Polygraphice, or, The arts of drawing, engraving, etching, limning, painting, washing, varnishing, gilding, colouring, dying, beautifying, and perfuming in four books : exemplifyed in the drawing of men, women, landskips, countries and figures of various forms, the way of engraving, etching, and limning, with all their requisites and ornaments, the depicting of the most eminent pieces of antiquities, the paintings of the antients, washing of maps, globes or pictures, the dying of cloth, silk, horns, bones, wood, glass, stones and metals, the varnishing, colouring and gilding thereof according to any purpose or intent, the painting, colouring and beautifying of the face, skin and hair, the whole doctrine of perfumes, never published till now, together with the original, advancement and perfection of the art of painting / by William Salmon ...

POLYGRAPHICES LIBER TERTIUS. (Book 3)

Of Painting, Washing, Colouring, Dy∣ing, Varnishing and Gilding. (Book 3)

Containing the description and use of all the chief Instruments and Materials; the way and man∣ner of working, together with the beginning, progress and end thereof. (Book 3)

Exemplified in the Painting of the Antients: the washing of Maps, Globes or Pictures: Dying of Cloath, Silks, Horns, Bones, Woods, Glass, Stones and Metals: Together with the Gilding and Varnishing thereof, accord∣ing to any purpose or intent. (Book 3)

CHAP. I. Of Painting in Oyl, and the Materials thereof.

I. PAinting in Oyl is nothing but the work or Art of Limning performed with colours made up or mixed with oyl.

II. The Materials of Painting are chiefly seven, 1. The Easel, 2. The Pallet, 3. The Straining frame, 4. The Primed cloath, 5. Pencils, 6. The Stay, 7. Colours.

III. The Easel is a Frame made of wood (much like a

ladder) with sides flat, and full of holes, to put in two pins to set your work upon higher or lower at pleasure; something broader at bottom than at the top; on the backside whereof is a stay, by which you may set the Easel more upright or sloping.

IV. The Pallet is a thin piece of wood, (Peartree or Walnut) a foot long, and about ten inches broad, al∣most like an Egg, at the narrowest end of which is made an hole, to put in the thumb of the left hand, near to which is cut a notch, that so you may hold the pal∣let in your hand. Its use is to hold and temper the Colours upon.

V. The Streining frame is made of wood, to which with nails is fastned the primed cloath, which is to be painted upon.

These ought to be of several sizes according to the bigness of the cloath.

VI. The Primed cloath is that which is to be painted upon; and is thus prepared.

Take good Canvase and smooth it over with a slick-stone, size it over with size, and a little honey, and let it dry; then white it over once with whiting and size mixed with a little honey, so is the cloath prepared, on which you may draw the picture with a coal, and lastly lay on the Colours.

Where note, honey keeps it from cracking, peeling or break∣ing out.

VII. Pencils are of all bignesses, from a pin to the bigness of a finger, called by several names, as Ducks quill fitched and pointed; Goose quill fitched and pointed; Swans quill fitched and pointed; Jewelling pencils, and bristle pencils: some in quills, some in tinn cases, and some in sticks.

VIII. The Stay or Mol-stick, is a Brazil stick (or the like) of a yard long; having at the one end there∣of, a little ball of Cotton, fixed hard in a piece of lea∣ther,

of the bigness of a chestnut; which when you are at work you must hold in your left hand; and lay∣ing the end which hath the leather ball upon the cloath or frame, you may rest your right arm upon it, whilst you are at work.

IX. The Colours are in number seven (ut suprà) to wit, White, Black, Red, Green, Yellow, Blew, and Brown.

Of which some may be tempered on the pallet at first; some must be ground, and then tempered; and other some must be burnt, ground, and lastly tempered.

X. To make the size for the primed cloath at the fifth Section of this Chapter.

Take glew, and boil it well in fair water, till it be dis∣solved, and it is done.

XI. To make the whiting for the fifth Section of this Chapter.

Take of the aforesaid size, mix it with whiting ground, and so white your boards or cloath (being made smooth) dry them, and white them a second or third time; lastly, scrape them smooth and draw it over with white Lead tempered with oyl.

XII. To keep the Colours from skinning.

Oyl colours (if not presently used) will have a skin grow over them, to prevent which, put them into a glass, and put the glass three or four inches under water, so will they neither skin nor dry.

XIII. To cleanse the Grinding stone and Pencils.

If the grinding stone be foul, grind Curriers shavings upon it, and then crumbs of bread, so will the filth come off: if the pencils be foul, dip the end of them in oyl of Turpentine, and squeeze them between your fingers, and they will be very clean.

CHAP. II. Of the Colours in General, and their significations.

I. THe chief Whites for painting in oyl are, white Lead, Ceruse and Spodium.

II. The chief Blacks are, Lamp black, Seacoal black, Ivory black, Charcoal, and earth of Colen.

III. The chief Reds are, Vermilion, Sinaper lake, red Lead, Indian Red, Ornotto.

IV. The chief Greens are, Verdigriese, Terra vert, Verditer.

V. The chief Yellows are, Pink, Masticot, English O∣ker, Spruse Oker, Orpiment.

VI. The chief Blews are, blew Bice, Indico, Ultra∣marine, Smalt.

VII. The chief Browns are, Spanish brown, burnt Spruce, Umber.

VIII. These Colours, Lamp black, Verditer, Vermi∣lion, Bice, Smalt, Masticot, Orpiment, Ultramarine, are not to be ground at all, but only tempered with oyl upon the Pallet.

IX. These colours, Ivory, Ceruse, Oker and Umber are to be burnt, and then ground with oyl.

X. All the rest are to be ground upon the Grinding stone with Linseed oyl (except white Lead, when it is to be used for Linnen, which then is to be ground with oyl of Walnuts, for Linseed oyl will make it turn yellow.)

And now since we are engaged to treat of colours, it may neither be unnecessary, nor unuseful for the young Artist to know their natural significations; which take as followeth.

XI. Blew signifieth truth, faith, and continued affections;

Azure, Constancy; Violet, a religious mind.

XII. Orange tawny, signifies Pride, also integrity; Tawny, forsaken; Limmon, jealousie.

XIII. Green signifies hope: grass-green, youth, youth∣fulness, and rejoicing: Sea green, Inconstancy.

XIV. Red signifies Justice, Vertue and Defence: Flame-colour, Beauty and desire: Maidens-blush, envy.

XV. Yellow signifies Jealousie: perfect yellow, Joy, Honour, and greatness of Spirit: Gold-colour, Avarice,

XVI. Flesh-colour signifieth lasciviousness: Carnation, Craft, Subtilty and Deceipt: Purple, Fortitude and Strength.

XVII. Willow-colour signifieth forsaken: Popingjay∣green, Wantoness: Peach-colour, Love.

XVIII. White signifieth Death: Milk-white, Inno∣cency, Purity, Truth, Integrity: Black, Wisdom, So∣briety, and Mourning.

XIX. Straw-colour signifieth plenty: Rust of Iron, Witheredness: Ermine, Religion and Holiness.

XX. The White, Black, Red and green, are colours held sacred in the Church of Rome: White is worn in the festi∣vals of Virgins, Saints, Confessors and Angels, to shew their Innocency: Red in the solemnities of the Apostles and Martyrs of Jesus: Black in Lent and other fasting days: Green is worn between the Epiphany and Sepiua∣gesima: and between Pentecost and Advent.

CHAP. III. Of the fitting of Colours for Painting.

I. UPon the Pallet dispose the several colours, at a convenient distance, that they may not inter∣mix; first lay on the Vermilion, then the Lake, then the burnt Oker, then the India Red, Pink, Umber, Black and Smalt, each in their order, and lay the white next to your thumb, because it is oftnest used, for with it all shadows are to be lightned; and next the white a stiff sort of Lake; thus is the Pallet furnished with single colours for a face.

Now to temper them for shadowing various complexions do thus.

II. For a fair complexion.

Take White one Drachm; Vermilion, Lake of each two Drachms; temper them, and lay them aside for the deepest Carnation of the face: to part of the aforesaid mixture put a little more white, for a light carnation: and to part of that put more white (which temper on the Pallet) for the lightest colour of the face.

III. The faint shadows for the fair complexion.

Take Smalt, and a little White, for the eyes: to part of that add a little pink, and temper by it self for faint green∣ish shadows in the face.

IV. The deep shadows for the same.

Take Sinaper Lake, Pink, and black of each, which tem∣per together; if the shadows ought to be redder than what is tempered, add more Lake: if yellower, add more pink: if blewer or grayer, add more black; thus shall the Pallet be fitted with colours.

V. For a brown or swarthy complexion.

The fingle colour being laid on the Pallet as before, and

tempered; to the White, Lake, and Vermilion, put a little burnt Oker for a Tawney: and for heightning adde some Yellow Oker, so much as may just change the colours. The faint and deep shadows are the same at the third and fourth Section of this Chapter.

VI. For a tawny Complexion.

The colours are the same with the former, but the sha∣dows are different; which must be made of burnt Oker and Ʋmber, (which will fit well:) if the shadow be not yel∣low enough, add a little pink to it.

VII. For a black Complexion.

The dark shadows are the same with the former: but for heightening take White, Black, Lake and burnt Oker; in tempering of which put in the white by degrees, till you come to the lightest of all. Where note, that the single colours at first laid upon the Pallet and tempered, serve for shadows for all complexions; and that all deepnings ought to be with black, Lake and pink tempered together.

CHAP. IV. Of Colours for Velvet.

I. FOR black Velvet. Take Lamp black and Ver∣digriese for the first ground; that being drie, take Ivory black, and Verdigriese; shadow it with white Lead mixed with Lamp black.

II. For Green. Take Lamp black and white Lead, and work it like a russet Velvet, and let it drie; then draw it over with Verdigriese tempered with a little pink.

III. For Sea Green. Take only Verdigriese and lay it over Russet: If a Grass-green, put a little Masticot to it: shadow these greens with Russet; which lay ac∣cording

to the deepness of the green.

IV. For Red. Take Vermilion, and shadow it with Spanish brown: and where you would have it darkest, shadow with Seacoal black and Spanish brown with the aforesaid colours; drie it, and then gloss it over with Lake.

V. For Crimson or Carnation. Take Vermilion, to which add white Lead at pleasure.

VI. For Blew. Take Smalt tempered alone.

VII. For Yellow. Take Masticot and yellow Oker; and where you would have it darkest, shadow it with Umber.

VIII. For Tawney. Take Spanish brown, white Lead, and Lamp Black, with a little Verdigriese, to shadow where need is: when drie, gloss it over with Lake and a little red Lead.

IX. For hair colour. Take Umber ground alone; and where it should be brightest, mix some white Lead a∣bout the folds, lighten or darken with white Lead and Umber.

X. For Ash colour. Take Charcoal, black and white Lead: lighten with white Lead: a colour like to a dark russet will be an Ash colour.

XI. For purple. Take Smalt and Lake, of each a∣like, temper them (light or deep as you please) with white Lead.

XII. Lastly note, that in painting Velvet you must at first work it somewhat sad, and then give it a sudden brightness.

CHAP. V. Of colours for Sattins.

I. FOR Black. Take Lamp-black ground with oyl and tempered with white Lead; and where you would have it shine most, mix Lake with the white Lead.

II. For Green. Take Verdigriese ground alone and mixed with white Lead; adding Pink where you would have it brightest: to the deepest, shadows add more Verdigriese.

III. For Yellow. Take Masticot, yellow Oker and Umber (ground each by themselves) where it should be brightest, use Masticot alone; where a light shadow, use Oker; where darkest, use Umber.

IV. For Purple. Take Smalt alone, and where it should be brightest, use white Lead.

V. For Red. Take Spanish brown (ground alone) mix it with Vermilion, and where it should be bright∣est, mix white Lead with the Vermilion.

VI. For White. Take white Lead (ground alone) and Ivory black, which temper light or dark.

VII. For Blew. Temper Smalt and white Lead; where it should be saddest, use Smalt; where lightest, white Lead.

VIII. For Orange colour. Take red Lead and Lake; where brightest, red Lead; where saddest, Lake.

IX. For Hair colour. Temper Umber and white Lead; where it should be brightest, put more white Lead; and where the greatest shadow, use seacoal Black mixed with Umber.

CHAP. VI. Of Colours for Taffatie, Cloth and Leather.

TAffaties are painted much as Sattins, thus: Take such colours as are fit for the purpose, and lay them one by another upon the work, and shadow them with others.

II. Cloth is the same work with Sattin, save, you must not give to cloth so sudden a shining gloss.

III. Cloth of Gold is made of brown Oker and liquid Gold; water and heighten upon the same with small gold stroaks.

IV. For Buff, mix yellow Oker and White lead; and where it should be dark by degrees, mix it with a little Umber; when you have done, size it over with Umber and seacoal Black.

V. For yellow Leather, take Masticot and yellow Oker: shadow it with Umber.

VI. For black Leather, take Lamp black, and shadow it with white Lead.

VII. For white Leather, take white Lead, and sha∣dow it with Ivory black.

CHAP. VII. Of Colours for Garments in general.

I. FOR Black. Let the dead colour be Lamp black and Verdigriese: being dry, go over with Ivory black and Verdigriese: but before the second going o∣ver, heighten it with white.

II. For Hair colour. Take Umber and White for the ground; umber and black for the deeper shadows; Umber and English Oker for the meaner shadows; white and English Oker for heightning.

III. For Blew. Take Indico and White: first lay the White, then the Indico and White mixed; then deepen it with Indico; and when drie, glaze it with Ultramarine which will never fade.

Smalt will turn black, and Biee will turn green.

IV. For Purple. Take Smalt tempered with Lake and white Lead; then heighten with white Lead.

V. For a sad Red. Take Indian Red heightned with White.

VI. For a light Red. Take Vermilion; glaze it over with Lake, and heighten it with White.

VII. For a Searlet. Take Vermilion, and deepen it with Lake or Indian red.

VIII. For Green. Take Bice and Pink, heighten it with Masticot, and deepen with Indico and Pink.

IX. For Yellow. Take Masticot, yellow Oker, Umber; lay Masticot and White in the lightest places; Oker and White in the mean places; and Umber in the darkest; glaze it with Pink.

X. For Orange colour. Lay the lightest parts with red Lead and White, the mean parts with red Lead alone; the deeper parts with Lake; and if need is, heighten it with white.

XI. For a sad Green. Mix Indico with Pink: for a light Green mix Pink and Masticot: for a Gras•• green mix Verdigriese and Pink.

XII. Remember always to lay yellows, blews, reds and greens, upon a white ground, for that only giveth them life.

CHAP. VIII. Colours for Metals and precious stones.

I. FOR Iron. Take Lamp black and white Lead; if you would have it rusty, take seacoal black, and mix it with a little white.

II. For Silver. Take Charcoal black and white Lead: where you would have it darkest, use more Charcoal; work silver somewhat rustish, and give it a sudden ••••••ss with white Lead only.

III. For Gold. Take Lake, Umber, red Lead, Ma∣sticot: lay the ground with red Lead, and a little dry Pink: where you would have it darkest, shadow it most with Umber; where lightest with Masticot.

Note, in grinding the red Lead for the gold size, put in a little Verdigriese to make it dry sooner.

IV. For Pearls. Temper Charcoal black with white Lead, till it be a perfect russet; then make the Pearl with it, and give it a speck of white Lead only to make it shine.

Where note, that Ceruse tempered with oyl of white Pop∣py is excellent to heighten up Pearls.

V. For precious stones. For Rubies, &c. lay their counterfeit grounds with transparent colours; and Lake, Vedigriese and Verditer give them a shining colour.

CHAP. IX. Of Colours for Landskip.

I. FOR a light Green, use pink and Masticot height∣ned with white: for a sad green, Indico and Pink heightned with masticot.

II. For some Trees, take Lake, Umber and white: for others charcoal and white: for others Umber, black and white, with some green: adding sometimes Lake or Vermilion, with other colours.

III. For wood, take lake, umber and white, mixing sometimes a little green withal.

IV. For Fire, lay red Lead and Vermilion tempered together where it is reddest: where it is blew, lay oyl, smalt, and white lead: where it is yellow, take masticot, and work it over in certain places: where you would have it shine most, with Vermilion.

V. For an Azure skie, which seems afar off, take oyl, smalt, or bice, and temper them with Linseed oyl. But grind them not: for smalt or bice utterly lose their colour in grinding.

VI. For a red skie, take Lake and White; and for Sun beams, or yellow clouds at Sun-rising or setting, take masticot and white.

VII. For a Night skie, or clouds in a storm, take In∣dico deepned with black, and heightned with white.

VIII. For wood colours. They are compounded either of Umber and white; Char-coal and white, Sea-coal and white; Umber black and white; or with some green added; to which you may adjoin some∣times, as in barks of trees, a little Lake or Vermilion.

IX. Lastly, for the practical performing of the work have recourse to the rules delivered in chap. 13. lib 1. and chap. 27. lib. 2.

CHAP. X. Of the Painting of the Face.

I. HAve your necessary pencils in readiness, as two pencils ducks quill fitched; and two ducks quill pointed; two goose quill fitched; and two pointed: two bristles both alike: one Swans quill fitched, and one pointed: one larger pencil in a tin case fitched; and a bristle of the same bigness; every one having a stick of about nine inches long put into the quill thereof, the farther end of which stick must be cut to a point.

II. The Pencils in a readiness in your left hand, with the pallet upon your thumb, prepared with fit colours; and your molstick to rest upon; you must work according to the directions following.

III. The cloth being pinned, and strained upon the frame, take a knife, and with the edge thereof scrape over the cloath, lest knots or the like should trouble it.

IV. Then set the frame and cloth upon the Easel, at a convenient heighth, that sitting on a stool (••eaven with the party you draw) you may have the face of the picture equal, or something higher than your own: set the Easel to the light (as in Limning we have taught) letting it come in upon your left hand, casting the light towards the right.

V. Let the person to be drawn, sit before you in the posture he intends to be painted in, about two yards di∣stant from you.

VI. Then with a piece of painted chalk draw the proportion of the face upon the cloth, with the place of the eyes, nose, mouth, ears, hair, and other postures.

Here is no difficulty in this, if you miss much, the

colours will bring all to rights again.

VII. Then take a pencil Swans quill pointed, and begin to paint some of the lightest parts of the face with the lightest colour, (as the heightning of the fore∣head, nose, cheek-bone, of the lightest side:) the mean parts next (as the cheek-bone of the darkside, chin, and over the upper lip:) proceeding gradually till you come to the reddest parts of all.

VIII. Lay faint greenish shadows in convenient pla∣ces; and where it is necessary to soften harsher sha∣dows; but take heed of putting green where red should be.

IX. The faint or light parts thus done, take one of the Goose quill pointed, or Ducks quill fitched, and begin at the eyes to shadow with Lake, going over the nose, mouth, compass of the ear, &c. before you lay on any colour, wiping it lightly over with a linnen rag, to prevent the overcoming of the other colours.

X. The colours both light and dark being put in, take a great fitch pencil, and sweeten the colours there∣with; by going over the shadows with a clean soft pen∣cil, which being well handled will drive and intermix the colours one into another, that they will look as if they were all laid on at once, and not at divers times.

Where note that the bigger pencils you use, the sweeter and better your work will lie.

XI. At the second sitting, begin again with clean pencils, of such bigness as the work requires, and ob∣serve well the person, and see what defects you find in your work at first sitting, and amend them; then heighten or deepen the shadows as occasion requires.

XII. Lastly, take a Goose quill bristle, and put in the hair about the face (if there must be any) and rub in the greater hair, with the greater bristle; heightning it up with the Goose quill pencil.

CHAP. XI. Of the cleansing of any old Painting.

I. TAke good Wood ashes, and searce them; or else some Smalt or powder blew, and with a Spunge and fair water gently wash the picture you would cleanse (taking great care of the shadows) which done, dry it very well with a clean cloth.

II. Then varnish it over again with some good varnish, but such as may be washed off again with water if need be.

We shall hereafter shew the way of making varnish of several sorts; mean season this following may serve.

III. Take either common varnish (made with Gum∣sandrack dissolved in Linseed oyl by boiling) or Glair of Eggs, and with your pencil go over the picture once, twice, or more therewith as need requires.

CHAP. XII. The painting of the Antients exemplified first in some of their Heathen gods.

I. JƲpiter, (their chief god) paint with long black curled hair, in a purple robe, trimmed with gold, and sitting on a golden throne, with bright yellow clouds dispersed about him.

II. Apollo or Sol (the god of Physick) with long, curled, yellow hair, crowned with a Laurel, in a pur∣ple robe, a silver bow, golden hair, and the throne of Emeralds.

III. Mercury, with long, yellow, curled hair, in a

coat of flame colour, with a mantle purely white, trim∣med with gold and silver; his beaver white with white feathers, his shoes golden, his rod silver.

IV. Neptune, with long, hoary hair, in a blew or sea green mantle, trimmed with silver, riding in a blew chariot, or on a Dolphin, of a brown black co∣lour, with a silver trident in his right hand.

V. Pluto, with long, curled, black hair, in a robe of cloth of gold.

VI. Bacchus, with short, brown, curled hair, with a Leopards skin spotted, or in a green mantle; a tawny face, with a wreath of Vine branches.

VII. Hymen, with long yellow hair, in a purple or saffron coloured mantle.

VIII. Vulcan, paint in a scarlet robe.

IX. Triton (Neptune's Trumpeter) with a blew skin, and in a purple mantle.

X. Cupid was painted by Zeuxis (that famous Painter of Greece) in a green robe.

XI. Minos (one of the Judges of Hell) with hair long, brown, and curled; crowned with a golden crown; his robe blew and silver, his buskins of gold.

XII. Momus (the carping god) with a darkish robe, his beard and hair party-coloured.

CHAP. XIII. Of the painting of some of the Heathen god∣desses.

I. JƲno, Queen of the goddesses, with black hair and eyes, adorned with a sky-coloured mantle, or pied; wrought with gold and peacocks eyes; like the orient circles in the peacocks trains.

II. Diana, the goddess of chastity, with yellow hair; a grass green mantle, trimmed with silver; buskins silver; bow golden; quiver painted colours.

III. Pallas, the goddess of wisdom, with a blew man∣tle imbroidered with silver.

IV. Venus, the goddess of love and beauty, with gold yellow hair, attired with black; a scarlet (or else dun∣coloured) robe.

V. Ceres, the goddess of Corn and plenty, with yellow hair, and a straw-coloured mantle trimmed with sil∣ver.

VI. Tellus, the goddess of the earth, in a green man∣tle.

VII. Ʋrania, in a mantle of azure, filled with Lamps.

VIII. Aurora, in a purple robe, in a blew mantle fringed with silver.

IX. Proserpine, Queen of Hell, in a black mantle trim∣med with gold flames.

X. Vesta, the daughter of Saturn, in white garments filled with flames.

XI. Astrea, the goddess of justice, in a crimson man∣tle, trimmed with silver.

XII. Flora, the goddess of flowers, in a mantle of di∣vers colours.

XIII. Night, in a black mantle spotted with stars of gold.

XIV. The Graces were always alike in silver robes, like sisters.

Eccbo, the goddess of the air, and daughter of speech, the entirely beloved of Pan, is an invisible goddess.

Ausonius Gallus reporteth that she hath oftentimes dis∣swaded and reprehended such who would undertake to de∣paint her, and repeats the fame in an Epigram, whose sence in English is this.

Surcease thox medling Artist thy endeavour, Who for thy skill hast reap'd such long liv'd fame: Strive not to paint my bodys shape, for never Did any humane-eyes behold the same. In concave caverns of the earth I dwell, Daughter of th' air, and of each tatling voice, In woods and hollow dales I build my Cell, Joying to re-report the least heard noise, To grief-opprest, and men disconsolate, That tell each grove their Souls vexation, Their dying agonies I aggravate By their dele accents iteration. And he that will describe my form aright, Must shape a formless sound, or airy sprite.

CHAP. XIV. The Painting of Law-givers, Emperours and Kings, and Queens.

I. MOses, the Hebrew Law-giver, with bright hair; a very beautiful visage, with radiant scintillations about his head, in form of hoariness, which in painting is called Glory.

II. Numa Pompilius, with white hair, crowned with a silver bend or Diadem; his robe Crimson trimmed with Gold; his mantle yellow trimmed with Silver; his buskins watchet and Silver.

III. Aeneas, the Trojane Prince, in a purple mantle trimmed with Gold.

IV. David, the King of Israel, with brown hair and a ruddy complexion.

V. Alexander Magnus, with brown hair and a ruddy complexion.

VI. Roman Emperors, with yellow Carussers em∣broidered with silver; the labels of their sleeves, and short bases of watchet; the under sleeves and long stockings, white; a Lawrel wreath, with a silver jewel before, and rayes of gold issueing from the wreath.

VII. German Emperors, with a violet coloured robe, watchet or light coloured.

VIII. Mahomet; the Turks great Prophet, in gar∣ments all of green.

IX. Gustavus Adolphus, King of Sweden, with yel∣low hair.

X. Dido, Queen of Carthage, in a purple or Scarlet mantle; her under garments Purple; a Golden quiver;

her hair yellow, tyed up with Spangs and Knots of Gold.

XI. Elizabeth, Queen of England, pale faced, light brown hair, and gray-eyed.

CHAP. XV. The Painting of Philosophers, and the Sybills.

I. PYthagoras, in white garments with a Crown of Gold.

Empedocles, in Violet, Murry, or Purple, and so the rest of the Grecian Philosophers.

III. Erasmus Roterdamus, yellow haired, gray-eyed, and somewhat pale.

IV. Beza is painted with white hair.

V. Sibilla Agrippa, a woman in years in a roseal gar∣ment.

VI. Sibilla Libica an elderly woman, crowned with a garland of flowers, in purple garments.

VII. Sibilla Delphica, with a black garment, a young woman with a horn in her hand.

VIII. Sibilla Phrygia, in red garments, having an old Saturnian hard favoured face.

IX. Sibilla Herophila, a young woman very fair in a purple garment, and head covered with a vail of Lawn.

Sibilla Europea, a comely young woman, having a high, red-coloured face, a fine vail on her head, and clad in a garment of Gold work.

XI. Sibilla Persica, with a white vail, and a golden garment.

XII. Sibilla Samia, a middle aged woman, clothed in Willow weeds, having a palm in her hand.

XIII. Sibilla Hellespontica, a young woman in green garments, with a round, lovely, fresh coloured face; holding in her left hand a Book; and in her right hand a Pen.

XIV. Sibilla Tibur••ina, an old woman in purple garments, of a hard visage, holding in her Apron the books of the Sibills.

These Sibills for their Prophecies of Christ are in high esteem: they are ten in number as Varro saith; yet others make twelve, of which we are not satisfied; Boyfardus in his Treatise of divination, besides these ten addeth two o∣thers, Epirotica and Aegyptia. Some, as Martianus, will have but two; Pliny and Solinus, but three; Aelian four; and Salmasius but the first seven. They are gene∣rally described as young women, yet some were old, as she that sold the books unto Tarquin, from whence we conclude the Licentia pictoria is very large.

CHAP. XVI. The Painting of Arts, Vertues, and Passions:

I. ARithmetick is painted in cloth of Gold: Geome∣try, sallow faced, a green mantle fringed with silver, and a silver wand in her right hand: Aft••••nomy with a silver Cressant on her fore-head, an azure man∣tle, a watchet Scarf, with golden Stars.

II. Faith is painted in white garments, with a cup of Gold: Hope in blew, with a silver Anchor: Charity in yellow robes; on her head a tyre of Gold with pre∣cious stones; her chair Ivory.

III. Religion in a silver vail, with a mantle or gar∣ment of white: Justice in a white robe, and a white mantle; with a Coronet of silver and white buskins: Innocency in White wholly.

IV. Concord in a sky coloured robe, and a yellow mantle; Peace in white, scattered with stars, or a carna∣tion mantle fringed with Gold, a vail of silver, green buskins, and a palm in her hand in black: Ʋnanimity in a blew robe, mantle and buskins, with a chaplet of blew Lillies.

V. Wisdom in a white robe, blew mantle, seeded with stars: Law in purple robes, seeded with gold stars, a mantle of Carnation fringed with gold; purple and yellow buskins: Government in Amour.

VI. Watchfulness in a yellow robe; a Sable mantle fringed with silver, and seeded with waking eyes; a chaplet of turnsole; in her right hand a lamp; in her left a bell: Confidence in a party coloured garment: Modesty in blew.

VII. Eternity in blew, seeded with Golden stars: The Soul in white garments, branched with gold and pearl, and crowned with a garland of Roses: Felicity in purple trimmed with silver.

VIII. Love, in Crimson fringed with gold, a flame coloured Mantle, a chaplet of red and white Roses: Natural affection in Citron colour: Envy in a discoloured green garment full of eyes.

IX. Joy in a green robe, and a mantle of divers co∣lours, embroidered with flowers; a garland of Myr∣tle; in her right hand a Crystal Cruise; in her left, a golden Cup: Pleasure in light garments, trimmed with silver and gold: Laughter in several Colours.

X. Wit, in a discoloured mantle: Jollity, in flame colour: Pastime, in purple trimmed with gold.

XI. Opinion, in black Velvet, black cap, with a

white fall: Impudence in a party coloured garment: Audacity in blush colour.

XII. Honour in a purple robe wrought with gold: Liberty in white: Safety in Carnation

CHAP. XVII. Of Colours for Painting Glass.

I. YEllow. Take a very thin piece of pure fine silver, and dip it into melted brimstone; take it out with a pair of plyers, and light it in the fire, holding it, till it leaves burning; then beat it to powder in a brasen mortar; then grind it with Gum Arabick water, and a little yellow Oker.

II. Yellow. Take fine silver one Drachm, Antimony in powder two drachms, put them in a hot fire, in a cru∣cible for half an hour, and then cast it into a brassmortar, and beat it into powder, to which add yellow Oker six Drachms, old earth of rusty Iron seven Drachms, grind all well together.

This is fairer than the former.

III. White This is the colour of the glass it self: you may diaper upon it with other glass or Crystal ground to powder.

IV. Black. Take Jet and Scales of Iron, and with a wet feather take up the Scales that fly from the Iron, after the Smith hath taken his heat, grind them with gum water.

V. Black. Take Iron scales, Copper scales of each one Drachm, heat them red hot in a clean fire shovel; then take Jet half a Drachm, first grind them small and temper them with gum water.

VI. Red. Take Sanguis Draconis in powder, put to it rectified spirit of wine; cover it close a little while, and it will grow tender; wring it out into a pot, that the dross may remain in the cloth; the clear pre∣serve for use. This is a fair red.

VII. Carnation. Take tin glass one ounce: jet three ounces: red oker five ounces: gum two drachms, grind: them together. It is a fair Carnation.

VIII. Carnation. Take jet four Drachms: tin glass or litharge of silver two Drachms: gum, and scales of Iron of each one Drachm, red chalk one ounce, grind them.

IX. Green. Take Verdigriese and grind it well with Turpentine; and put it into a pot; warming it at the fire, when you use it.

X. Blew. Provide the clearest leads you can get of that colour, beat them to powder in a brazen mortar, take Goldsmiths Amel of the same colour, clear and transparent, grind each by it self, take two parts of lead, and one of Amel, grind them together as you did the silver. The same understand of Red and Green.

CHAP. XVIII. Of the way of Painting upon Glass.

I. THere are two manner of ways of painting upon glass; the one is for oyl colour, the other for such colours, as are afterwards to be annealed or burnt on.

II. To lay oyl colours upon glass, you must first grind them with Gum water once, and afterwards temper it with Spanish Turpentine, lay it on and let it dry by the fire, and it is smished.

III. To anneal or burn your glass, to make the co∣lours abide, you must make a four square brick furnace, eighteen inches broad and deep; lay five or six cross Iron bars on the top of it, and raise the furnace eighteen inches above the bars: then laying a plate of Iron over the bars, sift (through a five) a lay of slack'd lime o∣ver the plate, upon which lay a row of glass; upon that a bed of lime, and upon that lime, another row of glass; thus continue stratum super stratum, till the fur∣nace is full.

IV. Lay also with every bed of glass a piece of glass, which you may wipe over with any Colour (these are called watches;) and when you think your glass is burnt enough, with a pair of plyers take out the first and lowest watch, and lay it on a board, and being cold, try if you can scrape off the Colour, if it hold fast on, take out that row; always letting it abide the fire till the colour will not scrape off.

CHAP. XIX. Of Washing, and the Materials thereof.

I. BY washing, here we intend nothing else, but ei∣ther to set out Maps or Printed Pictures in proper Colours, or else to varnish them.

II. The Instruments and materials of washing are chiefly six, to wit, I. Alom-water, 2. Size, 3. Liquid Gold, 4. Pencils, 5. Colours, 6. Varnish.

III. To make Alom water. Take Alom eight ounces, sair water a quart, boil them till the Alom is dis∣solved.

IV. To make size. Take glew, which steep all night

in water, then melt it over the fire, to see that it be nei∣ther too strong nor too weak: then let a little of it cool; if it be too stiff when it is cold, put more water to it, if too weak more glew, using it lukewarm.

V. Liquid Gold. It is exactly made by the first Section of the 21 Chapter of the second Book.

VI. Pencils are to be of all sorts both fitch'd and pointed; as also a large pencil brush to past Maps upon Cloth; another to wet the paper with Alom water; a third to starch the face of the picture withal before it be coloured; and a fourth to varnish withal.

VII. The colours are the same with those which we mentioned in Chap. 17. lib. 2. to which add, 1. Of Black, Printers black, Franckford black, 2. Of Red, Vermilion, Rosset, 3. Of Blew, Verditure, Litmos, Flory, 4. Of Yellow, Cambogia, Yellow berries, Orpi∣ment, 5. Brazil, Logwood (ground) and Turnsole, Cochenele, Madder.

CHAP. XX. Of Colours simple for Washing.

I. PRinters black. Vermilion, Rosset, Verditure, and Orpiment are to be ground, as we have taught at the fifth Section of the 22 Chapter of the fecond Book.

II. Brazil. To some ground Brazil put small Beer and Vinegar, of each a sufficient quantity, let it boil gently a good while, then put therein Alom in pow∣der to heighten the Colour, and some gum Arabick to bind it; boil it till it taste strong on the tongue, and make a good red.

III. Logwood, Ground Logwood boiled as Brazil,

makes a very fair transparent Purple Colour.

IV. Cochenele. Steeped as Brazil was boiled, makes a fair transparent purple: as thus, take Cochenele and put it into the strongest Sope lees to steep, and it will be a fair purple, which you may lighten or deepen at pleasure.

V. Madder. Take Madder four drachms, ground Brazil one ounce, Rain water a quart; boil away a third part: then add Alom half an ounce, boil it to a pint; then gum Arabick one ounce, which boil till it is dissolved, cool it stirring it often, and strain it for use. It is a good scarlet die for Leather.

VI. Verdigriese. Take Verdigriese ground finely one ounce, put to it a good quantity of common varnish, and so much oyl of Turpentine, as will make it thin enough to work withal; it is a good green. And Ver∣digriese, Alom, of each one Drachm, Logwood three Drachms, boiled in Vinegar, make a good Murry.

VII. Gambogia. Dissolve it in fair spring water, and it will make a beautiful and transparent yellow: if you would have it stronger, dissolve some Alom therein: it is good for Silk, Linnen, white Leather, Parchment, Vellom, Paper, Quills, &c.

VIII. To make Verdigriefe and Ceruse according to Glauber.

These colours are made with Vinegar in earthen pots set into hot horse dung: but if you dissolve your Ve∣nus or Saturn with spirit of Nitre, and precipitate your Venus with a lye made of Salt of Tartar, and your Sa∣turn with Salt water, edulcorating and drying them; the Venus will yield an excellent Verdigriese, which will not corrode other colours as the common Verdigriese doth; and the Saturn yields a Ceruse whiter and purer than the ordinary: much better for Painting or Chi∣rurgery.

IX. Yellow Fustick benry. Boil it in water or sleep them in Alom water, it makes a good yellow for the same purpose.

X. Turnsole. Put it into sharp. Vinegar over a gentle fire, till the Vinegar boil, and is coloured; then take out the Turnsole and squeeze it into the Vinegar, in which dissolve a little gum Arabick; it shadows very well on a Carnation or yellow.

XI. Litmos. Cut it into small pieces, and steep it a day or two in weak gum Lake water, and you will have a pure blew water to wash with.

XII. Flory Blew. Grind it with Glair of Eggs, if then you add a little Rosset it makes a light Violet Blew; mixed with White and Red Lead, it makes a Crane feather Colour.

XIII. Saffron Steeped in Vinegar and mixed with gum water is a good Yellow.

CHAP. XXI. Of Compounded Colours for Washing.

ORange Colour. Red Lead and Yellow berries make a good Orange Colour: or thus, take Arnotto half an ounce, Pot ashes one Drachm, water one pound, boil it half away, then strain it, and use it hot.

It is good for white leather, paper, vellom, quills, parch∣ment, &c.

II. Green. Take distilled vinegar, filings of Cop∣per, digest till the vinegar is blew, which let stand in the Sun ora slow fire till it is thick enough, and it will be a good green.

Or thus. Take Cedar green (which is best of all) or instead thereof green Bice, steep it in Vinegar, and strain it; then grind it well with fair water, and put to it a little honey, and dry it well; when you use it, mix it with gum water.

III. To make fine Indico.

Take the blossoms of Wode three ounces, Amylum one ounce, grind them with Urine and strong vi∣negar, of which make a Cake, then dry it in the Sun and so keep it for use.

IV. A Blew to wash upon paper.

Take of the best azure an ounce, Kermes two oun∣ces, mix them, which temper with clear gum water, and it will be a glorious Colour.

V. To make a Venice Blew.

Take quick lime, make it into past with strong vine∣gar, half an hour after put thereto more vinegar to soften it; then add Indico in fine powder one ounce, mix them and digest it in horse dung for thirty or forty days.

VI. Another excellent Blew.

Mix fine white Chalk with juice of elder berries full ripe, to which put a little Alom water.

VII. To make blew Smalt.

Take fluxible sand, Sal Nitre and Cobalt, mix them together.

VIII. A lively yellow.

Dissolve orpiment in gum water, to which put a little ground Vermilion; grind them together and you shall have a very lively colour.

IX. A light green. Take Juice of Rew, Verdigriese, and Saffron, grand them well together and use them with gum water.

Or thus; Take sap green, flower de bice, or tawny green, which steep in water: Verditure and Ceruse mixe

with a little copper green, make a good light colour.

X. Blew. Ultramine, blew bice, smalt, and Verdi∣ture, ground singly with gum water, or together, make a good blew.

XI. Brown. Ceruse, red lead, English Oker, and pink, make a good brown.

XII. Spanish Brown. To colour any horse, dog, or the like, you must not calcine it; (yet not calcined it is a dirty colour:) but to shadow Vermilion, or lay up∣on any dark ground, behind a picture, to shade berries in the darkest places, or to colour wooden posts, wain∣scot, bodies of trees and the like, it is very good (being burnt.)

XIII. Flesh colour. Mix white, Indian lake, and red lead (according as you would have it light or deep;) and to distinguish a mans flesh from a womans, mingle with it a little Oker.

XIV. Colours of Stones. Verdigriese with Varnish makes an Emerald: with Florence lake a Ruby: with Ultramanine a Saphyr.

XV. A never fading green.

Take juice of flowers of Flowerdeluce, put it into Gum water and dry it in the Sun.

CHAP. XXII. Of mixing Colours and shadowing.

I. IN mixing be careful not to make the colour too sad, nor take the pencils out of one colour and put them into another.

II. In mixing colours, stir them well about the wa∣ter severally till they are well mixed; then put them to∣gether, making the colour sadder or lighter at plea∣sure.

III. Green is shadowed with Indico and yellow ber∣ries.

IV. Blew is shadowed with Indico, Litmose and flo∣ry; or any of them being steeped in lees of Soap ashes, and used with gum water.

V. Garments are shadowed with their own proper colours: or you may mingle the colour with white (for the light) and shadow it with the same colour un∣mingled: or you may take the thinnest of the colour for the light, and shadow with the thickest or bottom of the same.

VI. Sap green is only used to shadow other greens with, and not to be laid for a ground in any garment.

VII. Lake ought not to be shaded with any colour, for it is a dark red; but for variety you may shadow it with Bice, or blew Verditure, which will make it like changeable Taffata.

VIII. The shadow for Yellow Berries is Umber; but for beauties sake with red Lead, and the darkest touches with Spanish brown; and for variety with Copper green, blew Bice or Verditure.

IX. White sets off blews and blacks very well: Red sets off well with yellows: Yellow with reds, sad blews, browns, greens, and purples.

X. Blew sets off well with yellows, reds, whites, browns, and blacks: and Green sets off well with purples, and reds.

CHAP. XXIII. Of Colours for Landskips.

I. GReen mixed with white, pink, bice, masticot, smalt, indico, or ceruse; or blew verditure mixt with a few yellow berries makes a good green for Landskips.

II. For the saddest hills use umber burnt; for the lightest places, put yellow to the burnt umber: for other hills lay copper green thickened on the fire, or in the Sun: for the next hills further off, mix yellow berries with copper green; let the fourth part be done with green verditure; and the farthest and faintest places with blew bice; or blew verditure mingled with white, and shadowed with blew verditure, in the shadows in∣different thick.

III. Let the high-ways be done with red and white lead, and for variety yellow oker; shadow it with burnt umber, which you may use for sandy rocks and hills.

IV. Rocks may be done with several colours, in some places black and white, in other places red and white, and in others blew and white, and the like, as you see convenient.

V. The water must be black verditure and white, shadowed with green and blew verditure: when the banks cast a green shadow upon the water, and the wa∣ter is dark shadowed, then shade it with indico, green thickned, and blew verditure.

VI. Colour buildings with as much variety of plea∣sant colours as may be imaginable, yet let reason be your rule in mixing your colours: you may sometimes

use white and black for the wall, conduits or other things: for Brick-houses and the like, red lead and white: if many houses stand together, set them off with variety of colours, as umber and white; lake and white; red lead and white, and the like.

VII. Lastly, for the sky, use masticot or yellow ber∣ries, and white for the lowest and lightest places; red rosset and white for the next degree; blew bice and white for the other; blew bice, or blew verditure for the highest.

These degrees and colours must be so wrought together, that the edge of each colour may not receive any sharpness; that is, so as that you cannot perceive where you began to lay them, being so drowned one in another.

CHAP. XXIV. Of the practice of Washing.

I. WIth the Alom-water wet over the pictures to be coloured, for that keeps the colours from sinking into the paper, and will add a lustre unto them, make them shew fairer, and keep them from fading.

II. Then let the paper dry of it self (being washed with Alom-water) before you lay on the colours; or before you wet it again, for some paper will need wet∣ting four or five times.

III. The washing of the paper with the Alom∣water must be done with a large pencil brush, such as we have advised to at the sixth Section of the nine∣teenth Chapter of this Book.

IV. But if you intend to varnish your pictures after you have coloured them; instead of washing them with Alom water, first size them with new size, made of good white starch, with a very fine brush; and this

you must be sure to do all over, for else the varnish will sink through.

V. Having thus prepared your work, go to laying on your Colours according to the former directions, suiting them, as near as may be, to the life of everything.

VI. The picture being painted, you may with size (at the fourth Section of the nineteenth Chapter of this Book) paste your maps or pictures upon cloth, thus: wet the sheet of cloth therein, wring it out, and strain it upon a frame, or nail it upon a wall or board, and so paste your maps or pictures thereon.

VII. Lastly, if the picture be to be varnished, ha∣ving thus fixed it into its proper frame, then varnish it with a proper varnish (by the following rules) and the work will be fully finished.

CHAP. XXV. Of the making of Varnishes.

I. VArnish for painting in Oyl.

Take Mastich two ounces, Oyl of Turpentine one ounce; put the Mastich in powder into the Oyl, and melt it over the fire, letting it boil little or nothing (lest it be clammy;) when it is enough, you may know by putting in a hens feather, for then it will burn it.

II. Varnish for painted pictures.

Take white Rozin one pound, Plumb-tree gum (or gum Arabick) Venice Turpentine, Linseed oyl, of each two ounces; first melt the Rozin and strain it very hot; steep the Gum in oyl Olive (oyl ben is better) till it is dissolved, and strain it, to which put the Turpen∣tine and Rozin, and over a slow fire mingle them till

they are well dissolved. When you use it, use it hot.

III. Another for the same.

Take Olibanum and gum Sandrack in powder, which mingle with Venice Turpentine, melting and incorporating them still over a gentle fire; then strain it hot.

When you use it let it be hot, and your Varnish will shine well; it dries immediately.

IV. Another for the same.

Take oyl of Linseed, which distill in a glass Retort, one ounce, fair Amber dissolved three ounces, mix them over a flow fire, and it is done.

V. A very good Varnish for Gold, Silver, Brass, Iron Stone, Wood, Vedom or Paper.

Take Benjamin (made into fine powder between two papers) put it into a vial, and cover it with Spirit of Wine four fingers above it, and let it stand three or four days, then strain it, and it will be bright and shining, drying immediately, and retaining its bright∣ness many years.

If you varnish Gold, or any thing gilded, before the straining you should put in a few blades of Saffron for co∣lour sake: but if Silver or any thing white, you ought to use the white part of the Benjamin only.

VI. A varnish particularly for Gold, Silver, Tin, or Copper.

Take Linseed oyl six ounces, Mastich, Aloes Epa∣tick of each one ounce; put the gums in powder into the Oyl, into a glazed earthen pot, which cover with another, luting them together, in the bottom of which, let be a hole, whereinto put a small stick with a broad end to stir withal; cover them all over with clay, (ex∣cept the hole) set it over the fire, and stir it as often as it seetheth for a little while, then strain it for use. First let the metal be polished, then strike it over with this varnish.

VII. A Varnish for Wood and Leather.

Take Tincture of Saffron or Turmerick in Spirit of Wine a pint, prepared gum Lake a sufficient quantity, dissolve the gum in the tincture and it is done.

This is a Varnish of great use to lay over Gold and Silver or any thing which is exposed to the Air.

VIII. To make the Common Varnish.

Take spirit of Wine a quart, Rozin one ounce, Gum Lake a sufficient quantity, dissolve the gums in a gentle heat (being close covered) and let them settle: then gently decant off the clear, which keep in a close glass Bottle for use.

The thick which remains, you may strain through a cloth, and keep for other purposes.

IX. To make a red Varnish.

Take spirit of Wine a quart, gum Lake four ounces, Sanguis Draconis in fine powder eight ounces, Cochenele one ounce, digest a week over a gentle heat, then strain it for use.

X. To make a yellow Varnish.

Take spirit of Wine a pint, in which infuse (three or four days) Saffron half an ounce, then strain it, and add Aloes Succotrina one ounce, Sanguis Draconis two ounces, which digest a week over a gentle heat close covered, then strain it for use.

XI. An Ʋniversal Varnish, the best of all others.

Take good gum Sandrick (but gum Anime is bet∣ter) dissolve it in the highest rectified spirit of Wine (an ounce and a half more or less to a pint) and it is done.

Where note 1. That unless the Spirits be highly rectified, the Varnish connot be good. 2. That some put into it Lin∣seed oyl (which is naught; oyl of ben is better) and mix them together. 3. Some mix boiled Turpentine with it; others Chymical oyls of deep colours (as of Cloves, Mace, Nut∣megs,

Caraways, Cinnamon) according to the intent. 4. That it ought to be kept in a glass bottle close stopped, lest it curdle, and the gums separate.

CHAP. XXVI. Of the manner of Varnishing.

I. THe intent of Varnishing is either to preserve the gloss of paintings or pictures, or else to represent and imitate the forms of shining and perlucid bodies.

II. To varnish paintings and pictures, 'tis no more but with a pencil dipt in the Varnish to go over the same, then letting it dry; and so going over it so of∣ten as in reason you shall see convenient.

III. If you are to imitate any thing, as Marble, Tortoise shell, Amber, Lapis Lazuli or the like; you must first make the imitation of them, upon that which you would Varnish, with their proper colours, as in Limning or Painting with oyl; which must be through∣ly dry: then by the second Section go over all with the Varnish, so often till you see it thick enough; let∣ting it dry every time leisurely. For example sake;

IV. To imitate Marble.

Take of the Universal Varnish at the eleventh Section of the five and twentieth Chapter, with which mingle Lamp black (or other black) and white Lead finely beaten, and with a brush pencil, marble the thing you would Varnish according to your fancy; lastly, being dry strike it again two or three times over with the clear varnish alone, and it will be perfect.

V. To imitate Tortoise shell.

First lay a white ground, then with convenient co∣lours (as Vermilion with Auripigment) duly mixt with Common Varnish, streak and shadow the white ground with any wild fancy (as nearly imitating Tor∣toise shell as you can) which being dry, strike it here and there with the red Varnish (mixed with a little Sinaper or Indian Lake) then up and down the work as nature requires touch it with varnish mixed with any good black; then stroke it over with Universal Varnish four or five times, letting it dry every time; lastly, let it dry well a week, and with Pumice stone (in fine powder) and a wet cloth polish it by rubbing; then go over it again three or four times with the Universal Varnish, and (if need require) polish it again with fine putty as before; after which you may once again strike it over with the said Varnish, and it will be done.

VI. To imitate Tortoise shell upon silver or gold.

A white ground being laid, and smeared over with Vermilion or the like; lay over the same leaves of sil∣ver or gold (as we have taught in other places) ei∣ther with gum Ammoniacum, Lake, common varnish or glair; this done, and being dryed, shadow it ac∣cording to reason; striking it over here and there with yellow varnish, and with the yellow varnish mixed with a little red varnish; (all things being done in imi∣tation of the shell) strike it several times over with the Universal Varnish, and polish it (in all respects) as be∣fore.

VII. To imitate Lapis Lazuli.

Upon a ground of white Lead, Spodium or the like in common Varnish (being first dry) lay Ʋltramarine or some other pure blew well mixed with the Uni••••••sal Varnish, so as that the ground may not appear: then with wild, irregular streaks (in resemblance of Nature)

with liquid or shell gold, run straglingly all over the blew, adding very small specks upon the blew part, of such various colours, as are usually to be seen upon the stone.

CHAP. XXVII. Experimental Observations of Vegetable Colours in General.

I. A Strong infusion of galls filtred; mixed with a strong and clear solution of Vitriol, makes a mixture as black as Ink: which with a little strong oyl of Vitriol is made transparent again: after which the black colour is regained again, by the affusion of a little quantity of a strong solution of salt of Tartar.

The first black (although pale in writing, yet) being dry, appears to be good Ink.

II. Decoction of dried red roses, in fair water, mix∣ed with a little filtrated solution of blew vitriol made a black colour: this mixed with a little Aqua fortis, turn'd it from a black, to a deep red; which by affusion of a little spirit of Urine, may be reduced straight to a thick and black colour.

III. Yellow wax is whitened by dissolving it over the fire in spirit of wine, letting it boil a little, and then ex∣haling the spirit of wine; or else whilst it is hot, sep••∣rating it by filtration.

IV. Fair water mixed with a blood red Tincture of Benjamin drawn with spirit of wine, immediately makes it of a milk white colour.

V. Blackness may be taken away with oyl of Vitriol; so black pieces of silk or hair I have turn'd to a kind of yellow.

VI. A handful of Lignum Nephitrioum rasped, infu∣sed in four pound of spring water, yields between the light and the eye an almost golden colour (unless the Infusion be too strong) but with the eye between the light and it (in a clear vial) a lovely blew as indeed it is: this with spirit of Vinegar may be made to vanish (still keeping its golden colour) and after with oyl of Tartar per deliquium may be restored again.

VII. Cloths died with blew and Woad, is by the yel∣low decoction of Luteola died into a green.

VIII. Syrup of Violets mixed with a high solution of Gold in Aqua regia, produces a reddish mixture; and with a high solution of filings of Copper in spirit of Urine, a lovely fair green.

IX. Syrup of Violets mixed with a little juice of Lemons, spirit of Salt, vinegar, or the like acid salt, will be immediately red; but mixt with oyl of Tartar, or a solution of pot ashes, it will in a moment be per∣fect green: the like in juice of blew bottles.

X. A good quantity of oyl of Tartar, put into a strong solution of Verdigriese, gives a delightful blew; which may be variously changed by adding spirit of U∣rine, or hartshorn.

XI. Although red roses hung over the fume of Sul∣phur, lose all their redness, and become white: yet oyl of Sulphur (which is nothing but the fumes con∣densed) doth wonderfully heighten the tincture of the same.

XII. Cochenele will have its colour far more height∣ned by Spirit of Urine, than by rectified spirit of wine: And one grain of Cochenele in a good quantity of spi∣rit of Urine, being put into one hundred twenty six ounces of water, tinged it (although but faintly:) which amounts to above one hundred twenty five thous and times its own weight.

XIII. Twenty grains of Cochenele being mixed with an ounce of Saecharum Saturni, makes a most glorious purple colour: and so accordingly as the quantity is ei∣ther diminished or encreased, so the purple colour shall be either lighter or deeper.

XIV. A few Grains of Cochenele being mixed with the Lixivium of Quicklime in a due proportion, makes a fading purple colour, of the greatest glory imaginable in the world.

XV. The juice of privet berries with spirit of salt, is turned into a lovely red: but with a strong solution of pot ashes into a delightful green.

XVI. Upon things red by nature, as syrup of Clove∣gilliflowers, juice of Buckthorn berries infusion, of red roses, Brazil, &c. Spirit of Salt makes no considerable change, but rather a lighter red: but other salts turn them into a greenish; especially juice of buckthorn berries.

XVII. Juice of Jasmin and snow drops, by a strong alcalizate solution, was (although of no colour) turn∣ed into a deep greenish yellow.

XVIII. Buckthorn berries being gathered green and dried, are called sap-berries, which being infused in Alom water gives a fair yellow (which is used by Book∣binders for the edges of their books, and to colour leather also:) being gathered when they are black, they are called sap green, and make a green colour being put in∣to a brass or copper vessel for three or four days; or a little heated upon the fire, and mixed with Alom in powder, and pressed forth; so put into bladders, hang∣ing it up till it is dry: And being gathered about the end of November, (when they are ready to drop) they yield a purplish colour.

XIX. Tincture of Cochenele, diluted never so much with fair water, will never yield a yellow colour: a

single drop of a deep solution in spirit of Urine, dilu∣ted in an ounce of fair water, makes a fair pink, or carnation.

XX. Oyl or spirit of Turpentine, digested with pure white Sugar of lead, yields in a short time a high red tincture, which Chymists call Balsamum Saturni.

XXI. Spirit of Salt dropt into a strong infusion of Cochenele or juice of black cherries, makes immediately a fair red: but dropt into the Infusion of Brazil, a kind of yellow: so the filtrated tincture of Balaustins mixed with good spirit of Urine, or the like, turns of a darkish green; but with spirit of salt, a high redness, like rich Claret wine; which glorious colour may in a moment be destroyed, and turned into a dirty green, by spirit of Urine.

XXII. A high Infusion of Lignum Nephriticum, mix∣ed with spirit of Urine, gives so deep a blew, as to make the liquor opacous: which after a day or two vanishes, and leaves the liquor of a bright amber colour.

Where note that instead of Spirit of Ʋrine you may use oyl of Tartar, or a strong solution of pot ashes.

XXIII. Infusion of Logwood in fair water (mixt with spirit of Sal Armoniack) straight turns into a deep, rich, lovely purple; two or three drops to a spoonsul is enough, lest the colour be so deep, as to be opacous.

XXIV. Spirit of Sal Armoniack will turn syrup of Violets to a lovely green.

XXV. Infusion of Litmoss in fair water, gives in a clear glass a purple colour: but by addition of spirit of Salt, it will be wholly changed into a glorious yel∣low.

XXVI. The Infusions and juices of several plants, will be much altered by a solution of Lead in spirit of Vinegar: it will turn infusion of red rose leaves into a sad green.

XXVII. So Tincture of red roses in fair water, would be turned into a thick green, with the solution of Mi∣nium in spirit of Vinegar; and then with the addition of oyl of Vitriol the resolved Lead would precipitate white, leaving the liquor of a clear, high red colour again.

XXVIII. We have not yet found, that to exhibit strong variety of colours, there need be imployed a∣ny more than these five, White, Black, Red, Blew, Yellow: for these being variously compounded and decom∣pounded exhibit a variety and number of colours; such as those who are strangers to painting can hardly imagine.

XXIX. So Black and White variously mixed, make a vast company of light and deep Grays: Blew and Yel∣low, many Greens: Red and Yellow, Orange-tawnies: Red and White, Carnations: Red and Blew, Purples, &c. producing many colours for which we want names.

XXX. Acid salts destroy a blew Colour: Sulphurous, Urinous or fixed restore it.

XXXI. Acid and Alcalizate salts, with many bodies that abound with Sulphureous or oyly parts will pro∣duce a red, as is manifest in the Tincture of Sulphur, made with Lixioiums of Calcined Tartar or pot ashes.

XXXII. Lastly, it may be worth tryal (since it hath succeeded in some experiments) so to take away the colour of a Liquor, as that it may be colourless: which in what we have tryed, was thus: first by putting into the Tin∣cture, Liquor, or juice, a quantity of the solution of pot ashes or oyl of Tartar per deliquium; and then af∣fusing a good or strong solution of Alom, which in our observations precipitated the tinging matter, or ga∣thered it into one body (like as it were curds) and so left the Liquor transparent and clear as Crystal.

CHAP. XXII. General Experimental observations of Mineral Colours.

I. SƲblimate dissolved in fair water, and mixed with a little spirit of Urine, makes a milk white mix∣ture in a moment: which by addition of Aqua Fortis, immediately again becomes transparent.

II. If Sublimate two ounces, and Tin-glass one ounce be sublimed together, you will have a sublimate not inferiour to the best orient Pearls in the world.

III. Silver dissolved in Aqua fortis, and evaporated to dryness, and fair water poured two or three times thereon, and evaporated, till the calx is dry, leaves it of a Snow whiteness: which rubbed upon the skin, (wet∣ted with spittle, water or the like) produces a deep blackness, not to be obliterated in some days.

With this, Ivory, hair, and horns may be dyed in fair wa∣ter of a lasting black.

IV. Coral dissolved by oyl of vitriol, Sulphur, or spi∣rit of Vinegar, and precipitated by oyl of Tartar, yields a Snow whiteness. The same of crude Lead and Quicksilver dissolved in Aqua Fortis: So butter of Antimony rectified by bare affusion in much fair water, will (though Unctuous) be precipitated into the Sn••w white powder which (being washed from its corrosive salts) is called Mercurius Vitae: the like of which may be made without the addition of any Mercury at all.

V. Mercury Sublimate and precipitate yields (with the spirit of Urine, Harts horn, or the like) a white preci∣pitate: but with the solution of Pot ashes, or other

Lixiviate salts an Orange tawny. And if on a filtrated solution of Vitriol, you put the solution of a fixed salt, there will subside a copious substance far from white∣ness, which Chymists call the Sulphur of Vitriol.

VI. If Copper two ounces be mixed with Tin one ounce, the reddishness will vanish: and if Arsenick (calcined with Nitre) in a just proportion be mixed with melted Copper, it will be blanched both within and without.

VII. Fine powders of blew Bice, and yellow Orpi∣ment, slightly mixed, give a good green: and a high yellow solution of good Gold in Aqua regia, mixed with a due quantity of a deep blew solution of crude Copper in strong spirit of Urine, produces a transparent green: And so blew and yellow Amel fused together in the flame of a Lamp, being strongly blowed on without ceasing, produces at length a green colour.

VIII. An urinous salt, largely put into the dissolu∣tion of blew Vitriol in fair water, turn'd the liquor and corpuscles (which resided) into a yellowish colour like yellow Oker.

IX. Verdigriese ground with salt Armoniack and the like (digested for a while in a dunghil) makes a glo∣rious blew.

X. The true glass of Antimony extracted with acid spirits (with or without Wine) yields a red tin∣cture.

XI. Balsam of Sulphur (of a deep red in the glass) shaked about, or dropt on paper give a yellow stain.

XII. If Brimstone and Sal Armoniack in powder of each five ounces, be mixed with quick-lime in powder six ounces, and distilled in a Retort in sand by degrees; you will have a volatil spirit of Sulphur of excellent redness, though none of the ingredients be so.

So also oyl of Anniseeds mixed with oyl of Vi••riol, gives

in a trice a blood red colour, which soon decays.

XIII. Fine silver dissolved in Aqua fortis, and preci∣pitated with spirit of Salt; upon the first decanting the liquor, the remaining matter will be purely white; but lying uncovered, what is subject to the ambient air will lose its whiteness.

XIV. Sublimate dissolved in a quantity of water and filtred, till it is as clear as Crystal, mixed (in a Venice glass) with good oyl of Tartar per deliquium filtred, (three or four drops to a spoonful) yields an opacous liquor of a deep Orange colour; after which if four or five drops of Oyl of Vitriol be dropt in, and the glass straight way be strongly shaked, the whole liquor will (to admiration) be colourless without sediment. And if the filtred solution of sublimed Sal-armoniack and Sublimate of each alike be mixt with the solution of an Alcaly, it will be white.

XV. Spirit of Sal Armoniack makes the solution of Verdigriese an excellent Azure; but it makes the solution of Sublimate yield a white precipitate.

XVI. So the solution of filings of Copper in spirit of Urine (made by fermentation) gives a lovely Azure colour: which with oyl of Vitriol (a few drops to a spoonful) is deprived in a trice of the same, and makes it like fair water. And so a solution of Verdigriese in fair water, mixed with strong Spirit of Salt, or dephlegmed Aqua fortis, makes the greenness almost totally to disap∣pear.

XVII. Quick-filver mixed with three or four times its weight of good oyl of Vitriol, and the oyl drawn off in sand, through a glass Retort, leaves a snow white precipitate; which by affusion of fair water, becomes one of the loveliest light yellows in the world, and a du∣rable colour.

XVIII. Tin calcined per se by fire, affords a very white

calx called putty: Lead, a red powder called Minium: Copper, a dark or blackish powder: Iron, a dirty yel∣lowish colour, called Crocus Martis: and Mercury, a red powder.

XIX. Gold dissolved in Aqua Regia ennobles the Men∣struum with its own colour: Silver Coyn dissolved in Aqua fortis yields a tincture like that of Copper; but fine silver a kind of faint blewishness: Copper dissolved in spirit of Sugar (drawn off in a glass Retort) or in oyl or spirit of Turpentine, affords a green tincture; but in Aqua fortis, a blew.

XX. Vermilion is made of Mercury and Brimstone sub∣limed together in a due proportion.

XXI. Glass may have given to it a lovely golden co∣lour with Quick silver; but it is now coloured yellow generally with Calx of silver: yet shell silver, (such as is used with pen or pencil) mixed with a convenient proportion of powdered glass, in three or four hours fusion, gave a lovely Saferine blew.

XXII. Glass is tinged Green (by the Glass-men) with the Calx of Venus: which Calx mixed with an hundred times its weight of fair glass, gave in fusion a blew coloured mass.

XXIII. Putty (which is Tin calcined) as it is white of it self, so it turns the purer sort of glass metal into a white mass, which when opacous enough, serves for white Amel.

XXIV. This White Amel is as it were the Basis of all those fine Concretes, that Gold-smiths, and several Artificers use, in the curious art of Enamcling; for this white and fuseable substance, will receive into it self, without spoiling them, the colours of divers other Mi∣neral substances, which like it will endure the fire.

XXV. Glass is also tinged blew with the dark mi∣neral called Zaffora; and with Manganess or Magnessia

in a certain proportion, which will tinge glass of a red Colour; and also of a Purplish or Murry; and with a greater quantity, into that deep colour which passes for black.

XXVI. Yellow Orpiment sublimed with Sea Salt, yields a white and Crystalline Arsenick; which Arsenick coloured with pure Nitre being duly added to Copper when 'tis in fusion, gives it a whiteness both within and without.

XXVII. So Lapis Calaminaris turns Copper into Brass.

XXVIII. And Zink duly mixed with Copper when 'tis in fusion, gives it the noblest golden colour that was ever seen in the best gold.

XXIX. Copper dissolved in Aqua fortis will imbuc several bodies of the colour of the solution.

XXX. Lastly, Gold dissolved in Aqua Regia will (though not commonly known) dye Horns, Ivories and other bones of a durable purple colour: And the Cry∣stals of Silver made with Aqua fortis, (though they appear white) will presently dye the Skin, Nails, Hair, Horn, and Bones, with a Black not to be washed off.

CHAP. XXIX. Of Metals.

I. TO barden Quick-silver.

Cast your Lead separated from its dross into a vessel, and when it begins to cool, thrust in the point of a stick, which take out again and cast in the Argent Vive, and it will congeal: then beat it in a mortar, and do so often; when it is hard, melt it often, and put it into fair water, doing it so long till it is hard enough, and may be hammered.

II. To tinge Quick-silver of the colour of gold.

Break it into small pieces (being hardned) which put into a crucible, with the powder of Cadmia, stra∣tum super stratum, mixed with pomegranate peels, Tur∣merick (beaten fine) and Raisons; cover the crucible and lute it well, dry it well; and then set it on a fire for six or seven hours, that it may be red hot; then blow it with bellows till it run, which then let cool whilest covered with coles, and it will have the colour of gold.

III. To fix Quick-silver being hardned.

This is done with fine powder of Crystal glass, laid with the metal stratum super stratum in a crucible covered and luted; heating it all over red hot, and then melting of it.

IV. To make Quick-silver malleable.

First harden it by the first Section, then break the metal into small pieces, and boil it a quarter of an hour in sharp vinegar: then add a little Sal Armoniack, and digest all together for ten or twelve days; then boil all together in a luted crucible, till it is red hot, and by

degrees crack: lastly, hang the Mercury in a pot with brimstone at bottom to cover it; lute it and set it into the fire, that it may grow hot by degrees, and receive the fume of the Sulphur; do thus for a month once a day, and the Mercury will run and be hammered.

V. Another way of tinging Mercury.

Take purified Mercury one ounce, Sulphur two oun∣ces, Aqua fortis three ounces, let them all stand till the water grow clear; distill this with its sediment, and at bottom of the Limbeck: you shall find the Mercury hard, and of an exact colour.

VI. To colour and soften Gold.

Dissolve Verdigriese in Vinegar, and strain it through a felt, then congeal, and when it begins to wax thick, put to it some Sal armoniack, and let it harden a good while, then melt gold with it, and it will heighten the colour and make it soft.

VII. To make Gold and Silver softer.

Take Mercury Sublimate, Sal armoniack, of each a∣like, powder them, melt the gold, and put to it a lit∣tle of this powder, and it will be soft.

VIII. Another way to do the same.

Take Vitriol, Verdet, Sal Armoniack, burnt brass of each half an ounce, mix them with Aqua fortis, let it so repose in the heat two days, then let it harden, do thus three times with Aqua fortis, and let it dry, make it into powder, to one dram put one ounce of gold three times and it will be softer.

IX. Another way to do the same in silver.

Take Salt-peter, Tartar, Salt, Verdet, boil all to∣gether, till the water is consumed, then put to it U∣rine, and let it so consume, and you shall have an oyl, which put into melted silver will do the same.

Or thus, Take as many wedges as you have melted, put them one night into a crucible in a furnace, but so as they

melt not, and they will be soft and fair.

Or thus, Take honey, oyl, of each alike, in which quench the Gold or Silver three or four times, and it will be softer.

Or thus, Take Mastich, Frankincense, Myrrh, Borax, Vernix, of each alike, all in powder.

Or thus, Quench the Gold or silver in water of Sal ar∣moniack, and it will be soft.

X. To tinge silver of a golden colour.

Take fine gold, fine silver, good brass, and brass or copper calcin'd with Sulphur vive, of each alike, melt them down together, and it shall appear to be gold of eighteen carets fine.

XI. Another way to tinge silver.

Take Quick-silver purged three ounces, leaf gold one ounce, mix them and put them into a glass Retort well luted, put it on the fire till it grow hot; then take it off, and add to it Quick-silver purged two ounces, Sal Armoniack one ounce, Sal Ellebrot half an ounce, Borax two drachms; then seal up the glass hermetically, and put it into a continuual fire for three days; then take it out, let it cool, open the retort, take out the matter, and powder it very fine: of which powder mix one ounce with silver five ounces, and it will tinge it into a good gold colour.

Note, Sal Ellebrot is thus made. Take pure common Salt, Sal Gem, Sal alcaly in powder, of each one ounce, juice of mints four ounces, spring water four pound, mingle them, and evaporate. And Quick-silver is purged by wa∣shing it in sharp vinegar three or four times and straining it; or by subliming it which is better.

XII. To bring silver into a calx.

This is done by amalgamating of it with Quick-sil∣ver, and then subliming of it; or by dissolving it in Aqua fortis, and precipitating it with the solution of

salt in fair water, and then washing it with warm wa∣ter often to free it from the salts: or else by mingling the fillings with sublimed Mercury, and in a retort causing the Mercury to ascend, which will leave at bottom the Calx of silver, fit for jewels, &c.

XIII. To blanch Silver.

Take Salarmoniack, Roch alom, Alom plumosum, Sal gem, Argal, Roman Vitriol, of each alike; powder and mix them, and dissolve them in fair water, in which boil the silver so long, till you see it wonderful white.

XIV. To colour silver of a Gold colour.

Take Salt-peter two pound, Roch Alom five pound, mingle, and distil them, keeping the water for use. When you use it, melt the Silver, and quench it in the said water.

XV. To tinge Brass of a Gold Colour.

Dissolve burnt brass in Aqua fortis (made of Vitri∣ol, Salt-peter, Alom, Verdigriese, and Vermilion) and then reduce it again, and it will be much of a gold co∣lour.

XVI. To make Brass through white.

Heat Brass red hot, and quench it in water distilled from Sal Armoniack, and Egg-shells ground together, and it will be very white.

XVII. To make Brass white otherwise.

Take egg-shells and calcine them in a crucible, and temper them with the whites of eggs, let it stand so three weeks; heat the brass red hot, and put this upon it.

XVIII. To make Brass.

Take Copper three pounds, Lapis Calaminaris one pound in powder, melt them together the space of an hour, then put it out.

XIX. The way to colour Brass white.

Dissolve a peny weight of Silver in Aqua fortis, put∣ting

it to the fire in a vessel, till the Silver turn to wa∣ter; to which add as much powder of white Tartar as may drink up all the water, make it into Balls, with which rub any Brass, and it will be white as silver.

XX. To tinge Copper of a gold Colour.

Take Copper, Lapis Calaminaris, of each four drachms, Tutty two drachms; heat the Copper red hot twice, quenching it in piss; doing the like by the La∣pis and Tutty: take of the dissolved Copper half an ounce, adding to it Honey one ounce, boil them till the Honey look black and is dry that it may be powdered, which then beat with the Lapis and Tutty: boil them again, till the Copper is melted and it is done.

XXI. Another way to make Copper of a gold Colour.

Take the Gall of a Goat, Arsnick, of each a sufficient quantity, and distil them; then the Copper being bright being washed in this water, will turn into the Colour of gold.

XXII. Another way to do the same.

Melt Coppper, to which put a little Zink in filings, and the Copper will have a glorious golden colour.

XXIII. To make Copper of a white colour.

Take Sublimate, Sal Armoniack, of each alike; boil them in Vinegar, in which quench the Copper being made red hot, and it will be like Silver.

XXIV. Another way to whiten Copper.

Heat it red hot divers times, and quench it in oyl of Tartar per deliquium, and it will be white.

XXV. Another way to whiten Copper.

Take Arsnick three ounces, Mercury Sublimate two ounces, Azure one ounce, mix them with good and pure grease like an ointment, with which anoint any Copper vessel, then put that vessel into another, and set it into a digestive heat for two months, after which cleanse it with a brush and water and it is done.

XXVI. Another way to whiten Copper.

Take Arsnick calcined with Salt-peter, and Mer∣cury Sublimate, which cast upon melted Copper, and it will be white like Silver.

XXVII. To soften Copper.

Melt burnt Brass with Borax in a crucible, quench it in Linseed oyl, and then beat it gently on an Anvil; boil it again and quench it in oyl as before, doing thus five or six times, till it is soft enough; and this will neatly u∣nite with Gold, of which you may put in more by half than you can of other Brass.

XXVIII. To tinge with Iron a gold colour.

Lay in a crucible plates of Iron and Brimstone, stra∣tum super stratum, cover and Lute it well, and calcine in a fornace, then take them out and they will be brit∣tle: put them into a pot with a large mouth, and put in sharp distilled Vinegar, digesting till they wax red o∣ver a gentle heat: then decant the Vinegar, and add new, thus doing till all the Iron be dissolved; evaporate the moisture in a glass Retort or Vesica, and cast the re∣maining powder on Silver, or other white Metal, and it will look like Gold.

XXIX. To make Iron or Silver of a Brass Colour.

Take Flowers of Brass, Vitriol, Sal armoniack, of each alike in fine powder; boil it half an hour in strong Vinegar, take it from the fire, and put in Iron or Silver, covering the vessel till it be cold, and the metall will be like to Brass, and sit to be gilded: or rub polished Iron with Aqua fortis in which filings of Brass is dissolved.

XXX. To tinge Iron into a Brass colour.

Melt the Iron in a crucible casting upon it Sulphur vive, then cast it into small rods, and beat it into pieces (for it is very brittle) then in Aqua fortis dissolve it, and evaporate the menstruum, reducing the powder by a strong fire into a body again, and it will be good Brass.

XXXI. To whiten Iron.

First purge it, by heating it red hot and quenching it in a water made of Ly and Vinegar, boiled with Salt and Alom, doing this so often till it is somewhat whitened. The fragments of the Iron beat in a mortar till the Salt is quite changed, and no blackness is left in the Liquor of it, and till the Iron is cleansed from its dross: then Amalgamate Lead and Quick-silver toge∣ther, and reduce them into a powder; lay the prepared plates of Iron and this powder stratum super stratum in a Crucible, cover it, and lute it all over very strong∣ly, that the least fume may not come forth, and put it into the fire for a day; at length encrease the fire, so as it may melt the Iron (which will quickly be) and repeat this work till it is white enough: It is whitened also by melting with Lead, the Marchasit or fire-stone and Arsnick. If you mix a little silver (with which it willingly unites) with it, it gives a wonderful white∣ness, scarcely ever to be changed any more, by any art whatsoever.

XXXII. To keep Iron from Rusting.

Rub it over with Vinegar mixt with Ceruse; or with the marrow of a Hart: if it be rusty, oyl of Tartar per deliquium will presently take it away and cleanse it.

XXXIII. To cleanse Brass.

Take Aqua fortis and water of each alike; shake them together, and with a woolen rag dipt therein rub it o∣ver: then presently rub it with an oyly cloth; lastly with a dry woolen cloth dipt in powder of Lapis Cala∣minaris, it will be clear and bright as when new.

XXXIV. To soften Iron.

Take Alom, Sal armoniack, Tartar, of each alike, put them into good Vinegar, and set them on the fire, heat the Iron, and quench it therein: or quench it four

or five times in oyl, in which melted Lead hath been put six or seven times.

XXXV. To make Iron of a Gold colour.

Take Alom of Melancy in powder, Sea water; mix them: then heat the Iron red hot, and quench it in the same.

XXXVI. To make Iron of a Silver Colour.

Take powder of Sal armoniack, unslak'd lime, mix and put them into cold water, then heat the Iron red hot, quench it therein, and it will be as white as silver.

XXXVII. To soften Steel to grave upon.

This is done with a Lixivium of Oak ashes and un∣slak'd Lime, by casting the Steel into it and letting it remain there fourteen days. Or thus. Take the Gall of an Ox, Man's Urine, Verjuice, and juice of Nettles of each alike, mix them; then quench steel red hot therein four or five times together, and it will become very soft.

XXXVIII. To barden Iron or Steel.

Quench it six or seven times in Hogs blood mixed with Goose grease, at each time drying it at the fire be∣fore you dip it again, and it will become very hard and not brittle.

XXXIX. To solder on Iron.

Set the joints of Iron as close as you can, lay them in a glowing fire, and take of Venice glass in powder, and the Iron being red hot, cast the powder there∣on, and it will solder of it self.

XL. To counterfeit Silver.

Take Crystal Arsnick eight ounces, Tartar six oun∣ces, Salt-peter two ounces, Glass one ounce and an half, Sublimate half an ounce: make them severally into fine powder and mix them: then take three pound of Copper in thin plates which put into a Crucible

(with the former powder stratum super statum) to cal∣cine, covering it and luting it strongly; let it stand in the furnace for about eight or ten hours: then take it out, and (being cold) break the pot, and take out all the matter, and melt it with a violent fire, casting it into some mold. Then take purged Brass two pound, of the former metal one pound; melt them to∣gether, casting in, now and then, some of the afore∣said powder, after which add half as much of fine sil∣ver, melting them together, and you have that which is desired: lastly to make it as white as Silver, boil it in Tartar.

XLI. Another way to counterfeit Silver.

Take purified tin eight ounces, Quick-silver half an ounce, and when it begins to rise in the first heat, take powder of Cantharides, and cast into it, with a lock of hair, that it may burn in it; being melted put in∣to it the powder aforesaid, then take it suddenly from the fire, and let it cool.

XLII. To purge the Brass.

It is cleansed or purged, by casting into it when it is melted, broken glass, Tartar, Sal armoniack, and Salt∣peter, each of them by turns, by little and litle.

XLIII. To tinge Lead of a golden colour.

Take purged Lead one pound, Sal Armoniack in powder one ounce, Salt-peter half an ounce, Sal Ele∣brot two drachms; put all into a crucible for two days and it will be throughly tinged.

XLIV. To purge Lead.

Melt it at the fire, then quench it in the sharpest Vi∣negar; melt it again and quench it in the juice of Ce∣landine: melt it again and quench it in salt water: then in Vinegar mixed with Sal armoniack: and lastly melt it, and put it into ashes, and it will be well clean∣sed.

XIV. To make Lead of a golden colour.

Put Quick-silver one ounce into a Crucible, set it o∣ver the fire till it is hot, then add to it of the best Leaf∣gold one ounce, and take it from the fire, and mingle it with purified Lead melted one pound; mingle all well together with an Iron rod, to which put of the filterated solution of Vitriol in fair water one ounce; then let it cool, and it will be of a good colour. Dissolve the Vitriol in its equal weight of water.

XLVI. To take away the ringing and softness of Tin.

Melt the Tin, and cast in some Quick-silver, remove it from the fire, and put it into a glass Retort, with a large round belly, and a very long neck, heat it red hot in the fire, till the Mercury sublimes and the Tin re∣mains at bottom; do thus three or four times. The same may be done by calcining of it three or four times, by which means it will sooner be red hot than melt.

XLVII. To take away the softness and creaking noise of Tin.

This is done by granulating of it often, and then re∣ducing it again, and quenching it often in Vinegar and a Lixivium of Salt of Tartar. The creaking noise is taken away by melting it seven or eight several times and quenching it in Boys Urine, or else oyl of Wal∣nuts.

XLVIII. To take away the deaf sound of Tin.

This is done by dissolving it in Aqua fortis over a gentle fire, till the water fly away: doing thus so long till it is all turned to a calx; which mixed with calx of silver, and reduced, performs the work.

XLIX. To make that Tin crack not.

Take Salt, Honey, of each alike, and mix them: melt your Tin and put it twelve or more times into it, then strain out the Tin, and it will purge and leave

cracking; put it into a crucible, which lute, and cal∣cine it four and twenty hours, and it will be like calx of gold.

L. To take away the brittleness of any Metal.

First calcine it and put it under dung; then do thus; when it is red hot at the fire, or melted, quench it of∣ten in Aqua vitae often distilled; or use about them Rosin or Turpentine, or the oyl of it, or wax, suet, Euphorbium, Myrrh, artificial Borax: for if a metal be not malleable, unctuous bodies will oftentimes make them softer, if all these, or some of these be made up with some moisture into little Cakes: and when the metal yields to the fire, by blowing with the bellows, we cast in some of them and make them thick like mud, or clear, thenset the Metal to the fire, that it may be red hot in burning coals, take it forth & quench it in them, & so let it remain half an hour to drink in. Or anoint the Metal with dogs grease, and melt it with it, for that will take away much of the brittleness of it, and make it so that it may be hammered and wrought.

LI. To colour Metal like gold.

Take Sal armoniack, White Vitriol, Stone Salt, Verdigriese, of each alike, in fine powder; lay it upon the Metal, then put it into the fire for an hour, take it out and quench it in Urine, and the Metal will have the colour of gold.

LII. To make a kind of Counterfeited Silver of Tin.

This is done by mingling Silver with Tin melted with Quick-silver, continuing it long in the fire, then being brittle, it is made tough, by keeping it in a gen∣tle fire or under hot Embers (in a Crucible) for about twenty four hours.

LIII. To Solder upon Silver, Brass or Iron.

Take Silver five peny weight, Brass four peny weight,

melt them together for soft Solder, which runs soonest.

Take Silver five peny weight, Copper three peny weight, melt them together for hard Solder.

Beat the Solder thin and lay it over the place to be Soldred, which must be first fitted, and bound together with Wire as occasion requires: then take Borax in powder, and temper it like pap, and lay it upon the Solder, letting it dry, then cover it with quick coals and blow, and it will run immediately; then take it presently out of the fire, and it is done.

Note 1. If a thing is to be Soldred in two places, (which cannot be well done at one time) you must first Solder with the hard Solder, and then with the soft; for if it be first done with the soft, it will unsolder again before the other be sol∣dred. 2. That if you would not have your Solder run a∣bout the piece to be Soldred, rub those places over with Chalk.

LIV. To make the Silver tree of the Philosophers.

Take Aqua fortis four ounces, fine Silver one ounce, which dissolve in it: then take Aqua fortis two ounces, in which dissolve Quick-silver: mix these two Liquors together in a clear glass, with a pint of pure water; stop the glass close, and after a day, you shall see a Tree to grow by little and little, which is wonderful and pleasant to behold.

LV. To make the Golden tree of the Philosophers.

Take oyl of Sand or Flints, oyl of Tartar per deli∣quium, of each alike, mix them well together, then dissolve Sol in Aqua Regis, and evaporate the menstru∣um, dry the Calx by the fire, but make it not too hot (for then it will lose its growing quality) break it in∣to little bits (not into powder) which bits put into the aforesaid liquor, a fingers breadth one from another in a very clear glass, keep the liquor from the Air, and let

the Calx stand still, and the bits of Calx will presently begin to grow: first swell; then put forth one or two stems; then divers branches and twigs, so exactly, as you cannot but wonder to see.

Where note that this growing is not imaginary but real.

LVI. To make the Steel tree of the Philosophers.

Dissolve Steel in rectified spirit or oyl of Salt, so shall you have a green and sweet solution, swelling like brimstone; filter it, and abstract all the moisture with a gentle heat, and there will distil over a liquor, as sweet as rain water (for steel by reason of its dryness detains the Corrosiveness of the spirit of Salt, which remain∣eth in the bottom, like a blood red mass, and it is as hot on the tongue as fire:) dissolve this blood red mass in oyl of Flints or Sand, and you shall see it grow up in two or three hours like a tree with stem and branches.

If you prove this tree at the test, it will yield good gold, which it draweth from the oyl of Sand or Flints; the said oyl being full of a pure golden Sulphur.

LVII. To make oyl of Flints or Sand.

Take of most pure Salt of Tartar in fine powder twenty ounces; small Sand, Flints, pebbles, or Cry∣stals in fine powder five ounces, mix them; put as much of this as will fill an Egg-shell into a cru∣cible, set it in a furnace, and make it red hot, and pre∣sently there will come over a thick and white spirit; take out the crucible whilest it is hot, and that which is in it, like transparent glass, keep from the air; after beat it to powder, and lay in a moist place, and it will dissolve into a thick, fat oyl, which is the oyl of Flints, Sand, pebbles or Crystals. This oyl precipitateth me∣tals, and makes the Calx there more heavy than oyl of Tartar doth; it is of a golden nature, and extracts colours from all Minerals; it is fixed in all fires, maketh fine

Crystals, and Borax, and maturateth imperfect metals into Gold.

LVIII. To melt Metals quickly.

Take a Crucible, and make in it a lay or course of the powder of any metal, then lay upon it a lay of Sul∣phur, Salt-peter and Saw-dust of each alike mixed to∣ther, put a coal of fire to it, and the Metal will imme∣diately be in a mass.

LIX. Lastly, He that shall observe the work and reason of the silver, golden and steel trees, may in like manner produce the like out of the Calx of other Me∣tals.

CHAP. XXX. Of the Instruments and Materials of Casting.

I. HE that would learn to cast, must be provided of all the chief Tools thereto belonging; which are 1. A Trough, 2. Sand, 3. A Flask, 4. Skrew, 5. Tri∣poli, 6. The Medal or form, 7. A Furnace, 8. Crucibles, 9. A Pipe. 10. Tongs, 11. Two Oak plates, 12. Plegets of wool, 13. Oyl and Turpentine, 14. A Hares foot, 15. Brushes.

II. The Trough is a four-square thing about half a foot deep or something more; and its use is to hold the Sand.

III. Of Sand there is various sorts, the chief are Higate Sand, and Tripoll; the which to make fit for the work you must order thus.

If it is Higate Sand, you must finely sift it; if Tripoli, you must first beat it fine, then-sift it through a fine s••ve:

to either of these fine sands you must put of pure fine Bole (an ounce to nine ounces) well beaten, dissolved in water, and lastly reduced into fine powder; which powders you must moderately moisten with this Magisterial water, viz. filterated Brine made of decripitated common Salt: or the same, mixed with Glair of Eggs.

IV. The Flask is a pair of Oval Irons, containing only sides to hold the Sand, which must be pressed hard thereinto: and a passage or mouth for the metal to run in at.

V. The Skrew is an Iron Press, between which the flask is put and prest, after that it is filled with Sand, and hath received the form or impression to be cast.

VI. Tripoli is that of which the second sort of Sand is made, which here ought to be calcined and beaten into impalpable powder, to strew over the sandy moulds; first that the sides of the flask may not cleave together when they are full; secondly that the thing cast may have the perfect form and impression, without the least scratch or blemish imaginable.

The Medal or form, is that which is to be impressed upon the Sand, whose likeness we would imitate.

VIII. The Furnace is that which contains the fire, where the Crucible is put, for the Metal to melt in which is generally melted with Charcoal.

IX. The Crucibles are calcining or melting pots, (commonly three-square) made so as they may en∣dure the fire all over, in which the metal is to be melted.

X. The Pipe is a hollow Reed, or piece of Tin, to blow coals and filth out of the Crucible.

XI. The Tongs are a crooked Instrument to take coals out of the crucible with, as also to stir and repair the fire; and to take the pot out of the furnace when you go to Cast.

XII. The two Oak plates are to be smooth, and to be put between the flask and the sides of the skrew, on each side.

XIII. Pledgets of wool are to be put between the Oak plates and the sand to fill up empty spaces if there be any.

XIV. The Oyl and Turpentine is to wet some paper or cotton threads, which must be set on fire, to smoak the Impression or Mould (being dry) that the metal may run the better.

XV. The Hares foot is to wipe the hollow places in the Mould, if they should be too much filled with smoak.

XVI. The Brushes ought to be two, to wit one with thick bar Wire strings; another with Hogs Bristles, wherewith the work (both before and after casting) ought to be rubbed and cleansed.

CHAP. XXXI. The Way and Manner of Casting.

I. WAsh the Medal in Vinegar, in which put some Salt and Straw ashes; and rub it well with the aforesaid hair brush, then wash it with water, and dry it well.

II. Place the female part of the flask upon one of the Oak plates; so that the middle part, viz. that which is joined to the other, may lie downwards.

III. Then put the cleansed Medal in the flask upon the Oak plate, in a right line to the mouth of the flask: and if there be two, let them be placed so, that there may be a place left in the middle for the melted metal to run in as.

IV. Then take of the aforesaid earth or sand pre∣pared, (that is, so much moistned with the Magisterial water, that being crushed between the hands or fin∣gers, it will not stick but like dry flower, and will stand with the print of the hand closed together) and press it on well in the flask upon the Medal with the fleshy part of your fingers or hand; then with a rule strike off all the superfluous sand that sticks about the flask.

V. This done, the plegets of wool, or a woolen cloth, must be laid upon it, and then the other Oak plate, and then turned up with both hands, the plates being both held close.

VI. Then taking off the upper plate; put upon it the male part of the flask, which fill with sand in like manner (the Medal being now between) pressing it down as before, and then with a ruler striking away the superfluous sand.

VII. Upon which lay a woolen cloth, and gently lift off the top, or upper part of the flask, so that the medal may be taken forth.

VIII. All things being thus done with a knife (or some such like) cut the passage for the metal, which let be a little dried: then,

IX. Either strew over the side of the impression (now taken off) with a calcined Tripoli ground im∣palpable; applying it upon the female flask again; turn the female flask uppermost, which take off, and strew it in like manner, with the calcined Tripoli, and putting them together again, press them so hard, as that the fine Tripoli may receive the most perfect impression of the Medal, which then take out, by separating the sides of the flask, and gently shaking that part which holds it, till it falls out:

X. Or with Cotton wet in Oyl and Turpentine and set on fire let the Impression be smoaked; and if any

superfluous fume be taken, wipe it off with a Hares foot.

XI. Then join the sides of the flask together, put∣ting them with the woolen cloaths between the Oaken plates, which put into the Press, and skrew them a little.

XII. Then the Metal being melted, put it into the mould being hot, which if it be Silver, or blanched Brass, or Copper, it will run well enough.

XIII. But if it runs not well, you may cast in about the hundred part of Mercury sublimate, and an eighth part of Antimony; for so it will not only run well, but also be a harder metal.

XIV. Lastly, the Medal being cooled, take it neatly out and keep it.

Where note 1. That so long as the Impression or mould is not spoiled, you may still cast more Medals therein; but when it decays, you must perfectly renew the whole work as at first. 2. That you may blanch them with a pure whiteness by the ninth Section of the nine and twentieth Chapter of this Book; or thus, if they be of whitened Brass, Take Sal armoniack one ounce and an half, Salt-peter two ounces and a half, Leaf silver twenty four grains; mix them and evaporate them in a Luted crucible, having a hole in the cover, till all the moisture is gone; being cold beat all into fine powder; of which take one ounce, Salt, Alom, Tartar, of each one handful, fair water a sufficient quantity; mix and boil all in a glazed vessel, in which put the Medals boiling them till they are purely white: then rub them with the Tartar in the bottom very well, wash them in fair water and dry them. 3. That if the Medals be of Gold, or of a golden colour, you may heighten it with Verdigriese and Ʋrine.

CHAP. XXXII. Of Glass and Precious Stones.

I. TO melt Crystal.

Beat Crystal to bits, and put them into an Iron spoon, cover it and lute it well, and heat it in the fire till it is red hot, which quench in oyl of Tartar: this do so often, till they will easily beat to powder in a mortar, which will then easily melt.

This is of use to counterfeit Jewels with.

II. To make a Cement for broken Glasses.

Glair of Eggs mixed with Quick-lime will join bro∣ken pieces of Glass together, and all earthen pots, so as that they shall never be broken in the same place a∣gain.

Or thus, Take old liquid Varnish, and join the pieces with; bind them together and dry them well in the Sun or in an Oven, and they will never unglew again: but put no hot liquor into them then.

Or thus, Take White-lead, Red-lead, Quick-lime, Gum sandrack of each one ounce, mix all with glair of eight eggs.

Or thus, Take White-lead, bole, liquid varnish as much as sufficeth.

Or thus, Take White-lead, Lime, glair of Eggs, as much as sufficeth.

Or thus, Take fine powder of glass, Quick-lime, Liquid varnish, of each a sufficient quantity.

Or thus, Take Quick-lime powdered, liquid varnish, glair of Eggs, of each alike: grind them upon a stone: this is a strong glew even for stones.

Or thus, Take Calcined flints and egg-shells of each alike, and with whites of Eggs and gum tragacanth or dissolution of Gum Sandrack make glew, this in few days will be as hard as stone.

Or thus, Take calcined flints two pound, Quick∣lime four pound, Linseed oyl so much as may temper the mixture, this is wonderful strong: but with liquid varnish it would be stronger.

Or thus, Take fish glew, and beat it thin, then soak it in water till it is like paste, make rouls thereof which draw out thin: when you use it, dissolve it in fair wa∣ter over the fire, letting it seeth a while and scumming of it, and whilest it is hot use it. This not only cements glass, but Tortoise shell and all other things.

III. To wake Glass green.

Green glass is made of fern ashes, because it hath much of an alkaly salt. Crystal or Venice Glass is tin∣ged green with Ore of Copper; or with the Calx of Copper five or six grains to an ounce.

IV. To counterfeit a Diamond.

Take a Saphyre of a faint colour, put into the middle of a crucible in quick Lime, and put it into a gentle fire, and heat it by degrees till it is red hot, keep it so for six or seven hours; let it stand in the crucible till it is cold, (lest taking it out hot it should break) so will it lose all its colour, and be perfectly like a Diamond, so that no file will touch it: if the colour is not all va∣nished at the first heating, you must heat it again till it is perfect.

V. To prepare the Salts for counterfeit Gems.

The Salts used in making counterfeit Gems, are chiefly two, the first is made of the herb Kali; the se∣cond of Tartar; their preparations are according to the usual way (but in Glass vessels.)

VI. To prepare the matter of which Gems are made.

The matter is either Crystal or flint that is clear and white: put them into a crucible in a reverberatory heat (the crucible being covered) then take them out and cast them into cold water, so will they crack and easily reduce to powder: of which powder take an e∣qual quantity with Salt of Tartar (or Sal Alkali) to which mixture add what Colour you please, which must be either Metalline or Mineral: put them into a very strong Crucible (filling it about half full) cover it close, and melt all in a strong fire till it become like glass.

Where note, in melting you must put an Iron red into it, and take up some of it, and if it is free from bubbles, grains, or specks, it is fused enough: if not, you must fuse it till it is free.

VII. To make a counterfeit Diamond of Crystal.

Put Crystal in a crucible and set it in a glass furnace all night, and then bring it to fine powder, mix it with equal parts of Sal Tartari, digest all night in a vehe∣ment heat, but yet not to melt, then take them out, and put them into another vessel which will stoutly en∣dure the fire; let them stand melted two days and take out the mass.

VIII. To make a Chalcedon.

Mingle with the powder of Crystal, a little calcined silver, and let it stand in fusion twenty four hours.

IX. To make counterfeit Pearls.

Mix Calx of Luna and Egg-shells with leaf silver ground with our best varnish, of which make paste, and having bored them with a hogs bristle, dry them in the Sun, or an Oven.

X. To counterfeit a Ruby.

Take Sal Alkaly four ounces, Crystal three ounces, Scales of Brass half an ounce, leaf gold six grains, mix all, and melt them in a reverberatory.

XI. To counterfeit a Carbuncle.

Mix Crystal with a little red Lead, putting it into a furance for twenty four hours, then take it out, pow∣der and searce it, to which add a little Calcined brass; melt all again, and add a small quantity of leaf gold, stirring it well three or four hours, and in a day and night it will be done.

XII. An Artificial Amethyst.

Take Crystal one pound, Manganess one drachm, mix and melt them.

Or thus, Take Sal Alkaly three ounces, powder of Crystal four ounces, filings of Brass half an ounce, melt all in a strong fire.

XIII. An Artificial Jacynth.

Put Lead into a strong crucible, and set it into a fur∣nace, let it stand there about six weeks till it is like glass, and it will have the natural colour of a Jacynth not ea∣sily to be discerned.

XIV. An Artificial Chrysolite.

Mix with melted Crystal a sixth part of scales of I∣ron, letting it stand in a vehement fire for three days. Or thus, to the mixture of the Topaze add a little Cop∣per.

XV. An Artificial Topaze.

To Crystal one pound, add Crocus Martis two Drachms, Red Lead three ounces, first putting in the Lead, then the Crocus.

XVI. Artificial Corals.

Take the scrapings of Goats horns, beat them to∣gether, and infuse them in a strong Lixivium made of Sal fraxini for five days: then take it out and mingle it with Cinnaber dissolved in water; set it to a gentle fire that it may grow thick; make it into what form you please, dry, and polish it. Or thus, Take Minii one ounce, Vermilion ground fine half an ounce,

Quick-lime, and powder of Calcined flints, of each six ounces, a Lixivium of Quick-lime and Wine, enough to make it thick: add a little Salt, then make it into what form you please, and boil it in Linseed oyl.

XVII. An Artificial Emerald.

Take Brass (three days) Calcined in powder, which put again into the furnace with oyl and a weaker fire; let it stay there four days, adding a double quan∣tity of fine sand or powder of Crystal: after it is some∣thing hard, keep it at a more gentle fire for twelve hours, and it will be a lovely, pleasant and glorious green. Or thus, Take fine Crystal two ounces and an half, Sal Alkali two ounces, flas aeris infused in Vine∣gar and strained one ounce, Sal Tartari one ounce and half; mix and lute them into a crucible, and put all in∣to a glass-makers furnace for twenty four hours, and it will be glorious indeed. Or thus, Take Crystal ten ounces, Crocus Martis, and Brass twice calcined, of each one pound, mix and melt them, stirring them well with an Iron Rod.

XVIII. An Artificial Sapbyre.

To melt Crystal put a little Zaphora (two Drachms to a pound of Crystal) then stir it continually from top to bottom with an Iron hook, till it is well mixed, keep it in the furnace three days and it is done: yet when it is well coloured, unless it be presently removed from the fire, it will lose its tincture again.

XIX. Artificial Amber.

Boil Turpentine in an earthen pot, with a little cot∣ton (some add a little oyl) stirring it till it is as thick as paste, then put it into what you will, and set it in the Sun eight days, and it will be clear and hard, of which you may make beads, hasts for knives, and the like.

XX. Another way to counterfeit Amber.

Take sixteen yolks of Eggs, beat them well with a spoon; Gum Arabick two ounces, Cherry-tree Gum an ounce, make the Gums into powder, and mix them well with the yolks of Eggs; let the Gums melt well, and put them into a pot well leaded, then set them six days in the Sun, and they will be hard, and shine like glass; and when you rub them, they will take up a wheat straw, as other Amber doth.

XXI. To make yellow Amber soft.

Put yellow Amber into hot melted wax well scum'd and it will be soft, so that you may make things thereof in what form and fashion you please.

XXII. Another Artificial Amber.

Take whites of eggs well beaten, put them into a vessel with strong white wine Vinegar, stop it close, let it fland fourteen days, then dry it in the shade, and it will be like to Amber.

XXXIII. Another Artificial Amber.

Break whites of eggs with a spunge, take off the froth, to the rest put Saffron, put all into a glass close stopped, or into a Copper or brazen vessel, let it boil in a kettle of water, till it be hard; then take it out and shape it to your liking, lay it in the Sun and anoint it often with Linseed oyl mixed with a little Saffron; or else being taken out of the Kettle, boil it in Linseed∣oyl.

XXIV. To make white Enamel.

Take Calx of Lead two ounces, Calx of Tin four ounces, make it into a body with Crystal twelve ounces, role it into round balls, and set it on a gentle fire for a night, stirring it about with an Iron rod, till it is melted, and it is done.

XXV. The general preparations and proportions of Mi∣neral Colours.

Plates of Copper must be made red hot, & then quenched

in cold water; of which five or six grains mixed with Crystal and Sal Tartari of each half an ounce, and melted, will colour a Sea-green. Iron must be made into a Crocus in a reverberatory fire; of which eight or ten grains will tinge the said ounce of mixture into a yellow or hyacinth colour. Silver is to be dissolved in Aqua fortis and precipitated with oyl of flints, then dulcifyed with water and dryed; of this five or six grains to an ounce, gives a mixed colour. Gold must be dissolved in Aqua Regis, and precipitated with liquor of flints, then sweetned and dryed; of which five or six grains to one ounce gives a glorious Saphe∣rine colour. Gold melted with Regulus Martis nitro∣sus five or six grains to one ounce, gives an incompara∣ble Rubine colour. Magnesia in powder only ten or twelve grains to one ounce, makes an Amethyst Colour. Granata in powder only ten or fifteen grains to one ounce, will tinge the mass into a glorious Smaragdine Colour, not unlike to the natural.

XXVI. Lastly, Common Copper makes a Sea-green: Copper of Iron a Grass-green: Granats, a Smaragdine: Iron, Yellow or Hyacinth: Silver, White, yellow, green and granat: Gold, a fair skie colour: Wismut, a common Blew: Magnesia, an Amethyst colour: Copper and Sil∣ver, an Amethyst colour: Copper and Iron, a pale green: Wismut and Magnesia, a purple colour: Silver and Ma∣gnesia, an Opal; and the like.

XXVII. To make Azure.

Take Sal armoniack three ounces, Verdigriefe six ounces, make them into powder, and put them into a glass with water of Tartar, so that it may be somewhat thick, stop the glass and digest in Sand in Horse-dung for eight or ten days and it will be good azure.

XXVIII. Another way to make good beyond-sea A∣zure.

Beat common azure with Vinegar, and anoint there∣with thin plates of Silver, and put the same over a ves∣sel full of Urine, which set over hot ashes and coals, moving and stirring it till it looks like good a∣zure.

CHAP. XXXIII. The Ways and Manner of Gilding.

I. To lay Gold on any thing.

Take red Lead ground fine, temper it with Lin∣seed oyl: write with it and lay Leaf gold on it, let it dry, then polish it.

II. To lay Gold on Glass.

Take Chalk and red Lead of each alike, grind them together, and temper them with Linseed oyl: lay it on, and when it is almost dry, lay leaf gold on it; let it dry, then polish it.

III. To gild Iron with a water.

Take Spring water three pound, Roch Alom three ounces, Roman Vitriol, Orpiment, one ounce, Verdigriese twenty four grains, Sal gem three ounces, boil all together, and when it begins to boil, put in Tartar and Bay salt of each half an ounce; continue the boiling a good while, then take it from the fire, strike the Iron over therewith, dry it against the fire and burnish it.

IV. To lay Gold on Iron or other Metals.

Take liquid Varnish one pound, oyl of Linseed and Turpentine, of each one ounce; mix them well toge∣ther: strike this over any metal, and afterwards lay on the gold or silver, and when it is dry polish it.

V. To Gild Silver or Brass with Gold water.

Take Quick-silver two ounces, put it on the fire in a Crucible, and when it begins to smoak, put into it an Angel of fine Gold; then take it off immediately, for the Gold will be presently dissolved: then if it be too thin, strain a part of the Quick-silver from it, through a piece of Fustian: this done, rub the Gold and Quick∣silver upon Brass or Silver, and it will cleave unto it, then put the said Brass or Silver upon quick coals till it begin to smoak, then take it from the fire, and scratch it with a hair brush; this do so long till all the Mer∣cury is rubbed as clean off as may be, and the gold ap∣pear of a faint yellow: which colour heighten with Sal Armoniack, Bole and Verdigriese ground together and tempered with water.

Where note, that before you gild your Metal, you must boil it with Tartar in Beer or water, then scratch it with a wire Brush.

VI. Another water to gild Iron, Steel, Knives, Swords and Armour with.

Take Fire-stone in powder, put it into strong red wine vinegar for twenty four hours, boil it in a glazed pot, adding more Vinegar as it evaporates, or boils a∣way: into this water dip your Iron, Steel, &c. and it will be black; dry it, then polish it, and you will have a gold colour underneath.

VII. Another water to gild Iron with.

Take Salt peter, Roch-alom burnt of each half an ounce; Sal-armoniack an ounce, all being in fine pow∣der, boil with strong Vinegar in a Copper vessel; with which wet the Iron, &c. then lay on leaf Gold.

VIII. Another water to gild Iron with.

Take Roch-alom, and grind it with boys Urine, till it is well dissolved, with which anoint the Iron, heat it red hot in a fire of wood coals, and it will be like Gold.

IX. To gild Books.

Take Bole Armoniack four peny-weight, Sugar-can∣dy one peny-weight, mix and grind them with glair of Eggs; then on a bound Book, (while in the press, after it hath been smeared with glair of Eggs, and is dried) smear the said composition, let it dry, then rub it well and polish it: then with fair water wet the edges of the Book, and suddenly lay on the gold, pres∣sing it down with Cotton gently, this done let it dry, and then polish it exactly with a tooth.

X. Another way of Gilding Iron.

Take water three pound, Alom two ounces, Sal gem three ounces, Vitriol Roman, Orpiment of each one ounce, flos Aeris twenty four grains; boil all with Tar∣tar and Salt as at the third Section.

XI. To make Iron of the colour of Gold.

Take Linseed oyl three ounces, Tartar two ounces, yolks of Eggs boiled hard and beaten two ounces, A∣loes half an ounce, Saffron five grains, Turmerick two grains: boil all in an Earthen vessel, and with the oyl anoint Iron, and it will look like Gold. If there be not Linseed oyl enough, you may put in more.

XII. A Golden liquor to colour Iron, Wood, Glass, or bones with.

Take a new laid Egg, through a hole at one end take out the white, and fill up the Egg with Quick∣silver two parts, Sal-armoniack finely powdred one part; mix them all together with a Wire or little stick: stop the hole with melted Wax, over which put an half Egg-shell: digest in horse dung for a month, and it will be a fine golden coloured Liquor.

XIII. To gild Silk and Linnen.

Take Glew made of parchment, lay it on the Lin∣nen, or Silk, &c. gently, that it may not sink: then take Ceruse, Bole and Verdigriese of each alike, mix

and grind them upon a Stone: then in a glazed vessel mix it with varnish, which let simper over a small fire, then keep it for use.

XIV. Another of a pure gold colour.

Take juice of fresh Saffron, or (for want of it) Saffron ground, the best clear Orpiment of each alike: grind them with Goats gall or gall of a Pike (which is better) digest twenty eight days in horse dung, and it is done.

XV. To gild on Wood or Stone.

Take Bole Armoniack, Oyl Ben, of each a sufficient quantity; beat and grind them together: with this smear the wood or stone, and when it is almost dry, lay on the Leaf-gold, let it dry, then polish it.

XVI. To gild with Leaf-gold.

Take leaves of gold, and grind them with a few drops of honey, to which add a little gum-water, and it will be excellent to write or paint with.

XVII. To gild Iron or Steel.

Take Tartar one ounce, Vermilion three ounces, Bole armoniack, Aqua Vitae of each two ounces, grind them together with Linseed oyl, and put thereto Lapis Calaminaris the quantity of a hasle nut; and grind therewith in the end a few drops of Varnish; take it off the Stone, strain it through a linnen cloth (for it must be as thick as honey) then strike it over Iron or Steel, and let it dry; then lay on your Silver or Gold, and burnish it.

XVIII. To colour Tin or Copper of a golden Colour.

Take Linseed oyl, set it on the fire, scum it; then put in Amber, Aloes hepatick, of each alike, stir them well together till it wax thick; then take it off, cover it close, and set it in the earth three days: when you use it, strike the Metal all over with it, with a pencil, let it dry, and it will be of a golden colour.

XIX. To gild any Metal.

Take strong Aqua fortis, in which dissolve fine Sil∣ver, to which put so much Tartar in fine pow∣der, as will make it into paste, with which rub any metal, and it will look like fine Silver.

XX. To gild so as it shall not out with any water.

Take Oker calcined, pumice stone of each alike, Tar∣tar a little, beat them with Linseed oyl, and five or six drops of Varnish, strain all through a Linnen cloth, with which you may Gild.

CHAP. XXXIV. Of Paper, Parchment, and Leather.

I. TO make paper waved like Marble.

Take divers oyled colours, put them severaly in drops upon water, and stir the water lightly: then wet the Paper (being of some thickness) with it, and it will be waved like Marble; dry it in the Sun.

II. To write golden letters on Paper or Parchment.

This may be done by the ninth, tenth, and twelvth Se∣ctions of the three and thirtieth Chapter of this Book: or write with Vermilion ground with Gum Armoniack, ground with glair of Eggs, and it will be like gold.

III. To take out blots, or make black Letters vanish, in Paper or Parchment.

This may be done with Alom water; or with Aqua fortis mixed with common water.

IV. To make Silver letters in Paper or Parchment.

Take Tin one ounce, Quick-silver two ounces, mix and melt them, and grind them with Gum water.

V. To write with green Ink.

Take Verdigriese, Litharge, Quick-silver, of each a sufficient quantity, grind and mingle them with U∣rine; and it will be a glorious green like an Emerald to write or paint with:

Or thus, Grind juice of Rue and Verdigriese with a little Saffron together; and when you would write with it mix it with Gum water: Or thus, Dissolve Verdi∣griese in Vinegar, strain it, then grind it with common water, and a little honey; dry it; then grind it again with gum water, and it is done.

VI. To write on Paper or Parchment with blew Ink.

Grind blew with honey, then temper it with Glair of Eggs or gum water made of Isinglass.

VII. To Dye Skins Blew.

Take berries of Elder or Dwarf-elder, first boil them, then smear and wash the Skins therewith, and wring them forth: then boil the berries as before, in the dissolution of Alom water, and wet the Skins in the same water once or twice, dry them and they will be very Blew.

VIII. To dye Skins into a reddish Colour.

First wash the Skin in water and wring it well: then wet it with the solution of Tartar and Bay salt in fair water, and wring it again: to the former dissolution add ashes of Crab shells and rub the Skin very well therewith, then wash with common water and wring them out: then wash them with tincture of Madder, in the solution of Tartar, Alom, and the aforesaid Ashes; and after (if not red enough) with the Tin∣cture of Brazil.

IX. Another way to Dye them red.

Wash the Skins, and lay them in galls for two hours; wring them out, and dip them into a colour made with Ligustrum, Alom and Verdigriese in water: Lastly, twice dye them with Brazil boiled with lye.

X. Another way to Dye them Blew.

Take the best Indico and steep it in Urine a day, then boil it with Alom, and it will be good. Or, temper the Indice with red Wine, and wash the Skins there∣with.

XI. To dye Skins Purple.

Take Roch Alom, dissolve it in warm water, wet the Skins therewith drying them again; then take rasped Brazil, boil it in water well, then let it cool; do thus thrice: this done rub the dye over the skins with your hand, which being drye polish.

XII. To dye Skins of a sad green.

Take the filings of Iron and Sal armoniack of each, steep them in Urine till they be soft, with which besmear the skin, being stretched out, drying it in the shade: the colour will penetrate and be green on both sides.

XIII. To dye Skins of a pure sky colour.

For each skin take Indico an ounce, put it into boil∣ing water, let it stand one night, then warm it a little, and with a brush pencil besmear the skin twice over.

XIV. To dye skins of a pure yellow.

Take fine Aloes one ounce, Linseed oyl two pound, dissolve or melt them, then strain it; besmearing the skins therewith, being dry, varnish them over.

XV. To dye Skins green.

Take Sap green, Alom water, of each a sufficient quantity, mix and boil them a little: If you would have the colour darker, add a little Indico.

XVI. To dye Skins Yellow.

Infuse Woold in Vinegar, in which boil a little A∣lom: Or thus, having dyed them Green by the fif∣teenth Section, dip them in decoction of Privit berries and Saffron and Alom water.

XVII. To dye them of an Orange Colour.

Boil Fustick berries in Alom water: but for a deep Orange, use Turmerick root.

XVIII. A Liquor to gild Skins, Metals, or Glass.

Take Linseed Oyl three pound, boil it in a glazed vessel till it burns a feather being put into it; then put to it Pitch, Rozin, dry Varnish, or Gum Sandrach, of each eight ounces, Aloes Hepatica four ounces; put all in powder into the oyl, and stir them with a stick, the fire being a little encreased: if the Liquor is too clear or bright, you may add ounce or two more of A∣loes Socratine, and diminish the Varnish, so the Li∣quor will be darker and more like Gold. Being boiled, take it, and strain it, and keep it in a Glass for use: which use with a pencil.

CHAP. XXXV. Of Wood, Horns, and Bones.

I. TO Dye Elder, Box, Mulberry-tree, Pear-tree, Nut∣tree of the colour of Ebony.

Steep the wood in Alom water three or four days, then boil it in Common Oyl, with a little Roman Vitriol and Sulphur.

Where note, the longer you boil the wood, the blacker it will be, but too long makes them brittle.

II. To Dye Bones green.

Boil the Bones in Alom water, then take them out, dry them and scrape them, then boil them in Lime wa∣ter with a little Verdigriese.

III. To Dye Wood like Ebony, according to Glauber.

Distil an Aqua fortis of Salt-peter and Vitriol.

IV. To make Horns black.

Vitriol dissolved in Vinegar and spirit of Wine will make Horns black: so the Snow white Calx of Silver in fair water.

V. To make Bones white.

They are strangely made white by boiling with water and Lime; continually scumming of it.

VI. To dye Bones green.

Take white Wine-vinegar a quart, filings of Copper, Verdigriese, of each three ounces, Rue bruised one handful; mix them, and put the Bones therein for fifteen days.

VII. To Dye Wood, Horn, or Bones red.

First boil them in Alom water, then put them into tincture of Brazil in Alom water for two or three weeks: or into Tincture of Brazil in Milk.

VIII. To Dye them Blew.

Having first boiled them•• in Alom water, then put them into the Dissolution of Indico in Urine.

To Dye them Green like Emeralds.

Take Aqua fortis. and put as much filings of Cop∣per into it, as it will dissolve; then put the Wood, Horns or Bones therein for a night.

X. To Dye Bristles and Feathers.

Boil them in Alom water, and after, while they are warm, put them into Tincture of Saffron, if you would have them yellow: or juice of Elder berries, if blew: or in Tincture of Verdigriese, if green.

XI. To Dye an Azure Colour.

Take Roch Alom, filings of Brass, of each two ounces, Fish glew half an ounce, Vinegar, or Fair wa∣ter a pint, boil it to the Consumption of the half.

XII. To soften Ivory and Bones.

Lay them twelve hours in Aqua fortis, then three days in the juice of Beets, and they will be tender, and you may make of them what you will: To barden them again, lay them in strong White-wine Vinegar.

XIII. To make Horns soft.

Take Urine a Month old, Quick-lime one pound,

calcined Tartar half a pound, Tartar crude, Salt, of each four ounces, mix and boil all together, then strain it twice or thrice, in which put the horns for eight days, and they will be soft.

XIV. Another way to make them soft.

Take ashes of which glass is made, Quick-lime of each a pound, water a sufficient quantity, boil them till one third part is consumed, then put a feather into it, if the feather peel it is sodden enough, if not, boil it longer, then clarify it, and put it out, into which put filings of Horn for two days; anoint your hand with oyl, and work the horns as it were paste, then make it into what fashion you please.

XV. Another way to soften Horns.

Take juices of Marubium, Alexanders, Yarrow, Celandine and Radish roots, with strong Vinegar, mix them, into which put Horns and digest seven days in horse-dung, then work them as before.

XVI. To cast Horns in a mould, like as Lead.

Make a Lixivium of Calcined Tartar and Quick∣lime, into which put filings or scrapings of Horn, boil them well together, and they will be as it were pap, tinge it of the colour you would have it, and then you may cast it in a mould, and make thereof what fashion∣ed things you please.

XVII. To make Ivory white.

If Ivory be yellow, spotted or coloured, lay it in Quick-lime, pour a little water over it, letting it lye twenty four hours, and it will be fair and white.

CHAP. XXXVI. Of Dying Yarn, Linnen Cloth, and the like.

I. TO Dye a sad Brown.

First infuse the matter to be dyed in a strong tincture of Hermodacts: then in a bag put Saffron and ashes, stratum super stratum, upon which put water two parts mixed with Vinegar one part; strain the water and Vinegar through hot, fifteen or sixteen times: in this Lixiviate Tincture of Saffron put what you would dye, letting it lie a night, then take it out, and hang it up to dry without wringing, which do in like manner the second and third times.

II. To Dye a Blew Colour.

Take Ebulus berries ripe and well dried, steep them in Vinegar twelve hours, then with your hands rub them, and strain through a linnen cloth, putting there∣to some bruised Verditer and Alom.

Note, if the Blew is to be clear, put more Verditer to it.

III. Another excellent Blew Dye.

Take Copper scales one ounce, Vinegar three oun∣ces, Salt one Drachm; put all into a Copper vessel; and when you would dye, put the said matter into the tincture of Brazil.

IV. Another excellent Blew Dye.

Take calcined Tartar three pugils, unslak'd Lime one pugil, make a Lixivium, and filtrate it; to twelve or fifteen quarts of the same water put Flanders blew one pound, and mix them well: set it to the fire, till you can scarcely endure your hand in it: then first boil what you would dye in Alom water, then dry it; after∣wards

dip it in hot Lye twice or thrice; then put it in∣to the Dye.

V. A good red Dye.

Take Brazil in powder, fine Vermilion, of each half an ounce, boil them in Rain water, with Alom one drachm, boil it till it is half consumed.

VI. Another excellent good Red Dye.

Take of the Lixivium of unslak'd Lime one pint, Brazil in powder one ounce, boil to the half; then put to it Alom half an ounce, keep it warm, but not to boil: then dip what you would dye, first in a Lixivium of Red wine Tartar, let it dry; then put it into the Dye.

VII. Another very good Red.

Take Rosset with gum Arabick, boil them a quarter of an hour, strain it: then first boil what you would dye, in Alom water two hours; after put it into the Dye.

VIII. To make a fair Russet Dye.

Take two quarts of water, Brazil one ounce, boil it to a quart; put to it a sufficient quantity of Granie and two drachms of Gum Arabick.

IX. A good Purple Colour.

Take Myrtle berries two pound, Alom, calcined Brass of each one ounce, water two quarts, mix them in a Brass kettle, and boil half an hour, then strain it.

X. A Yellow Colour.

Take berries of purging Thorn, gathered about Lammas day, bruise them, adding a little Alom in powder; then keep all in a Brass vessel.

XI. Another good Yellow.

Put Alom in powder to the Tincture of Saffron in Vinegar.

XII. A very good Green Colour.

Take Sap green, bruise it, put water to it, then add a little Alom, mix and infuse for two or three days.

XIII. To take out Spots.

Wash the spots with oyl of Tartar per Deliquium, two or three times and they will vanish, then wash with water. Spirit of Wine to wash with is excellent in this case. If they be Ink spots, juice of Lemmons or Spirit of Salt is incomparable, washing often and dry∣ing it: so also Castle Soap and Vinegar.

CHAP. XXXVII. Of the Dying of Stuffs, Cloaths and Silks.

I. TO make a substantial blew Dye.

Take Woad, one pound, and mix it with four pound of boiling water: Infuse it twenty four hours; then die with it all white colours.

II. To make a firm black Dye.

First Wad it with the former Blew: then take of Galls one pound; water sixty pound; Vitriol three pounds: first boil the Galls and water with the Stuff or Cloath, two hours: then put in the Coperas at a cooler heat for one hour: then take out the Cloath or Stuff and cool it, and put it in for another hour, boil∣ing it: Lastly take it out again, cool it, and put in once more.

III. To make an excellent Yellow Dye.

Take liquor or decoction of Wheat-bran (being very clear) sixty pound: in which dissolve three pound of Alom: then boil the stuff or cloath in it for two hours: after which take Wold two pounds, and boil it till you see the colour good.

IV. To make a very good Green Dye.

First Dye the Cloth or Stuff Yellow by the third Section, then put it into the Blew Dye, in the first Section of this Chapter.

V. To make a pure clear Red Dye.

Take Liquor or Infusion of Wheat-bran (being strained and made very clear,) sixty pounds, Alom two pounds, Tartar one pound; mix and dissolve them, with which boil the Stuff or Cloath for two hours: take it then out, and boil it in fresh Wheat∣bran liquor, sixty pounds; to which put Madder three pounds; perfect the colour at a moderate heat, with∣out boiling:

VI. To make a very pleasant Purple Dye.

First Dye it Blew, by the first rule of this Chapter: then boil it in the former Red at the fifth rule hereof; Lastly finish it with a decoction of Brazil.

VII. To Dye Crimson in Grain.

First boil it in the Red at the fifth rule of this Chapter: then finish it in a strong tincture of Cochenele made in the Wheat-bran Liquor aforefaid.

VIII. To make a Bow-dye or Scarlet Colour.

Take water an hundred pounds; Cremor Tartari and Aqua fortis of each half a pound; parched pease in powder an hundred: boil all together with the stuff for two hours; this done, take new water an hundred pound weight; Cremor Tartari & Aqua fortis of each two ounces, in which boil the Stuff or Cloath for a quarter of an hour; then put in the Cochenele, and boil all for about half an hour, and it is done. Where note that the vessels in which the Stuff and Liquors are boiled must be lined with Tin, else the Colour will be defective. The same observe in Dying of Silks (in each colour) with this Caution, that you give them a much milder heat, and a longer time.

IX. The Bow-dyers know that dissolved Lime (that

is the solution of Jupiter) being put into a kettle to the Alom and Tartar-makes the Cloath attract the Co∣lour into it, so that none of the Cochenele is left; but is all drawn out of the water into the Cloath.

The Spirit of Nitre being used with Alom and Tartar, in the first boiling makes a firm ground, so that they shall not spot nor lose their colour by the Sun, Fire, Air, Vinegar, Wine, Ʋrine or Salt-water.

To enumerate all the great variety of Dyes, or Co∣lours; or offer at an essay to reduce them to a certain method, as it is a labour needless, so it is as altogether impossible, there being infinite Colours to be produced, for which (as yet) we have no certain, known or real name: And out of what we have already enu∣merated in this Chapter, the ingenious (if they please) shall find (by little practice and Experience) such great variety to be apparent, that should we express the number though but in a very low or mean degree, we could not but be exposed in censure to an Hyperbole even of the highest: Every of the aforegoing colours, will alone or singly, produce a great number of others, the first more deep or high; the latter, all of them paler than each other: And according to the variety of colours the matter is of, before it is put into the Dye, such new variety also shall you have again when it comes out; not according to what the Colour natural∣ly gives, but another clean contrary to what you (al∣though an Artist) may expect. For if strange colours be dipt into dyes not natural to them, they produce a forced colour of a new texture, such as cannot possibly be pre∣conceived by the mind of man, although long and con∣tinued experience might much help in that case. And if such variety may be produced by any one of those single Colours; what number in reason might be the ultimate of any two or three or more of them being

complicate or compounded? Now if such great num∣bers or varieties may be produced 1. by any one single colour; 2. by being complicate; how should we (with∣out a certain and determinate limitation by denomina∣tion or name) ever order such confused, unknown, various, and undeterminate species of things, in any pleasant, intelligible method? Since therefore that the matter (as yet) appears not only hard, but also im∣possible, we shall commend what we have done to the Ingenuity of the Industrious; and desire that Candor or favour from the experienced, with love to correct our Errors; which act or kindness will not only be a future obligation to the Author, but also enforce Po∣sterity to acknowledge the same.

FINIS Libri Tertii.