, both by the Pleasure of seeing so fine Productions, and the Profit he may get by a thing of so small charge.

CHAP. XCII. The Way of preparing Natural Crystal.

WE have already given a very fine Preparation of Natural Crystal in the second Book, Chap. 76, yet we will give you here the principal one, which is its Calcination, and which we will explain at large.

To perform this Calcination well, Take Natural Crystal the fairest you can get, since that is the Basis for Artificial Gems, it is no matter whether it be in great or small pieces. Fill with these Pieces of Cry∣stal a large Crucible, cover it with a Cover made of the ••ame Earth, which must be somewhat broader than the Mouth of the Crucible, for fear Ashes or Coals tumble in, which you must take particular care of. Then set your Crucible in burning Coals in a little Furnace, and when your Crystal is well heated, cast it into a Vessel of cold Water, the more Water there is, so much the better will the Calcina∣tion be performed, because the cold of it is so much

the greater. Then take it out of the Water, and dry it in an Earthen Ladle, then put it into the same Crucible to be heated again, taking care to cover it well: Then cast it again ••nto fresh cold Water, and repeat heating it and quenching it thus twelve times, changing each time the Wa∣ter. You may know if your Crystal be well calcined, for it will easily break and crumble: If there appear in it any black Veins, you must take care to take them all clean out, by breaking them, and do this till only the White remains behind; then it is well prepared.

After you have well dried your Crystals thus cal∣cined, grind them to an impalpable Powder on a Marble or Porphyry Stone, by putting a little on at a time, and fearce it well through a fine Silken Sieve.

And since we use this Powder of Crystal for all Artificial Gems whereof we are going to treat, your best way will be to keep a good quantity by you, which you may always have recourse to in Work∣ing.

If you design to succeed in this Art very well you must not use ordinary Fritt of Crystal, how good and fair soever it be, nor Chalcedony, nor Tarso, nor any other Stones; for the Glass made of them is far less fàir and resplendent than that made of Natural Crystal, which has the most lustre, and approaches nearest precious Stones, as we have already remark∣ed in the preceding Chapter.

CHAP. XCIII. The Way of making a very sine and pure Salt of Tartar.

NERI makes use of no Salt of Tartar, in all his Preparations of Artificial Gems; notwith∣standing this Salt being prepared after a certain man∣ner, we shall here relate, for the sake of the Curious. It serves in a great measure to work the Crystal, being a true Vehicle, for the better introducing the Colours that are to be given, and which is of use for the Tin∣ctures several ways.

Those, who in their Operations of Artificial Gems, have made no use of Salt of Tartar, have with∣out doubt been ignorant of this fine Preparation of it; for if you use ordinary Salt of Tartar, there is a Sulphur and Foulness in it, which renders Crystal obscure, and consequently would be hurtful in these Operations.

To make this Salt, you must first calcine your Tartar, till it become Grey, and not to perfect White∣ness; and then dissolve it in warm Water to extract the Salt, filter that Water, and then evaporate it o∣ver the Fire; then you'll have remaining at the bot∣tom of the Vessel, a White Salt. To take away all Foulness from this Salt, dissolve it again in warm Water, then evaporate it again over a gentle Fire; take it off the Fire, and cast it into cold Water, and you'll find it will leave on the surface of the Water a thick Froth, which you must skim off with a Skim∣mer that has little Holes no bigger than a small Pins Head: Put the Vessel again on the Fire, and evapo∣rate the Water as before, then take it off the Fire, and cast upon it fresh cold Water, and skim it well as

before. Reiterate this Process till you find no more Froth; then Evaporate the whole over a gentle Fire till it be dry, and you will have a Salt of Tartar well purified, which is not so fusil as the other, be∣cause it is free from all that Unctuosity which causes the Fusion. Keep this Salt of Tartar in a Vessel well stopped, and use of it in Crystal with your Colours when you set them to melt.

Altho' this Salt of Tartar be very fine and pure, yet it is not that of the Philosophers, which has far more Virtue, and opens more powerfully the Metals and Minerals where it is employ'd, tho' it be of the same Nature as this, and extracted from the same Principle.

The Philosophers have moreover another Salt of Tartar extracted from Metalline Matters; and this last is far more Excellent than any others.

We will treat thereof at large in the Treatise we have promised, where we will explain the Virtues both of the one and the other, as well in Medicine as in the Business of Metals, and shew se∣veral very Curious Effects performed by their means.

CHAP. XCIV. To make a Past for Oriental Emerald.

WE have already shewn the way of tinging Cry∣stal and Glass of Lead, of a very fair Eme∣rald-colour, but not to make a Stone that shall imitate a true Natural Gem, which may be used in Rings, or otherwise, which now we come to do.

There are divers sorts of Emeralds, but at present, they are all distinguished into either oriental or Oc∣cidental, the Orientals are more hard, and the o∣thers less. We will shew several ways of Imi∣tating t••e Emerald more or less full, which will be all Beautyful. This is the first.

Take two Ounces of natural Crystal prepared, as we have shewn in Chap. 92. and 4 Ounces of common Minium or Read-Lead, powder'd and Searced, add 48 Grains of Verdigrease well pound∣ed and of a good Colour, with 8 Grains of Crocus Martis prepared with Vinegar as we have shewn Chap. 25. Mix the whole well together, and put it into a good Crucible that will resist the fire, in it you must leave an Inch empty. Then cover the the Crucible with an Earthen Cover, lute it well, and dry it, then put it in the hottest place of a Potters Furnace where they make their Earthen Vessels, and let it stand as long as their Pots. Being cold break the Crucible and you'll find with∣in a matter of the Colour of a very fine Emerald. If you afterwards set it in Gold, it will surpass in Beauty the true Oriental Emerald.

If it happens that your Matter is not enough re∣sin'd and purified, you must put it in again a se∣cond time in the same Furnace, where it will be purified as much as needs be; which you may know by lifting up the Cover, if the Matter appears shi∣ning.

If it is not so, lute the Cover on again, and put the whole in the Furnace. You may take notice once for all, that you must not break the Crucible, before the Matter be throughly baked and purified, for if you do, and so are obliged to put the Matter into a∣nother Crucible, the Past will be painted and full of Blisters.

If you cannot easily come to a Potter's Furnace, you may make one your self with little Charge, wherein you may put twenty Crucibles at once, each of different Colours, so one Baking may serve for a great deal of Matter.

You must make use of dry and hard Wood to heat the Furnace, as we have said before in baking Glass, and continue the Fire twenty four Hours, in which time your Matters ought to be baked and purified enough, but for more Surety you may continue the Fire six Hours longer, and they will be certainly ba∣ked enough.

Your Matter being thus rig••tly baked, you may polish it at the Wheel, as we have said; and set it with a Foil in Gold, as is done with true Gems, and you'll have a brighter Emerald than the Ori∣ental.

CHAP. XCV. Another deeper Emerald-Colour.

THAT which makes Emerald deeper than the precedent, proceeds from the smaller quantity of Crystal employ'd in it, with more of the other Materials, which make it more fair, but also more brittle. You must Bake it at least six Hours longer than the precedent, to take away that Imperfection which Lead usually gives. The Dose of this Past, is one Ounce of Natural Crystal prepared, as we have shewn, six Ounces and an half of Red-Lead, seventy five Grains of Verdigrease, ten Grains of Crocus Martis made with Vinegar, the whole pulverized and well mixed together; then follow the Method we have shewn, in the preceding Chapter, which

would be too tedious to repeat here, and on every occasion, so we will avoid it; only observing to let your Matter stand longer in the Fire, as we have said, and you'll have an admirable Oriental Emerald∣colour, which being set in Gold with a Foil of the same Metal underneath, will be inexpressibly fair.

CHAP. XCVI. Another Way to make a fairer Paste for Emeralds.

THIS Paste will be as brittle as the precedent, for the Reasons we have said; for you must take seven Ounces of Minium, to two Ounces of Natu∣ral Crystal prepared: To which add full eighteen Grains of Verdigrease, ten Grains of Crocus Martis, the whole pulverized and well mixed. Then pro∣ceed as we have shewn in Chap. 94, and you'll have an Emerald fit for all small Works, but not so hard as the former, by reason of the great quantity of Lead in it. Wherefore you ought to keep it longer in the Fire, that the pale' Colour of the Lead may vanish.

CHAP. XCVII. Another fairer Paste for Emeralds.

THE Colour of this Paste will surpass the others in Beauty, if the Workman takes care. Take two Ounces of Natural Crystal prepared, six Ounces of Minium in Powder, and eight Grains of Verdi∣grease also in Powder, mix the whole well together, then put them into a large Crucible covered and well

luted, in the same Furnace as before. Moreover do all as in Chap. 94, and you'll have an extraordinary fair Emerald-colour.

CHAP. XCVIII. Another very fair Emerald-Colour.

THIS Stone will be far harder and finer than the precedent, because it contains less Lead. To make it, take four Ounces of Natural Crystal, pre∣pared as in Chap. 92, the fourth part of an Ounce of Red-Lead, and the same quantity of Verdigrease, the whole pulverized and sifted fine, which put toge∣ther in a Crucible well closed and luted, in the same Furnace as before, proceeding as in Chap. 94, leaving the Crucible in the Fire thirty six Hours. After which, if you will you may cast your melted Mat∣ter into a Marble Mould heated, putting it near the Fire to cool gently, and you'll have a very fine Eme∣rald.

CHAP. XCIX. To make a Paste for an Oriental Topaz.

THE Topaz of the Ancients, is the same which the Moderns call a Chrysolite, whereof we shall treat in Chap. 101, and their Chrysolite, that which Mo∣dern Jewellers call a Topaz, which is a Stone of a Golden-colour. Such are the Oriental Topaz's which are the most hard of all Stones next the Diamond. Their Colour is like Water tinged with Saffron or Rhubarb, but shining and pure. There are some

found in Europe, but as soft as Crystal, and approach somewhat on Black with a Golden-colour; if there is any one found of the Colour of pure Gold, it is ex∣traordinary, and not distinguishable from the Orien∣tal ones, but in hardness.

To imitate the Oriental ones, take two Ounces of Natural Crystal of Chap. 92, seven Ounces of Red-Lead in ••ine Powder and searced; mix the whole well together, put them into a good Crucible, wherein you leave an empty space of about an Inch deep, for fear the Matter should run over in Baking, or stick to the Cover of the Crucible in rising, and spoil the Work. Then proceed as in Chap. 94, observing the same Circumstances of Time and Fire, and you'll have an admirable Topaz-colour.

CHAP. C. Another fine Topaz-Colour.

TAKE two Ounces of Natural Crystal prepared, as we have shewn; two Ounces of Native Cinnabar, two Ounces of Aes••ustum, the whole pow∣dered, four times as much calcined Tin also pulveri∣zed, put the whole in a Crucible well covered and luted, into a Furnace as before, wherein let them stand twenty four or thirty Hours at a Fire not too violent, and which shall always retain the same de∣gree of heat, for this Powder will easily melt. Then you'll have a fine Topaz-colour'd Paste.

A very fine Topaz-colour may be made by putting to four Ounces of the same Natural Crystal half a Dram of Crocus Martis, and a very little Minium, observing the same Circumstances for Baking it as before.

CHAP. CI. To make a Paste for an Oriental Chrysolite.

WE have told you that the Modern Jewellers call that a Chrysolite which the Ancients cal∣led a Topaz, or Chrysopas, which is a Precious Stone, Green and Diaphanous, some whereof cast a Lustre of Gold: This Stone is so hard, that it will easily endure the File, and sometimes there are pieces of them found big enough to make Statues of; witness that related by Iuba King of Mauritania, which was made in Honour of the Queen Arsinoe, Wife of Pto∣lomaeus Philadelphus, of the height of four Cubits.

To imitate this Stone, take two Ounces of Natu∣ral Crystal prepar'd, eight Ounces of Minium in small Powder, add to it 12 Grains of Crocus Martis made with Vinegar, as in Chap. 25. mixing the whole well together. Then put the whole into a Crucible in the same Furnace as before, leaving it there a little lon∣ger than the others, that it may have time to purifie from the Lead. Then you'll have a Paste for the Ori∣ental Chrysolite, which will appear very admirable set with a Foil in Gold.

CHAP. CII. To make a Paste for Sky-colour, to imitate the Beryl, called also Aqua-Marina.

WE have already treated of this Colour in Chap. 40, wherein we have taken notice how this Name of Beryl came to be given it by the Italians, be∣cause

it has the Blewish-green of the Sea, and also whence this Stone is gotten.

To imitate this Stone, take two Ounces of Natu∣ral Crystal prepared, five Ounces of Minium, twenty one Grains of Zaffer, prepared as in Chap. 17, the whole reduced to a fine Powder, put it in a Crucible covered and luted, proceed as in Chap. 94, and you'll have a delicate Sky-colour.

This Colour may be also imitated by taking half a Dram of Aes ustum to eight Ounces of Natural Crystal prepared, and putting the whole in a Cruci∣ble to bake in the Furnace as before.

CHAP. CIII. To make a Paste for Sapphire-Colour.

THE Sapphire is very much esteemed for its Beau∣ty, which is a very clear Sky-colour, and plea∣sant to behold. There are some that are whitish like Diamonds, others very Blue, and some Violet-co∣lour; the Stone is soft, but easie to harden.

To make this Paste, take two Ounces of Natural Crystal prepared, four Ounces and an half of Mini∣um, twenty six Grains of the Blue Smalts the Pain∣ters use; the whole being well pulverized, put them in a Crucible, and cover and lute them well, then put them in the Furnace to Bake as long time as be∣fore prescribed; and you'll have a fine Violet-colour approaching blue.

CHAP. CIV. Another Oriental Sapphire.

THE Past for this Sapphire will be nearer the Ori∣ental Colour than the former. Take two Oun∣ces of Natural Crystal prepared, six Ounces of Mi∣nium; to which add two Scruples of Zaffer, prepa∣red as in Chap. 17, and six Grains of Manganese also prepared as by Chap. 18, the whole reduced to fine Powder; mix them well together, and put them in a Crucible, and cover and lute it well; then put them in the Furnace to bake the same space of time as be∣fore shewn, and you'll have an Oriental Sapphire of a very fine Violet-colour.

CHAP. CV. Another deeper Oriental Sapphire.

THIS Past for Sapphire, will be of a deeper Co∣lour than the former, you must put to two Ounces of Natural Crystal, prepared as in Chap. 92, five Ounces of Minium, forty two Grains of prepa∣red Zaffer, and eight Grains of Manganese of Pied∣mont also prepared; the whole reduced to an impal∣pable Powder, and mixed well together.

Moreover, proceed as in Chap. 94, observing well all Circumstances, and you'll have a Sapphire deeper than the preceding, somewhat tending to a Violet∣Colour, which you may Work, and Polish, and Set.

CHAP. CVI. To make a Paste for an Oriental Granat.

THE Granat is very like the Carbuncle, for both being exposed to the Sun, they exhi∣bit the Colour of live burning Coals, being be∣tween Red and Yellow, which is the true Colour of Fire.

There are several sorts of Granats, both Oriental and Occidental, some deeper, others less so; but the Jewellers know how to make them appear, by set∣ting them on Silver Foils.

We will not trouble the Reader with all that might be said concerning them, several Authors ha∣ving largely treated thereof, we shall content our selves with shewing here the way how to imitate them by our Art.

Take two Ounces of Natural Crystal prepared, and six Ounces of Minium, with sixteen Grains of Manganese of Piedmont, and two Grains of Zaffer, prepared as we have shewn in the first Book, the whole pulverized, and well mixed together, and put in a Crucible into the Furnace, with it's Cover well luted, there to Bake, with the same Precau∣tion we heretofore have given; and you'll have a very fine Granat, ••as resplendent as the Ori∣ental.

CHAP. CVII. A deeper Oriental Granat.

THIS Colour will be not only deeper, but also far fairer than the precedent. To make it, take two Ounces of Natural Crystal prepared, five Ounces and an half of Minium; to which add fifteen Grains of Manganese of Piedmont prepared, having pulverized it, mix the whole well together: More∣over proceed as in Chap. 94. for Baking this Paste, on∣ly take notice you must here leave more empty space in the Crucible, because this Matter rises more than the others, wherein care must be taken. Then you'll have a deeper Oriental Granat than the former, which you may polish, &c.

CHAP. CVIII. Another fairer Granat.

THE Paste for Granat will be yet much fairer than the Precedents, if you take to two Oun∣ces of Natural Crystal calcined and prepared as in Chap. 92, 6 Ounces of Vermillion or Minium, in fine Powder, thirty five Grains of Manganese of Pied∣mont prepared, and four Grains of prepared Zaffer, as in Book I. which being well pulveriz'd mix toge∣ther in a Crucible, leaving a greater empty space than in the others, by reason the Matter rises more; then lute the Cover well, let it dry, and put it in the Furnace to Bake, as we have shewn Chap. 94, obser∣ving the same Circumstances we have noted on that

Subject, and you'll have a very fine Granat fairer than the rest.

CHAP. CIX. Observations for Pasts and their Colours.

WE might have inserted this Discourse in Chap. 91, as being the first of this Book; but we thought it better to place it here, where we will shew divers ways of making Pasts, no less fair than curi∣ous, and where it will be necessary to give some lit∣tle Instruction to those who undertake to make them, as also concerning the degrees of the Colours that may be therein imitated.

The making of these Pasts is the essential point of the Business; because on it depends the beauty of our artificial Gems: But the baking also is not of less Consequence, forasmuch as without that you cannot Succeed. It is not Enough to well Regulate the Fire during the time we have Noted in Chap. 92. whilst the matter is to stand in the Furnace, but you must also take care that the Crucibles don't break before the matter is well baked and purified: For if the Crucible breaks and you are forced to pour out the matter into another Crucible, the whole Work will be spoiled and the matter full of Pustles and Blisters. You had much better let the Crucible Cool, if it be not quite broken; then Lute it well, and put it in the Furnace again to make an end of baking. You must also take Notice not to break the Cruci∣ble to take out the matter before it be perfectly baked.

The curious may avoid these inconveniences, if in room of ordinary Crucibles they make them of the same Earth that the Pots for making Glass are made of, which will resist the Fire longer than we have occasion here for baking, and bear a more vi∣olent Fire than we have occasion for.

Those of Germany also will do very well for this business because they endure the Fire better than the ordinary ones. But I will yet abridge all these precau∣tions, by shewing an easy way to prepare the com∣mon Crucibles, which I have seen tryed, and resist the Fire a long time. Take an ordinary Crucible or rather one of Germany: Heat it a little in the Fire, then dip it into Olive Oyl, and let it soak a little of it in. Then take Glass reduced to an impalpable Powder, and strow it all over the Crucible, both without and within, as thick as you can, then put it into a Furnace in a small heat, and then increase the Fire to a melting Heat; then the Glass will Melt and Vitrifie so well with the Crucible, that it will en∣dure the Fire far longer than is required for our Bu∣siness.

We will also further remark that the Colours we here shew for Pasts are proportional to the Doses we give them; but those who would have them deeper or lighter, must regulate themselves accordingly: If they make small Stones for Rings, the Colour must be deeper by reason of their smallness: If they make greater, the Colour must be lighter, but deeper for Pendants than any other. The whole depends much on the Fancy of the Workman, who is to propor∣tion the Doses of the Colouring to the Work he de∣signs.

In speaking of these Colours in this Chapter, our design is only to shew more easie ways to those who exercise themselves herein, for otherwise we have sufficiently discours'd of them in the precedent

Chapter, as we shall continue to do in the follow∣ing.

We shall say nothing further here of calcined Copper, or Verdigrease, or Zaffer, or Manganese, having sufficiently done it before; but only adver∣tise the Curious, that there may be extracted from Gold a very fine Red, and one a little more obscure from Iron; an excellent Green from Copper; a Golden Colour from Lead; Blue from Silver, but a much fairer from Granats of Bohemia; which are low priz'd by reason of their smallness, but give a very fine Colour.

The same may be done with Rubies, Sapphire, and other precious Stones, as Chymists well know. If I should treat of all those Colours in this Tract, it would make it half as big again as I design it, and would be too prolix for our present Purpose; what we have shewn already, is sufficient to make very fine Works.

CHAP. CX. To make Sulphur Saturni, to be used in Pasts for all Artificial Gems.

ISAAC HOLLANDVS has so well shewn us the way to imitate the Colour of all Precious Stones, that I cannot pass by in silence this following Method of his extracted from his Works. As it is not com∣mon, nor his Book seen by every one, and that there may be some that cannot understand him, we thought the Reader might be glad to have it, since it is the most curious way that can be made use of for this Work.

The way to make his Sulphur for it is this. Take Ceruss, or White-Lead, ground very small, put it in∣to a great Glass Body, and pour thereon as much di∣still'd Vinegar as will rise a Palm above it; and as the Vinegar will rise and swell very much at first pouring on, you must take care to pour it on gently, till all the fury and noise be gone. Then set this Bo∣dy on a hot Furnace in Sand, there to evaporate the eighth part of it away. Then let it cool and de∣cant off the remainder of the Vinegar, which will be well coloured and full of Salt, which keep in ano∣ther Glass Vessel. Then pour fresh distill'd Vi∣negar on the remainder of the Ceruss; set it again on the Furnace to evaporate as before, and decant off that Vinegar as the former. Reiterate this Process of putting fresh Vinegar on your Matter, and eva∣porating it, and decanting it off till it have no fur∣ther Colour nor Sweetness, which commonly hap∣pens about the sixth time. Take all your coloured Vinegars, and carefully filter them off, then take one or more Glass Cucurbits, and evaporate all the Vinegars over a gentle Fire, and you'll find re∣maining at bottom a Salt of Saturn of Lead, very White.

Then take a Glass Matras, lute it well down to the middle of the Body, and put your Salt of Lead in it, and put it on a Sand Furnace over a gentle Fire, for the Space of twenty four Hours, covering it with Sand up to the Neck. Then take out your Salt, which ought to be as red as Cinnabar, and grind it fine on a Marble; if it be Yellow, you must put it on the Fire again for twenty four Hours longer, and take care it don't melt, for then all is spoil'd.

When your Salt of Lead is perfect, as we have shewn, you must put it again into a Glass Cucurbit, and pour distill'd Vinegar on it as before, and de∣cant it off when it is enough coloured, and put fresh

Vinegar on the remaining Salt, and continue this process till all the Salt be dissolved, and the Faeces or Dregs all separated. After that, put all these co∣loured Vinegars into Glass Vessels, and let them stand six Days to settle, then filter them carefully and sepa∣rate all the Faeces. Then put all these filter'd Vine∣gars into a great Glass Body to evaporate as before, and you'll find at the bottom a very white Salt of Lead, sweet as Sugar.

This Salt being well dried, dissolve it afresh in common Water, and let it stand six Days, that all the Faeces may precipitate to the bottom. Then filter that Water, and evaporate it in a Glass Cucurbite over a gentle Fire, as we have said, and you'll have at bottom a Salt more white than Snow, and as sweet as Sugar. Reiterate this Method of dissolving in fair Water ••iltering, and evaporating till three times; then take your Saccharum Saturni, and put it in a Glass Body in a Sand Furnace over a temperate heat, where leave it for several Days without augmenting the Fire; then it will become redder than Cinnabar, and give a Calx finer than Wheaten Flour.

It is this Calx thus purified from all its Terrestrei∣ty, which is called Sulphur of Saturn. Now in ma∣king Pasts for Emerald, Sapphire, Granat, Topaz, Chrysolite, Blue and other Colours; you must em∣ploy it instead of Minium, in the same Doses we have shewn in the precedent Chapter of this fifth Book. Observing all we have noted in the Subject of Baking, and proceeding as in Chap. 94. Then you'll have Stones of different Colours, far fairer than the Natural ones, and which can scarcely be di∣stinguished from them.

The Pasts made with this Sulphur, will not have that Grease and Yellowness which others have, and will not be so apt to spot by the Breath: Upon this account the Curious will have no cause to repent of

the trouble of making this Sulphur, tho' the Work be very laborious. They also know that all fine Works require very pure Matters, and that they can∣not have that purity without the great time and care of those who undertake them.

I may also here say, that this Work well carried on, is more precious than it seems to be, except to those who are acquainted with it. For the sweetness this Lead has acquired, by the Preparation we have shewn, is a true sign of its Purity, that it is fit to make a Medicine very homogeneous to Nature. I don't say that this Preparation alone, we have here shewn, is sufficient for so elevated a Mystery as that whereof we speak; but I cannot also conceal that it is the chief part of the Work, especially if you ob∣serve some little Circumstances which Isaac Hollandus has omitted to mention, whether he was igno∣rant of them, or thought them not necessary to his Preparation, I can't tell. The Learned will easily penetrate into this Mystery, and others that have a true desire to know it, will find Subject to exercise their Wits on, in embracing so serious a Study to pe∣netrate into the depths of it.

CHAP. CXI. The Way to make very hard Pasts with Sulphur of Saturn, and to give them all the Colours of Precious Stones.

THIS Paste is a Consequent of the precedent O∣peration, because we employ therein the same Sulphur of Saturn, we just now mentioned; and that which chiefly causes its Beauty, is that all the Ingre∣dients we use in it are perfectly purified.

To do this, take ten Pound of Natural Crystal prepared, with six Pound of Salt extracted from Polverine of Rochetta, purified, pounded, and well searced, as we have shewn in Chap. 7, whereunto add two Pound of Sulphur of Saturn chymically prepared, as in the preceding Chapter; then mix these three Powders well together, and put them into an Ear∣then glazed Pan, and cast on them a little common fair Water to reduce these Powders into a Lump something hard. Afterwards divide them into seve∣ral Parcels of about three Ounces each, making a hole in the middle the better to dry them at the Sun; being well dry'd, put them into an Earthen Pot well luted, then calcine them in a Potters Furnace, then pound and grind them well on a Marble, and searce them through a fine Sieve. This being done, put this Powder into a Glass Furnace, there to melt and purifie for three Days; then cast the Matter into the Water, as we have elsewhere shewn; and after you have dried it, put it again into the Pot in the same Oven, there to melt and repurifie for fifteen Days, that it may be without spot, and that it becomes of the colour of Precious Stones.

This Crystalline Matter may be tinged of several Colours, viz. Emerald by means of Copper thrice calcined; Topaz by means of prepared Zaffer; and so of others whereof we shall not treat here, having largely done it elsewhere. To succeed, you must put into the Furnace as many Pots as you design to make different Colours, add to each as much Chry∣stalline Matter as you please, and regulate accord∣ing to the weight of the tinging Materials which you add to them, and proportionate them to those we have described in the precedent Chapters of this Book. This Paste will have finer Colours than the true Natural Stones, and approach near to their

hardness; particularly that of the Emerald, which the Curious will find by Experience.

CHAP. CXII. The Way to make Saturnus (called) Glorificatus.

THIS is a Preparation we hold in no less esteem for Pasts for Gems, than that of Isaac Hollan∣dus, and whereof we have spoken in Chap. 110, they have some likeness, yet this last is more easie to make, and more short, and has no less Virtue.

Take a good Litharge, or rather good Ceruss of Ve∣nice, what quantity you please. That which you choose, grind into a subtile Powder, in a great Glass Cucurbite, whereunto pour good distill'd Vinegar, as much as shall swim on the top of the Matter a Hand high▪ Then put this Vessel on a soft Ash-Fire, and when the Vinegar is well colour'd and impregnated with Salt of Saturn, decant it off into another Vessel; then continue to put new Vinegar on your Matter, which stir well with a Stick, to facilitate the Solution of the Salt; and do it so often, that your Vinegar shall have extracted all the Tincture from the Salt, and that colour it no more.

Then take all your coloured Vinegar, rectifie it four times on Tartar calcined to Whiteness, then filter it carefully, and put it in a Glass Cucur∣bite, on a Sand or Ash-Fire, where gently evapo∣rate it till it be just skin'd over. Then put the Vessel into a cold place, having taken care to co∣ver it, for fear of any foulness tumbling into it; and in a little time you'll find your Matter in lit∣tle Stones, Pure, Chrystalline, and Fusible, which you must take out of your Vessel with a Skimmer full of Holes. Then put your Vessel on the same Fire to

evaporate the remaining Vinegar till it be just skin'd over, and then set it in a cold place to Crystallize as before. When you have taken out all the Crystals, dry them well, and reduce them into a subtile Pow∣der, and keep them in a Vessel well stopped, taking care to make at least ten Pounds. Thus you have Saturnus Glorificatus.

CHAP. CXIII. Another Way of making Paste for Precious Stones, with Saturnus Glorificatus.

THERE are some who use transparent Flints cal∣cined, to add to Saturnus Glorificatus, and make Paste for Artificial Gems; but as we esteem Natural Chrystal prepared much more proper for that Work, we should employ it before calcined Flints.

Take therefore of Natural Chrystal prepared ten Pounds, of Saturnus Glorificatus ten Pounds, the whole reduced to fine Powder, which mix well to∣gether; then put it in a Pot in a Glass-house Furnace, there to be melted and purified three Days: Then cast it into a great Wooden Vessel full of cold Wa∣ter, then dry it, and put it in the Furnace in the same Pot, the better to purifie. When this Chry∣stalline Matter is well melted, and clear, take out the Pot; and when it is cool, pound it to an impal∣pable Powder on a Marble, then keep it in a Glass Vessel well stopped, for fear of Dust falling in; and that Matter will serve for a Basis or Stuff to make all sorts of Artificial Gems of.

We need not here repeat the Way of making them of this Past, because we have shewn it before in seve∣ral others; but for sake of the Curious who are never weary of Learning, we will do it; besides that there

are some who may take pleasure in reading it, as we do in writing it; particularly we will treat of some Species of Stones we have, as yet, not at all men∣tioned.

CHAP. CXIV. To make a very fair Carbuncle.

THE Carbuncle is a very Precious Stone, where∣of several Authors have written, but I don't know one that says he has seen it. They attribute to this Stone the Property of giving Light in the Dark, like a burning Coal, or a kindled Lamp. Lu∣dovicus Verromannus reports that the King of Pegu, carried one about him of such a bigness, and so much Splendor, that those who saw that Prince when it was Dark, saw him shining as if encircled with the Sun; but this Author, as well as the rest, says he never saw one.

Pliny pretends there are several sorts of Carbun∣cles, some Male ones more hard and brighter, and other Females more languid. But this Author is so confused, and so little assured of it, that we cannot take his Testimony as Authentick. Yet among all those Species which he describes, those seem to ap∣proach nearest Carbuncles, which he calls Lithizontes and Sandastri. The first discovers strongly its splen∣dour at the Fire or Sun; being in the Shade it ap∣pears of a Purplish Colour; being exposed in the o∣pen and clear Day, it sparkles as it were at the Sun∣beams, and hides as it were bright Stars within it. The second is curious by reason of Golden Sparkles ap∣pearing and glittering within like Stars, which are al∣ways seen across it within side, but never near the Surface, imitating the Hyades by their number and

Disposition and Order. This Author says lastly, that the Chaldaeans held this last Stone in great Veneration, and used it in all their Ceremonies. As for me I am apt to think that the Carbuncle, is that Stone the Ancients have related to give Light by Night like a flaming Fire, and by Day like a twinkling Star, which is now no more to be found as we have hinted in the first Chapter, and that their Carbuncle is the Stone only known to the Adepti, the Matter whereof is so pure and Spiritual, that Evil Spirits dare not look on it, much less come near it.

Whether the Carbuncle be a precious Stone found in the Bowels of the Earth or not, we can imitate the Properties these Authors give it by help of our Art. And we will shew you two Ways of doing it in this Chapter.

For the first take ten Ounces of Matter prepared with Saturnus Glorificatus, and Natural Crystal, redu∣ced to impalpable Powder, as we have shewn in the preceding Chapter, whereunto add half an Ounce of Crocus Martis, in fine Powder prepared as in Cha••. 27. After having well mixed these Powders together, put them into a good Crucible, which cover and lute well, then put it into a Glass-house Fire for three Days, by putting it nearer and nearer the strength of the Fire by degrees. Then take out your Cruci∣ble, and put the Matter into a Marble Mortar, then pound and grind it very small, with its weight of Sa•• Gemmae, and put it into another Crucible, which co∣ver and lute as before. Being dry, put it into the same Glass-house Furnace, approaching it to the Fire little by little, and letting it stand twenty Hours in good Fusion. Then take it out, and put it again into the Furnace to bake again, as you do Glass, where leave it twelve Hours, that it may cool gently.

Your Crucible being cold, take it out of the Fur∣nace to bake again, then break it, and you'll find in it the Matter tinged of a very fine Carbuncle Co∣lour, which you may cut of what Form and Great∣ness you please, and then cut and polish them at the Wheel, and they will be perfect.

There is a certain Slight, which I shall not men∣tion here, which several Artists may know, whereby these Carbuncles may be made to undergo all Trials. It is a Point which will deserve the Study of all those who are ignorant of it; to discover it to every one, would be a Profanation of the Secrets of Art, and would make the Ignorant as knowing in one Moment, as those who have employed all their Lives in Sear∣ches after the profoundest Knowledge.

CHAP. CXV. Another Carbuncle more noble and fairer, called, Car∣bunculus nocte illuminans.

THERE is a second way of making a Carbuncle, called, Carbunculus nocte illuminans, which is far more resplendent and fairer than the former. Those who have written that it shone in the Night, and made the Possessors of it always very lucky, only spoke by way of allusion to the Philosophers Stone, to which alone that vertue can be attributed; that is, the Stone and Carbuncle which is not to be found, that is, ex∣cept in the Hands of the Adepti, who alone can make and possess it. We may here boldly say, That the Carbunculus nocte illuminans, is not a Stone any where formed by Nature, but made by Art; for Nature cannot purifie the Matters she furnishes us with, and this Stone cannot be made of them, except when

they are purified in the utmost perfection, which Art alone can do. Thus this Master-piece of Work, this Carbuncle, this Phoenix, or this Stone so famous a∣mong the Philosophers, is far more precious than a∣ny Nature can form, since by means of it, you may in two Hours time make simple Crystals as valuable as any Stones Nature spends so many Ages in bring∣ing to perfection.

If there are any Carbuncles in the World, or Pre∣cious Stones that have their Beauty, we are perswa∣ded that they must be the products of Art rather than Nature, and that they are only made by that pure and incomparable Matter of the Philosophers, exalted in colour and virtue to the highest degree: We are perswaded by all the Authors we have read, that there is no such Natural Stone; so that there is only the precious Elixir of the Adepti, whereof a Stone of the Qualities given to the Carbuncle can be formed, which far surpasses in Beauty, Rubies, Gra∣nats, Jacynths, &c.

But now we come to the way of imitating this se∣cond Carbuncle, or rather the Beauty which Au∣thors attribute to it, not with the Elixir of the A∣depti, whereof we know nothing but the vertues, but with the ordinary Matters known to all the Students in this Art.

Take ten Ounces of Matter prepared with Natu∣ral Crystal, and Saturnus Glorificatus, and reduced to an impalpable Powder; add to it an Ounce of Gold calcined, as we shall shew hereafter; then mix the whole well together, and put it in a good Crucible, which must not be above half full, cover it and lute it well, let it dry, then put it into a Glass-house Fur∣nace for three Days, by bringing it little by little nearer to the strongest Fire, as we have said before After three Days take out your Crucible, and put the Matter into a Marble Mortar, which pound to

an impalpable Powder, to which add its weight of Sal Gem also in fine Powder, which mix well toge∣ther, and searce through a fine Sieve, the better to incorporate.

Put this Powder into a new Crucible, which also fill but half way, which cover, lute, and dry as be∣fore: Then put it in the same Glass-house Furnace, bringing it nearer little by little, where let it stand ten Hours. After which take your Crucible out of the Furnace, and put it into that where they set their Glasses to anneal, whence take it out ten or twelve Hours after, and having broken it, you'll find the Matter tinged of a Carbuncle-colour, the most live∣ly and resplendent that can be made by this Art, whereof you may make what Stones or Works you please. We have promised the Calcination of Gold, which may be performed several ways, but as fine Works cannot be made without the most pure Mat∣ters, we will pretermit the more common ones, to shew you the following, which is very fine and pro∣per for this Art. Dissolve an Ounce of Gold in three Ounces of Aqua Regalis; then add to it four Ounces of common Mercury purified, and pass'd through Wash-Leather, which will precipitate your Gold to the bottom of the Matras joyning it self to it. Then your Aqua Regalis will grow clear, which when it is, and seems to have no more Gold in it, decant it off, then wash your Matter with warm Water to dulcifie it, and take off all the Saltness. Add to this Matter, being dry'd, its weight of Flour of Brimstone, then pound the whole well together, put them in a Cruci∣ble, to which fit another on the top, which must be bored on the bottom, with a hole big enough to put a Quill through, which lute well together, and dry them. Then put them in a round Fire, which you must give them by degrees for four Hours, the Cru∣cible being the last Hour wholly covered over with

Coals, which let kindle and cool again. Then open the Crucible, and you'll find your Gold calcined, which amalgamate with four Ounces of fresh Mercu∣ry; to which add five Ounces more of Flour of Brimstone, pounding them well together as before, then put the whole in your Crucibles, which lute and give them the same round Fire as before, which reiterate a third time, the better to calcine and open your Gold; then put it into a glazed Earthen Pan, pretty deep, and pour on it good Spirit of Wine that may swim two Inches above, then put Fire to it, and when it is burnt, you'll have a very fine Gold, in an impalpable Calx, well opened, which edulcorate with warm Water distill'd, and dry it gently.

There is yet another way to calcine Gold more perfectly, by means of which you may make a good Ceruss,and afterwards a perfect Vitriol or Salt, where∣of the Principles may be separated, and you may perform Wonders with them in Medicine and Me∣tallick Chymistry; but that Calcination would be too long to describe here, besides it is foreign to our Business, the Gold of that being too much opened.

CHAP. CXVI. To make Oriental Rubies.

THE true Ruby, which is a precious Stone, dia∣phanous and very radiant, ought to have the colour of Blood, and Scarlet, and clear Lacca, and shew about the edges of its Fire, a little Azure-co∣lour. This Stone is found in the Isle of Ceilen, and in the River of Pegu, in a Rocky Matter of a Rosie∣colour, which is the Matrix wherein it is generated

and nourished; and if that Rocky Matter be transpa∣rent, it yields the Balass Ruby, whereof we will treat in the following Chapter.

Sometimes there are found such fine and large Ru∣bies, that some have mistook them for Carbuncles. If any Ruby ever merited that Name, it was that of Queen Elizabeth of Austria, Dowager of Charles IX, which after her Death she left to the Emperor Rodol∣phus II, her Brother. It had been purchased long before for sixty thousand Ducats, which was then a very considerable Sum.

Queen Mary de Medicis had also one of an inestima∣ble Value, and Bigness, but I cannot learn what the Purchase was, or what became of it.

To imitate this fine Colour, take four Ounces of our Matter prepared with Natural Crystal, and Sa∣turnus Glorificatus, two Ounces of Crocus Martis pre∣pared as in Chap. 25, one Ounce of Verdigrease, two Ounces of Mercury calcin'd ad rubedinem, and two Ounces of Sal-Gem, the whole reduced to fine Pow∣der, well mixed together, put into a Crucible cover∣ed and luted and set in a Glass-house Furnace for three Days, then take it out and put it in the Fur∣nace where Glasses are set to Anneal, there to cool by degrees for twelve Hours. Then break your Crucible, and you'll find your Matter tinged of a fine Ruby-colour, which you may divide, cut, and polish, as we have said before.

We could shew a way of imitating Rubies with only Orpiment, which are very fine, but so brittle, that we thought it better to say nothing of it, ra∣ther than give occasion for an Expence that would turn to no Profit.

CHAP. CXVII. To make Balass Ruby.

THIS Precious Stone is of the Nature of a Ruby, since it is found in the same Matter as that. Its very bright colour resembles a Vermillion Rose and Crimson, being mixt of a Natural Red and of a Sky-colour: We will now shew the way to imitate it.

Take six Ounces of Saturnus Glorificatus, mixed with Natural Crystal, as in Chap. 113, half an Ounce of Crocus Martis, half an Ounce of Mercury calcin'd ad Rubedinem, and two Drams of Sal Gem, the whole reduc'd to an impalpable Powder, and mixed well together. Then put it in a Crucible covered close and luted, and so into a Glass-house Furnace for three Days, proceeding moreover as in the preceding Chapter, and you'll have a very fine Matter, the co∣lour of Balass Ruby.

CHAP. CXVIII. To make Oriental Sapphire.

WE will not repeat here the Nature or Colour of the Sapphire, having done it before: But we will add, that from the true Sapphire, may be ex∣tracted the three Principles, which are of infinite vertue in Medicine, whether united, or separate. To imitate this Precious Stone, with our Matter pre∣pared with Saturnus Glorificatus, and Natural Crystal,

take ten Ounces, add two Drams of the Calx of Gold, mix these Powders well together, put them in a Crucible covered with another, let them dry, then put them in a Glass-house Furnace for three Days. Moreover do all we have ordered in Chap. 116, and that Mass will be of a very fair Oriental Sapphire∣colour, which cut and polish at the Wheel.

CHAP. CXIX. The Way to make an Oriental Emerald.

THE Chapters wherein we have shewn how to imitate this Precious Stone, contain also its Nature and Colours; and all we design to say here, our Intent being not to enlarge on all the Properties of Precious Stones, but only to shew the Means of imitating them, as we shall go on to do.

To make this Oriental Emerald, take ten Ounces of our Matter prepared, of Saturnus Glorificatus, and Natural Crystal, half an Ounce of prepared Ver∣digrease, half a Dram of Foretto of Spain also pre∣pared, as in Chap. 20, the whole reduced into fine Powder, and well mixed together, and put it into a Crucible covered with another, lute it and dry it; then set it in a Glass-house Furnace for three Days, and after in the Annealing Furnace twelve Hours. After which break the Crucible, and you'll find the Matter tinged of a very fine Oriental Colour, which cut and polish as before.

CHAP. CXX. The Way to make Turcois.

WE have shewn the way to give a Turcois-co∣lour to Glass, in Chap. 50, but we have not yet spoken of its Colour or Nature, which obliges us to do it in this Chapter. The Name of Turcois, which this Precious Stone bears, comes from the place where it is found, viz. in Turky, altho' this Stone also comes from Persia and the East-Indies, where it is found in abundance, the Colour whereof approaches nearer to Blue than Green, which also distinguishes them from those that come out of the West, which are more Green and Whitish. They call the first by the Name of the Stone of the Old Rock, and the other by that of the New. The Turcois is the finest and noblest of all Opaque Precious Stones: Its colour is composed of Green, White and Blue, and imitates that of Verdigrease. They attribute great Properties to this Stone, such as bringing good or evil Luck to People, and to denote things to come to them, either by their breaking or changing Co∣lour, which we omit discoursing of, to shew the manner of imitating them.

Take ten Ounces of our Matter prepared, of Na∣tural Crystal, and Saturnus Glorificatus; half an Ounce of purified Verdigrease, and one Ounce of prepared Zaffer, the whole in fine Powder; which mix well together in a Crucible covered with another, well luted and dried, which afterwards put into a Glass-house Furnace, where leave it for three Hours, then twelve Hours in the Annealing Furnace, that it may cool gently. Then take out your Crucible and break

it, and take out the Matter, and cut and polish it, and you'll have Turcois colour'd Stones, like those of the Old Rock.

CHAP. CXXI. To make Oriental Topaz.

IT will be needless here to repeat the Quality of the Topaz, since we have done it already in this Book: So we shall content our selves to shew the manner of imitating it, with our Paste composed of Natural Crystal, and Saturnus Glorificatus, whereof take ten Ounces, of very good Orpiment one Ounce reduced to fine Powder. After having mixed them well together, put them into a Crucible covered with another, which lute and dry well, then put it into a Glass-house Furnace for three Hours, and then let it cool gently, in the Annealing Furnace. Having ta∣ken your Matter out of the Crucible, you may cut and polish it as you please, and you'll have a very fine Oriental Topaz.

CHAP. CXXII. The Way to make Chrysolite.

WE have also describ'd the Nature and Pro∣perties of the Chrysolite in this Book, as well as of the Topaz and other Gems, wherefore we will only shew the way here to imitate its Co∣lour.

Take ten Ounces of our Powder of Natural Cry∣stal, and Saturnus Glorificatus, to which add one Ounce of Crocus Martis prepared, the whole redu∣ced to fine Powder, well mixed, and put into a Cru∣cible covered and luted, as we have said: Observing moreover what we have remarked for the Baking, and you'll have a fine Chrysolite-colour, which will be of the Native Green.

CHAP. CXXIII. Another Way of making all sorts of Precious Stones much harder, to turn Iargons of Avernia into Diamonds, to make Diamonds of Alanson, and harden them, to make white and fine Sapphires as hard as true Diamonds, &c.

HERE we give another way of making Precious Stones, different from those we have given be∣fore, which will be much harder, and consequently approach nearer the Nature of fine ones, because we employ no Saturn therein, which always makes Stones softer and heavier, what Preparation soever you use of it.

We shall only make use of Natural Crystal, and some Materials added to it, to give it the Colours of all sorts of Precious Stones. We also use in the Composition of the Materials of these Gems, fine and pure Salt of Tartar prepared, as in Chap. 93, which ought to open our Crystal, and make it the better imbibe the Colour of the Tinctures which we give it, which will make the Stones appear more fine and shining.

To prepare our Crystal, you must first calcine it, as we have shewn in Chap. 92; that is, by heating it

red hot in a Crucible, and quenching it often in cold Water, changing the Water each time. But in∣stead of grinding it to an impalpable Powder upon a Marble, as we have shewn in the same Chapter, you must pound it in a Brass Mortar with a Pestle of the same, and not use Iron no more than Marble, then searce the Crystal through a fine Sieve; and this is the Basis of all our following Gems: We should have desired to have put down all our Preparations in one Chapter, since there are only the Doses and the Colours to be changed, the more to abridge this Work; but the fear such a Mixture should breed confusion, obliges us to continue our Work as we have begun it, which is to make a Chapter of each sort of Stone, and of the difference of their Co∣lours.

After that, we will give the true manner of turn∣ing Jargons of Avernia into Diamonds, to make Dia∣monds of Alanson, to harden them, and make them exceeding Sparkling; to give hardness to white and fine Sapphires; so that it will be difficult to distinguish them from true Diamonds. Finally we may chance to add something further, for the sake of the Curious.

CHAP. CXXIV. The Way to make a fair Emerald.

WE will abridge as much as possible all the Pro∣cesses of these Chapters, that we may not trouble the Reader with dull Repetitions. The change of Materials for this Work making great dif∣ferences in it, we could not explain in one Chapter, all the different Ways of making one and the same

Stone, because such a Mixture would occasion confu∣sion.

To make a fine Emerald of our Crystal: Take two Ounces of it, and add to it forty eight Grains of Crocus Martis,and two Ounces and forty eight Grains of pure Salt of Tartar, prepared as in Chap. 93, the whole reduced into fine Powder in a Brass Mortar, which put into a Crucible covered with another, and luted well together; then put it into the Glass-house Fire, there to bake twenty four Hours, and then in the Annealing Furnace for twelve Hours, that the Matter may cool little by little, which then take out of the Crucible, cut and polish, and you'll have a perfect Emerald.

CHAP. CXXV. The Way to make a Violet-Sapphire.

WE shall shew several ways of making Sapphires of our Crystal of different Colours. To make this, take one Ounce of our Powder of Cry∣stal, one Dram of Salt of Vitriol, and nine Drams of fine Salt of Tartar, the whole in fine Powder. Then proceed further as we have shewn in the pre∣ceding Chapter; and you'll have a Sapphire of a ve∣ry fine Violet-colour.

CHAP. CXXVI. Another Violet-Sapphire of a deeper Colour.

THIS Sapphire will be very fine, but of a very deep Colour, and if any Person desire it to be lighter, he may easily make it so, by diminishing one

fourth part of the tinging Ingredients which we add to Crystal.

Take to make this, two Ounces of our Powder of Crystal, two Ounces, five Drams, and twenty four Grains of Verdigrease, thirty two Grains of Azure, and two Drams of Sublimate, the whole in very fine Powder. As to the baking of it observe what we have said in Chap. 124.

CHAP. CXXVII. Another very fine Blue-Sapphire.

THE Blue Colour of Sapphire, is no less agreeable than the Violet, and it is the Male of its Kind. To make it, take one Ounce of our Crystal in Pow∣der, add to it a Dram of Salt of Vitriol, three Grains of Verdigrease, one Grain of Azure, and one Ounce, one Dram, four Grains of our fine Salt of Tartar, the whole in fine Powder; put it into a Crucible co∣vered and luted, to be baked and purified, as we have heretofore shewn, and you'll have a very fine Blue-Sapphire, &c.

CHAP. CXXVIII. Another fine Sapphire.

THE Colours of these Sapphires being different, by the Dose and mixture of the Ingredients, we will shew each in a Chapter by it self.

Take two Ounces of our Powder of Crystal, two Ounces of our fine Salt of Tartar, five Drams, twen∣ty four Grains of Verdigrease, and thirty two Grains

of Arure, the whole reduced to impalpable Powder, which you must set to bake and purifie in a covered Crucible in a Glass-house Furnace, aswe have said before, and you'll have a very fine Sapphire.

CHAP. CXXIX. Another Admirable Blue.

TO arrive to this fine Colour, take one Ounce of our Powder of Crystal, one Dram, fifty six Grains of our fine Salt of Tartar, the whole reduced to a fine Powder, put it into a Crucible covered and luted, which bake and purifie twenty four Hours in a Glass-house Furnace, then set it to cool gently twelve Hours in the Annealing Furnace. Then you'll have an admirable Blue, which you may cut and po∣lish, &c.

CHAP. CXXX. The Way to make Beryl, or Egmarine.

THIS Beryl-colour will be very fine Sky-colour, if you take one Ounce of our Powder of Crystal, one Ounce of our fine Salt of Tartar, and six Ounces of Salt of Vitriol, the whole reduced to fine Powder in a Brass Mortar, and searced through a fine Sieve; farther proceeding as in Chap. 124.

CHAP. CXXXI. Another deeper Egmarine.

THIS deeper Colour we give Beryl, is no less fine than the first. Take nine Drams, forty eight Grains of our Powder of Crystal, three Drams, twenty four Grains of Verdigrease, and one Ounce, five Drams, twenty four Grains of our fine Salt of Tartar, the whole reduced into fine Powder in a Brass Mortar, and then baked, as we have shewn in the preceding Chapter.

CHAP. CXXXII. To make a fair Jacynth.

IT is scarce possible to make Iacynth, without Lead in its composition, wherefore you must put upon an Ounce of our Powder of Crystal, two Ounces and an half of Minium, with twenty four Grains of Ver∣digrease, two Drams of Sublimate, and five or six Leaves of Silver; the whole reduc'd to fine Powder in a Brass Mortar, and searced through a fine Sieve, mix them well together, and put them in a Crucible covered with another, and well luted, then bake and purifie it in a Glass-house Furnace for twelve Hours. Then take it off the Fire, then pound it again in a Brass Mortar to a fine Powder, sifting it through a fine Sieve. Then put it in a new Crucible, which cover and lute well, which set again in the Glass-house Furnace for twenty four Hours, and twelve

more in the Annealing Furnace. The Crucible being cold, take out the Matter which will be of a fine Ia∣cynth-colour, which cut and polish.

CHAP. CXXXIII. Another fairer Jacynth-Colour.

IF this Iacynth be fairer, it is also more brittle than the other, because it has more Lead in it. To make it, take an Ounce of our Crystal in Pow∣der, three Ounces of Minium, and forty five to forty six Grains of Verdigrease. Mix well these Matters together, after having pounded them well in a Brass Mortar, and searced them through a fine Sieve. Then put them into a Crucible covered and luted in a Glass-house Furnace, where let it stand twelve Hours. Then take out the Matter, which pound and sift well; then put that Powder into another Crucible covered and luted, which put into the same Glass-house Fur∣nace for twenty four Hours, and the Matter will be well baked. Then take out the Crucible, to put it in the Annealing Furnace; and twelve Hours af∣terwards take your Matter out of the Crucible, which will be of a fine Iacynth-colour, and may be Wrought.

CHAP. CXXXIV. Another Oriental Iacynth-Colour.

THIS Colour will be of a very fine reddish Yel∣low, such as is the true Oriental Iacynth: To make it, take one Ounce of our Crystal in Powder,

three Ounces of Minium, one Ounce of Arsnick pre∣pared as for the Topaz, and one Ounce of Vitriol cal∣cined ad rubedinem. The whole reduced to a fine Powder in a Brass Mortar, proceeding moreover as in the preceding Chapter.

CHAP. CXXXV. The Way of making a true and very fine Peridor∣Colour.

THE Peridor, whereof we have as yet made no mention, is a sort of a clear Topaz, of a Gold∣colour Light, but which is notwithstanding beauti∣ful. To imitate it well, take two Ounces of our Na∣tural Crystal in Powder, six Ounces of Minium, an Ounce of our fine Salt of Tartar, and eight Grains of Verdigrease; the whole reduced to impalpable Powder, pounded in a Mortar, and searced through a fine Sieve. You must observe the same Circum∣stances for baking this Stone, as for the Iacynth, by reason of the Minium that enters into the one and the other, and you'll have a very fine Peridor.

CHAP. CXXXVI. Another Colour of Peridor.

THIS Peridor ought to be harder and more fixed than the precedent, because there is no Minium in it, but it will not be so Vivacious. Take one Ounce of our Natural Crystal in Powder, a Dram of Salt of Vitriol, two Drams of Vitriol calcined ad

rubedinem, four Grains of Verdigrease, and of our fine Salt of Tartar, as much as equals the whole in weight, i. e. one Ounce, three Drams, and four Grains. All these Matters being reduc'd into fine Powder in a Brass Mortar, mix them well together, then put them into a Crucible covered with another, and well luted, twelve Hours after take your Cruci∣ble and break it to take out the Matter, which cut and polish at the Wheel, then let it be Wrought by a good Workman.

We will not speak here of other sorts of Gems, which may be imitated by this same way, adding the Doses of their Tinctures.

CHAP. CXXXVII. Of Iargons of Avernia, and the Way to make those Red which are of a Gridelin-Colour.

WE have promised to treat of the Jargons of Auvergne, which are little Stones commonly found in that Country, and several other places of France: They are red and shining like Iacynth; which has gain'd them the Name of false Iacynths, because they much imitate that Precious Stone.

There are found, notwithstanding, many of these small Stones, which are not of a red Colour, but of a kind of Gridelin. You may give these last a Red Tincture, with as much ease as you can take it away from the former to convert them into Diamonds, as we will shew in the following Chapter.

To give a Red Colour to Jargons that are of a Gridelin, you must take equal parts of purified Sal-Armoniac, and of Tartar calcined to Whiteness, as we have otherwise shewn: Mix these Matters well in

fine Powder, then stratifie your Jargons in a Cruci∣ble S. S. S. beginning and ending with the Powders. Then put the Crucible in a good Coal-Fire, but not hot enough for the Stones to melt, but only to grow red hot, that they may be the better penetrated by the Tincture the Materials will give it, then let it cool, and by this Method they'll take as fine and shi∣ning a Red Tincture, as the true and finest Natural Jargons of this colour have.

CHAP. CXXXVIII. The Way of Extracting a Tincture of Iargons d'Au∣vergne, and to make very fair and hard Diamonds thereof.

THOSE Stones may be made white and hard like the true Diamonds, by taking away their Tin∣cture, which is no contemptible Secret. There have been made Rose-Diamonds of them so fine and curi∣ous, that the best Goldsmiths have been mistaken in them, and thought them true Diamonds.

You must boil your Jargons in a Balneum of Mut∣ton-Suet, wherein they will lose all their Red Co∣lour and become White.

Then take equal parts of Emery of Spain, Rock-Crystal, Pumice-Stone, and Sulphurous Trepoly, the whole reduced into fine Powder, and searced through a fine Sieve, make a Paste of it with Aqua Vitae, wherewith cement your Jargons in a great Cru∣cible S. S. S. then cover it with another, and lute them well, then set it in a Furnace over a gentle Fire for half an Hour, then augment your Fire till it be hot enough for Fusion, wherein leave the whole for four∣teen Hours, then let the Fire go out, and the Cruci∣ble

cool of its self; wherein, after you have broke it, you'll find your Stones of a very fine Diamond Colour, hard, shining, and sparkling like the true ones, which you may polish and work up as the Gold∣smiths.

This Sulphurous Trepoly, which enters into the Composition of this Paste, being not commonly known, we will shew the way of making it, that we may leave nothing imperfect, which might be any Obstruction to the Proceedings of the Curious. Take equal parts of Trepoly, of crude Antimony and common Sulphur, and grind them to a fine Powder on a Porphyry Stone, and make them into a Paste with Vinegar, which being dry will easily crumble. This is the Sulphurous Trepoly which we make use of.

Some Persons in making the same Process of taking away the colour from Jargons, and giving them the hardness and whiteness of Diamonds, have made use of Barly-meol, wherewith they make a Paste with distill'd Vinegar impregnated with Lead, wherewith they stratifie their Stones, or Jargons, in a Crucible, covered with another, and well luted, which they afterwards put in a gradual, round, or Wheel Fire, for six Hours. But this way they could not give them the true Diamond-colour. Wherefore I ad∣vise those who would try this Experiment, to fol∣low our first Process, which has several times suc∣ceeded.

There are moreover some who stratifie their Stones with pounded Coal, which they put in a Cru∣cible covered and luted, which they set on the Fire six Hours, so that the Crucible be always red hot. I don't approve of this way, because the Coals may dry the Humour of the Stone, and calcine it.

CHAP. CXXXIX. The Way to make Diamonds.

THE Quality and Colour of the Diamond being so well known, we shall not enlarge upon them in this Chapter, but only shew the way to counter∣feit them, make them endure the Fire, and harden them.

Take of good Natural Crystal, calcined and redu∣ced to subtile Powder, what Quantity you please; fill a Pot with it, and set it in a Glass-house Fur∣nace twelve Hours to be melted and purified: Then drop the melted Matter into cold Water, then dry it, and reduce it again to Powder; add to that Pow∣der its weight of our fine Salt of Tartar, of Chap. 93. Mix these two Powders well, and make little Pills of them with common Water. Then wipe these Pills, and put them into an Earthen Pot on a strong Fire, there to grow red hot for twelve Hours space without melting. Then put them into a Pot in a Glass-house Furnace, where leave them two Days, to be well melted and purified, then put the Matter twelve Hours in the An∣nealing Furnace to cool little by little. Then break the Crucible, and you'll have a fine Mate∣rial for Diamonds, which cut and polish at the Wheel.

CHAP. CXL. Another Way of making the Diamond of Alanson.

HERE follows a way of making Diamonds of Alanson, which is not quite so fine as the prece∣dent, but has, notwithstanding, several Advantages which attend it; besides it is more easie, since there only needs an ordinary Fire to succeed in it.

Take an Earthen glazed Pot, set it on a little Fur∣nace, put in it Filings of Steel, with some Vine∣Ashes at discretion, wherein place by one another Crystals cut and polished; then pour common Wa∣ter gently on it, which warm and boil during the space of twelve Hours, taking care to add boiling Water fresh into the Vessel, as the Water in it con∣sumes by boiling, and take care it boil continually. Then see if your Crystals have acquired the colour and hardness you expected: If not, continue the Fire some Hours longer, and they will be like the true Diamonds of Alanson; taking care to repolish them again at the Wheel, to give them colour and bright∣ness.

CHAP. CXLI. The Way to give the true Colour and Hardness of a Dia∣mond, to Crystals and Diamonds of Alanson.

THERE is nothing in Nature which Art cannot imitate, and oftentimes those things which seem most difficult, prove to be most easie when ma∣naged with Judgment; or when he that undertakes

to do them has experimented any thing of the like Nature before, and knows the Nature, and Proper∣ties, and Powers of his Subject.

Although the Imperfect Metals be immature, or unripe, they contain, notwithstanding, a great deal of fixed and volatile Gold, which may be easily se∣parated, or attracted out by means of Art. Imper∣fect Metals may be very much meliorated by Fire, by a proportionable and agreeable coction. There are also Crystals and Precious Stones, which have no Natural hardness, which may be given them by Art, having all the Natural Dispositions thereunto requi∣red, since they have the same Principle as the most fine, and that they only want a little Sulphur, which hinder'd their thorough coction.

Thus this Defect may be obviated in Precious Stones, as well as Metals, by giving them a due coction, and so changing them for the better. We will begin to give the most simple way of attaining it, before we shew those that are more exalted.

You may give the colour and hardness of Dia∣monds to Crystals and Diamonds of Alanson, by ta∣king good Dutch Trepoly and making a Paste of it with Water out of the Smiths Forge, wherein you must wrap up the quantity you design of Crystals, or Diamonds of Alanson cut and polished; then set it in a Crucible covered and luted on a gradual Fire, where let it stand till the Crucible become red hot. A little time after take it out, and take out the Stones, then polish them again at the Wheel to give them their colour.

To set them in Works, take Indian Paper, with Leaves of Tin, like those you put behind Looking-glasses, then let them be set by some good Gold∣smith, and they can scarce be distinguished from fine one••, except by very nice Discerners.

CHAP. CXLII. Another Way to harden Crystals and Diamonds of Alanson.

CRYSTALS also acquire hardness in the Paste we are now going to describe, because their Hu∣midity exhales, and they become more fixt.

Take Barly-Meal well sifted, with Petroleum, or Rock-Oyl; then cut that Paste in the middle, and put all your Stones in order, so that they may not touch one another. Then cover your Stones with the other half of the Paste, then put it in a Crucible covered with another, and luted well together, and let it dry. Then set this Crucible in a gradual Wheel-Fire from five to six Hours, a small Fire the two first Hours, which en••rease from two to two Hours, till the end of the six; then let the whole cool of it self. Then break your Crucibles, and you'll find your Stones very fine, shining, and sparkling like fine Di∣amonds, which repolish at the Wheel, and set by a skilful Workman.

CHAP. CXLIII. A Way to harden Crystals and Diamonds of Alanson, and to make them sparkle as much as Natural Oriental Diamonds.

ALTHOUGH this be an important Secret, and ill People may commit Cheats by it, yet I will here give it, for the sake of the Curious, who only seek for their own Satisfaction.

Take one Pound of Load-stone, a Pound of Quick-Lime, and half a Pound of common Sulphur, the whole reduced to powder, and well mixed. With this powder cement your Crystals and Diamonds of Alanson well cut, in a Crucible covered and luted well: Being dry, set it in a Glass-house Furnace three Days, in a place where the Matters may be continu∣ally red hot without Fusion, if you have not a Fur∣nace ready at hand for that purpose; and take care not to take out the Crucible all at once, but let it cool gently, otherwise the Stones might break. Having broken the Crucible, you'll find your Stones very fine, and shining, and which will resemble Diamonds of the Old Rock, which repolish at the Wheel to give it colour, then work it; and they can scarce be distinguished from fine ones.

CHAP. CXLIV. The Way to turn White Sapphire into true Diamond.

THE White Sapphire being fine and fixed, is on∣ly imperfect, by reason of its wanting colour and hardness, which may be remedied by means of Art, and be made to surpass Nature, because she on∣••y would have made it a perfect Sapphire, but Art can ••urn it into a true Diamond.

Only Fire can cause this Effect, in changing its Natural colour, and giving it that of a Diamond. Thus take very fine Sand, wash it in several Waters ••o clean it, till the Water become clear, and then dry it. Of this Sand fill a Crucible half full, then ••ut in your Sapphire, and fill it up with the same Sand. Then cover your Crucible with a cover of the same Earth, or with another Crucible; lute the whole

with a good lute, as we have heretofore shewn, lay it on an Inch thick, and let it dry in the shade. Be∣ing dry, set it in a Glass-house Furnace, approach∣ing it nearer the Fire by degrees, and leaving it twelve Hours in the same degree of heat. Then withdraw it little by little for the space of six Hours, and let it cool gently. The Crucible being cold, break it, and you'll find your Sapphire within, which will have all the Qualities of a fine Diamond; that is, its shining and hardness. Repolish it at the Wheel, and work it.

CHAP. CXLV. Another Way of turning the White Sapphire into a true Diamond.

HERE follows another noble Method of convert∣ing the Sapphire into a Diamond, which will be easier to those who have not the opportunity of a Glass-house Furnace, for it may be done with a Wind Furnace, in twelve Hours time.

The Materials we are going to shew, which are u∣sed in this Operation, will at first seem very expen∣sive; but if you consider it diminishes not, but you find it all again, you'll easily see, that the only Ex∣pence is in the Fire.

You must therefore begin, by well wrapping your White Sapphire, in a thin Iron Plate, that it may be easily managed. Then take fine Gold, purified by Antimony, to the highest, put it in a Crucible in a Wind-Furnace, melt it, and when it has a good fine Gloss, put the Sapphire, covered with the Iron-Plate, into the Bath, so that it may float on the Gold on

every side; then give it a strong Fire for twelve Hours, so that the Gold may be all the while in Fu∣sion. Take out your Sapphire with a little pair of Tongues, shaking out the Gold that may chance to stick in the Leaf-Iron; then let it cool by the Fire gently, for fear it should break. Being cold, take away the Plate or Leaf of Iron, and you'll have your Sapphire of an admirable. Beauty, it having acquired by that coction all the Qualities and Perfections of the Natural Diamond. Polish it at the Wheel, and Work it.

CHAP. CXLVI. Another way to turn the White Sapphire into a true Diamond.

THIS Way will be found, by several, to be more easie and better, because it does not o∣blige to such an Expence in Gold, so that People can∣not purchase it. This is the Reason we shew it here, tho' others have spoke of it, and among the rest Ioh. Bapt. de Porta, who has writ of this Art.

Take Filings of Iron or Steel, put them in a Cru∣cible, then put in your White Sapphire, so that it may be wholly covered with the Filings: Set the Cru∣cible in the Furnace, and give it a good Fire, that the Filings may be red hot without melting. After it has been some time in this Fire, take it out with a little pair of Iron-Tongues, to see if it be of the co∣lour of Diamond; if not, put it into the Filings again, and reiterate this till it be perfect.

You may do the same thing with that filing of Steel, and an equal part of White Enamel in Pow∣der. Having well mixed them together, put them

in a Crucible, and put your Sapphire in the middle of them; after having first pasted them, with your Powder of Enamel wetted with Spittle, and well dried it at the Fire. When your Matter is red, and it has remained some time in that condition, take out the Sapphire with your Tongs, to see if it have ta∣ken the colour of the Diamond: If it has not, put it in again as before, and continue to do this till it be perfect. Then polish it and work it.

This is all we design'd to say concerning the Make and Perfections of Gems, tho' there are other ways of doing them, and several other curious things might be said on this Subject; but that would require a large Volume, which perhaps we may do in the next Edition, if we find the Curious take any Satisfaction in this.

The End of the Fifth BOOK.