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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at|http: //books .google .com/I 7/^.^ ^f^ ^-^ r s. 3Q2a7A07fti "1(2. n ^f^ ^-^ r \ MM7M7Si f:-: ORIGINAL TREATISES, DATING FROM THE XIIth TO XVIIItu CENTURIES. ON THE ARTS OF PAINTING, IN OIL, MINIATURE, MOSAIC, AND ON GLASS ; OF GILDING, DYEING, AND THE PREPARATION OF COLOURS AND ARTIFICIAL GEMS; PBBCSDBO BT A GENERAL INTRODUCTION : WITH TRANSLATIONS, PREFACES. AND NOTES. Of, ^- • ■%. -^ ^K^-K^ BY MRS. MERRIFIELD, BONOBAEY MEMBIB OV THE ACADEMY OF FINE AKTS AT BOLOONA, TBAN8LAT0B OF THE TRBATISB ON PAINTING OF CENNINO CBNNINI, AND AUTHOBE8S OF * THE ABT OF FBESOO-PAINTINO.' IN TWO VOLUMES.— VOL. IL LONDON: JOHN MURRAY, ALBEMARLE STREET. 1849. London : PHntad by Wiluam Clowmm and Sovt« Stamford Street. CONTENTS OF VOL. IL BOLOGNESE MANUSCRIPT— PreUoifaiaTy Obaervadons 326 SEGBETI PER COLOR!— (Secrets for making Colours')-^ De moltiB et diTeras Aziirru Natundibas fiendis . • 341 ( To prepare several kinda qf Natural Azures,) CAP. II. De maltis Azorris per Artificium fiendis et artificialiter feeds 385 ( To make many kinds qf Artifieial Azures,) CAP. III. De Azorris fiendis de Herbanim Succis • . . 407 (7b nuiie Azures from the Juice qf Plants.) CAP. IV. De fiendis Viridibus Ramis et de Viridibus feeds cum Erbaram Suocb in diversis Modis • . « • 419 {IhmaJU Verdigris and Green Pigments from ^ Juice cf Plants.) TOU II. a 2 IV CONTENTS OF VOL. II. CAP. V. Figo De Laccis et Pavonatiis fiendis in diversb Modis et Verzinis 433 (7b make Lakt and Pavcnazo Colours and Verzino.) CAP. VI. Ad Purpurinos et Colores Aureatos fatiendum. Etad Scuas atque Mordentea ad Aurum ponendum . . 459 (7b make *' Parpormo'* and Gold Colours^ alio to make Site and MardanUfcr gilding.) CAP. VII. De Cinabriis fiendis. Et multis aliis divenis Colloribus. Et de Mistoria CoUonim. Et ad CoUores Distemper- andum aecondam Magiatram Jacobum de Tholeto . 479 (^On making Camabar and many other Colours, On the Mixture of Colours^ and on Distempering Colours aC" cording to Master Jacob of Tholeto.) Ad Lapides Anallonim oomponendoa acilicet Gernmaa Pretioaas Claras et Laudabilis Colloris • • • 507 .(7b make Stones for Rings^ namely, Art^icial Gems, dear and of a fine colour.) A Dopengiare li Vetrij cum li Smalti de omne Collore cfae tu volj commo sonno Tazze o altre Lavore de Vetrio . . 527 (Topamt with " Smalti** qfaU Colours on C^ps and other artu^ qf Glass.) Collorea Musaict • . 531 {Colours for Mosaics.) Diyersi Collorea quibus Vasarii utuntm' pro Vasonim putcritudine ••••••« 537 ( Various Colours used by Painiersfor omanmUing Vases.) CAP. VIII. ' De Tintia ad Tmgendmn Pamium Setam et Pellem in Camuaaium et multa alia • • • • . 547 {Dyes for Cloth, SUk, Skins, Leather, and other things.) CONTENTS OP VOL. II. V MAECIANA MANUSCRIPT— Pag© Preliminary Obsenrations • 603 Secreti Diveni • • 609 {Divers Secrets,) PADUAN MANUSCRIPT— Preliminarj Observations 648 Ricette per far ognt Sorte di Colori • • . • 649 (Recipes far making all kinds cf Colours,) VOLPATO MANUSCRIPT— Preliminary Observations • • 721 Modo da Tener nel Dipinger 727 {Mode to be observed m Painting,) BRUSSELS MANUSCRIPT— Preliminary Observations • 769 Recoenil des Essaies des Merveilles de la Peinture, by Pierre Lebnm 767 {Collection of Essays on the Wonders of Painting.) EXTRACTS FROM AN ORIGINAL MANUSCRIPT, entitied 'Storia della Organizzazione Civile delle Belle Arti in Yenena per servire al Piano di Sistema Stabile di qnesta Imperiale e Reale Veneta Aocademia/ by Sig. Gio. O'Kelly Edwards (being a History of the Academy of Fine Arts in Venice) 848 PreliminaTy Observations •••••• 846 History of the Restoration of the Public Pictures at Venice • 849 EXTRACTS FROM A DISSERTATION read by Sig. Pietro Edwards in the Academy of Fine Arts at Venice on the Propriety of Restoring the Public Pictures • . . • 885 Additional Notes and Corrections • • • • • 891 Note — On the Weights and Measures mentioned in these MSS 896 INDEX 899 ERRATA. Page 339, line 16 from top, for oonch read coat. 377, dele note Q). 610, line 3 from bottom, /or " a patrido " i«, read ** a patrido," i, e, with. 668, 6 bottom,/or sandals, read taffeta. 674,' 6 top, Jor a stone impervious to water, read an absorbent stone. 712,, 14 . bottom, /or with goatskin, and mb the work well, read and mb the work well with goatskin. bottom,yor Riformati, read Riformate. top, for abazzo, read abbozzo. bottom, /or Villalpandnr, read Villalpandos. 780, 14 748, 8 796, 10 , =— ^WW^P^-^^^^-^-"— ' ■ "i BOLOGNESE MANUSCRIPT, EHTITUBD "SEGEETI PER COLORI." VOL. II. B BOLOGNESE MANUSCRIPT. PRELIMINARY OBSERVATIONS. This MS. is of the fifteenth century. It is a small volume in duodecimo, on cotton paper, and is pre- served in the Library of the R. R. Canonici Regolari in the convent of S. Salvatore in Bologna. It is num- bered 165. On the outside of the fly-leaf is written " D'acquisto di D. Gio. Giuseppe Trombelli," and on the other side of the same ^^ Libro di P. Gio. Batta Nozzi, di carte 240." The first intimation we had of the existence of this MS. was from the 3rd series of the ^^ Memorie di Belle Arti," p. Ill, of Sig. Gualandi (Bologna, 1842), who mentions that it was with other MSS., in number about 500, carried to Paris, where the words " Biblioth^que Nationale" were stamped on it, and whence it has been since restored to its original depository. On my arrival at Bologna Sig. Gualandi very kindly introduced my son to the Generale of the Canonici Regolari at the convent of S. Salvatore, and obtained permission for him to copy it. It is a book of recipes rather than a treatise, and affords interesting notices of all the decorative arts practised at that period in Bologna. The arrangement B 2 826 BOLOGNESB MANUSCRIPT. is systematic, and I consider it an arranged collection,^ the author having copied different recipes as he became qpquainted with them, and arranged them in their proper places, leaving blank sheets between each chap- ter or subject, for additional recipea. The name of the author does not appear ; but as we find that the last sections in many of the chapters are written in a dif- ferent character, it may safely be inferred that these additions were made at a period somewhat later than the rest of the MS., and probably after the death of the original collector. The additions, which appear by the handwriting to have been made at least half a century after the other part of the work, are written with fewer contractions, in a more running character, and with finer strokes to the letters ; the black ink is not so pale, and (iie rubrics have nearly disappeared, while those of the earlier writing are as bright as at first The later sec^ tions are distinguished in the present work by the letter B in the margin. The language in which the MS. is written^ is some- times Italianised Latin, and sometimes Italian, with a mixture of Latin words, as was usual at that period, and the different recipes contain words from most of the dialects of Northern Italy, in which, however, the Lom-* bard seems to prevail, and the same word is frequently spoiled in three or four different ways. The precise date of the MS. is not mentioned, but there are allusions to circumstances which seem to fix. the date to the first quarter, or at latest, to the middle of the fifteenth century. 1 That some of the recipes were co[)icd is proved by the occasional blanks ibat are left in the MS. PRELIMINARY OBSERVATIONS. 327 In No. 136 is a recipe for making a ^* colore car- dinalescoy" in the later handwriting. Now the *^ colore cardinalesco** at this period was cnmsan, as appears from this chapter, and not scarlet As the Cardinals did not assume the red dress until 1464/ it follows that this additional chapter must have been written previous to this date, and therefore that the original MS. was some years older. The author also desires that alabaster of Constantinople diould be used for a certain purpose, a proof tibat the communication with that city still subsisted. This city was taken by Ma^ homet in 1452, and it is well known that the import^ ation of pigments was impeded, if not altogether stopped, when the Turks became masters of Constan* tinople. (See Agricola, de Metallicis.) The different articles mentioned in the MS. show that Bologna at this period had considerable intercourse widi other states. We find Giallolino and Azzurro della Magna, Spanish pitch, Eoman tin, Venetian tin, Alexandrine borax, lapis lazuli from Damascus and Cyprus, sand from the Yal d' Arno, besides the usual gums and resins, Indian lac, indigo, &c. The first five books treat of tibe preparation and manufecture of blue, green, and lake-coloured pigments. The first book treats of natural blue pigments, by which we learn the old masters possessed two, namely, Ultra^ marine and the Azzurro della Magna of Cenuini, also called in this MS. Azzurro Todesco or Azzurrum Teo- thonicum, Azzurro Spagnolo, and Azzurro di Lombardia. The author teaches how to distinguish one pigment from tlie other, and to prepare both for painting. The 1 See note by Sig. Tambroni to Cap. 42 of the Treatise of Cennini. 328 BOLOONESE MANUSCRIPT. second book treats of factitious mineral blue pigments. The third book of blue pigments made from flowers. The fourth treats of green pigments. The fifth book shows that at this period lakes were made from lac, from kermes, and from Brazil wood, which last is identified with verzino — "verzino o vero Brasilio.** The sixth book is devoted to the composition of ^^ por- porino^" which was an imitation of gold. It also con- tains directions for gilding. The seventh book is a practical course of painting after the manner of Magister Jacobus de Tholeto, who was probably a Spaniard.' This book also commences with recipes in Italian for making certain colours, among which is the '' aizica" of Cennini, and then follow directions in Latin, which appear to be from an older work, ^^ ad fatiendum incar- natum pro incamare figuras," ^^ ad incamandum cru- cifixum," *^ ad fatiendum incamatum," &c. The author also gives instructions for preparing panels, and << gesso sottile " for painting. The style of painting, as appears from the seventh book, resembled that which, according to Malvasia, pre- vailed in Bologna in the early part of the fifteenth century. If we may be allowed to form an opinion of the skill of Magister Jacobus from his writings instead of his paintings, I fear we cannot assign him a high rank as a painter. The flesh colour was first to be laid on, then the eyes and outlines of the limbs were to be marked with black, the eyebrows with »nopia and black, the pupils of the eyes black, and a shade of sinopia under 1 See No. 245. There was a Spanish college at Bologna ; and S. Maria Maddalena, formerly an hospital under the title of S. Onoiirio, was built in 1349 for the Spaniards. PRELIMINARY OBSERVATIONS. 329 the chin. These directions are sufficient to identify Jacobus witli one of those painters who were contem- porary with, or immediate successors of Lippo Dal- Ei Glan mirron are known with certainty to hare been used in the thir- teendi centnry. ^ Garteggio Inedito d'Artisti, vol. ii. p. 446. 334 BOLOGNESB MANUSCRIPT. This MS. also gives the composition of the old pig- ment Gialiolino, which was made of lead, tin, red lead, and sand ; and a method of applying leaf gold on glass, in which a solution of borax is the flux. The author next treats of Mosaics, and first of the white material which serves as a base for the colours. The blue colour is produced by adding ultramarine to the white material. The red colour for the Mosaics is formed of tin and calx of gold, with other ingre- dients, thus affording a certain proof of the antiquity of red colours produced from gold.^ While on the sub- ject of the production of colours from gold, it may be mentioned that in No. 32 there is a description of the process of procuring a purple from gold, by dissolving it in aqua regia (nitro-muriatic acid), and then preci- pitating it with the oxide of tin, a process which seems analogous to the preparation of the purple of Cassius, and the date of this must be at least 150 years previous to the first notice of the purple of Cassius in the his- tory of art. It will also be observed that No. 318 de- scribes a yellow colour for painting made from silver, the discovery of which has been ascribed, although without sufficient foundation, to Van Eyck. The pro- duction of a yellow colour, for painting on glass, from silver, has always been attributed to the Flemings ; but this recipe bears strong evidence of a French origin, for French ochre is directed to be used, and the ingredients are weighed by the usual French weights "denari." At the same time, however, it will be observed that the 1 Mr. Hendrie (Theoph. E. E. p. 174) quotes some recipes for factitious gems from an old MS. ia the Britifih Museum (Sloane MSS., No. 3661), in which gold is used. PRELIMINARY OBSERVATIONS. 335 word "giallo** is written according to the Venetian dialect The term ^^ anconitani " proves that it was in use in Italy, and probably for painting on pottery as well as on glass. No. 322 also describes a gold colour made from silver, for painting vases previously glazed. This is one of the additional chapters, and may therefore have been written at a later period. The next subject, glazes for pottery, is interesting because it shows what glazes were in use at this period. The base of the glaze employed was tin, to which was generally added Marzachotta, which was not the yellow oxide of lead, but probably a kind of firit like the com- position called Mastichot, or Massicot, by the Dutch. The colour with which the vases of Majolica and Damascus were painted is also described. These vases were known in Italy in the beginning of the fifteenth century. They are mentioned by Cennini as well as by the author of this MS., and in neither case as novelties. Yasari attributes the invention of glazing pottery with a vitreous glaze, composed of tin, litharge, anti- mony, and other materials, to Luca della Bobbia ; now many of the glazes mentioned in this MS. contain tin and litharge [terraghetta], but none contain antimony. It is also worthy of remark, that one of the recipes teaches how to make blue in relief in the Florentine method. Some of these recipes may, therefore, have been similar to those used, or invented, by Luca della Bobbia.^ They certainly existed in Italy during the ri (vol ii. p. 47) aays Luca was born at Florence in 1388. Passeri alio (Sloria delle Pitture in Majolica iatte in Pesaro e ne' luoghi circonvi- cmi) attributes the invention of this art to Luca ; others, observes Lanu, i 336 BOLOGNESE MANUSCRIPT. period when Luca was living, and are not mentioned as new inventions. *^ Les pieces d'art," says M. de Brongniart^ in his Traits des Arts G^ramiques,^ *'dues a cette famille d'ar- tistes Faienciers * [the family of Luca], ont pour gla- Yol. ii. p. 118, saj the art was brought from China, whence it passed into the island of Msyorca, and from thence into Italy, where it was principally cultivated in the state of Urbino. It was employed not only for vases and table-services, but also for statues and groups in relievo, some of which were coloured. The art reached the highest point of perfection in the period between 1540 and 1560. During this short interval were executed the most beautiful vases and table-services that were ever made of this material. (See De Brongniart, Traits des Arts C^ramiques, p. 58.) In the early part of the fifteenth century Giorgio Andreoli, commonly called Maestro Giorgio, invented the beautiful ruby red colour which is seen on pottery of this period. He worked at Gubbio between 1511 and 1537. The Duke Guidobaldo of Urbino took great interest in this art, and main- tained a factory of it at his own expense. In order to secure good designs he prohibited the artificers from designing the works themselves, and com* pelled them to use prints after great artists, and especially after Raflfaello ; and this gave rise, observes Lanzi, to certain reports concerning this artist and his father, and the nickname of the ** Boccalajo di Urbino," which was given to the great painter.* Many designs of Michael Angelo, of Raffaello del Colle, and other great artists, were executed in this mate- rial, and many painters were employed in making designs purposely for it ; and Taddeo Zuccaro relates, that the designs for the service made for Philip II. of Spain were by Batista Franco. Services were made also for Charles the Fifth and other princes ; and they were held in such esteem that Christina of Sweden offered to replace with silver vessels those which are now in the S. Casa at Loreto, which she desired to possess. See Lanzi, vol. ii. p. 117 — 120. . De Brongniart, Traitd des Arts Cdramiques, pp. 55 —69. 1 See Traitd des Arts C The French term '* fayence," earthenware, was derived from Faenza, in Italy, where it was formerly made. * Another reason for this appellation was* that one of the most skilfhl painters of this porcelain was also called Bafiaello— his somame was Ciarla. His works then were truly said to have been painted by Bafiaello, and the vulgar supposed they were by Rafibello Samdo. See Lana, vol. ii. p. 119, n. PRBUMINART OBSERVATIONa 337 9ure un veritable 6mail stannifere, bien glace, dur^ sans ger9ure." The principal colours employed are, accord- ing to the same writer : — A tolerably pure yellow, produced by lead and antimony. An opaque, pure, and dark blue ; sometimes like enamel, sometimes as if applied on the surface. Copper green. The dirty violet from Manganese. He adds, '^ These baked earths, with ornaments in relief of white and coloured enamels, were, for some time, the only coloured stanniferous pottery made in Italy. The manufacture of this varnished pottery, which Fasseri calls * semi-porcelain,' is still continued at Fesaro. This glazing was very beautiful.** It is evident that the pottery described by M. de Brongniart resembles that for which the recipes are given in the MS. They have the same ornaments in relief of white and colours, and the colours used appear to be nearly the same. The principal variation is in the yellow, which De Brongniart states consisted of lead and antimony ; but he does not add that this statement is the result of ana- lysis ; and he may have named antimony on the autho- rity of Vasari, who wrote above 100 years after the death of Luca, and who might therefore have been de- ceived as to the time when antimony was first used. It will be seen by referring to the MS., that the yellows were produced by lead (see Nos.298,299), and by silver (see No. 318). The pure, dark, opaque blue appears to have been ultramarine. In No. 303, the blue colouring matter is called 2jafirro, and in other recipes ^^ azurro" only ; but 338 BOLOGNESB MANUSCRIPT. to judge from die colour and appearance of the blue on old Italian pottery, there is every probability that it waa produced by ultramarine. The copper greens are mentioned in Nos. 300, 301 ; the violet azure in No. 311. The latter was produced by adding Manganese to the azure. This is the only colour approaching to red which is mentioned in these recipes, excepting that which may be produced by exposing ^^ crocus martis *' to the action of fire, for the colouring of the Damascus or Majolica vases. See No. 316. The recipe in No. 284, for making a baked vase white without painting it, is worthy of notice as a his- torical fact ; because Fasseri, the great authority on this subject, says, ^* It was only towards the year 1500, that the idea occurred at Fesaro, of employing this stanni- ferous glaze, as the glazing of earthenware, and as the white ground, on which were executed those beautifiil paintings, which have given so much celebrity to this pottery, under the name of Majolica, and even under that of porcelain, a name which it owes to the beauty of its enamel.'* It is singular that although the author treats of making artificial gems of glass, of Mosaics, and of glazes for pottery, he should have omitted to treat of painting on glass ^ for windows; which was certainly known long previous to the date of this MS.,' and which was practised at this period in England, France, Flan- ders, Germany, and in some parts of Italy. 1 Unlen windows may be included under the bead of " any other works in glass/' in No. 270. s See the MSS. of Theopbilus, Book it., and of Eracbus. PRELIMINARY OBSERVATIONS. 339 On looking, however, into the early history of Bo- lognaj it will be found that the most ancient painted glass in that city (which is in the Church of S. Pe- tronio) was not executed until the middle, or end, of the fifteenth century (consequently after the date of tiiis MS.) by a lay Dominican, Beato Giacomo da Ulmo,^ who was much addicted to painting, or, as it was then called^ "writing*' on glass; and who "was the only person at that period who practised this art in Bologna." But although our author does not mention painted glass windows, he mentions three substitutes, or imita- tions, which, he says, "will appear like real glass." The first ' consists of parchment, which is to be painted, and then varnished on the painted side ; the second of parchment painted, and then covered with a couch of linseed oil ; the third of linen also painted, and var- nished with Vernice Liquida. It is not mentioned whether tiiese windows were in- tended for churches or private houses. The MS. concludes with a treatise on dyeing silks, thread, linen, and leather ; on the last subject it is very voluminous. To these are added a few miscellaneous recipes, among which are some for glues and cements of various kinds. The unfinished Table of Contents is by another hand, probably of the seventeenth century. I B. Giacomo was born at Ulm in Gennany in 1407. In his youth his derotion led him to Rome, then he became a soldier. Afterwards he went to Bdogna, where he assumed the habit of a lay Dominican, and gave himsdf op to painting on glass and working miracles. He died in the odour of sanctity in 1491. See the Guida di Bologna. Marchese, Vite de' Pittori, &c., Domenicani. See No. 165. VOL. IL C J { 340 ) SECRETS FOR COLOURS. HEBE BEGINS A TREATISE ON PREPARING VARIOUS KINDS OP NATURAL AZURES. AND FIRST WE MUST TREAT OF THE KNOWLEDGE OF THE SPECIES AND NATURE OF THE UNDER-MENTIONED LAPIS LAZULI, FROM WHICH NATURAL AZURE, THAT IS, ULTRA- MARINE AZURE IB MADE. AND I WILL DESCRIBE THE MODE OF TRYING THE STONE. 1. To know the qv/dity and nature qf good stones without amdlis? — ^Know that lapis lazuli is a mineral stone which cotnes from beyond the sea. Many persons sell it in powder, and some sell it in entire pieces ; it is of various sorts, and one stone may be of much greater value than another. Some stones are of a purple colour, and some of a dark violet, with red veins, and in some of the crevices is red earth ; and this stone is not so brilliant as smalt* And if its vein is white, or if there should be no spots of white here and there upon it, and if it should break easily, such stones are not very fine, because you cannot extract from them more than half their weight of fine azure ; and in exchanging these stones you lose a great deal, therefore none will trouble themselves about them but those that are unpractised. Many say that the bedt lapis lazuli is a stone of a blue colour, which appears to have some- thing of a violet tinge, with vein-like spots of gold in it ; and it is mixed with a whitish stone, and is very hard to break. And observe that the following is the test by which to distinguish the good from the bad : — First take a piece of the stone and 1 Amalis. Query, Amulets or Charms ? s It is almost unnecessary to observe that the colour we call Smalt was not known until long after the date of this MS. ; I have, however, retained { 341 ) SEGRETI PER COLORL INCIPIT TBATATUS D£ MULTIS £T DIVEBSIB A2URRI$ NATURALIBU^ FIENDIS. £T PRIMO DICENDUM EST DE COGNITIONE SPETIE ET NATURA 8UB8CRIPTI LAPIDIS LAZUUI EX HHO PIT AZUR&Uli NATU- RALE SCILICET AZURRUM QLTRAMAR^UM. ET PICAM DE PROBATIONS IPSinS LAPIDIS. 1. Ad coffnascendum quaiitatem et naturam bonorum lapidum ab aliis sine amalis. — Sappi che lo lapis lazuli e una petra de minera che vieni ultra mare. Molti la vendino impolvere e alcTUii la vendino impezi integri e sonno de piu ragioni e de molto piu fia una pretra che un altra. Alcune petre sonno de colore pavonazQ, alcune de colore violato scuro e tiene la sua ▼ena de rosso e in alcuni de li suoi canthoni hala terra rossa e non e la dicta petra troppo splendente quemadmodum de «malto. £ se la sua vena fiisse bianca o non fusse in qua e in la alcuna gocia de bianco e sia tenera a rompere : queste cotale petre non sonno troppo fini perche non se ne po cavare oltra a la meza de bono azurro e a mercatare queste cotale petre se ne ecapita in grosso impero non se ne vole impaciare che qua- lunque non ha bona pratica. Molti dicano che lo lapis lazuli optimo e una petra che celistrineggia e pare che tenga in se uono colore violato cum sentille di vene doro e ha misture de petre bianchette e de asa ben dura a romperla. E nota che questa e la sperientia de sapere quale sonno bone e quale sonno rei. Prima tolli uno pezo de le dicte petre e metila in nel the name for want of a better term. I consider it to mean those coloured glaties, or eaameb, mentioned in the MS. of the Marciana, No. 325, whjdi were hnraght from Germany, and which were used in painting on glass. c2 342 B0L0GNE8E MANUSCRIPT. put it into the fire, and let it become qnite red hot, then take it out and let it cool by itself; and when it is cold, if the stone retains its colour and does not become pale, it is good. But if it both improves and retains its colour, it is both good and perfect As for those stones which change the beauty of their primitive colour, we must consider how many degrees they have changed, because there are some stones which the more they lose the finer they are. And let us suppose that the loss of colour does not proceed from the quantity of earthy matter contained in the stone, that is to say, that what aziure it does contain is of good quality. But if it should proceed from the mixtures which are contained in the stone, we must neverthe- less consider the difierence made by this loss of colour, because it will yield less ; and this is known by its not being of an uni- form colour after it has been in the fire, but retaining its colour better in one part than in another. If it happens that the stone loses all its colour, then from whatever part it may have been dug, it is not ultramarine and is not fine, and conse- quently you cannot procure ultramarine azure from it, because the base of the azure, that is the stone, is not ultramarine. And even if it were ultramarine, it may contain so little sub- stance as not to make it worth while to work it, because you would spend money without any advantage whatsoever ; and the price of these stones in Italy commonly varies from 2 to 5 ducats a pound, according as they are more or less fine. 2- To distinguish German or Teutonic azure from the other; and some notice of the stone from which this German azure is made. — Know that the German azure is of several sorts, as is well known to those who have any knowledge and experience of it, because it usually contains in itself the stone from wliich this colour is made ; it is partly of a pale and opaque blue, and partly earthy, of a yellow colour and frangible, so as to be broken by the nail ; and these are the noblest azures of Ger- many that are foimd, and they usually appear somewhat trans- lucent or transparent if you keep your eyes steadily fixed on them ; but in this experience is the best guide. I'he value of DE MXJLTI8 ET DIVERSIS AZTmBIS NATURALIBUS. 343 fiioco e faria ben infocare de vantagio poi il tra fdora e lassala fredare da se steasa e quando sera refredata se la dicta petra ata in suo colore che non smortisca e bona. Ma se migliorasae coUore die lo mantenga e perfecta e bona. Ma quelle che mutano la bellezza dal prime coUore e da considerar in quanti ^adi se mutano per che ce sonno de quelle che quanto piu tmontano tanto sonno piu fini. E poniamo che lo smontare non ^nrocedesse da la quantita de la terra de la petra cio e che juello cotanto che tene de azurro e de bona natura. Ma se procedesse dale misture che sonno ciun la petra nondimeno e da fare la defirentia per lo callo imperho che renderia meno e questo se cognosce quando e stato in el fuoco non toma tuta duno collore, in alcun luoco se mantieni melglio che in uno altro. Ma se devinisse che la petra perdesse tutto el colore suo questa tale petra de qualunque parte fussero cavate non sonno de ultramare e non sonno fini e per consequentia non ne poresti cavare azurro ultramarine perche lo suo fondamento cio e la petra non e de de oltramare. £ ben che fussero de ultramare possino tenere tanto poco de substantia die non seria da impadarsine imperho che fsuresti la spesa senza utili alcuno e li pregi de le dicte petre in nele parte de ytalia communament^ oombatino da li doi ducati infino in cinque la libra e secondo che sonno piu e meno belle. 2. Ad cognosoendum azurrum almaneum she Teothonicum ab alio et aliquam notitiam ipsius lapidis ex quo Jit predictum azurrum almaneum. — Sappi che lo azurro de la magna e de piu maineri secondo che ello e manifesto a chi de esse ha alcuna notitia e sperientia imperho che sole havere in se la petra che che se ne fa el dicto azurro parte de vena camillina e parte terra e de de coUore croceo e sono firan^bili a romperle cum r (^nia e quelli sono piu nobili azurri de lamagna che se trovino e soglino esse piu penetrabili e trasparenti a dtt tiene ben gliochi fissi in questo la experientia da molto piu dotri'na che altra cosa. £ li prep lore in partibus y tale combatano dali 344 BOLOGNESE MANtJSCBIPT. these stones in Italy varies from 12 bolognini ^ a pound to 20 01* even 30 bolognini, when they are of very good colour and appearance. And know that the price of the azures, when extracted and refined, commonly varies from 1 to 3 ducats the poimd, more or less, according as they are more or less fine. 3. Here begins the practice of extracting the azure from the tapis lazuliy and of refining it? — Amtc is of two kinds, namely natural and artificial ; it is refined in the following manner : — Take the stone, which is a mineral, and after washing it with ley, heM it on burning charcoal, and afterwards extinguish it in good and very strong white vinegar ; then break it with a midlet on an iron anvil. Choose the good pieoes, and grind them fine in a brass mortar well covered, lest the finer particles should escape ; when Very finely ground put the powder into an earthen dish and pour over it hot water or hot ley with a little honey and clay, rubbing the azure with your hands or with a stick, iU order to extract the refined azure, and note that the water comes off of a green colour. Afterwards strain it through a linen cloth into a well-glazed earthenware basin,* and pour off the water, or, still better, the ley, leaving the powder of the lapis lazuli settled in the basin ; wash the azure with tepid but not hot water in a porphyry vessel, until the saline particles of the ley are washed away, and let the azure dry in the shade in the porphyry vessel ; keep it in a bladder or in a purse of chamois lekther : and note that if it is not of a good colour, or if it inclines to paleness, boil *'Brasil* wood*' * reduced to powder, in good ley or pure water, and then strain it through a cloth and put into it a little "alumen jameni," or ghsso,* and mix wiih your azure already re- 1 Bolognini, coins of tbe value of six quattrini, or a bajoccho, equal to an English halfpenny. s There is another version of this chapter in a small MS. in the Biblio- th^ue Royale, at Paris, No. vi. MDCCXLIX. No. 9, entitled '* Ano- nymous Tractatus de Coloribus." The volume of which it forms part was tiated 14S1. The pHnci^ variations have been noticed. ■J >■ DE MTJLTIS ET BIY^aSIS AZURRIS NATUBALIBUS. 345 12 bol la libra o all vinti bpl e per infino trenta bol la libra quando fussero avantagiati in colore et in apparentia. E sapi cfae li pre^ de U azuiri tracti e affinati comunamente combatino da imo ducato in fino a 3 dueati la libra e pin e meno secondo cbe aonno bellL 3. IncipU praiiea ad extrcJiendum mmrrum de lapide lazuli U ipsum affinomdo. — ^Duplex est azurmm, scilicet natyrale et artificiale et ipsorum vero affinatio in modo asignatur isto. Acdpiatur lapidem istom qui est mineralis et igniatur post layationem lexini inter prnnas ignitas postea extingui^tur in perfecto et acerrimo aceto albo postea frange ipsum com malleo in ferrea incudenea et elige bonas partes et subtUiter terrantur in mort^o hereo optime coperto ne vapor ejus evalesoat et cum fuerit per optime tritum ponatur in patella terrea et de super pone aquam oalidam sive lexiyium calidum cum modico melle obluto et ipsum azurrum manibus fricando rel oum baculo ut exeat azurruin afinatum et nota quod prsedicta aqua efficitur yiridis coUoris postea cola per pannum lineum in lavella terrea ben yitriata post aquam sive lexivium quod melius est efiundatur et pulvis lazuli in layella residens postea ablue dictum lazurinimi cum aqua tepida et non nimis calida in porfido donee salsedo lexivii exeat et permitte ipsum azur- rum ad umbram siccari in prsedicto porfido et servetur in viaca in bursia camussi. £t nota quod si non est boni oolloris vel tendens ad pallorem dequoque [Brasilium] in pulverem deductum in bono lixiyio vel aqua pura postea per pannun^ cola et impone aliquantulum aluminis Jameni vel glasso, et s The Paris MS. has " patella ferrea bene plumbata." 4 Brasilium. The word has been supplied from the Paris MS. A The parallel passage In the Paris MS. has *< Alumine glaro/' which appears to be qmonjmous with roche alum. See Cennino, chap. Uii., and the MS. of Le Begue, Nos. 42 and 299, where it is called " Alumen glacie" and ''Alumen glarum;'* and in No. 313 it is called simply '< glace.*' I haye little doubt that in all these passages roche alum is to be understood. The term Alumen Jameni occurs in Geber*s work on Alchemy. It also ooQun in die Le Begue MS. 346 BOLOONESE MANUSCRIFT. fined, and this gires it a good colour and will increase its weight. 4. The mode of working the powder of the before-mentioned stone into the pastille, — Take of mastic 1 lb., strained fine renn j^ lb., soap from goat or mutton suet \ lb., new wax 2 Ib^ liquid yamish 2 lb., linseed oil 1 oz. First melt the wax and soap in a glazed jar, then the renn and the mastic in powder, and afterwards the varnish and oil, and mix them with a spa- tula so as to incorporate them, and afterwards try if the com- position is well made and sufficiently thick by putting one drop into water ; the mixture hardens if it is well done, if not, boU it until it becomes hard, which done, strain it through a linen cloth into a baran fiill of clear cold water and put it by. When you want to use it, take equal quantities of the pastille and of lapis lazuli, and incorporate your mineral, reduced into very fine powder, with the pastille ; then put the pastille mixed with the powder into some glazed jar, and let the jar be half fiiU of cold water, so that the water may coyer the pastille by three fingers' width at the most, and let it remain in the water for 15 days, and the longer the better; afterwards remoye the pastille from the water, and take good strong ley, which should be rather warm, and with it extract the azure frt)m the pastille, rubbing it with your hands in a glazed jar, and pouring by degrees the warm ley oyer it ; when you see the ley become blue pour it off by itself and put it into another glazed jar, and continue to do this until you have two other azures, not so fine as the first, and this you will know by experience, llien boil each sort separately with the ley and take off the scum neatly and carefrdly with a spoon ; when you have done this let it stand for a day and a night until all the azure settles at the bottom ; then separate the ley from the azure with a sponge, and wash the azure with clean water until all the saltness of the ley is extracted from it, then let it rest and the azure will sink to the bottom ; when settled pour off the water, let the azure dry in the shade, and afterwards keep it in lambskin or sheepskin, and take care not to expose it too much to the air. BE MXJLTIS BT BIVBRS18 A2UKRIS NATUKAUBXIS. 347 misoe cam tno azorro jam affinato et pei^ hoc dot bonum col- lorem et angmentabitor in pondere. 4. Modus autem ponendi dictum pulverem ipnus lapidis in ptutillum. — Accipe de mastice lb. unam, ragia pini colliata lb. mediam, et de sapone capiino Tel aretino lb. mediam, cera noy& lb. diias, vemicis liquidsB lb. duas, olei seminis lini oz. 1 ; primo funde ceram et saponem in oUayitriata postea pone ragiam et pulverem masticb postea yernicis et olei et cum spa- tula misce ut incorporantur postea tenta si fderit cottum et spissum dico ponendo guttam unam in aquam si firmatur bene est si non coque ut dum firmatur quo viso cola per pannum lini in quodam vase pleno aqua clara et frigida et serva quum volueris eo uti accipe tantum de dicto pastille quantum de pul- vere lapidis et incorpora mineram tuam in subtilissimam pul-* verem reductam cum prsedicto pastillo postea mite dictum pas^ tillum cum dicto pulvere mistum in quodam vase vitriato et in dicto vase sit aquam claram usque ad medium vel tribus digitis ad plus supra pastiUum et dimite stare in dita aqua per 15'"^ dies et quanto plus tanto melius postea extrahe dictum pastillum de dicta aqua et habeas lescivium bonum et forte et cum dicto lescivio aliquantulum caUdo extrahe azurrum de dicto pastillo et ipsum manibus fricando in alico vase vitriato et paulatim de dicto liscivio calido desuper mitendo et quando videbis azurrum extrahe de per se et mite in alio vase vitriato et Ac conlinua donee habeas alios duos azurros variatos non ita booos quam primum et demostrabitur per experientiam et cum dicto lixdvio &cias aliquantulum bulire quemlibet sortem de per se et cum uno coclario acipias spumam suavis et ingeniose et quando erit sic operatum permicte sic stare per diem et noctem donee totum azurrum petat fundimi postea sepera liscivium ab azurro cum spongia et ablue dictum azurrum cum clara acqua donee omnis salsedo liscivii exseat et permicte possare donee azurrum petat fimdum postea eice aquam so- prastantem et dictum azurrum permicte sicari ad humbram postea conserva eum in corio agnilino vel aretino et cave ne ayer ninus taoget eum. £t intellige quod azurrum ultramarinum 348 BOLOGNXSB MANUSCRIPT. And know that citramarine ^ anire must be refined by a ley and not by a pastille, because it is coarse and not heavy, and cannot be extracted in any manner by means of a pastille, or otherwise than by a good ley iminregnated with Ron^an soap, and this ultramarine, or German or Spanish azure, or that which is brou^t from Lombardy, is refined in the following manner by means of a ley. Take very clear .ley made firom the sifted ashes of brushwood' and dissolve a considerable quantity of Roman soap so as to make it very viscid, put your mineral reduced to a very fine powder into the ley and after* wards make it boil a little over the fire ; stir it gently with a spoon, then, pouring off the ley by degrees, you will find a very beautiful refined azure at the bottom of the jar ; afterwards wash it with pure water, to remove the viscosity, and strain it through a linen cloth, and you will have natural azure. 5. Another sort of pastille is made thus, — ^Take of the best dried pine resin 6 oz., mastic 6 oz«, of new wax 3 os*, of lin* seed oil 4 oz. ; put all these things upcm the fire, and do with everything as you were directed to do for the other pastille. When you wish to incorporate the pastille with the powder directly, take the pastille out of the water and rub it well in your hands, which you must grease with linseed oil. If the pastille spreads well, it is right ; if not, repeat the boiling until you can spread it out well, and knead it like wax ; then take a porphyry slab, oil it with linseed oil, spread out the pastille flat upon it, and immediately sprinkle over it some of the powder of l^iis lazuli, kneading it up vdtb your hands until one pound of the powder is kneaded up with 16 oz. of the pastille, then put the pastille, together with the powder, into cold water in any glazed jar, and let it renwn as before in 1 This part of the chapter is nearly a transcript of part of the Paris MS. before mentioned. I have supplied the word " Citramarine " from the Paris MS., which appears the most correct. In the first part of the Bolognese MS., the au- thor has described the method of preparing the true Ultramarine, or Azur- rum Transnuurinum, with the pastille; but he is now speaking of anodier kind of aaire,ibr whi^ a ley was to lie used instead of a pastille. This last D£ MTJLTIS BfT BIVEBSIfi AZUKRtS NATURALIBUS. 349 e; debet debet affitiari per capitellum et non per pastillum : qnia nd < groesum est et non ponderosum nnllo modo extraUtar pastillo or j nisi bono capitello sapone romano infecto et dictam azurrum ip, I nltramarinnm Tel almanenm rel ispanetim vel de lombardia lat ' aportatnm affinator hoc modo per viam capitelli. Acipe Qg 1 lescivium de cineribus crebeDatis et sit bene clarom in quo im dissolve saponem romanum in bona qnantitate ut sit bene Ti&- le ehosum in quo pone mineram tuam in subtilissiinam pulverem or reductam postea ad ignem fiitias aliquantulom bolire fiitias et r- enm move plane et moderate com spatula postea paulatim a effiiso capitello invenies azmrum] pulcherrimum in fundo vasis ry j affinatum postea eum lava cum pura aqua ut auferatur ab eo ds viscositas et postea colabis per pannum lineum et habebis it azurrum valde naturalem. ^ 5. Alium pastiUum sic fit, — Summe ragia pini optime eioce Q. oz. 69 mastids oz* 6, cene nove oz. 2, olei semink lini oz. 4, ^ httc omnia pone super ignem et &c per omnia ut supra ha- e. buisti in alio pastillo. £t quando vis dictum pastillum cum 3r pulvere inoorporare subito adpe dictum pastillum de aqua J) et ipsum ducas per manus multum bene perunta manus de ,e oleo lini et si dictum pastillum bene extenderetur bene est si |] non reitera decotionem donee se posed bene extendere et g ducere per manus sicut cera tunc habeaa porfidum et undem Q unge cum oleo lini et de super pone dictum ditum pastillum g extensum super dictum porfidum sic splanata et aspergas su- ] bito de dito pulvere lazuli desiqier et ipsum manibus inccMr* 9 porando donee una libra dicti pulveris incorporetur cum sex- 0 decim unciis dicti pastilli et hoc facto pone dictum pastillum g cum pulvere inoorporato in aqua frigida in quodam vase vitri- unro) ke ny«, wn brought from ** Almania ut de Anglia at Ispanea sea Lombardia ;*' a proof that this pigment was not prodaced in Germany only. Ceonini also speaks of its being foand at Siena. * Sabcarbonas Potassn imporus, Impure potash, or pearl-ash. It is gene- railj prepared by baming land plants, or wood ; in Italy vine branches were geoemlly used for this porpoae. 350 BOLOONESB BIANUSaRIFT. another pastille not eo good, and do as before ; and note that if you wish to colour the azure, take a little spirit of wine and put it into the water with some good verzino ; but this does not belong to the art of preparing azure. 6. To extract the gold from the lapis laztdi^—Teke the before-mentioned mineral lapis lazuli, and break it on an anvil or in a covered brass mortar, and put it in a basin of cold water, and you will see that it has veins of gold, and that sort is good. If you want the gold, pick it out piece by piece. 7. To make good azure and r^ne it by means of a pastille. — Take as much lapis lazuli as you like and pound it very finely and carefully in a brass mortar, afterwards grind it on porphyry with clear water so as to become alnM)st impalpable, because in this state it will work better, and let it dry. 8. The manner of working the before-mentioned azure into a pastille. — Take for every pound of lard, one pound of pine resin and one ounce of Spanish pitch ; then take a jar, free from fat, and melt the lard in it, and when it is melted and strained add clean pine resin, and mix it well, so that the ingredients may be incorporated together, afterwards add the Spanish pitch ; mix all thoroughly together, and let the mix- ture be as liquid as water. Then pour upon it a little com- mon oil, or linseed oil, and remove the jar fit)m the fire, oon- tinually stirring it with the stick while it is cooling. When you wish to put the powder of the lapis lazuli into this pastille, take equal quantities of the pastille and of the stcme reduced to powder, and melt the pastille over the fire in a glazed vessel, and when it is liquid like water put your stone into iti and mix it well with a stick ; afterwards take it away firom the fire, and let it remain from evening to morning, or even longer ; then heat it at the fire until nearly liquefied. You must place by the fire a pot ftdl of water, tepid, but not hot, in which you must put the pastille for a short time, then take a glazed jar 1 Gold 18 not actuiJly foand in the Lapis Lazuli ; but the spots and veins which resemble this mineral consist of sulphuret of iron, which is always more or less present in the mineral. The Bomans called the Lapis Lazuli DB MULTI8 ET DIVERSIS AZXTRRIS XATURALIBUS. 351 ato et permitte stare nt supra in alio pastillo non tarn bono et sequere ut supra. Et nota quod si vis ipsum coUorare acipere modicum aquas ardentis et intus in ipsa aqua pone aliquantu- Inm de virzino bono tamen non est de arte azurorum. 6. A cavar loro de lo lapis lazuli, — Accipe dictum lapidem mineralem lazurrinum et eum frange in ancudenea sive in mortare hereo cop^rto et pone ipso in quodam vase ut sit de at^ua frigida et Tidebis venas aureas habentes et illud est bonum. £t si ris aumm acipe ipsum paulatim paulatim. 7. j^are azurro bono et afinarlo per via de pastillo^ viz. — Recipe de lapide lazuli quantum vis et eum pista in mortareo faereo valde bene et caute postea macina ipsum in porfido cum clara aqua quantum potest ut veniat subtile quasi sine tacta quia melius operabit deinde demicte eum sicari. 8. Modus panendi sapradictum azurrum in pastiUum. — Summe per omni libra lardi lb. unam ragia pini et et untiam unam pegule spagnole postea habeas ollam unam multum nitidam a pinguedine deinde mitte lardum dictum in ditta oUa ad colandum et quando colatum fiierit tunc mite ragia pini munda et mistica bene ut incorporantur postea impone desuper dictam pegulam spagnolam et insimul incorpora valde bene ut deveniat sicut aqua deinde impone desuper aliquantulum olei communis vel seminis lini postea remove dictam ollam ab igne semper mistando cum baculo dum reirigiatur. £t quando vis mittere dictum pulverem lapidis lazuli in hunc pastillum acdpe tanto de dicto pastille quanto de dicto lapide in pulve- rem redutto deinde recipe dictum pastillum et mitte eum ad ignem ad liquefaciendum in quodam vase vitriato e cum lique- factum fuerit ad modum aquae tunc impone lapidem tuum et mistica bene cum uno baculo postea sepera eum ab igne et dimitte sic stare a sero usque ad mane vel plus deinde calefac eum ad ignem ut deveniat quasi liquidum et habeas ad ignem oDam unam aquae plenam dico quod aqua sit tepida et non ortbU description, Sapbinis Regius, under the supposition that it contained gold. See ftkchhofiher, Chemistry applied to the Arts. 352 BOIiOQNBBE MAmiSCBIFT. widi hot water and pour it on to the pastille, mixing it con- tinually ; and as the pastille loses its azure, keep oontanually adding hot water ; and note, that if the pastille should break, you must not knead it, but let it stand a litde, and pour off the water from the pastille, then pour some other hotter water on the pastille, in the manner you did before, and mix it : and ofafler?e, that when the azure changes colour, you must immediately pour off the coloured water into another vase ; and it will be of less value than the first. If you choose to return this into the first pastille another time, then it will come out like the first azure ; and know, that when you take the second azure extracted from the pastille, you can put it back a second time, and it will come out a better azure. And note also, that all the powders of lapis lazuli, when they are put into the pastille, diminish and lose one half. If you wish to extract completely the whole of your azure from the pastille, make it boil in ley until the pastille becomes white, and then prepare it in this way.:^-Take the first jar (and do the same with the others) and strain the contents into another jar through a thick piece of white linen cloth ; then take another clean jar and rub the piece of linen to and fro upon the bottom of it, and all the good azure will be extracted : if it were squeezed, the azure would get into the pores of the linen. Then pour it into that which has been strained through the linen, and let it settle until it all sinks to the bottom ; throw away the water, and heat the powder with clear ley so that it may boil a little ; then throw it into another jar, and let it rest until it sinks to the bottom ; next take out the ley dexterously and cautiously with a sponge, and pour dean water into it and mix it well. Then let it stand, and take out the water in the same way. that you did the ley, and let it dry in the diad^, and keep it in a purse. 9. To make uitramarine azure another way. — ^Take the mineral stone of the lapis lazuli, which has veins of gold, and which is of a blue colour, and this is the finest sort. Divide the stones into three classes ; and first select the deanest and DE MULTIS ET DIVERSIS AZURRIS NATURALIBUS. 353 calida et m ipsa oUa cmn aqua tepda mite aliqnantalum dictum pastillum postea habeas catimim unum vitriatum eum aqua calida et mite intos dictum pastillum semper misticando ^t'quaudo pastillum deficit de aEuiro renova semper aquam magis calidam. Et nota quod si pastillum frangeretur cave ne tu misticas sed dimete ipsum stare aliquaiitulum et separa aquam a pastillo et desoper pastillum impone de alia aqua ma^ cdida per supradictum modum et mistica. Et nota quod quando azunrmn mutat colorem statim sepera aquam azurrinam in alio vase et erit minoris pretii quam primum. Et si vis retomare aliam vicem in pastille prime dum supra- dictum veniet ut primum azurmm. Et inteiige quando tu acipias azurum secundum extractum de pastille tu potest eum remietere aUa vice in pastille veniet libi meliorem azurrum. Et nota quod omnes pulveres lapidum lazulorum ut mictantur in pastillum defitiunt et callant per medium et si vis extrahere penitus azurrum de pastille &c eum bullire in lexivio dum- modo pastillus deveniat albus postea adpe azurrum iUum et eum quoque per bunc modum acipe primum eatinnm et sic reitera cum aliis et cola in uno alio catino per unam petiam spissam panni lini albam et adpe alterum catinum netidum e pel mena la dita peza suso per li fondi e tuto lo azurro buono uscira fuora perche se se stringesse intraria in la peza e poi metilo in quelle che sia colato con la peza e poi lo lassa posare infino che e tutto al fbndo poi gietta via laqua et fallo bulire cum lisda chiara tanto che bolla uno poco poi giettalo in uno catino e lassalo possare tanto che vada al fondo poi cava la lisda fuora dextramente et ingeniose cum una spongna poi ra«cti dentro de laqua chiara e misticalo bene poi lassa posare e cava fora laqua per lo mode che cavasti la lisda poi kssalo secare a lombra et servalo in bursia. 9. Affare azurro uUramarinum per alium modum. — Tolli de la petra minerale de lo lapis lazuli la quale tene de vene doro e de di coUore dllistrino e quella e la piii fina della quale preta ne farai tre sorte prima elleggio le piu necte e le piu 354 BOLOONB8B MANtTSGBIFT. finest, which contain no stone or earth ; second, choose those that are of the middling sort ; and, thirdly, those that remain, which belong to the third sort ; and put each sort by itself Then put those which you wish to use into a crucible, cover it with a tile, and put it on a charcoal fire or in a hot oven for a whole day ; then quench the stone in hot vinegar, and after- wards pound it in a bronze mortar, well covered, and sift it very fine. Then put the azure into a glazed jar with pure water, and stir it with your hand or with a stick, and let it rest Remove the water carefully with a sponge, then grind the azure well on a porphyry slab, and afterwards put it into pure water in a jar, and stir it well with a stick. Then let it rest for the space of a foter notter^ after which pour that water into a clean glass, because the finest azure is that which will remain at the bottom. You must grind the inferior azure which remains a second time, as before. Then take out the coloured water and lay it aside, and do as before ; then grind it again, and do this until there remains no more azure, and when you have put away all the waters by themselves, let them settle well, so that all the azure may sink to the bottom and the water remain clear above. Then take ofi^ the water with a sponge as before, and when you have completely removed it, wash the azure with tepid caustic ley^ stir it well with a stick, let it settle, and then take out the ley as you did the water, and let it dry in the shade. This is the true preparation of ultramarine. 10. Mode ofmaihing a pastille to extract the azure from the lapis lazuli, — ^Take of pine resin oz. viij, Greek pitch oz. iiij, mastic half an oimce, linseed oil oz. ij ; then take a glazed pipkin, and put it upon a tripod over a slow and clear fire, and when it begins to get hot, put into it first the linseed oil, and let it warm a little ; then add the Greek pitch in powder, and incorporate it thoroughly with the oil, mixing it with a stick until it is done ; and you will know when it is done by trying it 1 Ranno da Capo is probably the same as CapiteUo, The tenn rtamo is Tuscan. mp BE MTILTIS BT DIVERSI3 A2URRIS NATURAUBUS. 355 belle le quale non tengano de spetie de alcuna altra petra o ▼ero de terra. Secundo eleggie la mezana sorte. Tertio eleggie quelle che ayanzano che e la terza sorte e metti omni una da per se e poi meti quelle che tu yoi lavorare in nno crugiolo e coprilo cum luia tegola e meetilo al iuoeo de carboni o vero in lo fomo caldo tuto uno di e poi immortalo cum aceto forte poi lo pista in uno mortaro de bronzo ben coperto poi lo stamegna ben sotili e poi pone lo azuro in uno catino vitriato cum aqua pura e rimenalo cum mano o cum uno bastoni e lassalo ripossare poi cava lacqua con una spogna moderatamente poi torai lo azurro e macioalo sopra uno por- fido molto bene poi lo porai in aqua pura in uno catino poilo rimena bene cum uno bastone poi lo lassa repossare per spatio duno pater nostro poi mecti quella aqua in uno vaao de vetrio netto imperhoche lo azurro subtilissimo e quello che romara al fondo e quello azurro piii grosso che te romara atritalo bene una altra volta commo prima e poi cava laqua azurra e mectila da parte e fa commo prima poi la trita de novo e cusi farai tante volte in fino a tanto che ce niente.de azurro e quando tu faaverai poete tutte laque da per se lassale ben pcssare si che tutto lo azurro vada al fondo e laqua remanga cfaiara de sopra poi cava laqua cum la spogna commo e di sopra ditto e quando laverai tucta cavata multo bene lava lo dito azurro cum lo ranno ' da capo tepido e remenalo molto bene cum lo bastone e lassa possare poi cava la liscia commo laqua e lassa secare a lombra e questa e verissima preparatione. 10. PrcUica a fare pastillo per cavare lo azurro de lo dicta lapis lazuli. — ^Piglia ragia de pino oz. viij. pece greca oz. iiij mastice once meza olio de semi de lino oz. ij poi tolli uno pignatto vitriato e polio sopra a uno tre piei cum lo fuoco sotio lento e chiaro e commo comincia ad esser caldo mectice prima lolio de semi de lino e lasselo uno poco scaldare poi ce pone la pece greca spolverizata e incorpora multo bene cum lolio misticando cum uno bastoni per iniino che sera cotto che lo 1 Liscivio. vou. II. 356 BOLOGNBSE MANUSCRIPT. in the same manner as yon tried the first-mentioned pastille. Then strain it like the other, and when it is cooled in the water, put the pipkin on the fire as you did at first ; and when it begins to get hot take oz. ij of linseed oil, and add to the said pastille, and when it is well melted, add an ounce of tur- pentine, always mixing it well ; then take the pipkin, and while it is still boiling put oz. viij of the powder of the mineral, pounded very fine, by degrees into the pipkin, keeping it still boiling gently; then throw the pastille into cold and clear water in a basin, and when it is cold, grease your hands with linseed oil, and work the pastille about this way and that in your hands like dough ; and when you have worked it suffi- ciently, put it back into the water, and let it stand seyeral days, changing the water two or three times every day ; and at the end of six days take the pastille, and some warm honey-wat^ (that is, take ten measures of clear water and one of honey, and let them boil for the tenth part of an hour, scum well, and thesi strain the liquid through a linen cloth, and it is done) ; wash the pastille with the honey-water previously warmed, and ex- tract the azure the first time ; the second time let the honey- water be a little warmer, and the third time a little wanner still, as in the other recipe. And know that the first time it is very troublesome to extract, the second time it is easier, and the third time it is easier still ; and the reason is, that each time the water is a little warmer ; but take care not to have it quite so hot as to melt the pastille : if this should happen, cool it by throwing cold water over it. Take care that the water is tepid the first time, warmer the second time, and warmer still the third time, otherwise you will never be able to extract the azure. 11. To make azure and to refine it well, — Take lapis lazuli, and pound it in a bronze mortar as carefully as you can, in order that the powder may not escape, and when it is well pounded, if the powder is of a greenish colour, it must be ground upon a marble or porphjrry slab with clear fine white honey ; but if it is not of a greenish colour, grind it with strong ^nmm^^fam^i^ammw^mK^^iemB^^sswms^^rsmmc^'^mmmB^K^ijm^s^^^f^^^rfj DE MULTIS ET DIVER8I8 AZIJRBIS NATURALIBUS. 357 m conoscerai in quando sera cotto al segno de laltro pastillo poi locola commo laltro e quando sera freddo in laqua mecti la pignata al fiioco commo fedsti prima e quando comincia a sealdarse tolli oz. ij. de semi de lino e poi meti el dicto pastillo e quando sara ben disfatto mettivi una oncia di trementina sempre menando bene poi toUi la pignatta e cusi bolendo mectivi oz. Yiij. de polvere de la dicta preta ben sotili a poco a poco ne la pignatta sempre bolendo competentimente poi gietta lo pastillo nella aqua firedda e necta in uno catino e quando sera freddo ogniti le mano cum olio de lino e toUi lo pastillo e tiralo in qua e in la in mano commo pasta e quando laverai ben menato remetilo in la sua aqua e lassalo stare alcuni di e ongni di li muti laqua doi o tre volte e in capo de vj di tolli lo pastillo e cum laqua de mele calda cio e toUi x. mesure de aqua cliiara e una de mele e bolla la decima parte de hora una e schiumala bene poi la cola cum panno de lino e de &tta e lava lo dicto pastillo cum la dicta aqua de meli calda e cava lo azurro la prima volta la seconda volta sia uno poco piu calda e la terza uno poco piu commo ne V altra pratica. £ sapi ohe la prima volta e grande fatica a cavarlo in la seconda meglio e in la terza melglio la ragione e che omni volta laqua e uno poco piu calda ma guarda che non fusse in tuto tanto calda che lo pastillo se disolvesse e se purre ocurisse aiutalo getando supra de laqua fredda. £ habbi cura che la prima aqua sia tepida la seconda piu la terza piu imperbocfae altramenti non lo caveresti mai. 11. Affare azurro e afirtarlo bene^ — Torrai la petra lazuli e pistala in uno mortaro di bronzo piu cautamente che tu poi acio non sfiiita e quando sera ben pisto se questa polvere ha- vera colore verde sci e da macinare sopra lo marmo o porfido cum lo mele chiaro e hello e bianco. Ma se non tene de co- lore verde macinalo cum aqua gommata ben forte sopra porfido 360 BOLOGNESE MANUSCRIPT. your band or with two sticks, and put the ley into the bag ; rub it so that all the azure may be pressed out, and then wash the azure with a ley made of the ashes of vine branches^ and having done this two or three times, put it to dry in the shade, in whatever way you like, and when it is quite dry, if it should not be of a good colour, you must proceed in the fol- lowing manner. 12. To give a good and fine colour to the azure, when it is not well coloured. — ^Take several eggs, and make them boil till they become hard, then open the eggs in the middle with a knife, take away the yolk, and fill up the hard white of the eggs with sal ammoniac in very fine powder; then cover it with the other parts of the eggs, and tie them so that they will not come open, and put them in a new glazed jar for one night in a place which is very damp ; in the morning you will have a water made from the sal ammoniac, which you must pour upon the azure so that it is entirely covered with the water, and it will make the azure of a most beautiful colour, and of twice the value that it was before. Dry it in the shade, and keep it in a leather purse, or in a box, and expose it as little as pos- sible to the air. 13. How to prepare the azure and to work it into the pastille to refine it. — Take the lapis lazuli which has golden veins ; the deeper it is in colour, and the purer from other mix- tures, the better, and of the more perfect kind it is. You must put it into a shell, and let it stand over a charcoal fire until it becomes red hot; then throw it into strong vinegar, and repeat this 3 or 4 times, each time making it red hot, and quenching it in fresh vinegar, because by calcination it is more eaaly pounded and reduced to powder. And if the lapis lazuli is not of a perfect sort, it must not be heated, because it will lose its colour, and know that it is much better to take the lapis lazuli pounded and reduced to powder, because you can see its colour better. But if it is in pieces, the pieces must be pounded in a bronze mortar, well covered, lest the powder should escape into the air ; then you must grind the DE MULTIS KT DIVBRSIS AZURRIS NATURAL1BXJ8. 361 capitello e sfregalo si che tucto lo azurro escha fuora de poi lava el dicto azurro cum lo capitello facto de sementi e facto questo doi o tre volte metilo a secare a lombra commo a te piace e quando sera ben secco se noD havesse in tutto bello col- lore farai in questo modo commo seguitara di socto. 12. A dare bono e bello collore a lo azurro qxtando non fusse bene coUorato. — Recipe parechi ova e falli tanto bollire che diventano duri de po apri li dicti ova per mezo cum uno cor- tello e leva via el tomo giallo e impelo albuihi duro de li dicti ova de polvere ben subtili de sale armoniaco e de poi copri con Taltra parte de li dicti ova e ligali bene che non se aprino e poUi in una pignata vitriata nova per una nocti in loco che flia ben humido e la matina haverai laqua facta del sale armo- Biaco la quale porai sopra alo azurro in tanto che sia tutto coperto de la dicta aqua e renderalli beletissimo collore e do- pio pregio che prima e seccalo a lombra e serbalo in saculo de curami in una scatola e fa che senta meno haiere che poi. 13. Pratica a sapere fare la preparazione de lo azurro e porlo in lo pastillo per affinarlo. — Accipe la preta de lo lapis lazuli che habia vene doro e quanto e de piu pino collore e necto da laltre misture tanto e migliore e de piu perfecta sorta lo poi ponere in uno coccio e lassa la tanto stare sopra al fuoco de carboni che diventi bene infocata e rosscia e cosi infocata gietala in lo aceto forte e cosi farai 3 o 4 volte omne volta reinfocandola e spingendola in nuovo aceto bianco perche lo calcina meglio per poterla pastare e redurla in polvere. £ se lo lapis lazuli non fosse de perfecta sorte non se vole infocare perche perderia lo collore £ sappi che e molto meglio torre lo lapis lazuli pisto e reduto in polvere perche se vede meglio de che collore le. Ma se sonno in pezi se voglino pistare nel mortare de bronzo coperto multo bene perche la polvere non ralesca al vento poi lo macina sopra al porfido e quando sara 362 BOLOOKESE MAKITSCBIPT. powder upon porphyry, and when it is very fine, let it dry* When dry, you may grind it with ley or with tragacanth, be^ cause this )nakes it more easy to grind, and let it dry ; and so much for the preparation of the lapis lazuli. 14. The way to make the pcutiUej and to refine the before^ mentioned lapis lazuli, — ^Take 3 oz. of pine resin, oz. j of Spa* nish pitch, oz. j of mastic, oz. j of linseed, and put it all over the fire in a glazed pipkin to boil slowly together, and let the composition boil until a drop of it thrown into cold water, and taken up in your wet fingers, ceases to stick to your fingers, when it is done. Then take it from the fire and immediately strain it through a cloth, receiying it in a basin of cold water ; when the pastille is hardened, grease your hands with linseed oil, and take the composition, and pull it to and fro Uke bird- lime ; then make it into a cake, and you can then keep it a long time, either in or out of water, and so much for the pre- paration of the pastille. 15. 7%« toay to incorporate tlte pounded lapis lazuli tcith the pastille to refine it well, — ^Take of the powder of the lapis lazuli one pound for every 10 oz. of the pastille, and put the pastille into a glazed pipkin and make it almost boil ; then take the powder and put a little at a time into the pipkin, and mix it well together with a stick, and throw the mixture while hot into a basin of cold water ; then oil your hands with linseed oil, as you did before, and knead the paste very well in order to incorporate the ingredients thoroughly together ; then make them into a cake and put this back into a bajsin of clear cold water. You may keep it as long as you like, and you must keep it at least a fortnight ; and so much for incorporating the powder with the pastille. 16. The way to wash the powder out of the pastille to refine it. — ^When you wish to extract the azure, put the pastille into a glazed pipkin, with tepid water ; and there must be enough water to stand four fingers' breadths over the pastiUe ; let it remain so for the space of ten paternosters, and then throw away that water, and add some more water to it, and do this three or 1^ ■ • • "J^ ■■ ■ ~"^^— ••■^»» DE MULTIS BT DIVERSIS A2URRIS NATURALIBUS. 363 bene Bttbtilissimo lassalo seccare e quando e secco lo poi maci- nare cum lisciva o vero cum draganti perche lo fa piu paljpa- bili e lassalo seccare e queeto e quanto ala preparatione de lo dicto lapiB lazuli. 14. El modo affare el pastillo e affinare la dicta preparatione de h lapis lazuli supradicto. — Recipe oz. 3 de ragia de pino oz. j de pece spagnola, oz. j de mastice, oz. j de semi de lino e mecli omni cosa al foco in una pignatta vitriata a bulire pia- namente e tanto boUa che gietandoni una goccia in aqua fredda e poi pigliandola cum li deta bagnati non se apicha ale deta alhora e cocta e cosci calda toUa dal fuoco e subito colala in nno panno e ricogliendolo in uno catino daqua fredda e quando el pastille e ben indurate ongniti le mani cum lolio de semi di lino e piglia la dita compositione e tirala in la e in qua come se & el yischio poi lo reduce ad modo duno pane e conservare el poi longho tempo o voli in aqua o senza aqua e questo basta a la compositione del pastille. 15. El modo da incorporare la sopradicta preta pista inlo pastille per affinarla optimamente. — Summe de la poire de lo dicto lapis lazuli per omne libra oz. x de lo dicto pastille e mectilo in una pignatta vitriata e fallo tanto scaldare che sia per bollire alhora tolli lo dicto lapis in polvere e metilo a poco a poco in la pignatta e misticalo bene insieme cum uno bastone e gietalo cosi caldo in uno catino daqua fredda poi ongiti le mano cum lolio de semi de lino commo facesti la prima volta e tiralo molto bene acio se incorpora bene poi lo reduce oommo uno pane e rimetilo in uno catino daqua fredda e cbiara e* poilo tenere quanto voli ma vole almanco stare per XT di natural! e questo basta in quanto alia incorporatione de la polvere. ^ 16. El modo da cavare la dicta polve de lo pastillo per qfinarla. — Quando voli cavare el sopradicto aziuro del pastillo pcHii el dicto pastillo in uno catino vitriato e metivi de I'aqua tepida e e vole esser tanta aqua che stia 4 deta sopra al pastillo e lassalo cusci stare per dire X patri nostri poi sparge via quella aqua e metice de laltra aqua calda e fa cusi iij o iiij volte 364 BOLOQNESB MANUSCRIPT. four times until the pastille is warmed through. Then take two clean sticks a foot long, and of the thickness of one finger, round at the ends ; and with these stidcs you must knead the pastille in the warm water, turning it inside out with the sticks and continue doing so, and changing the warm water, until the azure begins to come out of the pastille, and when the water is full of the azure, empty it into another basin, holding back the pastille in the basin with the sticks. Then pour some hotter water oyer it, and continue to do so until all the azure is ex- tracted. When you see the ashes, which are of a dull colour, work out, put them away into another vase, because they are not good, compared with the first sort. Pour the 3 or 4 first washings into the first basin, and as many more into the second^ and all the rest in the third basin. The first will be of a fuller colour, but not so finely pulverized ; and the second will be of a very good colour, but not like the first, and the third will be of a whitish colour and very finely pulverized. Then put each sort by itself, and take out the water, then clean the azure with eggs .beaten up with the branch of a fig-tree, and make the azure into a paste with these beaten eggs ; then wash the azure with clear and weak ley until the ley comes off clear, fire- quently renewing the ley, and then dry the azure in the shade, out of the way of dust, and keep it in a little bag of chamois leather. 17. The toay to make ^^ azurro di lamagnay^ or German azure, or Spanish azure, and to rejine it well. — Take the mineral stone of the colour of smalt, or of a yellow colour, break it in pieces, and free it from other mixtures and impurities, and then pound it very fine in a bronze mortar, covered, over, in order that the powder may not escape and be blown into tha air, and sift it with a very fine sieve. Then take very strong and clear ley, made from baked ashes, with which you must wash the powder of the lapis lazuli four or five times, and receive all the waters in a basin, and pour the ley carefully ofTthe azure, which will settle at the bottom of the basin. Then take very clean and white honey, and grind up the azure with the honey, a little at DE MTTLTIS BT DIVERSIS AZURMS KATURALIBUS. 365 tanto che el pastillo se scalde de dentro poi toUi doi bastoni loDgbi mezobracio e gross! uno deto poUiti e necti per tutto e tondi in capo e cum quest! bastone se vole cemenare el dicto pastillo nela dicta aqua calda e revoltando quello dentro de fora cum li diet! bastoni e tanto farai cusc! scambiando laqua ealda per infino che lo azurro oominciara ad husdre fora del pastiUo e quando laqua e ben piena de azurro voita quella aqua azzurra in uno altro catino retinendo el pastillo nel fondo del catino cum 1! diet! bastoni poi 1! rimecte suso del aqua piu calda e tanto fa cusc! che nescha fora tucto lo azurro e quando tu vedrai uscire fora el dnaraccio che e di colore smorto metilo da parte in uno altro vaso perche non e buono apresso quello de prima. Meet! la prima lavatura 3 o 4 volte nel catino e altratanto nel secondo e tucte I'altre nella terza sorte el primo sera piu pino de collore ma non sera cusi subtil! e el secondo havera assai buono collore ma non commo el primo e el terzo sera de collore bianchetto e sera sutilissimo poi meet! eescuno da per se e cavarai laqua e poi pui^ lo azurro cum gli ova sbactuti cum una rama de fico e impasta lo dicto azurro cum quest! ova sbattut! poi toll! liscia chiara e dolce e lava lo dicto azurro cum essa liscia tanto che la liscia nescha chiara renovando spesso la dicta liscia e poi lo pone a secare a lombra dove non vi vada polve e serba lo in saculo camusi. 17. Pratica affare azurro de lamagna o vero azurro thodesco 0 vero azurro spoffnolo e ajinarlo optimamente. — Toll! de lo lapis mineral! de collore de smalto, o vero de collore crocio e rom- pilo bene e acapalo de 1' altre misture e immonditii poi lo pista molto bene in uno mortaro de bronzo coperto primo che non sfidta et non vada la polvere alaiere poi lo staccia cum una stacia subtil! de poi toUi liscia fortissima e chiara facta de cenere recotta cum la quale lava la polvere de lo ditto lapb in fino a quattro o cinque volte e coglie tutta la lavatura in uno catino e lassa bene scolare la liscia de lo azurro che stara in lo fondo del catino poi toll! del mele molto bene netto e bianco e vieni macinando lo dicto azurro alio dicto mele a pocho a poco Sm BOLOOKBSE MANUSCRIPT. a time, on the porphyry slah, until it is ground fine ; then take four or five glazed basins, and put the azure into one basin, in which you must distemper it with strong ley, mixing it well with your hands ; when it is well mixed, pour it ofi*yery quickly into another vase, and continue washing it until the ley becomes dear, and let the coarse azure remain at the bottom ; then grind up again the coarse azure which you have left at the bottom, as you did before, and when it ia ground put it wiUi the first, and wash it all together as you did before. When you have washed it well, let it rest for the space of one pater noster ; then pour it ofi" slowly into another basin, and wash it until you have washed away the fine parts. Then grind up the coarse parts as before mentioned, if you like, and mix all to- gether, coarse and fine — ^that is to say, the first, second, and third washings ; and when you have washed the powder well, so that the ley separates entirely from it, let all the ley run off, and put the azure into a glazed pipkin, and pour over it strong white vinegar, so as to cover the azure, and as much common salt as is sufficient Let it stand so for two natural days ; then pour off the vinegar into a basin, and when it is run off, wash the azure in three or four clear waters, atid throw all tliose waters on to the vinegar which first ran off the azure, as there may perhaps be something useful in it, which you must put with the good. You must then separate the fine azure firom the coarse in this manner : — Take a new glazed jar, into which put the azure ; then take ley so warm that you can just bear your hand in it, and some soap scraped very fine with a knife, add to each pound of azure half an ounce of soap, mix all these things together, and then have ready a small bag in which you may shake up the mixture together until it froths ; then empty the pipkin carefully, taking off the scum with a spoon, so that only the coarse part may remain behind ; next take the scum, and put it back into another pipkin with a little more fresh ley, and do the same as you did before ; then pour off into the first basin the coarse parts which remain, and grind it again, and do as before ; afterwards grind that which is with the soap with DE MULTIS ET DIVERSIS AZURRIS NATURALIBUS. 367 in su lo porfido prima che vegna subtili e commo sera tutto macinato bene habbi 4 o 5 caiini vitriati poi metti el dito azurro in nno eatino nel quale stempera el dicto azurro cum liscia forte remenandolo bene cum mano e quando sera bene stempe- rato e iu presto presto scola in uno altro vaso e cusci seguita lo lavare per infino ne yieni la liscia chiara e lassa romanere lazurro grosao al fondo e de novo remacina quello grosso che te remasto al fondo commo prima e commo e macinato metilo in- siemi cum lo primo e lavalo tucto insiemi commo da prima e commo tu laverfu ben lavato lasselo reposare per uno pater nostro poi scolalo pianamente in uno altro eatino poi lo lava tante volte che se ne cava lo sotile e poi de novo macina el grosso se te place commo di sopra e dicto e tucto lo ricoglie in- aemi grosso e suctili cio e el primo e el secondo e el terzo e da pcH che lai molto bene lavato tanto che nescha la liscia chiara e lassalo bene scolare da la lixia poi lo metti in una pignatta ▼itriata e e mectivi sopra de lo aceto forte e bianco tanto che lo azurro stia coperto e tanta quantita de sale communo che sia sufficienti e lassa cusci stare per doi di naturali e poi scola el dicto aceto in uno eatino e commo e scolato lavalo a tre o a quatro aque chiare e tucte quelle aque bucta in su lo aceto che cavasti prima de lo azurro acio se vi fosse niuna cosa bona la quale mecti insiemi cum lo buono da poi sepera lo azurro buono dal grosso in questo modo toUi uno pignatto novo vitriato nel quale mecti el dicto azurro poi tolli liscia ben calda quanto se li possa sofiririre la mano e habi del sapone raso ben sottili con lo corteUo e vole esser tanto che sia per omne libra de azurro meza onda de sapone e mistica tutte queste cose insiemi poi habbi uno sachetto cum lo quale tu volte e travolte molto bene le dicte cose per infino a tanto che faccia una buona schiuma de poi scola la dicta pignatta in uno eatino caute tirando suso la schiuma cum uno cochiaro infini romane solamente lo grosso e da poi tolli la dicta schiuma e de novo lo rimecti in una altra pignatta cum uno altro poco di liscia nova e fa el simili commo da prima poi scola nel primo eatino el grosso che te remane remacinalo una altra volta e fa commo prima poi vieni lavando 368 BOLOQNESB MANtXSCRlPT. clear and clean ley, and then take a glazed jar with urine ib it) and boil the urine, and for every pound of azure add half an ounce of gum arabic, and scum it well, and put some scent into it When it has boiled, take it off the fire, and when cool put the azure into it, and let it stand so for a night ; then pour off the urine, and let the azure dry in the shade, and turn the azure frequently with a stick ; then put it into a little leather bag before it is quite dry, and squeeze it well in your hands, or put it into an ox bladder, which must be prepared by soaking the bladder for one night in vinegar and salt ; and keep it well, and you will have an azure like ultramarine. 18. To make azure by vneans of the pastille. — Take pine resin oz. iij, Greek pitch oz. j ; poimd the pitch and mix the whole with oil, and put it to boil slowly in a glazed jar until it is done, and this may be known in the following manner : — Take a drop of the composition and throw it into cold water, and if it does not stick to your wet fingers it is boiled sufficiently. When it is done, take a glazed basin of cold water, and strain the said composition into the water through a cloth, screwing and squeezing it with a split stick so that it may all come out of the cloth, and let it harden a little in the water ; and when you wish to use the pastille, warm it a little, and take for every half pound'^of the pastille, half a pound of azure — ^that is, of the stone pounded into a fine powder — ^and mix and incorporate well the powder and the pastille, and let them lie for a week. Then take a glazed jar, and put into it some tepid water ; put the pastille into this water, and wash it very well in the same way that birdlime is washed, pulling and kneading it to and fro in the hand, and taking care not to break it, and continue doing this until the water becomes blue, renewing the water frequently. Then set aside that azure water, and take another basin of water a little warmer than the first ; put the pastille into it, and do as you did before until it becomes blue, and put it apart as you did tlie first, and do this until the water no DB MULTIS ET DIVERSIS A2URRIS NATURALIBUS. 369 quello che e in nel sapone cum liscia ben chiara e netta poi tolli UDO pignatto vitriato cum orina e fa bullire la dicta orina ne la quale mecti per omni libra dazurro meza oncia de gom- arabico e schiumalo molto bene e metili dentro alcuna cosa odo- rifera e quando ha bulito levalo dal fuoco e commo e refredato e tu vi mecti dentro lo azurro e lassalo cusi stare per una nocte e poi scola via la ditta orina e poi pone asciugare lo dicto azurro a lombra e apre el dicto azurro spesso cum uno bastone poi lo ripone in uno sachecto de corami in nanti che sia in tuttb fomito de sciugare e menalo bene per mano o vero tu lo pone in una visicha de bove la quale sia attuata in questo modo farai stare la visicha in lo aceto e sale per una notte e servalo bene e haverai azurro simili al oltramarino. 18. A fare azurro 'per via de pastiUo. — Tolli ragia de pino oz. iij, pece greca oz. j, e pista la pece e mistica omne cosa cum olio et mettilo a bullire a poco a poco e mectilo in una pignatta yitriata infino a tanto che sera cotto e questo se cog- nosce in questo modo tolli una gocia de la dita compositioue e gietala in aqua fredda e se non se apicha ale deta che sieno bagnati e cocta poi quando e cotta tolli uno catino vitriato cum aqua fredda e cola la dita composition in questa aqua cum uno panno spregnendo e ritorcendo cum uno ligno fesso siche tutto vegna fora del panno e lassalo indurare uno pocho nel aqua poi quando voli operare el dito pastillo rescaldalo uno poco e tolli per omne meza libra de pastillo una libra dazurro cioe la preta pista in polvere sotili e mista insiemi la polve el pastillo molto bene incorporando poi lo lassa stare per 8 di naturali poi tolli uno catino vitriato e metice dentro del aqua tepida e metti lo pastillo in questa aqua e lavalo molto bene commo se lava lo viscfaio tirando e remenando in qua e in la cum mano e guarda che tu non lo rompi e cusi farai in fino a tanto che laqua diventa azurra renovando spesso laqua alhora pone quella aqua azurra da parte poi toUe imo altro catino cum laqua che sia uno pocho piu calda che laltra prima e mecti dentro lo pastillo e & commo prima intanto che diventa aziurra e serbala da parte commo prima e fand cusci infino a tanto che laqua non 370 BOLOONESE MANUSCBIFT. longer comes off blue, and put each water away by itself; coyer it up, and let it settle until the azure sinks to the bottom ; then take up the water with a sponge cautiously, so as not to moye the azure, and when all the water is removed, let the azure at the bottom of the basin dry, and keep it ; and know that the first is perfect azure, and is worth five ducats the ounce, the second less, and so the third. 19. To make azure another way. — ^Take lapis lazuli of a violet tinge, very dean from earth and impurities and particu- larly from pyrites, and break it in a bronze mortar, after- wards grind it very fine upon porphyry or marble, and then dry it. Then make a pastille from the following ingredients, viz. : take for one pound of the stone, 4 oz. of new wax, the same quantity of colophony, 4 oz. of naval pitch, and one ounce of powdered incense, and you must first liquefy the wax in a glazed jar ; you must then put 5 ounces of linseed oil, only half of which is to be used at first, the other part is to be reserved. Then add all the other things, pulverizing all that should be in powder, and when they are melted or dissolved, strain them through a linen cloth into a glazed vase, such as a washing basin, filled with clear cold water ; then take the pastille with the powder of the lapis lazuli, and put it on a marble slab, and incorporate one with the other. The proof of their being per- fectly incorporated is, that the pastille breaks while kneading it in your hands, but it must be done a little at a time, a piece, for instance, of the size of a chestnut, and the whole must be made into a cake, and must be suffered to stand 3 or 4 days. When you wish to extract the azure, do it with hot water, having an assistant to throw the water over your hands while you are kneading and washing the pastille, letting the water run into a glazed vessel, and setting apart three waters, and changing the water imtil it is no longer coloured. Then let it settle and pour off the water, strain the azure through a cloth, and let it dry, and it will be done. 20. To make azure another toay. — Take of lapis lazuli one pound, and grind it well and sift it through a linen cloth ; aftier- DB MULTI8 FT DIVERSIS AZURRIS NAITRAUBUS. 371 diventa piu azurra e metti omne aqua da per se coperta e las- sala tanto possare che lo azurro sia andato al fondo poi cava tutta laqua cum una spogna cautameute che lo azurro non se mora poi che sera ca^ata tucta laqua lassa seccare lo azurro nel fondo del catino e conservalo e sappi che lo primo e per- fecto azurro e vale cinque ducate loncia lo secondo yale mancho e cosi lo terzo. 19. Ad faciendum azurrum per aliam mam. — Accipe lapis lazuli bene multumque mundum a terra et superfluitate et maxime a marchesita et sit coloratus colore violatii et ipsum tere in mortario bronzi postea macina super porfidum sive mar- morem suctiliter postea desicha ipsum deinde fac pastillum ex- istis rebus, viz., sume pro una libra dicti lapidis uncias quatuor cere nove et tantumdem colofonie et untias 4 pice navalis et untiam unam incensi pulverizati et unam oUam habeas vitria- tam in qua liquefac ceram super quam pone untias 5 olei semi- nis lini sed primo non ponas nisi medietatem dicti olei lini et aliam partem serva deinde pona et omnes alias res pulverizatas quae pulverizanda sunt et quando erunt destrute sive disolute tunc cola per pannum lineum in uno vase vitriato sicut est lavella in quo sit aqua clara et frigida tunc sume pastillum cum pul- vere lazuli et pone in marmore et simul bene incorpora unum cum reliquo. Signum vero perfecte incorporationis est quando trando pastillum cum manibus frange tamen debet incorporari ad modicum ad modicum proice qualibet ad quantitatem unius eastanee et tunc ex omnibus fiat panis unus et permicte stare diebus tres vel quatuor. £t quando vis exthraere azurnun ex- trahe ipsum cum callida aqua ita tamen quod unus proiciat aquam super manus tuas et tu move pastillum lavando ipsum et aqua cadat in vase vitriato seperando aquam ter et mutando tantum quod plus non colloretur et permitte posare et sepera aquam et cola azurrum per pannum subtile et permitte sicari et erit factum. 20. Ad faciendum azurrum per alium modum, — Summe lapi- dem lazurinum libram unam et eum tere bene et cribra per TGI*. II. E 372 BOLOGNESE MAKUSdUFT. wards grind it fine npon porphyry, and let it dry ; then take Greek pitch, naval pitch, olibanum, mastic, yemicem annarii (?), clean new wax 2, ^, 2,^ and common oil ^, 1 ; melt all these things together in a sancer and mix them well. Then take a basin full of clear water, and strain into it through a cloth all those things which you melted in the saucer, and anoint your hands with oil, and take the composition which you put into the basin, and knead it well before the fire like wax ; then by de- grees incorporate the powdered lapis lazuli with it, and let the mass remain in a ball for 3 or 4 days, and the longer the better. Next take a large glazed vase, and put the ball into it, and pour hot water upon it, stirring it with a wooden stick, and work- ing it well until the water is coloured with the azure ; separate it, and add fresh hot water, and do as you did before, and put it into another basin. Do this as long as the water comes off coloured, and if there seems to you to be any colour left in the ball, take some common ley almost boiling, and pour it upon the ball and stir it strongly, then put it back with coloured water from the third washing ; afterwards, when the water has cleared, pour it off so that none of it may remain, and then cover over those vases with a sieve in the sun, and let them dry. This must only be done in clear weather. 21. The way to make coarse azure. — Take the stone called *' viterola de lamanea," ' which is like pumice stone, and grind it fine without any liquid. Then take a little turpentine, new wax, and naval pitch, and put it to melt, and when the whole is melted put into it some of the powder of the stone, and stir it with a stick to mix it well \ then take warm water and a ladle or a stick, and work it till the azure is extracted, frequently changing the water and setting it aside. Let it dry, and keep it in a leather purse. 1 These numbers probably refer to pounds, ounces, and drachms ; the figure with the comma under it stands for ounces. s The Viterola de Lamanea is probably native blue Vitriol, or sulphate of copper ; because in the Nuovo Plico (p. 126), it is said, that '* when Viterolo de Lamanea is boiled with the Verdigris and Sal Ammoniac in strong vinegar, and a piece of iron put into it while boiling hot, when cold DE MULTIS ET DIVERSIS AZURMS NATURALIBUS. 373 pannum Imeum postea tere eum subtiliter in porfido et pennicte riocari deinde accipe pecem grecam et picetu navalem, oliba- imm, masticem et vernicem annarii et ceram novam mundam 2, ^, 2 (sic)y oleum comune ^, 1, omnia ista fundantur impatella et fortiter incorporentur postea habeas parasidem unam aque clare plenam et cola per pannnm omnia que intus infusisti scilicet in patella et tunc acipe de oleo et unge tibi manus et acipe ea que in paraside poeuisti et due bene ad ignem ac si esset cera postea paulatim incorpora dictum pulverem lazurrinum et permitte dita massa stare admodum palle per 3 vel 4 dies et tanto plus tanto melius erit deinde accipe unum vas cupum et et magnum ut sit vitriatum et intus pone dittam pallam et infunde de aqua calida deinde remove eum cum baculo de ligno et due fortiter quoosque aqua fiierit bene coUorata coUoris azurri et sepera illam et pone de nova aqua calida et fac sicut prixis et mite in alia paraside et sic reitera dummodo aqua venit coUorata. Et si tibi videtur quod remanserit de azurro in ditta palla accipe de comuni liscivio quasi bullito et micte desuper palla et due fortiter et repone in tertia lavatura cum alia aqua azurra postea quando aqua erit clara proice ilia ut nil remaneat et tunc cope- rias parasides illas cum stamenia ad solem et dimicte sicari et hoc non debes facere nisi per tempus clarum. 21. Modus faciendi grosmm azurrum, — Summe lapidem qui didtnr viterola de lamanea et est ad instar pumicis, tere ipsum sine aliquo licore subtiliter tunc recipe modicum terebentine et cere nove e pice navalis et pone ad liquefaciendum quando erunt liquefacta tunc micte intus pulverem dicti lapidis et move baculo ut sint bene admisia et inde habeas aquam calidam et accipe misculam sive baculum et move tantum quod azurrum exeat mutando semper aquam et secuando ad partem et per- micte sicari et serva in bursia corii. the iron is found to be of the colour of copper ;" being in fact actually coated with copper. Native Sulphate of Cop))cr occurs massive, stalactitic, and pulverulent ; it is rarely found crystallized. When a portion of it is dissolved in water, and spread on the surface of iron, the latter is immediately covered by a film of copper. See Phil. Min., p. 313. E 2 374 BOLOQNBSE MANUSCRIPT. 22. To make German azure, — ^To make azure like German azure, take of rasscia^ as much as you like, that is to say, that rasscia whidi comes from Germany, and which is like stone ; crush it upon a marble slab and grind it well, then take gam arabic, and dissolve it in twice the quantity of water, and dis- temper the gum, and then with this gum water distemper the rasscia, and when they are well incorporated, take strong ley made fix>m the ashes of vine branches, and wash the azure two or three times with this ley ; then let it settle to the bottom, separate the ley, and let it dry, and the work is done. 23. To extract sol, L e. gold^ from the lapis lazuli. — ^Take lapis lazuli, and pound it very fine on an anvil or in a bronze mortar, or, if you like, grind it on porphyry, first heating it m the fire, and when it is well ground take for every pound of powder an ounce of mercury, and mix it well together with the powder ; then take a linen cloth, not of too close a texture, or a sieve, and put these things — ^that is to say, the powder and the mercury — into whichever of these you choose, and press the piece of linen in order that the quicksilver may pass out with the gold ; then pour the quicksilver into a crucible, and put it in the fire, when the mercury will go ofl^ in vapour, and the gold will remain behind. 24. To make azure^ and to know the place where it is pro- duced.— Take lapis lazuli, which is a stone that comes from Organia, in the country of Tartary,' and which is dug from the 1 I have not been able to find the word '* rasscia" in any Vocabulary. From the imperfect description of the text, I should consider it to signify the indurated Blue Carbonate of Copper. * Beckmann says, that the real Lapis Lazuli is found in the mountains of that part of Tartary, called Bucharia, which extends eastward from the Caspian Sea ; and particularly at Kalal and Budukschu. This is confirmed by Tavemier in his ' Travels.' I believe it is not found in Hungary, which country we are to understand by the word '* Organia,*' or in Cyprus ; but in both these countries are copper mines, which produce the blue ore. From the former, the blue pigment called ** Ongaro " by Lomazzo (Trat- tato della Pittura, p. 191), which Pacheco says was used by Titian (Tratado de la Pintura, p. 873), was prepared. The blue copper ores of SB""^^ DE MULTIS BT DIVERSIS AZURRIS NATURAUBUS. 375 22. Ad faciendum azurrum almaneum. — A fare azurro commo de lamagna toUe la rasscia quella parte che tu vole cio e quella rasscia che vene delamagna la quale e commo petra rompilo in sulo marmo e macinala molto bene poi toUi gemma rabico e doi parte piu che la goma de aqua e stempera la dicta gomma e cum quella aqua gomata stempera la dicta rasscia e quando sonno bene incorporate e tu tolli ranno forte iacto de cenere de sciermento e lava lo dicto azurro cum esso ranno doi o tre volte poi lo lassa andare al fondo e sepera lo ranno e lassalo seccare et de facto. 23. Ad extraendum sol^ i. e. aurum^ de lapide lazuli. — Ahyve lo lapis lazuli et tritalo bene subtili in su lancudini o' vero in mortaro de bronzo o Yoi spolverizarlo in porfido metendolo ad infocare nel foco poi commo e bene trito tolli per omne libra dela dicta polve una oncia de mercuric vivo e miscola insiemi cum la dicta polvere ben de vantagio poi tolli panno de lino che non sia troppo ficto o vero una stamegna et in qualunqua tu voli metivi dentro le dicte cose cio e la dicta polvere cum lo ariento vivo e spremi la dicta peza acio nescha lo argento in- siemi cum loro poi poni lo dicto ariento in imo crugiolo e polio al foco lo argento andara via in fiimi e el sole remarra in lo fondo. 24. Ad faciendum azurrum et cognoscendum locum ubi nasci^ tur. — ^Tolli lo lapis lazuli lo quale e petra che vene de Organia de paese de tartaria et la se cava la dicta preta de le montagne Cyprus have alwajs been celebrated, and are still produced there. It is almost unnecessary to observe, that Uiis blue pigment from Hungary and Cyprus is the Azzurro della Magna formerly mentioned. Large quantities of blue copper ore have also been found in Persia ; and have frequently been mistaken for Lapis Lazuli. Tavemier gives the following account of it :— *' In the copper mines of Persia, veins of lazur, which is much used in that country, and with which the flowers on the ceiling and roofs of apart- ments are painted, have also been found. Before these were discovered the Persians bad no other lazur than the real kind, which comes from Tartary, and is exceedingly dear. The Persian lazur is a sort of copper ore ; and when the stone is pounded and sifted, which is the process employed with 376 BOLOQKESE MANUSCRIPT. moiurtains of that country, and where also are fonnd sapphires and other precious stones. The stone is also dug in the country of Damascus, and in Cyprus ; and the people of those parts, who are Tartars and infidels, call it in their tongue ^^agiara,"^ that is to say, azure stone. When you want to use this stone, take it, and if the said stone is in large lumps, put them in the fire so as to he heated throughout; sufier them to remain in the fire for ten hours, and let the fire be burning all round them, and if you allow them to stay longer in the fire they will be finer ; and if you put them into a pipkin they will be still better refined in the following manner : — Take an unglazed pipkin pierced with many holes at the bottom, and with a few at the sides, and put charcoal around it ; then put the large lumps of lapis lazuli into this perforated pipkin, which must be placed on a tripod, and when the stone has been burnt for the above- mentioned space of time, take strong ley made of ashes of oak, or glass ashes — that is soda — and the ley will be so much the better if you take equal quantities of both of these, with a little quicklime, and make a ley as clear and clean as you can, and then put the stone red hot into the cold ley, and let it remain for three days ; next pour ofi^ the ley, and let the stone dry, and then pound it in a metal mortar, and reduce it to as fine a powder as you can ; and if the stone should contain any gold, you will extract it with quicksilver as was before directed. Wlien it is well sifted, so as to be very fine, put it into a shell of cold water, and mix it with a clean spoon, and then let it settle in that water till the powder is all gone to the bottom, and all the impurities remain above ; then separate the water from the dust with a sponge, softly, so as not to disturb the powder or the the real kind, it forms a fine paint, which appears very bright and pleasant. After this discovery, the Persians durst no more purchase the Tartarian lazur ; and Mahomet Beg issued an order that painters should not use fo- reign but Persian lazur. This prohibition, however, did not long continue ; for the Persian lazur could not stand the effects of the atmosphere like the real kind, but in the course of time became of a dark and dismal colour. Sometimes it was full of scales, and would not hang to the end of a soft DE MULTIS ET DIVERSIS AZUBRIS NATURALIBUS. 377 die soirno in quelli paesi e la se trovano zaffirri et altre prete pretiose. Et ancora se caya de la dicta preta in le parte da- masco et in le parte de cipre et la gente de quelli parte che 8onno tartari et infideli la chiamano in loro lingua agiara cioe petra de azurro. £t quando voi laYorare la dicta preta pren- dila e se la dicta preta fiisse in zuppi grossi mecti i peze nel fuoco che arda da omne parte e lassali stare nel foco per x hore e fa che habia bene il foco da omne parte e se piu la lassi stare nel foco pin se affinara. £ se tu la mecte in una pignatta ancora se affina melglio in questo modo : toUi una pignatta non vitriata e mecti de intomo carboni e la pignatta Tole esser forata nel fondo cum spessi bugi e cum alcuni bugi de intomo poi poni in la dicta pignatta bu^ta li pezi de lo dicto lapis grossi e la dicta pignatta yole esser sospesa in uno tre pei poi che sera la dicta preta bene cocta et bene infocata per lo dicto spatio habi liscia forte facta de cenere de cerro o de cenere de vetrio cioe soda tanto megliore sera la liscia se tu vi poni de luna e del altra cenere anna et cum uno pochettino de calcina viva et fa liscia chiara et necta quanto piu poi poi cusci calda mecti la petra in lo dicto ranno freddo e lassa stare per 3 di poi sepera hi dicta liscia e lassa resciugare la dicta preta poi la pista in uno mortaro de metallo e fa polvere piu subtile che poi et se la dicta petra tenesse doro farai cum lo argento vivo commo e di sopra dicto et commo e ben staciata che sia ben subtili mectila in una concha daqua fredda e mista bene cum una mescola necta bene e poi la lassa ben reposare in quella aqua che la polyere sia bene andata al fondo et omne cativita rimara de sopra et sepera laqua de la polve cum ima spogna pianamente che non movi la dicta polvere o dicto azurro e se vedesci che hair brush. On this account it was soon neglected as a coloured earth, and the lazur of Tartary again introduced/' 1 Agiara. The usual term for Azurro in those parts of Italy situated between the Apennines and the Po. It occurs in contracts for pictures by Denys Calvart, and Marc Antonio Seccadenari in 1601, and by LudOYico Carracct in 1587. 378 BOLOGNESB MANUSCRIPT. azure ; and if you see that it is not well cleansed, wash it an* other time in the before-mentioned manner; and when it is quite clean let it dry, and grind it dry on the porphyry as fine as you can, a little at a time ; and if you should have any trouble in grinding it dry, add a little water to it, and when you have ground it fine put it into a large and flat glazed earthenware pan, spread it along, and let it dry, and then grind it again on the porphyry, and sift it very fine. It must then be refined with the pastille, made according to this recipe :~-Take 1 oz. of white resin, 1 oz. of incense, 8 oz. of Greek pitch, 1^ oz. of turpentine, 1 oz. of linseed oil, and if you wish to make a greater quantity make it according to this proportion; then take a glazed pipkin, and put it on the fire on a tripod, and make a fire of charcoal without flame ; first put the oil into the saucepan, and let it get warm, and then the Greek pitch, mix them together with a clean spoon, and when the pitch is well melted add the resin, and keep continually stirring it ; then add the incense, and tlien the turpentine, and mix all together, and take care to keep a moderate fire, in order that the mixture may not catch fire inside ; then remove the vessel from the fire^ and strain the contents through canvass like a strainer. Next take a basin of glazed earthenware, and fill it half full of clear cold water, and put that canvass over the basin, and then strain the mixture which is in the pipkin into this water, and when you have strained it all, take it out of the water, and put it where it will not get dirty. If you wish to refine one pound of lapis lazuli, take two pounds of this pastille, and it will even bear another ounce of azure. Then take a clean glazed sauce* pan, and put it over a moderate fire, and add another ounce of Greek pitch, and it will be sufficient for making a larger quan- tity ; put the oil into it, and do as before, and let it melt slowly ; then remove the saucepan from the fire, and pour it while hot over the lapis lazuli, and mix it well. When it is well incor- porated, before it gets cold, take a shell of firesh water and pour it on the hot pastille which you have in the pipkin, and the whole will sink to the bottom and adhere together ; and when Dfi mulus m DIVERSIS AZUBRIS NATTTUALIBUS. 379 non fbfise bene depurgato lavalo una altra volta alo dicto modo e oommo sara bene depurgato lassa lo sciugare poi lo macina in 8U lo porfido cusci dasciuto quanto piu poi a poco per volta et se te ibese fatiga a macinare dasciuto metice uno poco daqua poi che lai macinato subtili metilo in uno vaso de terra vitriato largo e piano e stendivilo suao et lassalo sciugare bene poi lo aremacina in lo dicto porfido e statiarlo che sia ben subtili poi se vole darli la concia cum lo pastillo doe cum questa maestra. Tolli 02. j de ragia bianca, oz. j. de incenso, oz. 8 de pece greca, oz. Ij^ de trementina, oz. j de olio de seme de lino se ne Toi far maggior quantita fallo secondo questa proportione poi faabbi uno tegami yitiiato e polio al foco in su li tre pej et fa fuoco de bragia e non de fiamma prima mecti in lo dicto tegami lolio et lassalo uno poco scaldare et poi la pece greca e mescola insiemi cum una mescola necta et quando la pece e ben disfatta mettivi la rasina et vene sempre mescolando poi lo incenso poi la trementina et mista et fa che lo foco sia molto temperate accio non se acenda dentro poi levalo dal foco e colalo cum uno canayacdo ad modo duno colatoro poi tolli uno catino de terra vitriato et fallo mezo daqua chiara et fredda et mecti quello canayacdo sopra alo catino poi cola et metivi suso quella de- ootione che e in lo dicto tegami et fa bene colare dentro in questa aqua poi che lai colata tucta cavala de laqua et ponila in loco che non se imbrutta. £ se voi afinare una libra de azurro tolli doi libre de questo pastillo et anco comportara una cMida de azurro piu poi tolli uno tegami necto vitriato e ponilo al foco temperato et mectivi oz. j. piu de pece greca et baster- alti per fame maggiore quantita et metivi dentro lolio et fa commo de sopra et lassalo strengiare adagio poi leva lo tegami dal foco et cosi caldo mectivi su la polvere de lo lapis lazuli e mista bene et quando sara bene incorporata prima che se freddi habbi una concha daqua fresca e metivi in su questa materia cosci calda che hai nel tegami et tucta la materia andara al fondo et arapicarasse insiemi et commo e bene arapicato cavela de laqua et riraenala per mano commo pasta tirando et distend- endola bene poi lo pone nel aqua del catino et se apicfaa ale 380 BOLOONESE MANTT8CRIPT. it coheres firmly, take it out of the water and knead it in your hands like dough, pulling and spreading it well. Then put it into the water in the basin, and if it sticks to your fingers anoint them with linseed oil ; let the pastille remain in the said water for six days, changing the water in summer twice each day, and in winter once ; and when you wish to extract the azure, take a glazed basin and put the pastille into it, with tepid water ; let the pastille get warm, and cover it with a ladle and press it When it is well melted, put a little hotter wat^ to it, or else warm that same water in a vase, and so wash it eight times with that same water, and then let it cool, and the pastille will float upon the top, and the azure will go to the bottom ; and you must keep the water covered, in order that no dirt may get into it. Then remove the water with the pas- tille softly, in order that the azure which is at the bottom may not be disturbed ; warm the water that was removed, and re* turn it upon the azure, and then let it cool, and the pastille will float upon the top. Then separate the water and make it boil, and when boiled return it upon the azure as before, and take out the pastille, which will be good for making other azures, and put it away in a clean place ; and know that the first azure is the finest, the second less fine, and the third still less ; and you must keep the azure in a chamois leather purse, or in a glazed earthenware jar. 25. The way to refine the pastille; and if it slumld happen to get burnt so that the azure does not work ovt^ the way to cureit,^^ Put cold water into a pipkin and place it over the fire. When the water is hot, put the burnt pastille into it, and when the pastille also begins to get hot, take it out of the water, and put it into a glazed jar, and again place it over a slow fire ; then add to the pastille the following things. If the azure and the pastille together weigh two pounds, add 1 oz. of new wax, 1 oz. of olive-oil, 1 oz. of turpentine, and mix all well together with the pastille, and take the pipkin from the fire and poor cold water into it and let it cool ; then knead and work it as before, and if it should stick to your hands, anoint them with ^■■^^^i^^^^ip DE MULTIS ET DIYERSIS AZURRIS NATURAUBUS, 381 mano ongite le mano cum lolio de semi di lino et lassa stare in la dicta aqua per 6 di mutando laqua destate doi volte el di et de invemo una volta et quando voi cavare el dicto azurro tolli una catino vitrio et mectivi dentro el dicto pastillo et habi aqua tepida e lassa rescaldare el dicto pastillo et coprilo cum una miaoola et vienlo spremendo et quando lo pastillo e bene dis- facto metivi uno poco daqua piu calda o vero rescalda quella aqua medesima in qualche yaso et cosi cum quella medesima aqua calda lo lava 8 volte poi lassa refredare et el pastillo rimara de sopra et lazurro andara al fondo et tene coperta la dicta aqua acio non vi vada alcuna bruttura poi cava laqua de sopra insiemi cum lo pastillo pianamente che laziu'o che e in nel fondo non se mova poi pone quella aqua a scaldare et ri* tornala sopra a lo azurro et lassa poi reposare et el pastillo arivra a sommo poi sepera la dicta aqua et faUa bullire et ri- tomala bulita sopra a lo azurro al dicto modo et cava fora el pastillo che e buono per chavare deli altre azurre e riponilo in loco netto et sappi che el primo azurro e piu fino lo secondo meno lo terzo mancho et serbali in saculo camusci o vero in albio de terra vitriato. 25. Modo affinare el pastillo se casofusse che te venisse arso che non ne uscisse lazurro pratica a racoTunario, — Tolli uno pagnolo et metivi dentro aqua fredda et ponilo al foco et quando e calda metivi dentro lo pastillo arso et commo se co- mmza a rescaldarse cavalo fora et habbi uno tegami vitriato et polio al foco et metivi dentro el pastillo et dalli il foco lento et gioDgivi sopra del pastillo queste cose se fusse infra lo azurro et lo pastillo libre doi oz. j de cera nova, oz. j de olio de olivo, oz. j de trementina et miscola omne cosa bene insiemi cum lo pastillo et leva el tegami dal foco et metivi dentro aqua fredda et lassa lo refredare poi lor mena et extiralo commo prima et 8e se apicasse ale mano ongiti le mano cum olio et per questo 382 BOLOGNE8B MANUBCBIFr. oil, and in tliis way you will make it right, and you may wadi the azure out of it as before, and it will be good azure. 26. The uxiy to make the pcLstiUe to prepare one of these stones when it is much finer than the rest. — ^Take 4 oz. of white resin, 8 oz. of Greek pitch, 1 oz. of turpentine, 1 oz. of mastic, 1 oz. of linseed-oil, and use this for a pound of the lapis lazuli, and do as you did before. DB HULTIS ET DIVERSI8 AZURRIS NATUIIALIBUS. 383 modo lo riconciarai et cavane poi lo azurro commo de sopra et sera fino azurro. 26. Modo da fare elpastillo per lavorare una di queste prete quando fusse piufina de vantayio piu che laltre. — Pilglia oz. 4 de ragia biancha et oz. 8 de pece greca, oz. j de trementina, oz j de mastice, oz. j de olio de semi de lino et questo ado- pera per una libra de la dicta preta dazurro et £& la pratica commo di fiopra. ( 384 ) HERE BEGINS THE SECOND TREATISE CONCERNING MANX AZURES THAT ARE MADE ARTIEICIALLY : AND FIRST WE MUST TREAT OF THE TRIAL OF AZURES, WHETHER THEY ARE NATURAL MINERAL AZURES, OR WHETHER THEY ARE ARTIFICIALLY MADE. 27. How to know ultramarine azure from the artificial, by trial and examination.^ — Take the dust of the mineral, or a little of the azure extracted from the mineral, and put it on a red-hot plate of iron shining and without rust. If it does not change colour, it is excellent. If it turns hlack, it is of little value. If it is adulterated, the ash will be pale. If it turns whitish, it is made artificially. 28. It is known in another way by experience.* — Put a little azure in your hand, or into a shovel, pour clean water upon it, and rub it with your fingers, and if it immediately settles into the cracks of your hands or of the shovel, that azure is very fine and good ; otherwise it is not so. 29. To make azure artificially. — Take one pound of brass filings, and the same quantity of sal ammoniac" or a little less, and dissolve the sal ammoniac in aqua tartari ; then, witli that water, make a paste with verdigris, and put it into a glass cucurbit covered and sealed up like a blind alembic,^ and let it stand under hot dung for 15 days; then take out what is inside and put it into a crucible in a place where it will melt, but uncovered ; when melted take it out, and when it is cool, grind it on a stone with aqua tartari, and let it dry, and you > This recipe is also in the Paris MS. vi. MDCCXLIX. No. 9. If the mineral turn black, this is a proof that it is copper ore, and not Lapis Lazuli. Eraclias mentions the same test for distinguishing the true Lapis Lazuli. s This recipe is also in the Paris MS. ( 3^5 ) INCIPIT SECUNDUS TRACTATUS DE MULTIS AZTJRRIS PER ARTIFICIUM FIENDIS ET ARTIFI- aALITER PACTIS: ET PRIMO DICENDUM ET VIDENDUM EST DE PROBATIONE AZURRORUM SI SUNT NATURALIA DE MI- NEBA AN ARTIFICIALITER FACTA. 27. Modus cognoscendi azurrum ultramarinum ah artifidale per experientiam et examen, — Accipe pulverem minere ejus aut parum de azurro extracto de minera et eum pone super lami- nam ferri ignitam et nitidam absque enigine. Si non muta- verit coUorem optimum est. Si vero revertit ad nigredinem parom valet Si vero affalsatum est cinis smortua efficietur. Si vero revertitur ad albedinem artificialiter factum est. 28. Alio inodo cognoscitur per experientiam, — Pone aliquan- tolum de azurro in manu tua aut pone in scutella et desuper infunde aquam claram et frica cum digitis postea subito si aderat per manus rimmulas aut per scutellam azurrum illud valde pulcrum et bonum est aliter non. 29. Ad faciendum azurrum per artifidum, — Abbeas libram unam limature heris et tantundem salis armoniaci vel parum mi- nus et solutum sit sal in aqua tartari sive oleo deinde cum aqua ista fac lutum de viride heris et micte in cucurbita vitri coperta et sigillata ad modum factum elembicum cecum et dimitte sub fimo calido quindecim diebus — postea extrahe quod est intus et micte in cru^bulo et micte in loco fusionis disco- perto tamen ut fundatur deinde extrahe et cum refrigidatum fiierit dacas super lapidem cum oleo sive aqua tartari et per- ' Sal Ammoniac is now called Hydrochlorate of Ammonia, and ^* aqua tartari sive oleo*' is a solution of Potash. 4 A blind Alembic appears to be an alembic without a pipe for convey, ing the yapour to a receiver. 386 BOLOGKESB MAKtTSCRIPT. will have azure ; and if you wish to make it brilliant, colour it with a solution of scraped verzino in white wine, in the same manner as you were directed in the other recipe concerning natural azure. 30. To make azure artificially, — ^Take four parts of a stone brought from beyond sea, which is called mercury, and it must be sublimed according to the usual method, that is to say, it must be held on a red hot and burning plate, for a consider- able space of time, in order that it may be reduced to powder, then take two parts of sal ammoniac, and one part of sulphur, grind each well by itself; then mix them well, and put them into a glass yase, lute the vase with the philosopher's lute,^ and let it dry. Then put the vessel into the furnace, and give it a moderate fire, and when you see the white smoke come out of the mouth of the vase, make no more fire ; and when it is cold break the vase cautiously and you will find good azure. 31. To make artificial assure. — ^Take fine marble, and about an equal quantity, by guess, of the flower of metal ' which the dyers use, and grind them well together, boil them in good red wine, put the mixture in the sun to diy ; afterwards grind it again, adding more of the said flower, then grind it and dry it again. Afterwards take verdigris and indico, and grind them well together, and then you must have *^ lac calvisei,'' other- wise called starch, and mix the ingredients until the colour pleases you. Put it in the sun to dry and it is done. 32. To make azure. — ^Take of Roman vitriol 1 lb., saltpetre i lb., of cinnabar 2 oz., of roche alum 3 oz., of sal ammoniac 1 oz., of orpiment 1 oz., of verdigris 1 oz. ; and let each be ground se- parately very fine, and then let them be mixed together, and after- wards put them to distil in an alembic ; first with a very slow fire, 1 Lutiun Sapientae oonsiBted of white of egg beaten to a froth, aod miied with iron 61ing8. A coat of this was to be applied on the vessel to be luted, and when this was dry, another coat was to be given ; awi 80 on until three or four had been applied. (See Breve Compendio di Maravigliosi Segreti dal Sig. F. Domenica Auda Veuezia e Bassano. And see I Secret] di Don Alessio Piemontese, Part I., p. 187. Ed. Venezia, 1667.) DB MtJLTIS AZTJRRIS PER ARTIFICIUM FIENDIS. 387 micte eiccari et habebis azumim et si vis illuminare ipsum mitte yerzinum abrasum in vino albo et collora ut habuisti in recepta de azurro naturale. 30. Ad faciendum azurrum per artifiHum. — TolU parte qnattro duna preta ultramarina che se chiama mercurio e Tolse solimare secondo el loro modo cioe che se vole tenere in su la piastra infocata e acesa per spatio duno pczo acio che se possa spolverizare poi tolli doi parte de sale armoniacho et una parte de solfano e macina bene omne una da per se e poi le miatica bene et mectile in uno vaso de vetrio et lutalo cum luto de sapientia o vero philosophioo et lassa seccare poi lo mecti in lo fomello et dalli el fiioco moderato et quando tu Tederai uscire el fiimo bianco per la bocca del vaso non fare piu foco et quando e freddo mmpe lo vaso cautamente et tro-* varai buono azurro. 31. Ad faciendum azumim artificiale. — Summe de lapide pulcro marmoreo et tantundem ad extimationem de fiore mec- talli quo tintores utuntur et tere simul bene et fiau! deinde bulUre in vino rubeo bono et pone ad solem ut siccetur postea iterum tere adendo de dicto flore et sicca deinde iterum tere et sicca postea accipe de viride ere et de indica, et bene simul tere deinde habeas lac calvisej aliter vocatur amido et simul viisce donee color tibi placet et pone ad solem ut siccetur et erit factum. 32. Ad azurrum faciendum. — Recipe vitrioli romani libram imam, salis nitrii Ubram mediam cinabrii oz. 2, aluminis rocze oz. 3, salis armoniaci oz. j, auripiumenti oz. j, viridis leris oz. unam et quodlibet per se teratur subtiliter deinde insimul cor- porentur et postea pone ad distillandum per elembicum prime * I think this is a mistake, and that for " mectalli '* we should read *• guati," as in Nos. 86, 40, 76, 76, and 77. The explanation of the term is giTen in No. 75, where it is said to be the froth which floats on the (tjren* vaU when they are dyeing with ^oad. This froth is the produce of fermentation. VOL. ll. ^ 388 BOLOONESE MANUSGRIFT. and take off the first water by itself, until the alembic reddens, then put away that water by itself, and collect the next water, that is the second water.^ You must know, as I said before, that the fire must be gentle at first, for the first 6 hours ; and you must then increase the fire until the alembic gets white hot, and no longer emits a red smoke, which shows itself in the recipient vase ; then let it cool, and this water will be stronger than any water in the world. For this water dissolyes and cor- rodes, and reduces to water all things under the sky, namely, stones and metals, and is white and clear like spring water ; and, if heated, gives out a very red smoke ; it is strong and acrid, and must therefore be kept securely closed. And when you wish to make azure, take that second water, which you set apart, and dissolve verdigris in it, keep it in a glass vase, and warm it a little at the fire, as the jewellers do, because it will dissolve sooner, and when it is dissolved, put some oxide of tin into it and evaporate the water, and in the bottom of the vase you will find very beautiful azure. And if you wish it to be more beautiful and like ultramarine azure in appear- ance, take very fine brass filings, and put them into the before- mentioned water, and do as above directed ; when they are dissolved, put oxide of tin into the mixture, and do as before, and you will have an azure better than German azure, and in appearance and colour it will be equal to ultramarine. If in that water you dissolve the golden marcasite, as before, you will find a beautiful purple, and if you dissolve iron filings in it, and put calcined brass into that water, you will have a red colour, which is called ^^ minius." 33. To make azure, — Take of lime made from marble or travertine, obtained from the living rock, one pound, of verdi* gris one pound, of sal ammoniac two pounds, and grind the whole together to a fine powder ; make the whole into a paste with spirit of wine like rather stiff dough, and then put the com- 1 The water deMaibed here u evidently nitro-muriatic add, the aqua regia of the Alchemists. This recipe is a proof that the colour called the ** Pur])le of Cassius," was known at least 150 years before the period of its DE MULTIS AZUBRIS PER ABTIFICIUM FIENDIS. 389 cum igne lentissimo et aocipe aquam primam per se donee erabescat elembicus tunc remoye aquam illam per se et coUige aquam per se aliam scilicet secimdam aquam et scias ut supra dixi ignis primus esse debet lentus per 6 boras deinde auge fortem ignem donee alembicus albescat et non amplius mictet fitmum rubeum qui in vase apparebit tunc dimitte frigidari et supra dicta aqua est fortior quam aquam mundi. Nam hsec aqua solvit et corrodit et in aquam rediget omnia qiue sub celi sunt viz. lapides et mectalla et est alba et clara sicut aqua fontis et si calefit emitet fiimum rubicundissimum durum et fortem et ideo serva earn bene obturata. Et cum vis azurrum fiusere, acipe secundam aquam quam servasti et in ea disulve Tiridem ens et tene eam in vase vitri et aliquantulum calefae ad ignem in modum orifici quia citius disolveretur et disolutum desuper pone de calce Jovis et evapora aquam et infimdo vasis invenies azurrum valde pulcrum et si vis eum pulcriorem quasi azurrUm ultramarinum in aparentia. Accipe limaturam eris ▼el octoni subtilissimam et pone in prsedicta aqua et fac ut supra ut disolvatur et disolutum desuper pone calcem Jovis et fac ut supra et babebis azurrum meliorem quam almaneum et in apparentia et in coUore est sicut azurrum ultramarinum. Et si in ista aqua disolveris marchesitam auream ut supra pul* <:rum pavonatium invenies. Et si disolveris in ea femim lima- tum et in tali aqua posueris es ustum invenies colorem rubi- eundum qui vocatur minius. 33. Ad faciendum azurrum, — Accipe calcina marmorina o vero travertina in petra viva libri unum verderamo libre j sale armoniaco fibre 2 et macina omne cosa subtili et in pasta cum aqua vite in modo duna pasta de pane durecto poi pone la dicta compositione in uno panno de lino grosso et forte et poninolo i«puted discovery. The golden marcasite (auriferous iron pyrites) being dissoWed in the aqua regia, was precipitated by the oxide of tin, and the result was a beautiful purple colour, F 2 300 fiOLOONESE MANUSCRIPT. poeition into a thick and strong linen cloth, and place it in dung for the space of a month. Then take it out, when it will have become hard like a stone ; and if it does not become hard, let it remain beneath the hot dung until it hardens, and then pound it fine and grind it on marble, and take for every pound of this composition two ounces of the flower of woad, and grind them together, and rub them up with a little spirit of wine, and incor- porate all well togetlier ; then let the composition dry, and keep it in a bag of chamois- leather excluded from the air. 34. To make azure, — Take of sal ammoniac two pounds, and brass filings two pounds, and sublime the mixture 6 or 7 times. Put the azure which is at the bottom upon a marble slab in a damp place, and it will dissolve into a blue water, and do the same with the sal ammoniac, mixing it with the azure, which it will soon soak up, and put it to dry. And know that this can be done with every metal, but brass and copper are the best, and the least expensive ; and this azure is worth 4 ducats the pound. 35. To make azure. — ^Take 1 oz. of sal-ammoniac, and 6 oz. of verdigris, and grind these powders very fine with oil of tartar upon marble ; then put them into a glazed vase, and let them stand some days, and you will find the verdigris converted into a very beautiful azure. 36. The way to make azure. — ^Take the shells of hens' eggs well washed, and put them into a new jar, and lute the jar with lutum sapientiae. Calcine the shells and then grind them fine upon a stone ; afterwards take clean indigo^ liquefied with common water, and mix the lime with that colour by grind- ing it upon the stone, a little at a time, until it assumes a good colour. But if you have no indigo, use the froth of dyer's woad instead of it, and do as before ; and know that while the woad is boiling in the dyer*s cauldron, you must take away the froth and mix it with the egg-shells, and afterwards dry and keep it. 37. To make azure. — Take of refined saltpetre, brass fiUngs, sal-ammoniac, sulphur vivum, and quicklime, each one ounce, ^ This is the true Indigo. DE MULTIS A2XTRRIS PER ARTIFICIUM FIENDIS. 391 Mcto lo litami per spatio duno mese de po el tra fora essendo tornato duro in forma de petra et non tomando duro las^lo tanto stare sotto lo litami caldo che diventi duro et de poi lo pista Bubtili et macinalo in marmo subtili poi tolli per omne libra de la dicta compositione oz. 2 de fiore de guato et macina de compagnia et sborfandoli cum uno poco daqua vite et incor- pora bene insiemj poi lassa sciutare et serbalo in saculo de camos- scio che non stia alayere. 34. Affare azurro. — TolG sale armoniaco lb. 2 liraatura de octone lb. 2, e fa solimare sei o 7 volte et pone lo azurro che e in fondo sopra uno marmo steso in loco humido e disolve- rasse in aqua cilistrina et el simili fa del sale armoniaco et agiungi insieme et imbevera lo azurro de sopra ditto sopra el marmo et imbeverasse presto e polio a secare et sappi che se po &re de omne metallo ma loctone et lo ramo e piu digno et cum mancho spesa et el dicto azurro vale ducate 4 la libbra. 35. Ad faciendum azurruw, — Accipe sale armoniaco oz. j verderame oz. 6 et macina queste polve bene subtili cum olio de iartaro sopra marmo poi lo pone in uno vaso vitriato et lassalo stare alcuni di et troverai lo verderamo conyertito tucto in azurro aaa bello. 36. Modus faciendi azurrum, — Recipe testas ovorura galli- narum ben lotis et mitte in olla nova et luta Into sapientise et caldna et deinde tere subtili super lapidem tunc accipe indicum bene mundum et liquefactum cum aqua comuni et cum isto colore misce super lapidem terendo dictam calcem paulatim paulatim quoutque habeat ooUorem bonum. Si autem non habes dictum collorem indici loco ipsius pone ^umam guati tintorum. Eodem modo fac ut supra et scias quando guatum bulit in cal- darea tintorum debee spumam auferre et miscere cum dictis testis oTorum et postea sicca et serba. 37. Ad azurrum faciendum, — Summe salnitrij affinati lima- ture octonis salis armoniaci sulphuris vivi calcis vive an. oz. j 392 BOLOQNESE MANUSCRIPT. grind what is necessary to be ground, and put the ingredients into a glass jar, and pour very strong white yinegar upon them, so as to cover the powders. Lute the jar with lutum sapientiae, and put it in dung for 15 days ; then grind the powder, and preserve it in a purse of chamois-leather. 38. To make azure in another way. — ^Take one drachm of in- digo, and grind it well, and take a great quantity of the juioe of the euphorbia,^ and mix and incorporate them well. Put theio in the sun, let them dry, and preserve them. 39. To make azure, — Procure some very white marble or travertine, and bake it in a furnace in a linen clothe lute it with lutum sapientise ; then take the lime, and put it into water, and wash it three or four times. Afterwards take indigo, wash it in water, and let the lime absorb that water ; then dry it in the shade. Repeat the operation until the colour suits you. 40. To make azure, — Take very white marble, and roast it in the fire for a day and a night, and when it is calcined grind it fine upon another marble slab ; then take the fix)th of indigo or woad which is in the dyer's vat, and soak the powder in it, and do this until the colour of the azure pleases you, then dry it ; and when you require it, take and use it. 41. To make artificial azure. — Take of sal-ammoniac 1 part, of verdigris 2 parts, of ceruse i a part, grind them well toge- ther, and make them into a paste with oil of tartar, and put the whole into a glass vase luted in the maimer of the philosophers ; and when the lute is dry put it into the oven while the bread is baking, and when the bread shall have been baked 7 times, the process vdll be completed. 42. To make good azure. — Take the third part of a pound of lime made from marble or travertine, 4 oz. of verdigris, and two oz. of sal-ammoniac, grind the whole together with strong white vinegar, in the manner of a sauce, and then put it into a jar well closed, and expose it to the air for three days and 1 Lac Turtumagli — the juice of a species of Euphorbia. Matthioli (p. 1318) names seven species; but it is probable that the species from DE BiXTLTIS AZURRIS PER ARTIFICIUM FIENDIS. 393 pro quolibet teranturque que terenda stmt et pone in olla yitriata et super-pone acetum album fortissimum ut supemactet pulveribus et luta oUam luto sapientias et pone sub fimo diebus 15^ deinde macina ipsum et repone in bursia camusdj. 38. Ad faciendum azurrum per alium modunu — ^Tolle unam dragmam indici et bene molle et habeas multum lac turtumagli et simul misce et bene incorpora et pone ad solem et dimitte siccari et repone. 39. Ad azurrum faeiendunL — Invenies marmorem sive tra- ▼ertinum coUoris albissimi et quoqnatur in fumo in panni lini lutato luto sapientiae deinde accipiatur cals et ponatur in aqua et laretur ter vel quatuor postea accipe indicnm et lavetur in aqua et cals illius aque potetur deinde siccetur in umbram et iteretur operatio donee color tibi placeat. 40. Ad azurrum faciendum. — ^Recipe marmorem albissimuni et alia ipsum in igne per diemque noctem et cum calcinatum fiierit super alium marmorem subtile tere deinde Recipe spumam indici sive guati quam in caldaria tintorum est et im- bibe per dictum pulverem fortiter et cum siccum fberit iterum imbibe et hoc tamdiu iacies donee coUor azurri tibi placeat et sica et cum opus fuerit toUe et utere ipso. 41. J fare azurro arttJiciak.-Ac^fe sale amoniaco parte j. yerderame parte 2 biacha parte meza spolverizati bene in- eiemj et impasta cum olio de tartaro et pone omne cosa in uno ▼aso de yetrio alutato al modo filosofico poi che e secco lo loto ponilo in lo fomo del pane quando el pane se coce poi che sera cocto el pane 7. yolte sera facto. 42. Affare azurro bono, — Summe lo terzo duna lb. de cal- cina marmorina o trayertina et oz. 4 de yerderamo et oz. doi de sale armoniaco poi macina omne cosa insiemj cum aceto forte e biancho ad modo duno sapore poi lo mecti in ima ampolla bene turata et mectila alayere per tre di et tre nocti poi la soc- whence thu milky juice was extracted was the Euphorbia Esula, the Ttthy- malos Pinea, called in Italian Erba latte and Lataroli. 394 BOLOONE8E MANXJSCRIFT. nights ; then bury it^ and let it have rain, wind, sun and air, and suffer it to remain for the space of six months, and let it be exposed both to the winter and summer. At the end of 6 months or thereabouts take it out, and break it, and you will find the azure, at which you ynll rejoice ; grind it well with strong ley, put it into a glazed vase, and let it rest until it sinks to the bottom ; then pour off the ley and wash it again with very weak and clear ley, and do as before. Then wash it with clear cold water, and let it settle, the good azure will sink to the bottom, and the bad will remain in the water like indigo. Then remove that blue water with a sponge so as not to disturb the azure that is at the bottom, and let it dry in the shade, and you will have good and fine azure. Keep it in leather so that the air may not have access to it. 43. To make azure. — Take of verdigris 6 oz., sal-ammoniac 1 oz., unbumt gesso 1 oz., grind each dry by itself, then mix them together and soak the powders with water of tartar, so that the water may cover the poM ders, and put all into a flask, and stop well the mouth of the flask. Tie a string round its neck, and hang it to the chain in the smoke for some days, and you will find the azure, which you must grind well, and then preserve it. 44. To make splendid azure. — To make splendid azure for walls. Take a glass [copper ?] flask, and put into it enough powdered travertine, well and finely ground, to fill it half way, and pour upon it very strong vinegar distilled through an alembic, so as to fill the flask. Then seal up the mouth of the flask, and put it in dung or in the refuse of grapes for a month. Afterwards take it out, and you will have azure, which you may grind and keep. 45. To make azure. — Take very thin plates of silver, and fasten them skilfully over the vapour of very strong vinegar in a jar, so that there may be a space of one finger's breadth between the vinegar and the plates ; cover the jar well to ex- ^ elude the air, and put it in a warm place, such as dung or the refuse of grapes, for a month, then uncover it, and you will see the aziure upon the silver plates. This you must rub and scrape ■■ DE MULTIS AZTJRRIS PER ARTIFICIUM FIENDIS. 395 terra et fache habia aqua et vento et Bole et ayere et lassala stare per spatio de 6 mesi et fiu^he ella participa delo invemo et dela state in capo dc 6 mesi o circha cavarala fora et rom- pila et troverai lo azurro del quale tene alegrarai et madnalo sotili in marmo cum liscia forte et polio in uno vaso vitriato et lassa poeare tanto che Tada al fondo poi sepera la liscia et lavalo una altra volta cum liscia dolce dolce et chiara et fa commo prima poi lo lava cum aqua chiara et fredda poi lo lassa pos- sare et lo azurro bono andara al fondo et el grosso stara per laqua ad modo duno endico et cava fora quella aqua dilistrina cum una spongna per modo che non conturbi lo azurro che e al fondo et lassa secare alombra et haverai azurro bello et bono et serbalo in corami che non senta ayere. 43. Ad azurrum faciendum. — Recipe verderame oz. 6. sale armoniaco oz. j guersa cruda oz. j et madna cescunj subtili das* duto poi le mista insiemi et imbevera le dicte polvere cum aqua de tartaro che laqua sopravanza ale dicte polvere et mecti omne cosa in una ampoUa et obtura bene la bocca de lampolla et legala in lo coUo et appiccala al fiimo sopra ala catena per alcuni di et troverid lo azurro cl quale macinalo bene et serbalo. 44. Ad faciendum azurrum feriale, — Ut habeas azurrum feriale per murum. Recipe ampulla yitrii et intus pone tantum de pulvere travertini bene triturati et subtili ut dimidiam sit et desuper pone acetum fortissimum distillatum per alembicum ut Tas sit plenum et os ejus optime sigillatum et pone sub fimo aut Tenada per unum mensem postea extrahe et habebis azurrum quod tere et serba. 45. A (Ac) faciendum azurrum. — Summe laminas argenteas subtOissimas et liga ingeniose supra vaporem aceti fortissimi in oUa ita quod remaneat unius digitis de vacuitate inter acetum et laminas et coperi bene ollam ut non respiret et pone eam in loco calHdout est fimus aut venatiaper unam mensem et desco- perias et videbis azurrum super laminas quem frica et rade et repone dictas laminas ut supra et sic reitera donee consumentur 396 BOLOGNESE MANUSCRIPT. off, and then put back the plates as before, and repeat this until they are consumed. And if you have no silver plates put brass plates instead, and do as before ; but it will not be so beautiful. 46. To make azure. — ^Take one part of sulphur vivum, two parts of Roman vitriol,^ both in fine powder, and two parts of quicksilver. Put these articles well mixed into a flask, and heat them as you did the vermilion ; when it is done it will give out a blue smoke. Then take it from the fire, and when it is cool grind and keep it. 47. To make azure? — ^Take 2 ounces of quicksilver, 3 ounces of sulphur, and 4 ounces of sal-ammoniac ; grind the sulphur and sal-ammoniac very fine, and then take a flask with a long neck, and lute it with lutum sapientiae on the outside the thickness of one finger from the neck downwards, and let it dry. Then put the before-mentioned ingredients into the flask, and stop up the mouth of the flask with a cork, make a very small hole in the middle of it, and put this flask into a new unglazed jar nearly full of sifted ashes, so that it may be covered halfway up the neck by the ashes. Then put the jar over a charcoal fire, let the fire be very slow for the first four hours, and in- crease the heat until you see white or blue smoke issue out of the fiask. Then immediately remove the fire^ let the flask cool and then break it ; grind the azure fine on porphyry, and keep it in a place free from air, and you will have good azure. 48. To make azure. — ^Take of roche alum, Roman vitriol, and saltpetre, each one ounce ; distil them through an alembic, and then keep the water in a vessel securely closed. Then take calcined egg-shells, and grind them with the distilled water, and let them dry : do this three or four times. Then take very strong vinegar, and for every pound of vinegar take 5 oz. of verdigris ; grind it up with the vinegar, and distil it through an alembic, and with that distilled vinegar soak and grind the egg-shells three or four times. Then dry the mass, and keep 1 I think that in this case, Roman Vitriol signifies Sulphate of Copper. DE MULTIS AZXTKRIS PER ARTIPICIUM FIENDIS. 397 et si non habes laminas argenti loco ipsius pone laminas octoni et fiet ut supra sed non ita pulcrum. 46. Affare azurro. — ^Aocipe parte j. de solpho vivo et parte doi de vitriolo romano spolverizati subtili et parte doi de argento vivo et mecti le sopradicte polve in una ampolla bene incor- porate et cocilo conuno lo cinabrio et quando sera cocto fara fiimi azorro alhora tolli via el foco et quando sera ireddo macinalo et serbalo. 47. Ad €unirrumfaciendum.-:-^nisnn.eonce doi dargento vivo onoe tre de solphino et once quatro de sale armoniaoo et macina bene subtili lo solfo et lo sale predicto poi tolli una ampolla che habia el collo longo et inlutalacum luto de sapientiade fora grosso uno deto dal collo ingiii et lassalo sciuctare poi mecti queste cose sopradicte in nel ampolla et obtura labocca de lampoUa cum su- vera et lassali in el mezo uno foro picolino poi mecti questa am- polla in uno pignatto novo non vitriato quasi pieno de cenere cre- bellata poi pone lampolla in la dicta cenera che sia coperta fino al mezo del collo de la dicta cenera et poi ponila dicta pignatta al foco de carbone et dalli el foco lento lento da prima per 4 bore poi lo vieni crescendo per infino attanto che vedrai uscire de la dicta am- polla fumi bianco o vero fumi azurro alhora subito levali el foco et lassa refiredare poi rompe lampolla et macina lo azurro in por- fido subtili poi serbalo in loco senza ayere et haraj bono azurro. 48. Ad faciendum (izurrum. — Accipe alumi de rocho vitriolo romano sal netrio ana oz. j, e stilla per lambicco poi serba laqua bene opturata poi torrai calcina de codole dova et ma- cioala cum la dicta aqua stillata et lassa secare et cosi farai 3 0 4 volte poi toiuj aceto fortissimo et per omne libra daceto torai oz. 5 de verde ramo et macinalo cum lo dicto aceto poi lo pone a stillare per lambicco et cum quelle aceto stillato im- bevera et macina lo sopradicta calcina 3 o 4 volte et poi lo seoca et serbalo in bursia corj et haverae hello azurro et cosi > ThiB recipe ia of the same nature as that in No. 30, but the proportiona vary. 398 BOLOGNESE MANUSCRIPT. it in a leather purse, and you will have fine azure. You may do the same with lime made from travertine or marble, but lime made from egg-shells is better. 49. To make azure. — Take a flask of pure copper, and put lime made from white marble into it, so as to fill it half way ; then fill it with strong white vinegar, and put it, well covered over, into a warm place for a month ; then take it out, and grind the mass, adding to it some indigo, and put it away, and it is done. 50. To make azure, — Fill a glazed earthenware vase half full of urine ; then take strips of copper, as thick as for a copper cauldron, and suspend them in the air at about two fingers* breadth above the urine ; stop up the vase, and let it stand for two months, and you will see the azure upon the strips of copper ; and if you wish to scrape them you may do so ; and if you wish them to remain until they become quite brittle, they will become so in seven months. 51. To make azure} — Take of verdigris 2 oz., sal ammoniac 1 oz., white lead \ oz., pounded together ; make them into a paste with oil of tartar, and put all these things into a glass vase luted with philosophers' lute, and put the vase into the oven for bakiog bread, and when the bread has been baked six or seven times the process will be completed. 52. To make azure. — Take indigo and verdigris well ground, and a greAt quantity of the juice of the euphorbia, and grind them well together. Place the mass in the sun, and dry it well ; then wash it, and it will be good azure. 53. To make azure from silver. — Take 3 oz. of silver, and 1 oz. of copper ; melt them together, and make them into very thin plates, and suspend them over the vapour of vinegar in a vase, well covered to prevent evaporation ; then put the vessel into hot dung for thirty days ; the azure will remain attached to the plates ; then take it away, and renew the operation as long as the plates last. ' A repetition of No. 41 . This recipe is given in ** Secrets des Arts et des Metiers," DB MULTIS AZXntRIS PER ARTIFICIUM PIENDIS. 399 porai &re cum la caldna del travertino o inarmo ma la calcina de le cocdole e meglio. 49. AdazurrumfaciendunL — Ahbeas ampulla de puro cupro et pone intus calcem de albo marmore ita ut dimidia sit et adibe acetum album fortissimum ut plena sit et eam pone in calido loco copertam optime per unum mensem postea extrahe et macina dictam massam adendo sibi de colore indici et repone et est fiictum. 50. Ad azurrum fadendunu — ToUi orina et mectila in uno Taso de terra vitriato et el vaso vole essere per mita poi toUi piastre de ramo a modo de caldare grosso et mectili in ayere cbe stia discosto dalla orina doi deta et obtura el vaso et lassa stare a termine de doi mese et vederai sopra le lamini lo azurro e se tu le vorai radare se ponno radare et se tu le volesscie lassare stare tanto che tucti vengano frangibili et farasse in secte mesL 51. Affare azurro, — Recipe verderamo oz. 2 sale armoniaco oz. j biaeha oz. ^ spulye[ri]zati insiemi et impasta cum olio de tartaro et pone tute queste cose in uno vaso de vetrio lutato de lute philoeophico et metilo in lo fomo del pane quando sera cocto el pane 6 o 7 volte el sera facto. 52. Affare azurro. — ^ToUi indico verderamo bene macinato habbi multo lacte de tortomaglio et macina bene insiemi poi lo pone al sole a seccare bene poi lo lava e de facto bono azurro. 53. Affare azurro de arffento.—AhYye oz 3. dargento e oz. j. de ramo, et fondi insiemj et fanni piastre sutilissime et poUe sopra alo vapore de laceto sospese in uno vaso bene coperto che non poflsa evaporare poi lo poni socto lo litamj bene caldo per 30 di et lo azurro remara atacato ale lamine et levalo via poi reitera la pratica per infino le lamini saranno bonne. 400 BOLOONE8S MANUSCRIPT. 54. To make czure^ — Take of sal ammoniac 1 oz., verdigrb 3 oz., and mix them together with water of tartar until they are as soft as dough, or rather softer. Put the mixture into a hot oven in a well-dosed glass vase, and let it remain there for several days, and you will find good azure, which you must keep in a sealed jar, or in a bag of chamois leather. 55. For the samej in another way. — ^Take 2 oz. of bttrnt copper, 1 oz. of sulphur, and 1 oz. of tartar of wine ;^ grind the whole together, and make it into a paste with urine passed three times throng a filter, or with strong white vinegar ; then put it into a glazed vase, and boil it over the fire, stirring it well. Take it ofl^, and put it into a glass vessel ; stop up the mouth of it, and let it remain in the sun for fifteen days, and you will find azure; andif it isnot crystallized with the urine or vinegar, leave it in the oven after the bread is taken out. 56. For the same^ another toay. — Take 1 lb. of very fise brass filings, 3 oz. of quicklime, 5 oz. of tartar pounded fine and calcined, for it will be better than raw, 4 oz. of terra verde, 1 oz. of sal ammoniac ; mix all these things together with strong white vinegar, so as to be like dough, or rather thick, and put the mixture into a glass or glazed earthenware vase, well closed, so as to exclude the air, and place it in horsedung or the refuse of grapes, and let it remain there, well covered up at the depth of about two or three feet, for fifteen days ; then take it out, and grind it well on porphyry, and put it into a leather purse ; and know that this azure is better for walls, upon mortar, than for any other purpose. 57. To make azure for toallsy upon mortar. — ^Take finely- powdered and very fine white lime from marble, and put it into a new glazed jar, so as to fill it about half, or rallier less ; and know that the lime must be very fresh and fine. Then fill the jar with very strong red or white vinegar, and lute the jar so as to exclude the air ; put it under horsedung, or under the refuse of wine, for one month or forty natural days ; then open 1 An impure supertartrate of i)otash. BE MTJLTIS AZURBIS PER ARTIFICIUM FIENDIS. 401 54. Ad /itciendum €usurrum. — Recipe salis cmoDioniaci oz. j, ▼iridis eriB oz. 3, confitiantur simul cum tartari aqua donee moUe fiat gicut pasta vel modicum plus et ponatur in fiimo calido in vase vitrio per otime obturato et stet ibi per aliquos dies et in- venies azurrum bonum et reserva in vase plumbato sive saculo camusiL 55. Ad idem per alium modum, — ^Accipe oz. 2 rami combusti et oz. j sulpburis et oz j feccis vini et terantur omnia et im- pastentur cum hurina distillata per filtrum tribus vicibus yel impasta cum aceto albo ibrti postea pone in aliquo vase vitriato et bulliat ad ignem et commisciatur bene postea elleya et pone in yitreo vase et bene os ejus obtura et dimicte stare ad solem per 15 dies et inyenies azurrum et si non fiierit zellata hurina siye aoeto dimicte in fumo post extractionem panis. 56. Ad idem per aliam farmam, — Summe limaturam rami subtilissimam lb. j. calcis yive oz. 3 tartari pulyerizati subtili et caldnati quia melius erit quam crudi oz. 5 terre viridis oz. 4 salis armoniaci oz. j omnia confice insimul cum acerrimo aceto albo ut sit in modum paste et potius magis spisse et pone in vase yitrio yel terreo yitriato per optime obturato ut non respiret et pone sub equino fimo yel yenatias et ibi maneas bene coperto per tres yel duos pedes circum circha per 15 dies demum ex- trabe et trita bene eum in porfido et repone in buraia camusi. Et scias quod hoc azurum magis bonum est per muros in cal- dna quam in aliis rebus. 57. A fare azurro per muro in calcina. — Hayye calcina de marmo bene sotili et canida et metila in una pignatta yitriaia noya tanto che sia mezo o mancho piu tosto che piu et sappi che la calcina yole esser fireschissima et bene subtili poi empi la pignata de fortissimo aceto rosso o biancho poi copri la dicta pignatta cum luto che non respire poi la poni sucto lo litami de cayallo o yero socto la yenaccia per uno mese o 40 di naturali 402 B0L0GNE8E MANTTSCRIPT. the vase, and you will find at the top bright azure good tor walls, and underneath it impurities — that is, the lime — which you may throw away. 58. To make azure by means of aqua fartis. — ^Take of Ro- man vitriol 1 lb., of refined saltpetre 4 lb., and 4 oz. of vermi- lion, grind all these things together very finely, mix them well together, then put them in a bottle and distil them through an alembic with a gentle fire at first, and receive the first water until the alembic begins to get yellow, or to redden ; then re- move the recipient, and put on another, and lute the edges well, so as to be air-tight, and receive the next water, and throw away the first water, for it is useless for this operation, and then increase the fire, and let the recipient have all the vapours from the large bottle as long as you see any come off*, and keep this water in a vessel well closed so as not to evaporate ; and this water is useful for making good azure almost like ultramarine. It is also useful for gilding all kinds of things.^ First, if you wish to make azure, take calcined tin, and put it into a glass or glazed jar, and pour some of the before men- tioned aqua fortis over it, so as to stand half a finger's breadth over the oxide of tin ; let it stand so until the calcined tin is well sunk to the bottom, and is highly coloured ; then pour off the water, and you will find good and fine azure, which you may sell for 5 gold ducats the pound. If you wish to make calcined tin, take tin and put it into an earthenware vase, place it on the fire, and let it melt, and when it is melted, continue to mix it until it cools, and do not let it clog togetiier, and you will have a calx (oxide) with which you may make the azure. You can also make the calx of tin in another way. Take tin filings and put them into a glazed jar and pour over them distilled vinegar, and cover the jar closely. Place it in dung, and let it remain until the tin and vinegar ' The description in the text appears to be imperfect. It is probably an inaccurate version of the recipe in No. 32, for making '* an azure better DE MXTLTIS AZTJRRIS PER ARTIFICIUM FIENDIS. 403 poi descopre el yaso e troverai de sopra azurro bono per muro et bello et de socto fecia cio e calcina la quale gieta via. 58- A fan azurro per via daqua forte. — ToUi vitriolo ro- mano lb. j salnitrio afiiiiato lb. ^ et cinabrio oz. 4 et tucte qneste cose macina bene subtilissimi et poi le mista insiemi multo bene et polle in una boccia et destillale per lambicoo prima cnm lento foco et colglie la prima aqua per infinj che lo lambico se comincia afiare croceo o vero rosigiare alhora re- moye Tampolla et mectinie una altra et tura bene le junture ehe uon spirano et coglie Faltra aqua et la prima gietta yia che non vale niente in questa opera et alhora cominza a fare im poco magiore foco che prima et fa che lampolla receva bene i fomi da la boccia grandj per infino che tu vedi che ne vieni et serva questa aqua ben turata che non respire et questa aqua e bona da &re azurro bono quasi simili a lo azurro oltramarino. Et e bona ancora da dorare omne lavoro. Prima se tu voli fare azurro toUi calcina de stagno et metila in uno vaso de vetrio overo vetriato et desopra ce pone de la dicta aqua forte dicta desopra tanto che sopravanze mezo deto de sopra ala calcina et lassa stare cosi tanto che la calcina sia bene andata al fbndo et bene colorita poi sepera laqua et tro- Tanu azurro bono et bello del quale azurro venderai ducad b doro la libra. Et se tu Yolesci fare la calcina de stagno toUi delo stagno et polio m uno vaso de terra et metilo al foco et lassalo desfare et commo e disfatto non finare mai de mistarlo per infino a tanto che se fredda et non lo lassare apicare insiemj et sera &cta calcina cum la quale poi fare el dicto azurro. Ancora poi &re la dicta calcina de stagno in uno altro modo : tolli limatnra de stagno et polla in una olla vitriata et disopra ce pone aceto distillate per lambiccho et oopri bene la dicta olla et polla sub fimo et lassa tanto stare che lo stagno et aceto aano tfian Gemmn azure, which, in appearance and colour, equals ultra- rine.*' VOL. II. O ■Muine.*' 404 BOLOGNESE MANtTSCRIFT. are dissolved, because it will then be converted into a very fine and almost impalpable powder ; and with this you can make the azure. K you wish to gild iron or any other thing, take the tlnng you wish to gild, and varnish it, and let it dry ; then draw what you like on the varnish, and put some of this water upon it. Warm it at the fire, and when it is hot, rub it with a linen cloth, and it will be well gilded. B 59.^ Take strong ley, and as much as you like of indigo, grind it with the ley, according to the depth of colour you wish for. For example, if you wish the colour to be very deep, grind more indigo with the cold ley, and then make the ley boil with the indigo for the space of one misererej and after- wards remove it from the fire, and immediately put a little roche alum in powder into it, and mix it and let it cool until it is tepid or almost cold. Then put it into a piece of linen and rub it upon a chamois leather skin, and the skin will become blue. Dry it in the meridian sun or at the fire, and when it IB dry, rub it with your hands and make it soft, and it will have become a beautiful blue skin, &c. 1 The title is wanting. It appears to be a recipe for dyeing skins rather than for painting. The hand-writing is more recent than that in the preceding chapters. DE MULTIS AZURRIS PER ARTIPICITJM FIENDIS. 405 disolttti perche se convertira in polrere subtilissimo quasi senza tatto et cum questo poi fare el sopra dicto azurro. Et se tu Tolesse dorare ferro o altro tolli la cosa che tu voli dorare et inyemicala et lassa sciucare poi designa quello che te piace in la dicta vernice poi yi meti desopra de la dicta aqua et scald(a) al foco poi commo e bene calda sfrega cum panno de lino et vira dorato hello. B 59. Recipe lisciyium forte et indicum quantum vis et ma- dna eum cum dicto liscivio et pone tantum emdicum secun- dum vis ut sit coloratum viz. si vis ut sit magis coloratum pone magis indicum ad macinandum cum dicto Ibcivio frigido demum fatias dictum liscivium hollire cum dicto indico per spatium unius miserere et postea extrahe ah ingne et imme- diate pone in eo unum modicum aluminis rocci pulverizati et misce et dimicte frigidari dummodo tepidum fiat et quasi fri- gidum demum pone eum in petia linea et fiica super pellem camusciam et fiet azurram et sicca ad meridiem aut ad ingnem et quando erit sica frica manihus et reduc cam ad morhitatem et erit facta pulcram pellem turchinam et cetera. g2 ( 406 ) HERE BEGINS THE THIRD CHAPTER ON MAKING AZURES FROM THE JUICES OF H£RBS» WHICH ARB USED ON PAPER, ON SHNIATURES, ON CANVAS, AND ON GESSO ; AND FIRSTLY, THAT IS TO SAT- BO. To make azure from the juice of herbs. — First collect in the beginning of the month of July those violet flowers which grow in the fields, and with the juice of them fill a glass flask, and pour strong vinegar or urine into it until it is full ; let it be well covered over, and put it in dung or in a heap of quick- lime, or in the refuse of grapes for a fortnight, then take it out, and you will find your azure made. 61. Also^ to make azure from herbs. — Take the blue flowers which are called '' oculos pulcini,'' and boil them with vinegar and powdered resin and roche alum, and let the vase be air- tight ; afterwards strain the liquor through a cloth, and you will have a good blue colour. You may keep the dried flowers for a whole year. 62. On the same subfect^ to make blue from herbs. — Take the flowers of wild peas, and select only those petals which are in- side and above the others, and which are of a dark purple, and poimd them ; extract the juice from them, and incorporate the juice with white lead, and you will have a durable and tried blue colour. 63. To dye linen cloth blue toith Juice of herbs.^ — Take the berries of the '' chacabassia," and bruise them well on a thick and white, but not new, linen cloth, on both sides of the cloth. Then take a vessel full of urine, and put the cloth over it so as ^ This appears to be a version of one of the recipes for *^ Fezsette.'' I cannot find the explanation of the term ** Chacabassia*' ,- perhaps, «s was sug^gested to me by a gentleman well acquainted with the subject, ( 407 ) INCIPIT TERTIUS CAPITULUS DE AZUBBIS FIENBI8 DE HEBBAKUM SUCCIS QUIBUS I7T17NTUR m CARTA SUPER MINU ET IN TELA £T IK 6ISSO £T PBIMO VIDELICET— 60. Ad faciendum azurrum ex succo herbarum. — Primo col- lige in principio mensis Julij illos iSores yiolatos qui naacuntur in campb et ex succo eorum impleas unam ampullam vitream et desuper infiinde fortem acetum vel orinam usque ad sum- mum et sit optime copertam et pone sub fimo aut sub acenra calds vive yel sub venatias per 15^ dies postea extrabe et in< venies azurrum &ctum. 61. Ad idem de azurro herbarum. — Collige flores azurrinos qui Yocantur oculos pulcini et fac eos bullire cum aceto et cum ragina pulverizata et aluminis rozi ita quod yasculum non pofisit aspirari postea collabis per pannum et habebis bonum colorem azurrinum et poteris servare per totum annum flores siccos. 62. Super eadem de herbarum azurro. — Reqipe fiore de pe- selli salvatice et toUi solamente quello fiore che e de dentro in 8US0 I'altro fiore el quale e pavonazo scuro et quelli pista et cayani lo sugo et incorpora lo dicto sugo cum biacca et haverai colore cilestro durabili et provato. 63. A fare la peza azurra de sugo derbe. — ToUi delle po- mellj de la chacabascia e sfregali bene in uno panno de lino grosso et bianco non novo da omne lato de la pezza poi toUi uno catino pino de orina poi pone questa pezza sopra a questo it may be the nme as *' scaldabassa," which is mentioned in the Le Begue MS., and which was certainly a blue colour, because it was used with yellow to produce a green colour. VOL. IX. * G 3 408 BOLOGNESE MANUSCRIPT. not to touch the urine, and let it stand for three or four days. Then take it up and it will have become blue ; and when you want to use it take a small piece of that cloth, put it into a 'shell ; add a little gum water, and let it stand to soak for the space of one miserere ; then press it, and with what you press out, paint what you like on paper, on miniatures, or elsewhere, and it will be a fine colour. 64. To make blue in another manner with Juice [of plants]. — Summe stercho canino bianco, et spolverizalo bene subtili et stemperalo cum orina ad modo de coUore et cum questo stercho stemperato cum orina, scrive, depinge quello che tu voli et lassalo sechare, poi toUi lo sugo delli granelli dellebe, et poUo cum lo pennello sopra le lettere o fogliami della mistura de lo stercho et subito diventara collore azurro hello, et se misti el dicto sugo cum lo stercho, et cum lorina, et mistica bene insiemj, vira azurro, ut supra. 65. How to grind azure to use with the pen and in body colour, — Take the azure, and put it into a glazed pan ; then add some very clean honey and incorporate them well together then grind the honey with the blue upon marble or porphyry until it becomes an almost impalpable powder. When it is ground fine put it back into the pan and wash it several times with warm water, and when it is well washed with warm water, wash it with cold water, and after each time let the azure sink to the bottom. Continue this until it is well washed, cleaned, and purified ; then take the azure and put it to soften in clear and clean ley in a glass vase, such as a tumbler, and let it stand for the space of seven days ; change the ley every two or three days, and then wash it well with fresh and clear water, and let it dry in the shade in a place where no dust will get to it. And if you wish to use it as a body colour, dis- temper it with size made from clippings of white chamois leather and it will be good. And if you wish to use it with the pen or for miniatures, take the azure and distemper it with glue made from parchment clippings, or with gum water and prepared white of egg, and it will do well. D£ AZURRIS FIENDIS DE HERBABUM STJCCIS. 409 eatino per modo che non tochi lorina et lassala stare 3 o 4 di et poi la leva et sera diventata azurra et quando la vol operare tolli uDo poco de queUa peza et metila in una cocia et metice uno poco daqua gommata et lassa stare a moUo per uno mise- rere et poi lo spremi et cum quella spremitura dipenge quello che te piace in carta sopra aliminii o altrove et sera bello colore. 64. Affare cuairro per aUro modo cum suffo. — Summe stercho canino bianco et spolrerizalo bene subtili et stemperalo cum orina ad modo de collore et cum questo stercho stemperato cum orina scrive depinge quello che tu voli et lassalo sechare poi tolli lo sugo delli granelli dellebe [ellera 7] et polTo cum lo pennello sopra le lettere o fogliami della mistura de lo stercho et subito diventara collore azurro bello et se misti el dicto sugo cum lo stercho et cum lorina et mistica bene insiemj vira azurro ut supra. 65. Comma 9e macina lo azurro per adoperare a penna etjare corpe, — ^Accipe lo azurro et mectilo in una scudella vitriata et poi mectivi del mele ben necto et incorpora bene insiemj poi macina el mele insiemj cum lo azurro supra marmo o porfido et macinalo tanto che venga quasi senza tacto et quando sera bene macinato aremetilo in quella scudella et lavalo piu volte cum aqua tepida et poi che sera bene lavato cum laqua tepida lavalo cum aqua chiara et da luna volta et laltra lassa andare lo azurro al fondo et tanto continua che sia bene lavato puri- ficato et necto poi tolli lo dicto azurro et metilo amollo in ranno da capo necto et chiaro in uno vaso de vetrio commo e uno bichiere et lassalo stare per spatio de 7 di et omne doi o 3 di mutali lo ranno novo poi lo lava molto bene cum aqua frescfaa et chiara et lassalo sciugare a lombra in loco che non vi vada polvere. £t se tu el voli adoperare per fare corpe dis- temperalo cum colla de retalglie de camoscio bianco et stara bene. £t se tu el voli per operare appenna o per minij tolli de lo azurro et distemperalo cum colla de rasura de carta o ▼ero cum aqua gommata et cum chiara dovo preparata et stara bene. 410 BOLOONESB MANUSCREPT. 66. To mix azure far writing. — ^Take whatever kind of azure you like and grind it gently with prepared white of e^ and ley upon porphyry, and then put it into a horn. When it is quite settled, throw away that ley and white of egg, and do this three or four times, and the last time throw away the ley, drain it and then let the azure dry. When you wish to use the colour add a little gum water to it and mix it well ; and when it is settled, throw away that gum water and put some fresh, and use the colour. Some mix it with white of e^, but if you use white of egg, you must renew it every day, because if it remains too long, it ^ums the azure black. And if you put in it some wax from your ears, it makes the colour flow mudi better. Some persons say that if you put gum water into the azure, it turns black ; and it is said that the azure should be ground with ley made from the ashes of the oak or with calcined ashes. Distemper it, when it is dry, with white and yolk of egg, and this makes it more beautiful, more shining, and more pure. 67. 7%« toay to refine the azures when they are impure, — If you have azure which is not clean, take the azure and put it in urine to soak for the space of one month, and then wash it with clear water, and distemper it as above, and it will become clean and beautiful. 68. for the same purpose. — Take the azure and distemper it with white of egg and tragacanth, well beaten and incorporated together, and distemper your azure with this. 69. To purify azure. — If the azure is too earthy, it may be purified as follows : — ^Take white and clean ashes, and an equal quantity of quicklime, and let it be very white ; then take equal quantities of vinegar and water, and put them into a new and clean jar, and boil them with the ashes and lime, and afterwarda let them cool and settle, and with that ley wash the azure, and know that after such washing the azure will appear black. Then wash the blackened azure with white wine, and let it dry, and put it into a shell with about a fourth part of gum water. 70. To colour the azure. — Take verzino, scrape it fine with BE AZUBRIS FIENBIS DE HERB ARUM 6UCCIS. 4)1 66. A distemperare azurro per scrivare. — Reccipe de qua- luDque sorta de azurro te place et macinalo legiermente cum €ihiara dovo preparata et lisciva da capo sopra porfido poi mec- tilo in lo oomecto et commo ello e bene reposato et tu giecta ▼la quella liscia et ohiara et cosci fa 3 o 4 volte et I'ulti- ma Yolta gieta via la liscia et lasselo bene scolare et lasselo seccare. £t quando tu lo yorai operare mectice uno poco daqua gommata et misticalo bene et commo e bene possato g^etta via quella aqua gommata et mectice della nova e dope- ralo. Alcuno lo tempera cum chiara et aqua gommata. Ma se tu lo conciaraj cum chiara se vole renovarla quasi omne di perche standoce troppo fa lo azurro negro. Etsetucemistidelabrut- tura de le oreccbie lo fa piu corrente assai. £t alcuni dicano che mettendo de laqua gomata in lo azurro diventa nero et dicano che se de maoerare in liscia facta de cenere de cerro o cenere recotta et distemperarlo poi quando sera sduto cum chiara et tomo dovo et questo lo fa piu bello et piu lucente et piu puro. 67. El modo dajinare li azurri quando fussero grossi. — Se tu havessi azurri che non fossero necti toUi lo dicto azurro in lorina amolli per lo spatio de uno mese et piu poi lo lava cum aqua chiara et distemperalo commo e dicto disopra e vira necto et bello. 68. Ad tIS ViaiBIBUS RABCIB ET DE VmiDIBUS FACTIS CUM ERBABUM 8UCCIS IN DIYEBSIB MOBIS. PBIMO 82. Ad faciendum viridem ramum. — Accipe fecte de ramo subtilissimi et mectile in uno vaso e poi lo pone socto lo litami de cayallo socto terra in loco humido socto tre palmi et lassalo stare 30 o 40 di poi el tera fora et sborfiei molto bene cum aceto fortissimo le dicte lamine poi le ritoma socto quello litami in quelle yaso et stiano bene coperte per spatio duno mese et sera &cto Terderamo. 83. Ad xnridem herem faciendum. — ^Tolli uno catino de ramo com uno copercldo che li stia sogillato et inpe lo catino de fortis- simo aoeto poi lo copri cum lo suo coperchio et lassalo stare per 60 di socto terra cbe habia caldo et humido poi tolli fora el vaso et rade via el verderamo che se teni al fondo poi remectili suso quello aceto et tomalo al modo disopra et & similmente per infino a tanto die lo catino ne mena. 84. Ad faciendum viridem ramum, — Summe le piastre de ramo et sospendi le f opra alo vapore de lo aceto forte in una pignatta coperta cum creta bene obturata che non spire poi lo poni in lo litami o vero renacia al tempo de vendemia per spatio de 15 di poi apre la dicta pignatta et troTcrai el verde ramo che sera apicato a quelle piastre et rade via quello et poi lo toma al modo sopradicto. 85. Ad viridem ramum faciendum. — Habbi ramo subtilissimo et fiumj peze de meza onda o duna oncia luno et acconciale in uxu> yaso yitriato cum sale communo cioe uno strato de lamine et uno de sale poi impe lo vaso daceto forte et coprilo yaso cum Into de'sapientia et mectilo socto terra per imo mese in loco humido et callido et sera facto bono yerderamo. VOL. II. n 420 B0L0GNE8E MANUSCRIPT. 86. To make green for painting on ges90. — Take 5 ounces of strong white vinegar, of copper-foil and Roman vitriol equal quantities, and a little alum ; grind them all together, and let them dry, and when you want to use the colour distemper it with gum water, and it will make a good green. 87. To make green, — ^Take orpiment and indigo " de baga- don,"^ and grind them well with water. When the colour settles, grind it again with gum-water, and it will make a green ; and, if you please, take orpiment and grind it, and mix with it white lead and indigo, and do as before, and it will be green. 88. For the same. — Take viridem presimum' and grind it with water ; let it dry, then temper it with gum-water, and if you wish it lighter, put in a little more orpiment, and it will be of a good colour. 89. To make a good green with buckthorn. — Take small berries of buckthorn' when quite ripe, put them into a glass vase, and crush them well with your hands ; then place them in the sun, and let them remain until the juice rises above the berries ; then strain the refuse, and throw it away, and if the juice weighs one pound put into it the weight of two quattrini' of roche alum in powder. Place the mixture in the sun in a well-dosed glass vase, and let it stand three or four days, stirring it well three or four times every day ; and if it should happen to dry afler a time, distemper it with clear ley, with a little gum. 90. To make green. — ^Take indigo and grind it with plenty of safiron, and with a little white lead and gum-water, and it will become green. 91. To make green. — ^Take the juice of the plant " morella,"^ and incorporate it with white earth, such as the fellmongers use, and mix a little gum-water with it, and it will become green. 1 The true Indigo. s Spincervino. The Rhamnus catharticus, Sap green. 3 Quattrini. Small copper coin, worth about the fifth part of a crazia, or the 60th part of a Florentine lira ; perhaps so called because a quatCrino waB of the value of four denari or piccioli, now no longer in tise. Alb. Diz- D£ FIENB18 VIRIDIBUS. 421 86. Affare verde da dipengiare in gesso. — ^Tolli once 5 de forte aceto bianco poi tolli battitura de ramo vitriolo romano ana et un pocfao dalumi de rocho et macina onme cosa insiemj et laasalo secare et quando tu voraj operare stemperalo cum aqua gomata et sera bono verde. 87. Ad viridemfaeiendunu — ^Invenies aurum piumentum et indicum de bagadon et tere bene earn aqua et cum se resident tere cum aqua gumata et fiet yiridem et si tibi placet acipe de aoropiumento et tere et simul misce de biacba et de indico et &c ut supra et erit yiridis. 88. Ad idem.'^ToUe viridum presimum et tere cum aqua et dimite sicari et deinde tempera cimi aqua gumata et si vis mag^ clarum impone aliquantulum auripiumenti et congrue colorabitur. 89. Affare verde bono cum spingerbino. — ^Recipe granelli de spinogerbino quando sonno bene mature et metili in uno vaso de vetrio et amalpali bene cum le mano et metili al sole et lassali stare tanto che leve suso li grappi e quelle venacie poi U cola et premili bene et gieta via quella venacia et grappi et se lo dicto sugo fiiase una libra metice doi quattrini dalumi de rocho spolverizato poi lo pone al sole in vaso de vetrio ben serato et laasalo stare 3 o 4 di et omni di lo mistica 3 o 4 volte molto bene atomo et par spatio de tempo se secasse distemperalo cum ranno da capo chiaro cum uno poco di gomma. 90. A fare verde. — ^Hawe indico et macinalo cum-zaffiurami asso et cum uno pocho de biacha et uno poco de aqua gomata et cum quella aqua gomata madna li sopradicte cose et vira verde. 91. Affare verde. — ^Tolli sugo de herba morella et incorpora com terra bianca la quale usa li piliciarj et mistace uno poco daqua gomata et sera verde; « Solatro Nero, Cacabo, It. Black Nightshade, Eng. Solatrum hor- tente, vulgare, officinarum, uva valpus, lupina-strychnoa, Lat Morellc, Hordle den Jardins, Fr. Hierba mora, Sp. H 2 422 BOLOGNBSB MAKUSCBIPT. 92. To make a light green^ excellent for miniatures.^'Ttlke dark blue lilies, pound them well, and extract the juice from them ; then take roche alum dissolyed in water, and in this alum-water wet some pieces of white linen three or four times, and each time dry them in the shade ; then wet the pieces of linen in the juice six or seven times, and each time let them dry well in the shade ; then keep them closely shut up in a box, in order that the air may not have access to them. When you wish to use the colour, take a small piece of that linen and put it into a shell, and soak it in gum-water just sufficient to cover it Let it stand so for a ni^t ; then press it well, and stir it about in the shell in order to extract the colour ; and if you choose to make it more brilliant, put it to soak in prepared white of egg, and use it for miniature and for drawing leaves upon paper. 93. To make dark green. — ^Take berries of buckthorn, not too ripe ; pound them, and extract the juice from them, and then do the same as was directed in the other recipe for making light green. 94. To make green. — ^Take myrrh and put it into a glazed vase, and fill it with strong white vinegar for the space of several days. A scum will rise on the top of the vinegar, and that scum is good and fine verdigris. *95. To make good green. — ^Take honey and strong vinegar d each as much as you like, and incorpcnrate them very well to- gether ; then put the mixture into a well-luted copper vase, place the jar a foot deep in every direction in warm dung, in a place where the sun shines strongly, and let it remain so for a fortnight ; then take it out, and you will find all the matter converted into fine verdigris of a perfect kind. 96. To make hbte green. — ^Take someof our own azure,^ and safiron well soaked in clear water, grind it on a marble slab with the azure, and incorporate them well together until the colour becomes a fine green ; let it dry in the shade, and dis- 1 Probably azzurro de Lombardia, mentioned ib No. 4. DB FIENDIS VIRIDIBtJS. 423 92. Affdre verde chiaro perminiare aptimo. — Recipe 11 gilglj azorrini scuri e pistali bene et tranni lo sugo poi tolli alumi de rocho disoluto in aqna et in questa aqua aluma^a ce bangna le peze bianche de toralglia doi o 3 volte et omne yolta le sciuga alombra poi bagna la dita peza in lo dicto sugo 6 o 7 volte et emne volta la pone a sciugare alombra molto bene et poi la eonserra in bossola bene serata acio non vengha laiere. Et qnando la rorai operare tolli uno poco de qnella peza et metilia. a mollo in aqua gommata in una coccia tanto che stia coperta da la dicta aqua et lassa stare per spatio duna nocte et poi la preme molto bene et rimenala in la coccia acio lo colore escha fi>ra et se te place per farlo piu lustro la poi porre a molle in dnara doTo preparata et usalo per miniare a &re fogliame la carta. 93. Affare verde scuto. — ^Ahve grani de spingerbino che non nano troppo maturi et pistali et cavane lo sugo et poi fa simil- Bdente commo e disopra dicto in laltra ricetta dalo verde ehiaro. 94. Affare verde. — Tolli mirra e metila in uno vaso vitriato et impelo vaso de aceto forte bianco per spatio de alcuni di questo aceto fieura fiore de sopra et quello fiore e bono verde nuno e fino. 95. Affare verde bono. — ^Abwe mele e aceto forte ana el tuo ▼olere et incorpora multo bene insiemj poi lo pone in imo vaso de ramo bene copertp poi lo pone socto lo litamj bene caldo et stia in loco dove el sole ferisci forte et & che lo vaso stia socto lo litamj uno pel per omne verso et lassalo cosi stare per 15 di poi lo cava fora et trovaral tucta la matheria convertita in verde ramo bello in grado perfleeto. 96. Affare verde azurro. — Summe azurro nostramo e zafia- ramj bene mollo in aqua chiara et atritalo sopra lo marmo cum lo azurro et incorpora bene insiemj tanto che vegna bello verde et lassa separe alombra et distemperalo cum aqua gommata.. 424 BOLOONESE MANUSCBIFT. temper it with gum-water. If you like, you may put instead of the 8a£fron, yellow earth dyed with the juice of buck- thorn,^ and it will become green ; or the juice of buckthorn only. 97. To make a green water far painting an canvas. — ^Take ripe French beans, and put them into a small bag of strong canvas, place the bag in a press, extract the juice, and set it to boil, and let it be reduced one-half. Then add some powdered roche-alum, and remove it from the fire, and it wiU be a good and fine colour. 98. To make a natural blue green, — ^Take azure of whatever kind you like in fine powder, and put it to soak in soft water ; then take fine verdigris, grind it very fine with soft water, and add to it so much safiron as will make it a dark green. Then put it into a glass comet and mix it well, let it rest so as to sink perfectly to the bottom, and the water will remain above the verdigris clear and of a green colour, and this green water must be separated cautiously from the verdigris. Next take some of that soaked azure, and pour off as much of the water as you can from it Then take the green water, and throw it upon the azure, and mix them well together, stirring them with your finger, and you will have a perfect blue-green, and it will maintain its colour ; and when it is dry, if you wish to use it, pour some of the green water upon it, and soften the blue-green with your finger, and if it is weak, distemper it with fine gum, and it will be a most perfect blue-green. 99. To make good green. — Take the pips of the *' pero dtri** no" which are ripe at the time of , and extract the juice from them ; then take an equal quantity of white wine, and boil them down till reduced by one-half; then take rocfae altun in powder at discretion, and add it to the liquid when it boils ; then take it off the fire and set it to cool, and when it has settled and cooled strain it, and keep it in a glass vase, and use it for painting. too. To make *' verde alommo." — Take the scum of woad, and 1 See No. 105. ^91B^9«Pi^ DE FIENDIS VIRIDIBU8. 425 Et se te piaoe tu poi torre in loco del zafieramj quella terra gialla tenia cum lo sngo de spino gerbino et Yira verde o vero cum lo sugb de spino gerbino. 97. A fart aqua verde da dipengiare inpanno. — Havve fagi- oli maturi e metili in uno sachetto de canavaccio bene forte et mitilo a Btrigere et tranj lo licore mitilo a bulire et lassalo disi« mare per mita poi li pone uno poco di polve de alumi de rocho e toto dal fooo et sera bona et bella tenta. 98. Affare verde azurro naturalu — ^Tolli azurro de qualun* que sorte voi bene subtili et metilo amoUare in aqua dolce poi tolH de lo yerde ramo fino et macinalo cum aqua dolce ben sub- tili poi lo metti tanto zafiarami che diventa verde scuro poi lo pone in uno cometto de vetiio et mistalo bene poi lo lassa re- posare siche vada bene al fondo la quale aqua te remara diso- pra alo verderamo chiara coUorita in yerde la quale aqua verde se vole separare da lo dicto verderamo cautamente poi toUi el tao azurro mollificato et sepera via quella aqua quanto piu poi et de po tolli la dita aqua verde e gietala sopra a lo azurro et incorpora bene luno cum laltro remenandolo bene cum lo deto et haverai verde azurro perfecto et mantira lo colore et quando fosse seoco e tu lo volesci operare gietali de la sopraditta aqua verde et molifica lo verde azurro cum lo deto e se fiisse debili distemperalo cum gentili gomma et sera perfetissimo verde azurro. 99. A fare verde bono. — ^Tolli li acini del pero citrino maturi al tempo de (etc) e trannj lo sugo poi tolli altretanto vino bianco et mistica insiemj et fa bulire per mita po tolli alum] de rocbo in polvere el tuo parer e gietalo suso quando bolle e misticalo uno poco poi lo leva dal fooo et polio afredare et oommo e reposato e fredato et tu lo cola et serbalo in uno vaso de vetrio et usalo a dipengiare. 100. Affare verde aUommo. — ^ToUi la fiorata del guato e seccala 426 BOLOONESE MANUSCRIPT. dry it until it becomes a powder, aiid temper it with gum water and a little roche alum, and it will make a good green. 101. To make green. — ^Take verdigris, and grind it very fine with strong vinegar, and put it on a new brick which has a hol- low in the middle ; let it stand until the moisture and the vine- gar are removed, that is, until the brick has soaked up the moisture. Do this four or five times, and each time soak the verdigris with fi*esh and very strong vinegar ; and this is called ptudfying the verdigris. This purification is also done with ley made from ashes in the manner before -mentioned. Then take ' the purified verdigris and mix it with a littie white lead or a little orpiment, and distemper it with gum-water, and it will become a fine and good green.^ 102. To make green. — Put the ripe seeds of the buckthorn into a boiler with an equal quantity by weight of strong white vinegar, and boil it down to one-half; afterwards strain it through a piece of linen cloth into a glazed vase, and when you wish to use it, take some of it, and use it as you please. 103. To make green. — Take as much as you like of strong white vinegar, and add to it some verdigris reduced to a fine powder, a little powdered roche alum, a littie safiron, a small quantity of the juice of rue, and a littie powdered gum arable Let it all stand in the vinegar for 5 days, then mix a littie oeruse with it, and it will become of a fine green colour. 104. To make a light green for miniature — -proved, — Take violets in the month of March, pound them well, and squeeze the juice into a glazed saucer ; put in a littie well groimd roche alum, and mix it up ; afterwards take some pieces of very white linen cloth, not too thick, and dip them into the saucer three or four times, and the oftener the better, and each time dry them in the shade, and when you wish to use the colour distemper it witii gum water. I This appears to be purified, or, as it is sometimes called, Distilled Verdigris, the Verd' Etcmo of the Venetians. DB FIENBIS VIRIDIBXJS. 427 in polve poi la stempera cum aqua gotnata e cum uno pocho dalumj de rocho et sera bono verde. 101. Affare verde, — Ahawe verderamo et macinalo cum forte aoeto multo subtili tolli el ditto verderamo cum lo aceto macinato et mectilo in uno matone novo el quale habia una concava in mezo «t lassalo stare tanto cbe la humidita et lo aceto «a andata via cioe che lo matone habia bevuto quella humidita et cosi continua 4 o 5 volte et omne volta reintride el dito verderamo cum novo aceto fortissimo et questa se chiama la purgatione de lo verderamo et anco se fa la dita depurgatione cum lo ranno facto de oenere re- cotta il modo desopra poi tolli de lo dicto verderamo depurgato mistalo cum uno poco de biaccha o vero uno poco de oropiumento et distemperalo cum aqua gummata et vira bello verde e bono. 102. A fare verde. — ^Recipe semina spini cervini matura et micte eas in caldario et tantumdem aceti forti et albi scilicet quantum est pondus semina predictorum et fiu; devenire usque ad medium postea cola cum pezia pannj lini et eum pone in vitriato vase et cum vis operare tolle de ipso et utere ad bene- placitom tuum. 103. Ad viridem faciendum.'^Summe aceti albi forti quan* turn vis et in eo pone viridem ramum in pulverem subtilis re- ductam et aliquaatulum pulvis aluminis rochi et modicum za&rami et modicum sued ruuite et aliquantulum pulvis gnmme arabid et in aceto permite stare per 5 dies et deinde misce cum eo aliquantulum ceruse et efficitur color magis viridis. 104. Affare verde chiaro per minto provato. — Redpe de mense Martij violarum et pista bene et exthrae succum in una scutella vitriata et impone aliquantulum aluminis rocci optime triti et misce simul postea redpe pezias panni lini albissimi et non nimis subtiles et infunde eas in dicta scutella ter vel qua- toor et tanto plus tanto melius et pro qualibet vice sicca eas ad humbram et ciun vis eas operare stempera aqua gumata. 428 BOLOONBSE MANUSCBIPT. 105. To make a splendid ydlcw, finer than arpimeni er Oer- man giallolino, — ^Take berries of bucktboni, when* they ore quite ripe, extract the juice from tfaenii and keep it in a glass jar well closed for a fortnight. When you wish to use it, take strong ley, clear and fine, and for each mezzetta^ of ley take an ounce of roche alum in powder, and make it boil with the ley for the space of one paternoster in a glazed yase ; then re* move it from the fire and let it cool. Next take for every tum- bler of ley with alum one-third of a tumbler of the juice, and incorporate it well with the ley and alum, which will become a sort of dark green water, and let it stand thus incorporated for a night or more. Then take rery fine white earth such as the fellmongers use, and incorporate it gradually with the green ley, in a vase, such as a saucer, with your finger, and add to it so mudi earth that it may be of the consistence of dough ; keep mixing it with your finger as long as you can, and set it to dry in the sun ; and if you please you can soak it two or three times in the green ley, in order that it may become more beautiful and of a brighter colour. Distemper it with clear ley, and an equal quantity of prepared white of egg, and with powder of gum arabic, and let it remain together for two nights. And if you wish to use the yellow before it dries, that is, when you have just made it, take some of the green ley and mix it with a very little white earth, and paint with it whatever yon like, and it will remain a most beautiful yellow. And know that the juice is good all the year, but is nevertheless better stale than firesh. If it becomes hard, mix a little ley with it. 106. To make a goodand natural green — -proved — ^Take ver- digris and grind it very fine with water ; then dry it Next take some of the before mentioned yellow and mix with the verdigris, that is to say, three parts verdigris, and one of yellow, and it will become a noble and durable green, and you may mix more or less yellow, as you please, because the more yellow you put, the lighter it becomes. 1 A glazed earthen vesBd used to measure wine ; it holds the fourth psrt of a Florentine Fiasco. Alb. Diz. DE FIENDIS YIBIDIBUS. 429 105. A fare giaUo belitisgimo piu che oropiumento o giaUoKno ddamagna. — ^ToIIi graoelli de spingerbiuo quando sonno ben mature et trannj lo sago et serbalo in nna ampolla de vetrio ben turata et lassa cosi stare per 15 di et quando tu lo vorai operare tolli ranno da capo forte chiaro et bello et per onine mezo de ranno tolli una oncia dalmni de rodo in polyere et &llo bollire insiemj cum lo ranno per uno patemostro in uno yaso vitriato poi tolo dal fi)co et laasa refredare poi tolli per omne bichiero de ranno alumato il terzo duno bichiero de lo dicto sugo et in- corpora bene inaemi cum lo dicto ranno alumato che diventara ad modo duna aqua verde scura et laasa stare cosi incorporate una Docte o piu poi tolli terra biancba ben subtili la quale opera li piliciaij et incorpora cum lo dicto ranno verde a poco a poco . in uno vaso commo e una scutella cum lo deto et tanta terra tI meti che vemgna duretta ad modo de pasta et sempre mistica cum lo deto quanto poi et poUo a secare al sole et se te paresse tu poi darli doi o tre bangni cum lo dicto ranno verde ado che ▼en^ piu bello et cum piu vivo ooUore et distemperalo cum numo chiaro et altratanta cfaiara preparata et cum polvere de gomarabicaet laasa stare insiemj doi note et cum quelle lo dis* tempera. £t se tu lo vorai operare el dicto giallo nante che se secche doe quando tu lo fai che e fresco tolli de lo ditto ranno verde et mistavi poco poco terra biancha et dallo dove te place et rimara giallo belitissimo. £t sappi che lo dito sugo e bono tutto lanno e de migliore stantio che frescho e se se indurasse mistali uno poco de ranno ado diventi morbido. 106. A fare uno bello et tuUurali verde provato, — ^ToUi ver- deramo et macinalo ben subtili cum aqua poi lo secca poi tolli de lo sopradito £^lo et mistica cum lo dito verderamo doe le tre parte de verderamo et una de ^allo et vira nobili verde du- rabili et poi mistare piu e meno giallo commo te pare perche commo piu giallo vi meti piu chiaro vene. 430 B0L0GNE8S MANUSCRIPT. 107. To make a very dark green — proved, — ^Take indigo and grind it very fine ; then incorporate it with a little of the before mentioned yellow, and it is done. Distemper it with white of egg or gum water. 1 08. To prepare blue^eent, or blues when they are impure. — Take tibe bine-green or bine, and put it into a piece of linen cloth and squeeze it, and wash it in a saucer of fresh and dear water, and when you have washed it well, the colour will ank to the bottom. When it is well settled throw away the wato* at the top, and then add a little clean white honey and mix it untid it froths ; then grind it well on porphyry, put it into a glazed rase, and wash it with tepid water until Ihe water comes off clear. Then wash it with clear ley, and afterwards with clear water two or three times, and let it settle weU ; pour off the water cautiously, and then distemper it with prepared white of egg, or with size made from clippings of leather, and it win do well. B 109. To make a green tincture far writing, — Take 2 lbs. of calcined verdigris, reduce it to fine powder, and distil it in an alembic, and keep the water that comes o?er and it is good for writing and dyeing thread, &c. DE FIENDIS VIRIDIBUS. 431 107. Affare uno verde icurimmo probata. — ^Ahvvi indico et macinalo bene sotili poi incorporalo cum uno poco de lo sopra- ditto giallo ed e facto et distemperalo cum chiaro o aqua gom- mata. 108. Acmdare verde azurri o azurri qnando Jrusaro graaci. — Harve lo verde azurro o azurro et metilo in una peza de panno de lino slretto e lavalo in una scutella daqua frescha et duara et commo lai bene larato lo colore andara al fondo et quando sera bene reposato gieta via laqua de sopra poi li mecte uno poco de mele bianco et netto et mistica bene per infino atanto che &ra una schiuma poi lo macina in porfido molto bene poi lo pone in uno vaso vitriato et lavalo cum aqua tepida tanto che laqua nescha chiara poi lo lava cum lisda tepida poi cum laqua frescha doi o 3 volte poi lassalo bene refoesare se- para via quella aqua cautamente poi lo distempera cum chiara dova prqparata o cum colla de branche de ritalglie de oorami et stara bene. B 109. A fare tentura verde da scrivare. — ^Recipe lb. doi de verderamo abrusdato et &nne polvere subtili et polla a distil- lare a lambioo et serva laqua e de bona da acrivare et da teg- nare filo etc. ( 432 ) HERE BEGINS THE HEADING OF THE FIFTH CHAPTER ON THE MAKING OF LAKES, PURPLES, AND YERZINO IN YASIOUS MANNERS, AND FIRSTLY, 110. To make good and fine lake. — ^Take 1 lb. of clippings of Rosato/ and put them into very strong ley made of ashes, sudi as the dyers use, in a new glazed jar, and set it on the fire to boil, and boil it slowly for the space of two paternosters^ tiien pass the ley and the shavings throng a clean linen strainer, and press it strongly with the hand so that all the ley may pass out ; then put back the ley to boil again without the clippings, and when it is boiled, throw it on the shavings which are in the strainer, and press the strainer hard witli the hand so that all the ley may run out, and put it by. Throw away the shavings and wash the strainer well, so that there may not remain in it any hairs of the shavings. Next take 5 oz. of roche alum in fine powder, and put it a little at a time into the ley, until the ley begins to settle, which you may know by its turning almost en- tirely to a thick scum, from top to bottom, and you must keep on mixing the ley with a clean spoon until it becomes cool and settles ; then put the ley into the clean strainer and strain it all ofi^, and the lake will remain on the strainer. Let it remain on the strainer until quite diry, and then put it into a small basin of glazed earth full of clear and cold water, and stir it and rub it up well with the hand until it diffuses itself; all the scum which rises to the top at first must be thrown away with a feather ; then wash the strainer well and pour into it the water in which you have put the lake, and the clear water will pass out along with the alum, and this is called purifying it 1 Roflaio 18 a kind of woollen stuff dyed with " grana," that is Kennes. ( 433 ) INCIPIT DISTINTIO QUINTI CAPITULI DB LACCI8 ET PAVONATIIS FIENDIS IN DIVEBSIS HODIS ET YERZnnS. ET PBDIO, VIZ. 110. Affare laccha bona et hella. — ^Tolli lb j de cimatura de grana de rosato e mectila in raiino fortissimo facto de cenere la quale usa li tentoii in una pignatta yitriata nova et poUa al fooo a bullire et boUa pianamente per spatio de doi pater nostri poi mecti el ranno et la cimatura per uno collatoro netto de panno de lino et premilo forte cum mano siche tutto el ranno escha fora et poi repone el dicto ranno a bullire de novo senza ala cimatura et bolito el gieta sopra ala cimatura che e in lo collatoro et preme forte el colatoro cum mano siche tutto el ranno escha fora bene et ripollo da parte et la cimatura gietta via et lava molto bene il colatoro siche non 1^ rimaoga veruno pelo de la ditta cimatura poi tolli once cinque dalumi de rocho spolverizato subtili et metilo a poco a poco per vdta in el dito ranno per infino che el ranno se strenge che lo conoscirai quando el dito ranno tutto quasi se converti in una achinma grassa in fino al fondo et mai se vole finare de mistare el dicto ranno cum uno cochiaro netto per infino che se fi^da bene e che se strenga poi meti el ditto ranno stretto in lo dito collatoro lavato et cola tucto lo ranno et la lacha remara de dentro et lassala tanto stare in lo ditto collatoro che ella se seche bene poi la pone in una calineUa de terra vitriata plena daqua finedda et diiara et rimenala et sfregala bene cum le mano tanto che se diffaccia et tutta quella schiuma che vene a Bummo da principio se vole giettare via cum ima penna et lava bene lo colatoro et ripone suso questa aqua ove hai stemperato 434 BOLOGNBSB HANU8GBIFT. from the alum. And when the lake is nearly dry, remove it from the strainer, and spread it out with a broad knife on a new tile, let it dry in the shade, and before it has done drying, cut it into pieces according to your fimcy, and let it dry, and it is done. And know that the more it is purified from the alum, the more beautiful and lively, and the better it is. And observe this secret, that if you wish the lake to have a brighter colour and one which will never change, when the shavings are boiling, add a lump of assafetida^ as large as a chesnut 111. To make lahe in another manner. — ^Take baked ashes, such as the dyers use, and make a caustic ley, and keep it clean and clear ; then put the ley to boil in a glazed jar, and when it boils, put a lump of quicklime, not slaked, into it, and strain it through a close cloth. Then take 2 ^' petitti" of this ley clean and fine, and put it into a new glazed pipkin and add to it half a pound of shavings of cloth, mixing it well ; then put the ley over a clear fire, and make it boil until reduced to one- third. When it is so reduced, add to it 3 oz. of roche aliun, and make it boil until it is reduced one-third ; then strain it through a straining cloth into a glazed vase, and put the lake on a new brick that has a hollow in the middle, a little at a time if the brick will not hold it all at once, and let it remain for the space of 5 hours ; then take it out and do this as long as any lake remains. Then put it into a basin to finish drying in the heat of the sim, and when it is nearly dry, spread it on a very smooth table, and when quite dry, cut it into pieces ac- cording to your pleasure. ' The virtue of this gum resin probably lay in the bitter or eztractive principle, for it is known that lakes are more durable if the water used in making them be previously boiled with some astringent bark, such as the bark of the beech, or the small branches of the poplar. (See Traits de la Peinture au Pastel, du secret d'en composer les couleurs, avec indications d*nn grand nombre de nouvelles substances propres k la Peinture k I'huile, et le moyen de pr^venir I'alt^ration des couleurs. Par M. P. R. de C. C. k P. de L. Paris, 1788.) The permanence of the colour of the Kennes is thought to be owing to the astringent matter it contains. DE LACCIS ET PAVONATTCS FIEKDIS. 435 la lacha et laqtia chiara uscira fuori insiemi cnm lo alumi et questa se chiama la purgatione de lo alumj et quando la dicta lacha sera quasi scinta et tu latra del dicto colatoro et cum uno colltello largo la spiana in una tegola nova et lassalo sec- care alombra et nante che se fomischa de secare fanni li pezi a tuo modo et lassa secare e de facta. Et sappi cfae quando se fa quella purgationi de lo allumj tanto e piu bella piu viva et melglio. £t nota questo secreto che se tu voli che la lacha hab- bia piu viyo collore et mai non perda quando la dicta cimatura boUe metice tanta assa fetida quanto una castagna et stara bene. 111. Affare lacha per altro modo. — Recipe cenere ricolta et tEL capitello et fanne ranno la quale cenere usa li tentore et serbalo necto et chiaro et poi pone a bullire el dicto ranno in una pignatta vitriata et quando el ditto ranno boUe metice una zuppa de calcina ma che non sia disolta poi la cola cum uno panno stretto et colgli lo ranno netto et bello poi tolli doi pe- titti de de questo ranno et metilo in una pignatta nova yitriata et metice meza libra de cimatura de grana mistando molto bene poi la pone al fuoco chiaro et falla bollire tanto che le tre parte revengna luna et quando e rentrata per terzo et tu ce pone tre once dalumi de rocho poi lo fa bullire tanto che a rentre per terzo poi la cola per uno telo de staccia in uno vaso ritriato poi la pone in uno matone novo el quale habia uno concavo in lo mezo et metice la dicta lacca a poco a poco se non ce po capire tucta e lassala stare per spatio de 5 bore et poi la cava et cosi farai per infino che tu nai poi la pone in una lavella a fomire de secare al sole bene caldo et quando e per aecarse stendila in suso una tavola bene polita et quando e bene secca fannj li pezi al tuo piacere. That Assafoetida was used occasionally by painters, is proved by a Doca- ment, dated 1347, which was discovered by Professor Ciampi, in the Ar- efaivcs of S. Jacopo di Pistoia. Professor Branchi, of Pisa, to whom the docnment was submitted, together with fragments of paintings from S. Ja- copo, which he analyzed, could form no opinion as to its probable use, which appears to be explained by the text. See " Lcttera dal Prof. Branchi al Sig. Scb»jf Ciampi sopra gl* ingredieuti di varj musaici e di varie antiche pitture." VOL. II. I 436 BOLOGNESE MANUSCRIPT. 1 12. To make lake in another way. — Take quicklimey and put it into a yase to boil, with 8u£Scient water to coyer the lime two fiiigers deep, and mix it well with a stick. Let it boil for the space of 3 Aye Marias ; then sufier it to cool for a night, and afterwards filter the liquor which stood on the lime. Put the yerzino scraped fine into this water, by which it should be coy^red ; then take fine flour, or starch in powder, and put it into the water with the yerzino, and mix it well together. Let it remain so for a night, then separate the water carefully, and make the starch or flour into a ball as if it was dough, and put it to dry in the oyen after the bread is taken out, or eyen later, in order that it may not bum, and let it dry well. Then knead it again with the water of the yerzino, and let it rest. Throw away the water, and make the paste into little balls like hazel- nuts, and put them to dry in the shade where no dust or other dirt can get to them, and the lake will be made. And if you wish the lake to haye a bright and perfect colour, take shayin^ of rosato and put them to boil in the lime-water, and let them boil until reduced one-half; then strain the liquor and put the yerzino to soak in the water, and follow the recipe as before. 113. To make verzino good for painting flowers on minia" tures. — ^Take a piece of lime, reduce it to powder, and put it into white of egg, and stir it well with a stick, in the same manner as the white of egg is prepared for yermilion ; let it settle, and then separate the scum and filter off* the white of e^. Then take yerzino scraped fine with glass or with a rasp, and put it into the filtered white of egg, and let it soak for two days, and there must be enough white of egg to coyer the yer- zino and it is done. 114. For the same^ another way, — ^Take quicklime and put it to soak in a yase with sufficient water to coyer the lime three fingers deep, stir it well with a stick until you see that it is well slaked ; then let it settle for two days, and take the clear water and some scrapings of yerzino, and put the yerzino to soak in the water for the space of three days. Then put the DE LACCIS ET PAVONATHS PIENDIS. 437 112. Affare lacchaper altra via. — ^Tolli calcina viva et me- tila in uno vase a bullire cum tanta aqua che sopra avantia a la calcina doi deta et mistila bene cum uno bafitone et bolla per spatio de 3 ave marie poi lafisa fredare per una notta poi destilla per iiltro la ditta aqua che e sopra a la calcina et in questa aqua pone el verzino raso subtilmente et fa che lo ver- zino stia coperto da la dicta aqua poi tolli fiore de &rina o vero amido in polvere et metilo in la ditta aqua dove e el verzino e mistica molto bene insiemj e lassa cusi stare per una nocte poi sepera la dicta aqua cautamente ed e quello amido o vero fiore de farina ne & una pallocta commo se fnsse pasta et poUa a secare in lo fomo quando e tratto el pane o piu tardo che non se abruscia et lassala bene secare poi la reintride cum la sopra- dicta aqua del verzino poi la lassa reposare e gietta via quella aqua e de la pasta ne fa pallottecti ad modo de avellane et polk a sciugare alombra dove non vi vada polvere ne altra bnitura e de fiicta. Et se tu volesci fare che la dicta laccha habbia vivo et perfecto collore tolli cimatura de rosato et poUa a bollire in la sopra dicta aqua de calcina et tanto bolla che arentre per mita poi la cola et in la dicta aqua pone a molle el verzino et seguita la recieta al modo de sopra. 113. Affare verzino da jiorire minij bono, — Recipe calcina impetra et fimne polve et metila in chiara dova et rimenela bene cum uno bastone commo se concia lachiara per lo cinabrio et lassa possare poi sepera via la sciuma et distilla quella cbiara per filtro poi tolli del verzino raso subtili cum vetrio overo cum la raspa et metilo de dentro in la dicta chiara stil- lata et lassalo stare a moUi doi di e vole esser tanto chiara che lo verzino stia coperto e de fatto. 114. Ad idem alio modo. — Ah we caldna viva et metila a moUe in uno vaso cum tanta aqua che sopra avanza ala calcina 3 dete et rimenela cum uno bastone molto bene per infino a tanto cbe tu veghi che la calcina sia bene disciolta poi la lassa posare per doi di e colglie laqua chiara e bella poi tolli de lo verzino raso et polio a molle in la dicta aqua per spatio de 3 di, i2 438 BOLOGNESE MANUSCRIPT. whole on the fire and boil it down to one-half or less ; then add some pounded alum and a little gum arable, take it off the fire, and let it settle ; when cool strain it throu^ a piece of linen cloth and it will be fine verzino. 115. To make verzinoy another way. — Take verzino, scrape it 6ne, and put it into a glazed vase to soak with a sufficient quantity of cold and purified urine to cover the verzino ; then add 2 parts of alum zucharino, one of white-lead, and a little pounded gum. Let the whole stand to soak for two days, then strain it through a linen cloth, and put it to dry ; afterwards distemper it with gum water, and it will be good yerzino. 116. To make verzino and to preserve ii in powder. — ^Take verzino, scrape it fine, put it into a cup, and pour upon it a quantity of prepared white of egg sufficient to cover the ver- zino, add a little roche alum so as not to make it froth ; then add a drop or two of honey, and let it stand for one natural day. On the second day, add a little whipped white of egg, and scrape into it some of the before mentioned alum, as you did before, so that it may not froth, and do this for three or four days ; afterwards strain it through a clean piece of linen, put it into a shell and let it dry in the sun ; then scrape it out of the shell and preserve the powder. When you wish to use it, put the powder into a shell with some ley in it, to soften, and do as you please with it 117. To make pavonazzo with the Juice of herbs. — Take thick pieces of linen cloth, not new and white, but such as pieces of old towelling and sheeting ; then take roche alum and dissolve it in boiling water and then let it cool. Soak the rags in this water, wet them well, and dry them in the shade ; then take the juice of a plant which is called '* gilosia," ^ and wet the liLcn rags many times in this juice, and between each time let them dry well in the shade. Keep them in a place open to the air, such as a saucer ; and when you wish to use the colour take a little of that linen, and put it to soak in a shell with gum water, 1 Erba Gilosia. The Amaranthus Tricolor. BE LACCIS ET PAYONATUS FIBNDIS. 439 poi lo pone al foco a bollire per la mita o mcmcho poi li pone uno poco di alumi pisto et uno poco de commarabico et tolo dal foco e lassa possare poi lo cola qnando sera freddo cum ima peza de panno de lino et sera bello yerzino. 115. Affdre verzino per altra ma. — Hawe yerzino et radilo snbtilmente et metilo in uno yaso yitriato a mollo cum tanta cMina firedda et porificata da le fecce che copra el yerzino poi c^ poni alumj zucharino parte 2 et per terza parte biacha et uno poco de gomma pista et lassa stare a mollo doi di poscia lo cola cum una pezza et polio a secare poi lo distempera cum aqua gommata et sera £sttto bello yerzina 116. A fare et conservare lo verzino in polvere, — Summe yer- ^um et subtile rade et pone in parasdde et desuper infundi daram oyi preparatam ita quod coperiatur yerzinum et impone desuper aliquantulum de lumine rochi ita quod non &cia spu- mam et deinde mite unam aut binam guctam mellis et permite stare per unum diem naturalem. In secunda yero die addas aliquantulum de clara oyi rupta et abrade super de predicto alumine ut prius fecisti ita quod non fatia spumam et sic faties per tres'yel quatuor dies — ^postea cola cum pettia munda panni lini et micte in coculea et dimitte siccari ad solem postea abrade de coculea et serya pulyerem et cum yis operari mitte de dicta pulyere in coculea cum lexiyio ad mollificandum et fi^ yelle tuum. 117. A fare pavonazzo cum mgo dehrbe (sic). — ^Accipe peze de panno de lino grosse et non siano noye bianche commo e peze de toyalglie et peze de coltrice use poi tolli alumj de rocho et disfallo in laqua bolita poi lassa fredare et in quella aqua aluma le peze et bagnale molto bene poi le sciuga alombra poi tolli lo sugo duna berba che se chiama gilosia et in quello sugo faagna le peze piu e piu yolte et da una yolta et laltra lassale sdugare alombra bene et consenrale in loco che le dia hayere commo e una una scatella et quando la yorai operare tolli imo poco de quella peza et metila a mollo in una cocda cum aqua 440 BOLOONESE MANUSCRIPTv and let it Btand for the space of an hour ; then press it out and paint with it. 118. To make the colour br That this colour was crimson, and not scarlet, is proyed by the fact of the verzino assuming a " colore Cardinalesoo " when mixed with an alkali > because alkalis have the property of changing vegetable reds to blues; BE LACCIS ET PAYONATHS FIENDIS. 455 verzinoy etc, — ^ToUi una libra de yirzino et raspalo overo tag* lialo atra^erso minuto quanto se po et mectilo a bollire in aqua pioTiana chiara oyero aqua de fiume cioe che sia mezo broco et &110 bollire tanto che se sceme per mita et innante che leve la caldara dal fuoco habbi una libra dalumj de roco et fallo bollire per uno patri-nostro et sera virmiglio et levalo dal fuoco et lasaalo fredare tanto che tu ce possi tenere la mano et mectice dentro aceto bianco et se tu el voli cardinalesoo non ce mectare aceto ma mectice lieia forte et haraj tre colore. Et se voli che quelle che romane al fondo de la caldara a bolire ne la piu forte lisda che poi havere et &, che calle le doi parte et sera perfecto violato etc. B. 137. Affare laccha. — ^Recipe una oncia de laccha cruda orero grana et mectila in uno pignatello et mectivi suso urina dhomo overo ranno tanto che sia coperta la ditta laccha et iaila bollire al foco temperato meza bora senza fund et commo bolle sempre mestala poiche ha cosci bollito toUi meza oncia de alume de marocho et meza oncia de salgemmo et macinali bene cum ranno et mectilo nelo pignatello nanze che romangna de bollire poi lo leva subito dal fiioco et lassalo fredare poi tolli noa lavella et uno petito dorina dhomo reposata overo de ranno forte et cacialo suso in la lavella et mistica omne cosa inmemj et remenala molto bene cum uno bastone et poUa per 15 dj in loco che non ce vada polvere et remistalo omne sera et omne matina et in capo di xv di have uno sachetino de panno de lino et colalo et quelle che romane in lo colatoro polio suso una tegola nova et bene necta et li la secha de bocto alombra et hayerai lacha fina et reponla in una scatola et fanne pezze etc. B. 138. Affare laccha per aUro modo per minij fina, — Re- cipe cimatura de scarlacto de grana fina et mectila in uno vaso vitriato et de sopra ce pone tanta orina dome che la cimatura sia coperta per doi deta de sopra de la orina dhomo et polla bene coperta cum uno panno in loco che non venga aiere et - whereas, if the vinegar had been added instead of a strong ley, the colour would have been scarlet, and not '* Cardinalesco." The purest kind of rock salt. 456 BOLOaNESE MANU6CBIFT. remain there until the clippmgs rot, and when they are rottcD pour the urine off; then grind the dippings, and when they are perfectly ground coyer them up on a jneoe of yery thin linen cloth, and you will haye fine lake, &c. B. 139. To make ftiAe.— Take cloth or clippb^s of [cloth dyed with] grana, but the rosato or scarlet cloth is beat, be- cause it has more substance. Put them into ley made from the ashes of bean-stalks, and let the ley be strong. Put the ashes into it and strain it 8 or 10 times, and it will be yery strong ; then put the cloth into the ley, and the colour will soon be dissolyed. Strain it and let it settle ; and if you wish to ^ye body to the lake, take roche alum, and mix with the lake, and put it to dry, and it is done. And know that the ashes may be of oak or burnt tartar of wine, &c. B. 140. To make lake in another manner. — ^Take 1 lb. of gum [lac], and put it into yery strong boiling ley, and let it dissolye ; then take three glasses of tepid water in which 2 oz. of roche alum haye been dissolyed, but first put the water into a large shell, throw on it the boiled ley, and let it remain so for 2 days ; then take a glass and take also that gum and water and ley, and strain it in a small woollen bag ; let it run through and the lake will remain at the bottom. DE LACCIS ET PAVONATHS FIENDIS. 457 lassala costi stare tanto cbe dicta cimatura se immarcisca et sia fragida et quando sera ben fragida scola via quella orina bene et poi macina la cimatura molto bene et quando sera bene ma- cina coprili sopra una pezza de panno de lino bene subtili et averai laca fina etc. B. 139. Affare htcha. — ^Recipe panno o veramente cimatura de grana ma el rosato o panno de grana e migilore percbe ha piu substantia et mecti in lesciya de cenere de fava et questa Ivscia, vole esser forte et £bl cosci octo o dece volte mectendo dentro la cenere et colala cbe sera fortissima et in la dicta lisda poni el dicto panno el quale se consumera presto et poi el cola et lassa possare la colatura et se ta voli dare a lo dicto collore oorpo toUj alume di rocho et mistica cum la dicta lacca et poUa a secare et e &cta et sappi cbe la cenere se po fare de cenere de cerro overo de feda de vino etc. B. 140. Affare lacha per aliro modo, — Redpe lb. una de gomma laqnale porai in liscia fortissima quando cbe boUe et lassala disfare bene poi babi tre zayne dacqua tepida in la quale da doi once dalume de rocbo ma prima mecti laqua in una concola grande et desopra butaraj la lisda bulita et lassa stare cusd doi di poi toUi una zaina et piglia questa gomma et aqua et liscia et poUa a coUare in una sachecta de tela et lassa uscire fora et la lacha romara al fondo. ( 458 ) HERE BEGINS THE HEADING OF THE SIXTH CHAPTER- HOW TO MAKE PURPURINI AND GOLDEN COLOUBS; AND HOW TO LAY ON GROUNDS AND MORDANTS FOR GOLD. AND FIRST TO MAKE A GOLDEN PURFURINO. 141. To make purpurino^ that is to say a golden colour. — Take quicksilyer and Venetian tin, of each as much as you like ; melt tiiem togetiier over the fire, and then let them cool ; grind the mass, and then take a glass flask, and lute it with philosopher's lute, and let it dry. Put the powder into it, place the glass in a furnace over a slow fire, and leave open the mouth of the flask ; when it ceases to smoke, remove the fire, and when it is cold break the flask, and you will find a splendid purpurino, which you must grind fine upon porphyry. Distemper it with gum water and use it. 142. To make purpurino another way, — Take equal quan- tities of quicksilver and Roman tin, and melt them together, and when cool grind the mass fine ; then take sulphur vivnm and sal ammoniac, of each equal quantities, that is to say, the same quantity as the quicksilver or tin, and grind all toge- ther to a very fine powder ; then take a small bottle, and put these ingredients into it, lute the bottle with lutum sapientiae, and put it into the furnace with a slow charcoal fire ; do not close up the mouth of the bottle. When it leaves off smoking, remove it from the fire ; and when it is cold, break the bottle and you will find the purpurino. 143. To make a fine gold colour another way. — Take beaten tin, sulphur vivum, quicksilver, and sal ammoniac, of each equal quantities; put all into a flask, lute the flask with lutum sapientise, and close the mouth of the jar with a cork ; then pierce the cork in the middle with an awl, put the jar in mam^ ( 459 ) INCIPIT DISTINTIO SEXTI CAPITULI AD PUKPUBINOS ET COLORES AUREATOS FATIENDUM. ET AD 8CISAS ATQUE HORDENTES AD AURUM PONENDUM. ET PRmO AT FACIENDUM PURPURmUM AUREUM. 141. Affiire purpurino scilicet colore daro. — Recipe argento Tivo et stagnao vinetiano ana el tao volere et liquefac ad ing- nem insimul et dimite infngidarj postea macina omnia insimid poetea tolle ampullam vitream et luta earn cum luto philosofico et dimite siccarj deinde pone intus dictas res et pone in fur- nello cum lento ingne et ne os ampulle claudatur et cum desi- nerit futere fumum subtrhae ignem et cum fuerit fridda frange ampulla et invenies purpurinum nobilem quern macina super porfidum subtiliter et stempera cum aqua gummata et utere. 142. A Jare purpurino alio modo, — Tolli egualmente ariento vivo stamgno romano et fallo strugiare insiemj quando c freddo madnalo bene subtili poi tolli solfo vivo sale armoniaco ana cio e quanto fd Targento vivo e lo stagno et macina omne cosa bene subtili insiemj poi tolli una bocciecta et mectice dentro le dicte cose poi la inlota cum loto de sapientia et mettila in lo fomello et falli al foco de carbone lento et non obturare la bocca della boccia et quando non Aimara piu levali el foco et quando e freddo rompi la boccia et troveraj el purpurino. 143. A fare collore doro hello per altra via. — Awe stagno ba- tuto solpho vivo argento viro et sale armoniaco tanto deluno quanto delaltro poi mecti omne cosa in una ampoUa et inlutala cum luto de sapientia et serra la bocca della ampulla cum una suvera poi fora la suvera cum una lesina in lo mezo et poUa al 460 BOLOQNBSE HANU8CBIPT. the fire and let it remain there moderately heated, till the Bmoke comes ofi^ yellow. Then let it cool, and break the jar, and you will find good purpurino. Dbtemper it with gum water, and use it for painting miniatores and other things. 1 44. 7b nuAe purpura^ in whatever quantity yen like. — ^Take 1 oz. of sal ammoniac, H oz. of sulphur, 1 oz. of quicksilver, and 1 oz. of tin. Then take a bottle with a very low neck, and lute it with lutum sapientiae up to the neck ; then mix the tin and quicksilver together over the fire, grind them with the other things, and put the whole into the bottle, and make a clear charcoal fire under it. When you see the smoke issue from it, continue the fire, and let it remain until you see a silvery line roimd the bottle ; then let it cool, and preserve it, and when you wish to use it, take this porporino, and grind it, and then put it into a vessel with gum water, and it will do ; and know that it will bear a great deal of gum water. Lay it upon colours or other miniatures. 145. . To make a gold colour in another manner. — ^Take 2 oz. of tin, and mix it with one pound of quicksilver, and when they are well mixed ^ add 2 oz. of sal ammcMiiac well ground ; mix all well together in a glass vase, such as a urinal ; put it in the furnace, and give it a moderate fire for a day and a half. Then remove it firom the fire, and let it cool, and you will find a fine golden colour, with which you can write. Distemper it with wtute of e^ well beaten. 146. To make a good and fine gold colour, — ^Take a ben's egg, make a small hole in it, take out the white, and leave the yolk in the shell ; then fill it with quicksilver, and stop up the hole securely and put it under a sitting hen for the space of 30 natural days, and you will have a golden colour,' which you must distemper with gum water. 147. To make golden fringes with the paintbrush. — ^Take For the method of mixing the tin with the quicksilyer, see No. 168. AD PUBPURINOS ET COLORBS AUR£AT08 FATIENDUM. 461 foco et fidla tanto stare et cociare temperatamente che per lo bu^o escha lo fumo giallo allora toUi via lo foco et lassa fire- dare et rompi lampoUa et troverai lo purpurino bello et bono et distemperalo com aqua gommata et adoperalo a fare minj el altre coee. 144. A fare purpura secando la quantita che vat. — ^Havvi once j de sale armoniaco, once una et mezo de solpbo once j dargento vIto et once j de stagno poi tolli una boccia cum lo collo basso basso et inlutala cum luto de sapientia per infino al coUo poi tolli lo stagno et lo argento viyo et incorporalo insiemj al fuoco poi lo matina cum le altre cose sopradicte et metili in nella boccia et poUa in lo fomello et falli lo foco de carbone et sia chiaro et quando tu vedi uscire el fumo continua lo foco et lassalo stare per infino che tu vederai uno signo atomo ala boccia ad modo dargento et lassa firedare poi lo conserva et qiumdo lo yorai operare tolli questo porporino et macinalo poi lo pone in la gbiavella cum aqua gomata et lavalo doi o 3 volte cum dicta aqua gomata et stara bene et sappi che porta asa aqua gomata e dalla sopra li collori o altri minii. 145. A fare coUore daro per aUra forma. — ^Tolli once doi de stangno et metioe dentro una libra dargento vivo et commo Bono bene incorporati insiemj mectioe doi once de sale anno- niaoo ben trito et mistica bene insiemj in uno vaso de vetrio oommo seria uno orinalj et mectilo al fomello et falli lo foco temperato per uno di et mezo poi lo leva dal foco et lassalo firedare et trovarai oollore doro bello et cum lo quale poterai scrivare et distemperalo cum chiara doya rupta bene. 146. A fare coUare doro bello et bono. — Tolli uno oyo de gallina et falli uno bugio picolo et cava fora la chiara et lo yen- telle lassa in la cocia poi lo impe de argento vivo et serra bene quelle bugio cum colla poi lo pone socto la gallina covante per spazio de 30 di naturali et haveraj oollore doro et distemperalo com aqua gommata. 147. Adfatiendumjregios aureos eum peimetto. — Recipe ar- * Sec a recipe somewhat similar in the collection of Lc Beguc, No. 22. 462 BOLOONESB MANUSCRIPT. gum ammoiiiacy' and cut it small with a penknife, and soak it for a night or a day in strong white vinegar or in urine, and afterwards grind it with a little white of egg, and make flowers with your pen, or write upon gold with the paintbrush, and make a fringe or whatever else you like ; and when it is dry, breathe on it slightly, lay on the gold and press your band upon it. When the gold has set, take some cotton, or a hare's foot, and rub it on the gold, and remove the loose gold. And if you wish to make a fringe or flowers with your paintbrush upon figures, add also a little ochre. 148. To lay dead gold upon colours. — ^Take incense, wbite gum, and sugar candy, of each equal quantities, grind them together, and distemper the mass with strong vinegar or wine, and make it sufficiently liquid not to clog the brush ; and it must be thoroughly mixed so as to dry well when applied with the pencil. Lay it on where you wish to put the gold, and when dry, lay the gold upon it, and press it with the cotton ; when you have pressed it down well, rub it with the cotton, and the gold will remain clear and fine. 149. To lay gold upon booksj that tSj upon paper, — ^Take white of egg, well whipped with the milk of the fig-tree, and gum arable in fine powder, about as much as a nut Soak it in the white of egg, add to it a little pure safiron, and let it also soak in the white of egg for the space of one natural day. Then take a small sponge or a paintbrush and dip it in the com- position, and spread it thin where you wish to lay the gold, and immediately apply the gold ; then press it with cotton, let it dry well, and burnish it with a tooth, and it will become bright. 150. To gild cloth or canvas. — ^Take gum ammoniac and put it into a little urine, and let it stand for a night ; then make it into a paste with ceruse and a little honey ; then lay on the mordant, and the next day lay on the gold. This is good also for laying gold upon paper. 1 This is the gum resin Ammoniac, and not Armenian Bole, which is mentioned in No. 160 under the term " Bolarminiiun ;" and again in No. AD PUBPTJHINOS ET COLOKES AUBEATOS FATIENDUM. 463 moniacum et incide minutatim cum curtello et pone in forti aoeto albo vel in orina ad mollificandum per noctem vel diem postea macina eum cum aliquantulo dare ovi et fatias flores cum penna yel scribe supra aurum cum pennello et fac fregium et quicquid vis et cum siccum fiierit aliquantulum satage et pone aurum et preme manum super aurum et cum captum fiierit aurum habeas de bombage vel pedem leporis et due super aurum et toUe aurum non captum. £t si volueris facere fregium vel flores cum penello super figuras adde aliquantu- lum et de ocrea. 148. A mectere orosenza lustro in suso li collare. — Havve in- censo gomma biancha et zuccaro candio ana, et macina le pre-* dicte cose insiemj et stemperale cum aceto forte o cum vino et fallo tanto liquido cbe non se abombola et vole essere bene re- menata tanto che sciuga bene dalo penello et dallo dove voi porre loro et quando e sciuto pond suso loro, et fermalo cum lo bambagio et quando haverai premuto bene sfregalo cum lo bamba^o et loro remara necto et bello. 149. A mettere oro in suli lihri doe in su le carte. — Awe chiara dova rupta cum fid lacte multo bene poi torai tanto gomarabico quanto una avellana subtilmente spolverizato et metilo a moUo in la dicta chiara poi torrai uno poco de zaferamj Jniegro et metilo a molli in la predita chiara per spatio duno dj naturali poi tollj uno poco di spogna et bagnala in la dita compositione o vero cum uno pennello et gratalo dove tu voli metere loro subtilmentj et subito mecti loro et poi lo ferma cum bambagio poi lo lassa bene sciucare et brunisce cum dente et sera lustro. 150. De aurando panno vel tela. — Summe armoniacum et pone in modica orina et ibi stet per noctem postea conficitur cum oerusa et modico melle et tunc ponitur dicta ascisa uno die et alio die pone aurum et etiam valet ad ponendum aurum in carta. 161, both '^armoniaco" and " Bolarminium *' are mentioned. See similar recipef m D. AleanOy Part I. p. 1 14. 4^4 B0L0QNE8B HANTTBCRIFT. 151. A golden colour for gilding. — Take gam of almonds and saffron, and grind them on a mortar, and put them into a glass vase ; place the mixture by the fire to warm, and after- wards mix some whipped white of egg with it, and paint wherever you like, and it will be of a golden colour. 152. To make a mordant for gilding on walls, — ^Take calcined bone, ground fine with weak glue, such as pardiment glue, and let it dry ; and when quite dry grind it up afresh with linseed oil, and make it rather stiff; then take a little liquid varnish, and incorporate it with the bone-dust. Add to it a little saffiroo, sufficient to give it colour, and make it rather stiff. When you wish to put the gold on the wall, the mortar must be dry, and the mordant must not be applied too thick. Let it remain 5 or 6 days, and then put on the gold. 153. To write with silver. — Take the silver marchesite,^ and grind it very fine on porphyry with strong vinegar ; liien wash it and purify it well with other vinegar. Distemper it with gum-water, and write whatever you think proper. 154. To make a good and fine silver colour. — ^Take tin filings and quicksilver, of each two parts, well pounded with gum arable wetted with water, and write whatever you please with it ; let it dry, and then you may burnish it. 155. To gild all bodies. — ^Take tartar, atramentum,' quick- silver, and salt, and distemper the whole with strong vinegar, and warm the mass a little at the fire, and when you widi to gild, put a little water in the glass, diat is to say, some of the above-mentioned water, so as to cover what you cast 156. To make a golden eohur for writing. — ^Take juice of celandine,* and put it into a well- closed glass flask, place it un- der horse dung, or the refuse of grapes, and let it remain there for a month ; afterwards take it out and grind a little orpiment witli the liquor, and put it back into the dung for a fortnight, and then it wiU be purified. And when you wish to write with 1 See Beckmann, Inventions, Tit Zinc, and Agricola De MetaUicis p. 435, 436, Venezia 1650. AP PURPURINOS ET COLOKB8 ATJRBATOS FATIENDUM. 465 151. De auro colhre ad aurandum. — Habeas gummam amangdolanun et crocum et molle in mortario et recollige in ▼ase vitrio et pone justa ignem ut calefatiat postea misce de dara ovj firacta et pinge ubicumque volueris et erit color aureus. 152. A fare mordente da mectere cro in muro. — ^ToUi osso caleinato et subtili macinato cum colla dolce commo coUa de carta poi lo lassa seccare poi che e bene secho remacinalo de novo cum olio de semj de lino et fallo uno poco duretto p(» toUi uno poco de vemicj liquida et incorporala cum lo sopra- dicto osso poi 11 pone uno poco de croco quanto li dia collore et Yole essere uno poco duretto e quando voli mectere loro in muro la calcina conviene essere secha poi pone lo mordente non troppo groeso et lassalo stare 5. o 6. di poi mecto suso loro. 153. A scrivare dargento. — Pilglia marchasita che tengha de argento et macina la in porfido bene subtili cum aceto forte poi layala et purificala bene cum laltro aceto poi la distempera com aqua gummata et scrivi quelle te pare. 154. A fare collore de argento hello et &mo.*— Tolli stamgno limato argento viyo ana parte doj pisto bene cum gummorabico hmnecttalo in aqua et scrivi quelle te place cum esse et lassa secare poi le porai brunire. 155. A mectere a oro omne eorpo, — ^Awe tartaro atramento ariento vivo et sale et distempera onme cosa cum forti aceto et scaldalo uno poco al foco et quando tu voli dorare pone uno poco daqua in uno vaso do e de la sopradicta aqua tanta che copra do che tu giette. 156. Ad fatiendum aureum eollorem pro scribendo, — Recipe suocum celidonie et pone in ampulla vitrea et bene clausa pona- tar sub fimo equino aut venatia et ibi maneat per mensem postea extzahe et moUetur aliquantulum de auropiumento cum ipso lioore et remitatnr in fimo per quindedm dies tunc erit puri- ficatus quum autem vis scribere mitcte aliqtias guctas died s It b bjr no means dear what the Italians understood by this term. The MS. of Le Begue shows that it had difierent significations. s Cetidonia, Chelidonuim. A yellow lake is made from thb plant. 466 BOLOGKESB HANUSCBIFT. it, pour a few drops of this liquid into a shell or comet; then put in a leaf of fine gold, and liquefy them together, and after- wards write with a pen whatever you like, and burnish the writ- ing when dry. 157. To make gold letters. — ^Take gesso, with which panels are primed, and with which the tailors mark their thread, and ochre, and also a little white of egg, well beaten with a sponge, or otlierwise ; grind all these things together for a considerable space of time, and add a little wax from your ear, in order that it may flow freely from the pen. Write where you like, and let it dry, afterwards put the gold on and fix it with cotton ; when dry, burmsh it with the tooth of a wolf, or of a sucking calf, or of a mule, or of an ox, or with a stone, or knife. 158. To write in gold with a pen* — ^Take water of cinnabar, and saltpetre, of each equal quantities, one grain of common salt, and one leaf of fine gold, which you must put into a shell along with the before mentioned ingredients in the evening, and let it remain all night; in the morning write, and the letters will be most beautiftd. 159. To make water for gilding. — Take 3 jars of water, \ lb. of roche alum, and 1 oz. of white, that is, calcined tartar, of verdigris about as much as a bean, and one handful of common salt ; pound all well together, and boil them down to one-half or more, and with that water paint what you like. 160. To make size for gilding. — Take of gesso sottile about as much as a nut, grind it with clear water, and make it to- lerably stiff ; aft;erwards take some Armenian bole, about as much as a bean, and grind it by itself with clear water. Then mix it with the gesso, and add a sufficient quantity of fine glue already dissolved, a little white sugar, and a little ear wax^ and grind all these ingredients together. And know that the glue must be made so as not to stick to the porphyry in the grinding, and when you wish to use it, place it upon hot ashes in order to liquefy it. And note, that if the glue has remained melted in the vase for several days, it is better and lighter ; AD PtJRPTJRINOS ET COLORES AUREATOS FATIENDUM. 467 liooris in coclea aut oornetto deinde pone unum folium auri fini et liquefac insimul postea scribe cum penna quid vis et quando erit sicce burnias. 157. Ad faciendum Kteras auratas, — Summe gissum cum quo ingessatur tabulas et ocrea i. e. cum aqua saccatoris tin- gunt filum et modicum et dare ovi bene rupta cum spungia aut aliter et omnia ista insimul madna per magnum spatium deinde toUe modicum de sorde aurium et macina insimid ita quod currat scribendo deinde scribe ubi vis et dimicte siccarj postea pone aurum desuper et firma eum cum bombige et quando fiierit siccum burnias cum dente lupino vel victule lac- tentis vel mule aut bovi vel cum lapide aut telbella [coltello ?]. 158. Ad scribendum aurum cum callamo. — ToUe aqua cina- brij sal nitrij et unum granum salis comunis ana et unum folium auri fini quem pone in una coclea simul cum predittis rebus in sero per- noctem et in mane scribe et erunt pulche- rime. 159. Adfatiendam aquam ad aurandum, — Habeas tres or- ciolos aque et libram mediam aluminis roccj et untiam unam tasi albi L e. calcinati et viride ramum quantum est &ba et manipulum unum salis comunis et bene ad invicem pistentur et tantum bulliat quod deveniat ad medietatem vel plus et cum aqua ilia pinge quid vis. 160. Affare scisa da meetere oro. — Habeas gissum subtilem quantum est nux et macina cum aqua clara et fatias eum ali- qualiter sodum postea Recipe bolum arminium quantum est faba et macina eum de per se cum aqua clara postea missce com preditto gisso deinde habeas collam nobilem distempe- ratam et mite intus quantum necessarium est postmodum pone intus aliquantulum zucberi albi et aliquantulum fectie 'auri- cnlarum et predicta inmmul macina. Et scias quod colla debet esse taliter quod in macinando se adhereat porfido ali- quantulum et quando vis operare pone eam super calidum cenigem ut bene liquescat et nota quod si colla starct aliquibus VOL. IL I* 468 BOLOGNESE MANUSCRIPT. and if the mordant is laid too thickly upon the paper, scrape it smooth and thin. When you wish to lay the gold on it, bathe it with clear water, put on the gold, and fix it with the cotton, and when it is dry burnish it well with a tooth. If the mordant is too soft, put a little white of egg into the water, when you are applying the gold, or add some to the mordant, and it vill be good. 161. To make size for gilding. — ^Take gum ammoniac, and grind it first without water, and then with the juice of garlic, to which add a little Armenian bole, and when the mass is dry, it must be ground up again with the garlic juice ; then apply it where you please, and afterwards lay on the gold. 162. To draw outlines of gold with size. — ^Take gesso sot- tile,* and grind it with white of egg, neither beaten nor whipped, add to it a little honey of roses,* and a drop or two of weak size at discretion, with a little ear wax. Then make the outlines or other things, and, when dry; breathe upon them a little, and immediately apply the gold, and press it gently with the cotton ; then burnish it, and it will be lustrous and beautiful. 163. To make letters of gold—proved^ and true. — Take fine gold, and grind it on porphyry with roche alum ; then take np very carefiilly the gold and alum, and put the mixture into a glass saucer ; wash it several times with tepid water, then with cold water, and each time let it settle, in order that the gold may sink to the bottom ; when the gold is well purified and cleansed^ let it dry. When you wish to use it, distemper it with gum water, and write whatever you please ; let it dry, and then burnish it if you think proper. 164. To write gold letters with a pen as before. — ^Take fine gold leaf and mix it with white honey in a saucer, then grind it upon porphyry very fine with common salt, wash it with hot water like '^ smalto," and do as before. 1 See No. 213. AD PURPTTBINOS ET COLORES AUREATOS FATIENDTJM. 469 diebus in vasculo distemperata esset melius et levius et quando ascisa esset nimis grossa super cartam rade earn ut sit bene equates et subtilis et quando vis super earn aurum ponere bal- nea earn cum aqua clara et pone aurum et firma cum bombice et cum siccum fiierit bene cum dente bumias, et si esset nimis dulcis pone in aqua quando mictis aurum pone desuper ascisa vel cum aqua aliquantulum dare ovi et bonum erit. 161. A fare soisa per mectare oro. — Recipe armoniaco et macinalo senza aqua poi tollj sugo dalglio et macina lo armo- niaco cum lo ditto sugo et mectice un poco de bolarminio et quando fusse secco se vole remacinare cum lo dicto sugo e dallo doi voi poi mete loro. 162. A fare il profile doro cum scisa. — ^ToUi gesso subtili et macinalo cum chiara doTO che non sia rupta ne dibatuta et metice uno poco de mele rosato et alcuna goccia de colla dolce a toa discretione cum uno poco de scarcatura de orechic et poi fa li profili, o altro et quando e secco ansciare suso uno poco e subito mette loro et calcalo uno poco cum lo bambagio poi lo bnmisse et sera lustro et bello. 163. A fare lettere daroprovata et vera, — Havve oro fino et macinalo in porfido cum alumj de rocho molto bene subtili poi recolgli el dicto oro et alumj macinato molto bene et metilo in una scudella de vetrio poi lo lava piu volte cum aqua tepida et poi cum la fresca et omni volta lassa possare acio loro se ne vada in fimdo et quando loro sera bene purificato et netto lassalo secare et quando lo vond operare distemperalo cum aqua go- mata et scrivi quello te piace et lassa seccare e poi lo brunissci parendoti. 164. A scrivare oro cum penna ut supra. — Havve oro fino in folglio et mistalo cum mele bianco in una scudella poi lo ma- cina in porfido overo macinalo in porfido cum sale comuno molto bene subtili poi lo lava cum aqua tepida ad modo de smalto et seguita commo de sopra. ' The iUcettario Fiorentino gives a recipe for this compound. It consists of Infusion of Roses, 6 lbs. ; white sugar, 2i lbs. ; best honey, U lb. l2 470 BOLOGNESE MANUSCRIPT. 165. The same — another way. — Take a little gum, white, fine, and clear, and soak it in a shell with a little roee-water for the space of one natural day or night ; then take a clean glazed saucer, and moisten the saucer with the liquefied gum. Next take fine gold leaf, and mix it with the gum, and having ground it fine, wash it as you did before, until it be well washed, purified and cleaned. Distemper it with gum water, in the manner I mentioned in the other recipes. 166. To make a mordant for burnishing and laying on gold. — Take of gesso sottile as much as a nut, a little vermilion, su£Bcient to ^ve it colour, and a piece about twice as large as a bean of hepatic aloes,^ and grind all together with clean water on porphyry or marble, until reduced to a very fine powder. Then let it dry, and grind it again with water ; let it dry again, then grind it afresh with gum-water mixed with half as much again of white of egg, and with a little honey of roses, and a piece about the size of a bean of sugar candy; grind all these things well together, and while grinding add a little wax from the ear. When ground, put the powder into a small horn and let it settle for the space of two or three ^'days ; then throw away all the scum which will rise to the top, use it, scraping away the thicker parts, and immediately apply the gold and burnish H. 167. To make a good mordant for gilding^ which is easily prepared.— Take good weak glue, with a little gesso sottile and a little safiron, grind it all together ; then lay the mixture wherever you like and let it dry. Then, breathing on it, lay on the gold and burnish it. 168. To make a golden colour for writing with a pen on paper and canvas. — Take tin and quicksilver in equal quantities at pleasure, first put the tin to melt in a crucible, and when it is melted pour into it the quicksilver, and mix the ingredients well with a stick, and incorporate them together, and they will 1 This substance was formerly much used in varnishes to grve them a yelk>w eoloar. Sec No. 204. AD PURPURINOS ET COLORES AUREATOS FATIENDUM. 471 165. Ad idem per aiiam viam. — ^ToUi uno poco de gomma bianca et bella et chiara et metila a moUo in una coccia cum uno pocho daqua rosata per spatio duno di naturali o nocte poi tolli una scudella vitriata bene necta et unge la dicta scutella cum la dicta gomma lique&tta poi tolli oro fino in folglio et mistalo cum la dicta gomma poi lo pone a macinare bene sub- tili et lavalo commo facesti disopra tanto cbe sia bene lavato purificato et necto et lo distempera cum aqua gomata ut te certiorem feci in aliis receptis ut supra. 166. A fare scua per brunire et parre oro. — Avre gesso sub- tili quanto una noce et uno poco de cinabrio quanto li dia col- lore et quanto seria doi fave de aloe pattico et macina omne cosa insiemj cum aqua chiara in porfido o in marmo tanto cbe sia sutilissima poi la lassa secare poi la macina una altra volta cum aqua et lassa secare poi la remadna de novo cum aqua gomata et chiara dovo la mita piu che laqua gomata et un poco de mele rosato et quanto una fava de zucaro candio et macina multo bene insiemj omne cosa et macinado metice uno poco de bructura de orechie et macinata che sera metila in lo (someto et lassala possare per spatio di doi o tre di po gietta via tutta quella schiuma che ella mandara di sopra poi lado- pera radendo le parti grosse poi ansciando et subito mete loro et brunissce. 167. Afarescisa bona et breve per mettere oro. — PilgliacoUa gentili che sia dolce cum uno poco de gesso subtili et uno poco de zafferamj et macina omne cosa insiemj poi lo pone dove y(^lj et lassa secare poi ansciandoce mecti loro et brunissce. 168. A fare coUore doro da scrivare cum penna in carta et in tela. — ^ToUi stangno argento vivo ana el tu volere prima pone lo stagno in uno crugiolo a fundare et quando sera bene fuso buttace dentro lo argento vivo et mistalo molto bene cum uno bastone et incorporali bene insiemj et vira ad modo de polvere 472 BOLOGNESB MANUSCRIPT. become like dust ; then throw this dust into a saucer, and take sulphur and sal-ammoniac of each the same quantity as of the quicksilver ; pound the whole very fine, and mix it all together, put it into a bottle luted finom the neck downwards. Close the bottle well with an iron cover and lute die top of it with lutum sapientis ; then set it to boil over the fire until the moisture is evaporated and consumed by a slow fire. Let it cool, and break the vase, and you will find a fine and good golden colour ; and when you wish to write, take some of this mixture, and grind it very fine with white of e^ ; then put it into a horn and write, and the letters will appear fine and shining. 169. To lay gold on paper for letters. — Take gesso sottile, and grind it with glue not too strong ; then add small quantitiea of Armenian bole, sugar candy, red sugar, and honey of roses, grind the whole together, and apply it wherever you like, and when dry, scrape the rough parts, and breathe on the paper, and immediately put on the gold, and then burnish it. 170. To make a mordant for burnishing and gilding, — Take a little gesso well ground, and then take one-third part of pardi- ment glue, and soak it in water ; grind it all together with a little minium, and it will be good. 171. To make mordants for gilding on figures^ on cmvasy on stone J on woody on gesso j and on mortar or toalls. — Take litharge, verdigris, and a little ochre, and grind them with a little linseed oil and liquid varnish ; incorporate them well together, and then ^Id in the usual manner. 172. To make a water for gilding all things. — Take the marcasiteof gold,* and grind it well upon porphyry with very strong vinegar ; then boil, and treat the mixture like salts ; afterwards distil it through an alembic, and three waters will * Auriferous Iron Pyrites. Phillips (Mineralogy, pp. 219, 324) says this mineral contains gold. Beckmann (Inventions, Tit. Zinc) remarks, that that was the true Marchasita aurea which contained Zinc. He adds this is pro|>crIy a stone, the metallic particles of which were so en- tirely sublimated by fire, that nothing but useless ashes remained behind. WBw^^«m«weK«aBaBHsv9 AD rURPURINOS ET COLORES AUIUSATOS FATIENDUM. 473 poi butta questa polvere in una scudella poi tollj solfo et altre- tanto sale armoniaco egualmente quanto fa lo soprascripto ar- gento vivo et pista menuto bene subtilj et miacola insiemj omni cosa et metila in una boccia alutata dal coUo ingiuso et obtura molto bene la bocca cum uno coperchio de ferro et disopra ob- tura cum luto de sapientia poi lo pone a bullire al fiioco per in fine che le humedita de le dicte cose siano giallate via et con- sumate cum fiioco temperate poi lassa firedare et rompe lo yaso et trovarai coUore doro bello e bono et quando tu voraj scrivare tolli de la dita mistura et macinala cum chiara dovo bene sub- tili poi lo pone in uno comecto et scrivi poi apareranno lustre et belle. 169. A rnectare oro in carta cum litera. — ^ToUi gesso subtili et macinalo cum colla non troppo forte poi ce pone uno poco de bolo arminio et uno poco de candio et uno poco de zucaro ro6SO et uno poco de mele rosato et macina insiemi et dallo dove Toi et quando e secco rade le parti grosse et ansciace suso et subito mete lore poi brunissce. 170. A fare scisa da brunire eporre arc. — Awe uno poco de gesso ben trito poi tolli la quarta parte de colla de carte et polla a moUo cum laqua poi macina omne cosa insiemj cum uno poco de minio et sera bona. 171. A fare mardenti da metere oro in figure in parnio in petra in Kgno in gesso e in calcina o muro. — Recipe litargirio verderamo et uno poco de ocria e macinale cum uno pocho de olio de seme de lino et cum uno poco de vemice liquida et in- corpora multo bene insiemj poi facommo se fa per mectere oro. 172. Ad afare una aqua da dorare omnia. — Summe marche- sitam auri quam optime tere super porfidum cum aceto acer- rimo et inde bullant ut fiant sicut sala postea distilla per alem- bicum et exibunt tres aque cum prima scribitur in carta cum It contauied fixed quicksilver, oommunicated a colour to metaU, burned in the fire, and was at length entirely consumed. Agricola had said the same thing 200 years before. Compare Agricola de Metallicis, pp. 181, 343, 376, 436,438, Ed. Vcnezia, 1560; and sec Matthioli, 1443. 474 BOLOOKESE MANUSCRIPT. come over. With the first you may write on paper ; with the second, which is red, you may write on canvas, on iron, or on gesso, and when it is dry rub it with a rough doth, and it will become fine and shining gold ; and with the third, which is black, you may write upon glass, and when it is dry you may rub it with a very harsh and rough cloth, and it will be splendid gold. 173. To make a mordant for gilding on paper, and for bur^ nishing accordijig to the Oermati manner.'-^TBke gesso sottile and white clay in equal quantities, and temper them, as if for writing, with white of egg beaten up with the milk of a fig-tree ; write whatever you like upon paper previously polished with a tooth. Then let it dry and scrape off the rough parts. Then take white of egg coloured with safiron, lay on the white of egg by degrees with the paint-brush, and directly afterwards apply the gold or silver leaf, press it lightly with the cotton, and let it dry. When dry, clean it with bread-crumbs, first polishing . it with a tooth, and it will stand well. 174. To make purple oriceUo. — Oricello has a purple colour ; boil some water, when it is hot liquefy the oricello in it, and rub it hard, and press it through a strainer into a glass goblet, boil the water as you did before, and strain it two or three times. Then put a strip of safiron and a piece of gum into an egg-shell, and warm it on the coals, and do this 2 or 3 times, and the next day, when that water has settled, strain it well through a strainer and distemper it, and lay it upon paper, and write, and then let it dry. Then take gum ammoniac and grind it well with ley, and mix a little vermilion with it, and write whatever you like upon the oricello with a paint-brush or a pen, and let it dry. Having done this, take a leaf of gold between your little finger and thumb, blow upon the lea^ and place it upon the gum ammoniac, and fix it well first with your finger and afterwards with a stone, but do not rub it. Clean it with bread crumbs ; do this once or twice ; if you mix the ori- cello with lake or vermilion it will be brighter. 175. For the same^ anotfter xcav. — Take the milk of the fig- AD PURPUKINOS BT COLORES AtlREATOS PATIENDUM. 475 secunda que est rubea scribitur in tela ant ferro vel in gisso et ea sicca fricatur cum panno aspero et fiet aurum pulcrum et histrum : cum tertia vero aqua que est nigra scribitur super ▼itrium' et ea sicca fiicatur cum aoerrimo et aspero panno et fiet aurum nobilissimum. 173. A fare scisa per metere oro in carta e per brunire secondo luso thodesco. — ^Invenies gissum subtilem et cretam albam equa- Hter et bene tempera cum clara ovj que sit rupta cum fici lacte et earn tempera ad usum scribendi et scribe quid vis in carta prius cum dente polita et permicte siccarj et inde rade rudes partes deinde tolle claram cum crocho coloratam et cum penello paulatim supermite claram et postea statim supermicte folium auri aut argenti et firma eum modicum cum bomboce et per- mitte sicari et sicco purifica eum panis mulica prius cum dente polita et peroptime manebit. 174. AdauriceUampurpureamfatiendum. — Auricellam pur- pureum habet collorem sed bulli aquam bene et captefacta auricellam liquefac intus et frica fortiter et frica per stamineum in parascide vitreo et iterum bulli aqua similiter ut prius fecisti et pro bis vel ter cola aquam illam et sic filo croci et gummj in testa ovi et calefac super prunam et feceris bis vel ter in sequenti die aquam preditam cum resedit bene iterum cola per stamen et oolata tempera et in carta pone et scribe inde permitte sicari postea tolle armoniacum et ipsum fortiter tere cum urina et immisce aliquantulum de cinaprio postea super auricellam cum penello vel pennam quod vis scribe et permitte sicari. Hoc facto tolle folium auri et digito parum vidat et ad maximam druge folium et super armoniacum pone et cum digito ferma bene postea cum lapide et noli fricare et cum panis mulica purifica hoc fac semel vel bis demum sublimj capum auricelle cum laccha vel dnabrij et clarius erit. 175. Ad idem alio modo. — Summe lac ficus et misce cum 476 BOLOGNESE MANUSCRIPT. tree, mix it with white of egg reddened with yermilion, and write what you please upon paper, and let it dry ; then lay the juice upon it and do not rub it, but press it with a stone, and polish it with a fine cloth. 176. To make water of quicksilver^ for gilding ostrich feathers and other things very beautifully. — First lay a stratum of com- mon salt in a retort, and on that lay quicksilver, cover the ves- sel with an alembic with a very large head, and let the retort be a very long one. Distil it with a slow fire, and afterwards preserve it, and when you wish to use it, take some of the water and dip in it an ostrich feather, wetting it on each side, and let it dry well ; do this twice, and the third time dip it and do not dry it, and while it is still wet spread gold leaf on both ddes of it, and hold it to the fire and shake it, for the whole feather will then become gilt. B. 177. To make a mordant for gilding on paper^ on walls^ and on everything else, S^c, — Take parchment glue, pour on it a little cold water, and let it stand 3 days in the shade ; then put it in the sun until it becomes decomposed, and if there is not enough water, add more to it ; and when quite decomposed, reduce to powder some tiles or red earthen vessel not over-baked, or gesso sottile, and mix them well together, and then spread the mixture thinly wherever you like, lay the gold on it, and let it dry, and then biunish it with a boar's or a horse's tooth. B. 178. To write in gold on any cloth you like. — ^Take ox-gall dried in the smoke, distemper it with gum arable, and write wherever you like ; when it is nearly dry, apply gold upon it, and it will be good, &c. 1 In this recipe, the term ** Azoch " is used to denote the metal mercury or quicksilver. It is derived from the Arabic From the Arabic it passed into the vocabulary of the Alchemists, where it was used to denote the mer- cury of metals, the first principle of metals, and an universal medicine. Pa- racelsus used to boast that he had a spirit at his command, called " Azotb," AD PURPURINOS ET COLORES AUREATOS FATIENDUM. 477 clara mbificata cum cinabrio et quodvis scribe in carta et per- mitte sicarj deiade superpone succum et noli fricare sed cum lapide firma et cum pano levis purifica. 176. Ad fatiendum aquam azock ad deaurandum pennas strutit et alia valde pulcherrime. — ^Primo fac stratum salis co- munis in urinali et superpone azoch vivum et superpone alem- Ucum cum capite valde magnum et sit orinale bene longum et distilla cum lento igne postea serva et cum vis operari tolle de dicta aqua cum qua madefatias peimam strutii ab utroque latere et dimicte bene sicari et sic fatias bis terzia vice balnea et non sicces et super eam sic balneatam extende folia solis ab utraque parte et monde ad ignem, et scurla quia tota ibi penna efficitur aurea. B. 177. Affare scisadapore oro in carta muro a in omni altro luoco. — Recipe coUa de carta et mectili uno poco daqua chiara et lassala stare tre di alombra poi la pone al sole tanto che diventa tucta putre£su^ et marcia et puzzolento et se mancasse laqua agioi^nicine et quando e bene diffatta fa polvere de tegoli o de coppi rossi non tracotti overo gesso subtili et misticale in- siemj et poi dalla ove tu [vuoi ?] subtili et desopra pone loro et lassa secare de poi lo inbrunisce cum uno dente porcine o cavallino etc. B. 178. A scrivare doro in ornne drappo che vai. — Recipe fele de bo secco al fumo et distemperalo cum gomarabico et scrivi ove tu voli et commo e quasi secco pone sopra loro et sera bello etc. whom he kept imprisoned in a jewel ; and in many of the old portraits he is represented with a jewel inscribed with the word ** Azoth" in his hand. The Spanish name for mercury, Azogue, is deri^d from Azoth. ( 478 ) HEBE BEGINS THE HEADING OF THE SEVENTH CHAPTER ON MAKING VERMILIONS, AND MANY OTHER COLOURS OF DIF- FERENT KINDS. AND ON THE MIXING OF COLOURS; AKD OF THE TEMPERING OF COLOURS, ACCORDING TO MAGISTEB JACOBUS D£ THOLETO. AND FIRST TO MAKE VERMIUON. 179. To make vermilion. — ^Take of quicksilyer two parts, of sulphur one part ; first melt tlie sulphur, then add the quick- silver, mix them well, and reduce them to powder, and then put the powder into a flask luted with lutum sapientis as high as the neck. Place the flask on the ashes until all the humidity is driven off; then close the mouth of the flask with cotton, and give it a tolerably strong fire until the matter rises to the neck of the flask and is very red ; then take it firom the fire, let it cool, and it is done. 180. To make vermilion. — Take 1 lb. of sulphur viTum, with one pound of quicksilver, and 4 oz. of tin ; put them into a crucible well covered with lutum sapientis, apply beat until a knife held to the opening of the crucible is no longer discoloured or turned blue, and you will have good vemulion. 181. For the tame, another toay. — ^Take of sulphur vivum 3 lbs., put it into a basin, and cover it with another basin, and make a fire under it, and, when it is melted, add a pound of mercury, and incorporate them well by mixing them imtil they harden ; when cold, grind the mass well upon marble, put the powder into a bottle, and close up the mouth of the bottle with earth ; make a moderate fire under it, and when you see the contents rise so as to fill the whole of the bottle, remove it from the fire, and let it cool. Then break the bottle, and it wiU be perfect vermilion. ( 479 ) INCIPIT DISTINTIO SEPCTIMI CAPITULI DE CINABRHS FIENDIS. £T MULTIS ALUS DIVERSIS COLLORr- BUS. ET DE MISTUBIS COLLORUM. ET AD COLLORES DIS- TEHPERANDUM SECUNDUM MAGI8TRUM JACOBUM DE THO- LETO. ST PBIMO AD FATIENDUM CINABRIUM. 179. Ad nnabrivm facienduTn. — Reccipe argento viro parte doi Boplfaro parte una et prima disfa lo solpho de po ce pone lo argento tIto et misticali bene et redulli in polvere depoi lo pone m una ampolla lutata da hito de sapientia in fine al coUo poi la pone sopra le cinige per infino a tanto che le humidita sieDo andate via poi serra la bocca de lampoUa cum lo bam- ba^o e dalli lo foco uno poco grande per infino die la materia BKmta a presso el coUo de lampoUa e sia bene rosso de po li tolli lo foco e lassa fredare e fatto. 180. Ad faciendum cindbrium. — Summe libram j sulphuris ▼ivi cum una libra argenti riri et quatuor untias stangni et pone in crisole bene obturato cum luto sapientie et quoque tan diu quod cultellus non blueatur a foraminibus crugibuli et Iiabebis cinabrium bonum. 181. Ad idem alio modo. — Recipe sulphur riyi libras tres et pone in una paraside et coperi earn bene cum alia paraade et &c subtus ingnem et quando est liqiiefactum pone intus unam Kbram mercurii et incorpora bene mistando dummodo induratur et quando frigidum fuerit macina eum bene super marmorem et pone cam pulverem in una boda et claude os botie terra e- &c subtus unum modicum ingnis et quando rides quod ellcvat tur iDtantum quod impleat totam bociam tunc remove ab igne et dimite fri^dari deinde frange bociam et erit cinabrium per- fectum. 480 BOLOGNESB MANUSCRIPT. 182. To make vermilion.^ — Take 1 part of quicksilver and two parts of sulphur, clean, yellow, and well ground ; put all into a bottle and cover it lightly with lutum sapientiae ; then put it into the furnace, and give it at first a gentle fire ; cover the mouth of the bottle with a tile, and when you see a yellow smoke, keep up the fire until you see the smoke come off red or scarlet ; then remove the fire, and when it is cold you will find fine vermilion. 183. For the same, another way. — Take a glass jar luted with lutum sapientisB up to the neck, then take 2 parts of white sulphur well ground and one part of quicksilver ; after- wards put them into the flask ; then make a small charcoal fire, and place four stones round it ; set the flask upon them, and cover it with a tile. Uncover it fl*equently ; and when you see a blue smoke come out of it, cover it up until you see a red smoke ; then take it away from the fire, for it is done. 184. To make a yellow for drawing gold Jlowers on paper.-- Take a little 8aflh>n and a little white lead, and distemper them together with gum- water ; let them stand so as to be well incorporated for half an hour, and it is done. 185. To make a very beautiful white, — ^Take egg-shells and well-pounded glass and mix them together ; then put the mass into an earthen jar, and place the jar in a furnace for one natural day. Then take it out and keep it And when you wish to use it, grind it very well upon marble, and distemper it with gum-water. 186. To make vermilion quickly. — ^Take 1 lb. of lead, \ lb. of quicksilver, and 4 parts of yellow sulphur ; grind all these things well together, and put them into an earthen jar over the fire for 14 hours, and it will be done. 187. To make camillina. — Take vermilion, azure, and ceruse, and grind them together ; and if liie colour is to be dark, put more vermilion and azure, and it will be good. 1 Recipes nearly limilar to this and the next arc contained in the MS. of Le Boguc, Nos. 174, 176. DE CIKABRnS ET ALHS COLORIBUS. 481 182. Ad faciendum einabrium. — Tolli una parte de argento vivo et doi parte de solfo giallo e necto e ben macinato poi pone oinne cosa in una bocia et incoprila legiermente cum luto de sapientia poi la pone in lo fornello et dalli da prima lo foco ligiero et copre la bocca della bocia cum una tegola, e quando tu vederai lo fumi giallo continua lo foco per infino che vederai Qscire el fumo rosso o yermeglio alora tolj vialo fuoco et quando sera freddo troverai beUo cinapro. 183. Ad idem alio modo. — fi[abeas unam ampollam vitream lutata de luto sapientie usque ad summum collj deinde recipe partes duas sulforis aibi et bene triti et partem unam argenti vivi postea pone in ampulla sopradicta et fac de carbonibus ignem lepidissimum et circa eam cum quatuor lapidibus et pone ampullam desuper et coperi eum cum tegula et sepe disco- perias et quando videbis fumum lividum coperi dummodo videbis exire fumum rubeum tunc toUe ab igne quod factum erit 184. Affare eollore ffiaUo perfiorire in oro in carta. — Reccipe nn poco de zaflaramj e uno poco de biaccha et stempera in- riemj cum aqua gomata et lassa cusi stare acio se incorpora per una mez* bora et sera facto. 185. A fare biancfio beUiiissimo. — Tolli cociole dova'et vetrio bene pisto et misticali insiemj et poi la pone in uno in uno vaso de terra et mectilo in una fomace per uno di naturali poi la cava fora et serbalo. Et quando lo vorai operare macinala molto bene in marmo e distemperalo cum aqua gomata. 186. A fare dnabrio hrevemente, — Abeas libram j plumbi et me^am libram mercurii et quatuor partes sulphuris gialli et omnia insimul acriter tere et pone in vase terreo ad ignem per horas 14**" et erit factum. 187. A fare camtUina. — ^ToUe einabrium azurura et cemsam et macina insimul et si esset obscurum micte plus de cinabria et dc azurro et bonum erit. 482 BOLOONESE MANUSCRIPT. 188. To make a violet colour, — ^Take a little indigo, a little vermilion, and a little cernsei grind them very fine and dis- temper them, and you will have a fine violet colour. 189. To make the red colour for shading gold letters on foper. — Take scraped verzino and put it in a horn-shaped vessel, with sufficient white of egg to cover it ; let it remain in the sun for a day ; afterwards press it out, and keep it in a well-dosed glass flask ; and, when necessary, use it for the red outlines of gold letters. 190. To make a flesh colour for painting thejlesh of figures} — Take sinopia and ceruse, and apply it wherever you wish to paint flesh ; when it is dry, take black and mark the eyes and limbs, and lay on the lights with pure ceruse ; and for the eye- brows use sinopia and black together, and it will be brown ; the pupil is made with black and no white, and the shade of the jaws with sinopia, and the efiect will be good. 191. To colour the flesh in painting a crucifixion. — ^Take ochre, ceruse, and a little terra verde, mix them together and lay them on the figure, and when dry, mark out the limbs with black made with charcoal, with which mix a little anopia, lay on the lights with ceruse, and do as you like. Paint the hair with sinopia and charcoal mixed and pounded together. 192. To make flesh colour, — ^Take indigo mixed with orpi- ment, and it will make green, which, mixed with ochre ' and white, makes flesh colour. 193. To make another camillina colour. — ^Know that by mixing ceruse with verzino it will become a camillina colour ; and if you wish to make violet add a little azure. And if you wish to make green take a little indigo and orpunent 194. To make good and fine arzica, — Take one pound of weld, which the dyers use, cut it very fine, then put it into a glazed or tinned vase, and add to it enough water to cover the herb. Make it boil until the water is half wasted, and if there 1 It is probable that this and some of the following recipes were derived from the Greek (if not immediately translated from it). Sinopia is men- tioned for the first time in this recipe ; it is also probable that this colour DE CINABRIIS ET ALIIS COLORIBTTS. 483 188. A fare colore violato, — Prima tolli uno poco de indico et uno poco de cinabrio et uno poco de cirusa et macina bene sabtili et distempera et vira fino violato. 189. A fare eolhre per porre sopra la rosecta de loro in carta. — Somme verzinum abrasum et pone in corneto cum tanta ovoram clara preparata ut coperiatur et dimite manere ad solem per unum diem postea exprime eum et serva in ampulla vitria bene obturata et quando necesse est utere in li profili de la lectra de la rossecta de loro. 190. Ad fatiendum incamatum pro incamare figuras, — ^ToUe sinopiam et cerufiam et micte ubi vis incamare et cum siccum fiierit toUe nigrum et reinvenias oculoB et alia membra et illamina cum cerusa viva et super cilia sinopia et nigrum in- amul et erit brunum luciula fiet de nigro et puntum album et in mascillis mnbra de anopia rubea et bene stabit* 19L Ad incamandum crucifixum, — Abeas ocream et ceru- sam et aliquantulum de terra yiride et misce simul et pone in cracifixo et cum siccum fuerit reinvenias membra cum nigro fecto de carbone et misce cum eo aliquantulum de sinopia et expleas opus cum cerusa et fac sicut tibi videtur piles fac de ^pia et carbone misto et insimul pisto. 192. Ad faciendum incamatum. — Capias indicum mistum cam auripiumento et fiet colorem viridem ocrea et album insimul incorporata veniet incamatio. 193. Idem alius color camillinus. — Scias quod ponendo cerusam cum verzino erit color camillinus et si vis facere Tiol^tum pone aliquantulum de azurro. Et ^ volueris facere ^dem pone modicum indici et auripiumenti et fiet viridem. 194. A fare larzica bona et bella. — Piglia libra una de berba gualda la quale opera li tentore et tagliala ben minuta poi la pone in uno vaso vitriato o vero stagnate et metice tanta aqua che copra la dicta herba et falla tanto bulire che tomi per was the Sinopia of Ccnnini (the Red Heematite), and not the colour of this name, described by S. Audemar, p. 145. 2 This must be burnt ochre. VOL. II. M 484 BOIiOGNESB MANUSCBIFT. 18 not enough water add a siAdent quantity and no more ; then take 2 oz. of travertine finely ground, or 2 oz. of white lead, and ^ oz. of roche alum ground very fine, then put all tiiese things together a little at a time to boil in the vase directiy, before the water cools, and stir the water continually, remove the vessel from the fire, and when nearly dry, pour off the water. Then take a new brick hollow in the middle, lay the arzica on it, and let it settle perfectiy ; then put it on a small and well polished board to dry, and it is done. 195. To make white lead, — ^Take leaden plates, and suspend them over the ^vapour of very strong vinegar in a vase, which after being luted must be placed in dung for two months ; then scrape away the matter that you] will find upon the plates, which is the white lead. Do this until the plates are consumed. 196. 7b make minium quickly. — ^Take calcined litharge, and lead, prepared together over the fire, and you will have minium. 197. To make pattefor seulpturinff all kinds of things^ thai is to way i figures and medallicnij and to make moulds. — ^Take white lead and mastic, and put the mastic to soak in suffident clear water to cover it for the space of one ni^t ; then make this water with tiie white lead into a hard paste like dough, and knead it well with your hands. When you wish to model anything, knead the paste with your hands, having previously greased them well witii lard. Then impress whatever you like on the paste and let it dry, and the impression will be sharp and fine. And you may make the paate of any colour you like, by mixing up some colour with the paste. B. 198/ — ^Take 1 oz. of tragacanth, and put it to soak in sufiicient water to cover it for the space of one day and one night ; then take a pound of white lead and grind it with tiie moist tragacanth. Then let it harden till it is as stiff as dough, and knead it well with your hands, adding to it a little white 1 The Rubric is wanting. It appears to be a recipe fo^ making artifidftl Cameos. BE CIKABRnS ET AUIS COLORIBXJS. 485 mita et se mancaae laqua arigiognicine qxtanto bolla et non piu poi poi toUi once doi de travertino molto bene macinato overo dd onoe di biacca et meza oncia de alumj de roccho bene sabtili poi mete tatte queste eoee a bolire in lo dicto vado sabitamente nante che laqua se fredda e mete queste cose a pooo a pocho tuttayia remenando laqna et leva dal foco et qnando sera a presso che fredda et tu ne cava via laqua poi toUi imo mattone novo cavato in mezo et metice dentro lo colore de larzica et lassala reposare multo bene poi la pone in su una asicella bene polita a secare e de &tta. 195. A fare biacha. — ^Tolli lamine de piombo et metile disopra alo vapore de lo aceto fortissimo in uno vaso et eoprilo bene cum luto et metilo socto lo litamj per doi mesi poi rade la matheria die e la biacha che trovarai sopra ale lamini et fii per lo sopradito modo per infino cbe sonno consunte. 196. A fare ndmo brevemenie, — ^Awe caldna de litar^rio com piombo confeetato insiemj al foco et sera minio. 197. A fare pasta da icolpirecmM laMm>read it out, and when nearly dry, cut it in pieces as you like, and it is done. 210. To make a water for painting on linen cloth or silk. — Take 2 oz. of sal-ammoniac, 2 oz. of salgem, 1 oz. of saltpetre, poxmd the whole together, and then distil it, and keep the water until you need it ; you may paint on whatever doth you like. 211. To make a yellow water for drawing and paintifig on linen or woollen. — ^Take of roche alum 1 oz., of safl&*on 2 oz., and a little ley, and boil all these things together till reduced by one- third, and it is done. 212. Give for making any mould you like for casting fgures* — ^Take Armenian bole, flour, and clear water, and knead them together until they form a rather stiff paste ; model what you like with it Sulphur will do equally well, it only requires melting. 213. To make gesso sottile. — Take gesso and soak it in a vase so that the water may cover the gesso ; mix and stir it up .^ m^ .Jl BI CERtTSA EX ALUS COLORIBUS. 491 natft Don arda de dentro per troppo caldo altramente lolio puzaria. £t quatido tu acendj lolio cum la paglia remove la pigoata dal fiioco et lassa ardare tanto che tu diche 3 patri Dostii poi aramorta lolio cum uno coverchio de ligno et mitilo sopra ala pignata et aramorto che le remove lo ooperchio per che el fumj escha fora poi ritomalo al foco poi cosi farai 3 volte et sera iatta. 208. Ad purffondam centsam. — Ahbeas cerusam et earn pone in ollam mundam et micte super ignem semper movendo cum baculo dictam cerusam et effidtur alba. 209. Adfatiendum colorem de cimatura panarum cttfus coloris erit talem colorem habebis* — Filglia calcina viva et cenera re-* cocta tanto de luna quanto de laltra et fa lisia per capitello et toUi la liscia necta et bella poi la pone in uno vaso necto et fa bullire et commo bullj mectice la cimatura de que colore che tu vol] e quando havera bulito tanto che sia rentrata per terzo et tu ce pone uno poco de alumj de rocho a tua discretione poi la cola et polla a sciugare in una tegola pollita o vero in una tavola eft distendila et quando sera quasi sciuta fannj li pezj a tuo piacere e de facto. 210. A fare aqua da dipengiare in pdnno de lino o de seta* — Afawj once 2 de sale armoniaco once 2 de sale gemmo once j. de sal nitrio et jnsta omne cosa insiemj poi le metti alambichare et serba laqua al bisogno et porai dipengiare suso omne panna die tu volj. 211. A fare aqua giaUa da disignare et dipengiare inpanno de lino o de lana. — Tolli alumj de rocho once j zafaramj 2 et uno poco de liscia et fa bolire queste cose insiemj quanto che call) per terzo e de focto. 212. CoOa da fare omne forma che tu voli per gietare fgure^ — ^Havvj bolanninio fiore de farina cum aqua chiara et incor* pora tanto che sia duretta et & che forma tu volj. Et ancora el solphano fit quello medesimo et sia solo disfatto. 213. A fare gesso «icf»7t.— Piglia la chiavarda del gesso luddo et metila a moUo in uno vaso siche laqua stia disopra al 492 BOLOONBSE HANtJSCRIPT. 3 or 4 times every day, and at the end of 5 days take a struner and strain off the water ; and if you grind it, it will be finer. Then make it into cakes, and put them upon new tiles or bricks to dry ; then put them away, and take care to preserve them firom dust and dirt, and it will be fine gesso sottile. 214. To make a window of goat-skin parchment which will appear to be realghus. — ^Take the skin of a kid or a sheep or a goat, macerate it, remove the hair without lime, and scrape it very fine ; then take a drachm of clean and clarified honey, mix it with 8 or 10 whites of eggs well beaten together with the honey in the same way as white of egg is beaten up fi)r ver* milion. Put the skin to soak in the white of egg and honey, squeeze it with your hand while in the composition, and let it remain in soak for 2 or 3 hours at the most ; then take it out and stretch it well on a firame, and let it dry. Then paint upon it what you please, and let the colours dry well. After- wards varnish it on one side, that is, on the nde on whidi the colours are, and dry it in moderate sunshine, and it will appear like glass. 215. For the same in another way. — Take kid or sheep-skin parchment, scraped very fine, wet it with warm water ; then stretch it on a firame, and let it dry ; afterwards paint upon it, and again let it dry. Then take rather warm linaeed-cnl, and rub it over the parchment, and let that dry also, and it will re- semble glass in appearance. 216. To do the same with linen cloth. — ^Take a linen cloth, very dean and dose, and stretch it out well upon a frame ; then take white of e^ well whipped, separate it firom the scuni, and add to it one-third part of gum-water. Then lay it over the doth with a sponge, so as to soak the doth with it all over, and let it dry, and then paint upon it in any manner you like, and let that dry also ; then give it another coat of the white of egg and gum-water, and let it dry again. Afl;er- wards apply a coat of liquid varnish, and it will appear like crystal. A FAKE T7KA FINESTRA CHB PABERA YETRIO. 493 gesso et miscola molto bene oinne di 3 o 4 volte et in capo de 5 di tolli una stacia et cola fora laqua et se tu la triti sera piu subtili de poi fiinne pagnetti et mectile sopra coppi novi o vero matone ado che se sciugano poi la ripone et fino che se sdu- gano gnarda non vi vada polvere ne altra bmctora et sera bello gesso subtili. 214. A fare una finutra de carta caprina che parera vetrio naturalu — ^ToUi una pelle de capretto o montone o duna capra et macirala et de pela la sezna [senza?] calcina et radila sub- ttljasimamente poi tolli una dragma de mele spumato et necto et mista lo cum octo o x chiara dova bene dibatuti insiemj com lo mele ad modo se dibacte la diiara per lo cinabrio, poi mecti la dita pelle a moUo in la dicta chiara et mele et spremila cum mano in la dicta compoaitione et poi la lassa stare a molle in la ditta diiara per doi o tre hore al jnu poi la tira fora et iq>icala bene stesta ad uno telaro et lassala sdugare et & che la sia bene tirata poi la dipenge commo te piace et lassa sdu- gare bene 11 oolcxri poi la inyemica da uno lato doe da lo lato de li colore et pdlla a sdugare al sole temperate et aparera de Yetrio. 215. Ad idem per aUamfcrmam. — Ahwi carta de ci^retto o montoiie rasa snbtilmente et bagnala in aqua tepida poi la stende insnso lo telaro et lassa sdugare poi la dipenge et lassa sdugare pd toUi olio de semj de lino uno poco caldo et dallo disopra ad ala dita carta et lassa sdugare et sera commo vetrio in aparentia. 216* Ad idem in panno KnL — Hawi panno de lino bene polito etfitto et polio in su lo telaro bene tixato et steso poi tolB chiara dova ben dihatuta pd sepenila dala sdiiuma et nustace per lo terzo de aqua de gamma pd la da sopra alo dilo panno cum una spongia tanto che lo panno sia ben trapsffiato per tado et lassa sdug^ffe pd la dipenge cum gliodti o commo voj et lassa sdugare poi li da una altra mano de la dita cUara et aqua gommata et lassa sdugare poi li da la vimice liquida et oommo christo vetrio. 494 BOLOGNESE MANUSCRIPT. 217. Tb make a water for cutting glass. — Take Titriol, whidi comes upon the walls, and make a distilled water from it, and keep it in a vessel well closed. Then take Roman vitriol and pound it well, distil it, and keep the water also in a close vessel ; then take sal-ammoniac and distil it, and keep this also. When you want to use the liquor, take equal quantities of each of these waters, mix them together, and draw with the mixed liquor upon the glass, and it will be cut exactly as you like wherever it is wetted witii this water. And also, if you wish to cut glass, or to make small mirrors out of large ones, take a fine diamond, and draw upon the mirror with the point of the diamond, and immediately put the glass into water, and it will break directly by tapping the glass dexterously wherever you have touched it with the diamond. 218. To make an earth for casting any fine thing. — ^Take of potter*s clay sifted fine 20 parts, and of common salt 1 part, then take \i a bocale of water, boil it, and dissolve the salt in it, let it cool, and make the clay into a paste with the salt and water, and work the mass into a cake ; set it to bake until it becomes red like fire, then pound and work it again with the salt water. Next take the thing which you wish to cast or mould, and lay it on something smooth and polished^ and take a hoop, and put into it the thing which you wish to mould, and then lay the earth upon it, and press it down well, let it dry over a slow fire, and cast it according to your iancy, and it will be fine and clear. 219. To make a pojtefor modelling that will withstand the fire. — ^Take scales of iron and pumice-stone and pound well together, then make them into a paste with white of e^ well beaten up, and model whatever you like with it Let it dry slowly, and it will become very hard and will stand fire. 220. To make a paste with which you can do both good and evilf €md can seal rhen the ley has entirely nin off so that the ashes remain dry^ take half a jug of water, and pour it over the ashes in the vase, and when it is strained poor it back 3 or 4 times into the yase, and. the last time draw off the ley clear. And if you wish to know whether the ley is pro- perly made, put a firesh egg in it ; if the e^ goes to the bottom it is not good, and if the egg floats it is good. Then take 9 bocali of this ley, and one roll of deer's or cow's tallow, which makes lb. 2 oz. 9, and melt it well oyer the fire ; and when it is well boiled pour it into this ley, and keep stirring it for the space of half an hour ; then let it rest for a night or more, and if you wish to add musk or any other scent to it, reduce it to a fine powder, and add it to the tallow whidi is in the ley, mix it up w^ll and let it settle. Then put the soap in the sun in order that it may refine itself better, and it will harden so that you may make it up into balls, and it is done. 222. To make good camphor} — Take 1 lb. of mastic, and steep it in two pounds of distilled vinegar, and put it in a round flask, and place it in dung for 3 days ; afterwards place it in the sun« and close up the mouth of it, to exclude the rain, for thirty days in summer, and you will find a congealed mass, and will have yery fine camphor. 223. To make Alexandrine borax? — ^Take roche alum, and make it into pieces of about \ an oz. each, and then put them into a glazed jar, and pour some milk oyer them so that the milk may coyer the alum by two fingers' breadths, and each day change the nulk for 8 days, or until you find it mild to the taste. Then take beef-marrow and an equal quantity of oil of ^ D. Alessio also gives a recipe for making factitious Camphor (Part II. p. 43), which he says was almost as good as that which was brought from Constantinople. ' It appears that two kinds of Borax were in use, the natural and the factitious ; the former was brought from Alexandria, whence its name. D. Alessio (Part I. p. 129, 130) describes different modes of imitating it, •among which is that mentioned in the text. According to this writer, borax was used in medicine, and in cementing gold. ■•■■^ A FARE LA CAMPHORA BONA. 499 meza brocha daqua et metila sopra ala cenera che c in lo vaso et colata che sera remectila 3 o 4 volte suso in lo vaso et loltima volta recoglie el capitello chiaro. £t se voj sapere quando lo capitello e £icto fino se conosce in questo modo tiene lino ovo frescho desopra se lovo va al fondo non e fino et se sta a galla e fino. De poi toll! 9 bocali de questo capitello et uno rotolo de sego de cervo o de vacha che sonno libre 2, 2 [oz. ?] nove e fallo bene strugiare al foco et bene bolito metarlo in questo capitello et sempre remenalo per spatio de meza hora poi lo lassa possare una notte o piu et se iu ce volj metere musco o altre cose odirifare pulverizale bene subtili et metili sopra al sego che e in lo capitello et mistiealo bene de vantaggio poi lo pone a reposare poi lo pone al sole acio che se afina meglio et restringerasse per modo che lo porai a palotare e de facto. 222. A fare la camphora bona. — ^ToUj libram unam masticis et pone in duabus libris aceti stillati et pone in palla rotunda clausa sub fimo per tres dies postea pone ad solem et obtura bene ejus os propter pluvias in estate per triginta dies et invenies massam congelatam et habebis camphoram nobilis- simam. 223. A fare borace alixandrina. — Recipe alumj de rocho et faraij pezuoli de meza oncia luno o circha poi li pone in una pignatta vitriata poi li pone desopra de lo lacte tanto che lo lacte avanza desopra alalumj doi deta et omne di li rimuta el lacte per infino a octo di tanto che tu veghi a la Imgua che te paia dolce poi toUi meroUi de ossa de bovi et altratanto It was also used in reducing or fluxing metals and nielli, and by. ladies as a cosmetic to whiten, soflen, and cleanse the sicin. Alexis does not al- lude in the most distant manner to the use of Borax in painting ; and he appears so well informed on the subject, that it is scarcely probable that he should have been unacquainted with the fact, if it had been so used. The real Alexandrine Borax is mentioned in No. 269, where it is used as a flux in gilding on glass. VOL. II. N 500 BOLOONESE MANUSCRIPT, almonds, melt them in a pipkin, and then strain them and pour them into the jar with the alum and milk, and let the oil and marrow cover it by three fingers' breadths. Then put it into the sun for three months, that is to say, June, July, and Au- gust, and take care that neither rain nor dust falls into it, and it is done. 224. To prepare vermilion for using with the paint-brushy and as a body colour. — Take of vermilion whatever quantity you like, and grind it dry to a fine powder on marble or porphyry, and afterwards grind it with clear water, or with ley, until the powder is very fine and almost impalpable ; let it dry upon the marble and put it into a horn, and wash it very well with clear and strong ley until it is very clean, and afterwards wash it again with fresh water until you think that the ley is well washed out of it ; then sufier it to become nearly dry and wash it again with hot water and let it settle, and when nearly dry add to it some white of egg prepared with saflBron and with twigs of fig-trees ground up, and make it liquid enough to flow well in the pen while writing. And if you wish it to use in body, put a little yolk of egg along with the white. And if you wish it for writing or making flowers, do not add the yolk of egg to it, and that it may be without froth or gloss add a little ear-wax to it ; if too glossy, throw away that white of egg, and put some fresh to it without safiron or ear-wax; if it hardens so as not to flow in the pen add to it two drops of rose- water. And if you wish the white of egg not to smell, add to it (that is, to the white of egg) a little realgar (red orpiment) or camphor. 225. To prepare azure to use as a body colour^ and to use with the pen. — Take the azure and put it into a glazed saucer, and then add some clean honey to it, and incorporate them well to- gether ; grind the honey with the azure upon marble, and tbe more it is ground the finer and better it will be. Then put it back into that saucer and wash it with warm water, until the water runs off clear ; then wash it with cold water, and between each washing let the azure sink to the bottom, and continue to J AD COLORES TEBIFERANDUM. .501 olio damangdole et metile in una pignatta a disfare et poi le cola et mectile disopra a la ditta pignatta de lo alumj et lacte et fii Che lo dito olio et merolle sopra avanzano 3 deta poi la pone al sole per 3 mesci cioe giugno, luglio et agosto et guarda non li piuova ne vada polvere e fatta. 224. A preparare ii cinabrio per tidoperare a penna etfare ^iorpi. — Piglia del cinabrio la qnantita che voj et maeinalo molto bene aseiutto in marmo o in porfido et poi lo madna cum aqua chiara o vero cum ranno da capo quanto sia bene subtile quasi senza tatto et lassalo seccare in 8U lo marmo poi lo mecti in lo cornetto et lavalo molto bene cum ranno diiaro et forte tuito che sia bene netto poi de novo el laya cum aqua chiara tanto cbe ta crede che ne sia bene uscito quello ranno poi el lassa quasi seccare poi lo lava de novo cum aqua calda et lassalo posare et quasi secare poi metice sopra chiara dova pre* parata con zaferamj et cum rami de fico triti et fallo tanta liquido che scorgha bene per la penna scrivendo. ^ se tu el voli per fare eorpi metice uno poco de rosso de ovo insiemj cam la chiara. £t se tu el voli per scrivare o fiorirj non ce metare lo rosso del ovo. Et per £Etrlo che non facia schiimia et lustro metice uno poco de scarcatura de orediie et se fusse troppo lustro gietta via quella chiara et metice de la nova dove non sia za&ramj ne brutura de orechie et se se indurasse che non scorisse per la penna metice doi gocie daqua rosa. £t se volesi che la chiara non puza mectice dentro uno poco de risa gallo o de canfora et cioe in la chiara. 225. A prtperare azurro per fare corpi et per adoperare a penna, — Accipe lo azurro et metila in una scudella vitriata poi ce metti del mele bene netto et incorpora bene insiemj poi macina lo mele cum lo azurro sopra marmo e tanto piu sera raacinato tanto vira piu lino et migliore poi lo remetti in quella scudella et lavalo cum aqua tepida tanto che laqua nescha chiara poi lo lava cum aqua frescha et da luna volta alaltra lassa andare lo azurro al fondo et tanto continua che sia bene N 2 502 BOLOQXESE MANTJSCRIPr. do 80 until it is well washed and purified. Then let the aznre dry, and soak it in clean and strong ley in a glass vase, such as a drinking-glass, and let it stand for the space of 7 days ; each day change the ley, and then add some fresh to it, and let it dry in the shade in a place free from dust. And if you wish to use it as a body colour, distemper it with parchment-size, or with size made from clippings of white chamois leather, and it will do well. And if you wish to use it with a pen or for miniatures, distemper it with gum-water and with prepared white of egg, and it will do well. 226. To prepare white lead for painting, — Take the white lead, and wash it several times in hot water, and then take two grains of clear gum-arabic and 3 grains of white incense, grind them very well with a little clear water, and then add the washed white lead, and grind the whole together, and collect it and add to it as much gum-water as you think it will bear, and if it is too hard put a little fresh water to it, and it will do well. 227. To prepare verdigris for painting, — ^Take verdigris and grind it weU with very strong vinegar, and then make a hollow in a new brick, and put the verdigris into the hollow, until the brick has soaked up the vinegar, and do this 3 or 4 times, each time grinding up the verdigris with the vinegar afresh. Then take a little gum arabic, and grind it up to- gether, and if you wish it lighter, add a little giallolino to \U and it will be well coloured. 228. To prepare orpimentfor using as a body colour. — Take orpiment, and grind it dry, and know that it is hard to grind. In order to grind it quickly, grind some glass with it, and it will grind quickly, and, when it is well ground, distemper it with gum water and yolk of egg. 229. To make gum water, — Take clear water in a glass cup with gum arabic in powder and make it rather warm over the fire until it is well liquefied, and then keep it in a phial and use it. 230. To temper prasminum, — Take prasminum, grind it ^^mm AD COLORES TEMPERANDUM. 503 lavato et purificato poi lassa sciugare lo azurro poi lo mecti a mollo in ranno da capo netto et forte in uno vaso de vetrio commo e uno bichiere et lassalo stare per spatio de 7 di et omne di li muta el ranno poi ce meti del novo poi lo lava cum aqua frescha et lassalo sciugare alombra in loco che non vi vada polvere. Et se tu el voli adoperare per fare corpi dis- temperalo cum colla de carta caprina o vero colla de ritalglie de camoecio bianco scamosciato et stara bene. Et se tu el voli per operare a penna o per minii distemperalo cum aqua gommata et cum chiara dovo preparata et stara bene. 226. A preperare la biacha per dipengiare. — ^Tolli la biacba et lavala piu volte cum aqua calda poi tolli doi granelli de gomarabico chiaro et 3 granelli de incenso biancho et macinali molto bene cum uno poco daqua chiara poi ce metti la biacha lavata et macina omne cosa insiemj poi la racogli et metice tanta aqua gommata quanto te pare che comporta et se fusse troppo dura metice uno poco daqua chiara et stara bene, 227. A preparare il verderamo per dipengiare. — Hawi ver- deramo et macinalo cum fortissimo aceto multo bene poi lo pone poi fa uno cavo in uno matone novo et pone el dito ver- deramo in dito concavo per infino a tanto che lo matone havera surbito quello aceto et cusi continua 3. o 4 volte omne volta renuudnando lo verderamo cum lo aceto poi toUj uno poco de gommarabico et macina insiemj et se tu lo volesci piu chiaro madnace uno poco de zalulino et congrue colorabitur. 228- A preperare hropiumento per fare corpi, — Tolli oro- piumento et macinalo dasuto et sappi che e duro a madnarlo per macinarlo presto macinace insiemj cum esso del vetrio et macinarasse presto et commo e bene macinato distempera cum aqua gomata et trolo dovo rosso. 229. A/aciendum aqiuzm ffummatam. — Summeaquam claram in ciato vitrj cum gummarabico triturato et fac aliquantulum calefieu^re ad ignem donee sit bene liquefactum deinde serva in ampulla et utere. 230. Ad distemperandum prasminum. — Accipe prasminum 504 BOLOQNESE MANUSCBIFI. with pure water^ and let it dry, and when you wish to use it, temper it with gum water, and if you wish to hare it lifter, add some (n-piment to it, and it will be well coloured. 231. To temper minium, — Take minium and grind it with pure water, and put it into a vase, and when it is settled, separate the water well, and temper it with gum water. 232. To temper gialhlino. — Take of giallolino whatever quantity you like and grind it on porphyry very fine with fresh Q^ and then let it dry. Then grind it again with clear water, and let it dry, and then temper it with gum water and a little yolk of egg. 233. To temper the roseetta. — Take the rossetta and grind it well with gum water, and it will become hard like the other colours. When it is hard, temper it with fresh water. 234. To prepare saffron. — Take safiron, and soak it in a shell with prepared white of egg for 3 hours, and it will be a fine yellow. 235. To temper lake to use in body. — Take the lake and grind it in gum water with 2 or 3 grains of white and clear incense, and when it is hard, temper it with fresh water. 236. To prepare the earths for painting on teaUs or an mortar, — Know that you must first grind red earth, and green earth, and every other earth for painting on walls, dry, after- wards very finely with clear water, then let the colour dry, and temper it with very strong gum water, or with egg, that is to say, with the yolk and white mixed and well beaten up to- gether, and with fig wood cut small into the white of egg, and with tins vehicle temper any letters, and they will look well. 237. To lay flat tints and make \omamentaX\ foliage. — ^If you wish to make foliage, lay on a flat tint of what colour you like, and let it dry very well. If you lay a flat tint of green, use the pezzette made from the blue lily ' for the shade, and giallolino for the light. If you lay a flat tint of azure, use the I Sec anlc, Nos, 02 and 125. i^i^mii , .. I AD COLORES TEMPERANDUM. 505 et eum tere cum pura aqua et permitte sicarj et cum vis ope- rare tempera cum aqua gummata et si vis eum magis clarum pone cum eo de auropiumento et congrue colorabitur. 231. Ad distemperandum minium. — Habeas minium et tere cum aqua pura et mitte in vase et cum resederit sepera aquam optime deinde tempera cum aqua gummata. 232. A distemperare el zallulino, — ToUi del zallulino la quantita che voi et madnalo in porfido cum urina frescha sub- tilissimamente et poi lo lassa secare poi lo rimacina de nuovo eum aqua chiara et lassa secare et poi lo distempera cum aqua gummata et uno poco de rosso dovo. 233. A distemperare la rossecta. — ^Piglia de la rossecta et macinala bene cum aqua gummata et indopiasse commo li altri coUore et quando e dura stemperala cum aqua chiara. 234. A preparare el zafaramj. — Abbi zafaramj et metilo in ]a tua cocia a mollo cum chiara preparata et lassala stare a molle per 3 hore et sera bello zallo. 235. A distemperare lacha per fare carpi, — ToUi la lacha et macinala cum aqua gommata et cum doi o tre granelli de incenso Inanco et chiaro et quando se indurasse stemperala cum aqua chiara. 236. A preperare le terre per adoperare in muro o in calcina. — Sappi che la terra pagonaza et terra verde et omne terra da dipeugiare in muro se macina prima da secco et poi cum aqua chiara molto subtilmente poi se lassa sechare poi se distempera cum aqua gommata ben tenace o vero cum lovo cioe chiara et rosso misto et dibatuto bene insiemj et cum lingno de fico sminuzato in lovo et cum esso distempera tucte lettere et stara bene. 237. A campeggiare et fare f off liami.^Se tu volj fare fog- liami campeggia prima de quellj coUore che tu volj et lassali sciucare bene de vantagio. Se tu campeggie de verde la pezola de lo giglio e lombra sua et el zallulino e lo suo relevo. Se tu campeggie de azurro lombra sua e la pezola pavonaza et la 506 BOLOGNESE MANUSCRIPT. purple pezzette for the shade, and white lead for the li^it If you lay a flat tint of red, use yerzino for the light 238. To make stones for rings^ that is to say^ precious gems clear and of a fine colour » And you may. i^ this way^ quitMy and easily y make pearls^ mines, and balas rubies which are artificial J and not Tiatural. — ^Take of the good stone which is called alabaster of Constantinople* as much as you like; first make it hot like iron and quench it in very stnmg white vinegar ; afterwards grind it fine in a bronze mortar, and put the whole of it into linseed or olive oil, and let it remain for 3 days or more. Afterwards put it into a cucurbit, and distil it through an alembic, and collect and keep what comes over. And when you wish to colour it, put into that water whatever colour you like, and it will keep its colour for ever. So if yon want to have a sapphire, put ultramarine azure into it. If yon wish to have an emerald, put in some verdigris. If you wish to have a topaz, put in some oil from the yolks of hen's eggs and tan, and a certain water must be made by soaking the colour in it for 3 days with some alum zucarino or scagKola, and then strain this coloured water through a fine and close linen doth, and in the same manner do what you pleajse. Then thicken it by the fire to the consistence of dough, and take some of that paste and cut it into whatever shape you like, a stone or a cup^ or a vase, boiling it well with olive or linseed oil, or with oil of bitter almonds ; dry it in a hot sun upon a polished board, and it will be like true and natural stone, and preserve this recipe as of great use and advantage. 239. You may make in the following manner with crystal^ painted and factitious stones, such as topazes^ sapphires, ^c*— Take 1 lb. of the best crystal, and grind it in a mortar and dft it, so that it may be in a very fine powder. Then add 5 lbs. of stag's bones, calcined to perfect whiteness, and if you cannot I The Alabaster appears to supply the place of the pounded brides used in the common process of distilling oil. The object of employing it was to equalize the heat and to economise time and fuel. It probably also pre- vented the danger of the oil boiling over. AD LAPIDES ANULLORTJM COMPONENDOS. 507 biccha e el suo relevo. Se tu campeggie de rosso el suo relevo e el verzino. 238. Ad lapides anuUorum componendos scilicet gemmas pre- tiosas claras et laudabilii coUaris. Et margaritas rubinos et balascios que sunt artijiciales et non naturales poteris ita com- panere eito et facile. — ^Redpe de bono lapide qui yocatur ala- bastrum constantmopolitanum quantum vis et ilium primo ignias ut ignitum ferrum et extingue in acetum album aoerri- mum poBtea tere in brumzi mortario subtiliter et totum pone in oleo lini vel olive ubi stet 3^~ diebus vel plus postea pone in cucurbita et stilla per elembicum cujus distillationem collige et serva. £t cum autem vis coUorare pone in ipsa aqua quem colorem vis et perpetue tenebit colorem. Nam si yis habere zafirrum intus pone azurrum ultramarinum. Si vis habere smiralgdum intus ponem viridem herem. Si vis habere topatium intus pone oleum vittoUorum OYorum gallinarum et % [stannum] quequidem aqua fiet cum interposito collore 3 die- bus rasine aluminis zucarini vel scaioli deinde aquam coloratam cola per pannum lineum spissum et subtilem et idem fac quid vis. Nam congela juxta ignem ut veniat ad duritiem paste et de tali pasta tolle portionem et incide ad quam formam vis lapdem vel coppam sive vasem bene buliendo cum oUyq oleo vel oleo seminis lini aut oleo amangdolarum amarium in fire- venti sole ad desiccandum super asidem politam et erunt tamquam vere et naturales et hoc habeas pro magno dono ac utilitate. 239. SicJiuiU de christallo lapides picti contrqfacti ut topatii zqfirri etc. — Abeas libram j cristalli optimi et tere in mortario et cribra ut sit subtiliter pulverizati postea pone 5 libras ossum cervinum combustum usque ad albedinem perfectam si vero non poteris habere zervinum ossum habeas bovinum ossum sive * This recipe somewhat resembles one in the Sloane MS., No. 3661, but in this last MS. it is said that the sapphire is to be imitated with " Az- zano Ultramarino," while in the text ** good azure " only is mentioned. See Theopbilus, £. ed., p. 176. f 508 BOLOGNESE MANUSCRIPT. have stag's bones, take beef bones or buffalo bones. Tlicn take of sal alkali 5 lbs., grind it fine, and mix it all together, and put this powder in a strong covered jar, lated with lutum sapientise, and place it into a glass furnace where it may remain 5 or 7 days at the most, and melt it into glass there. Afterwards put some good azure upon it, and knead both up together, and a blue colour will be produced and you may make up small or large sapphires, which yen may set with the stone called emerald. If you wish to have a topaz, add saflton. If you wish light rubies put vermilion, if dark, verzino. If pomegranate coloured put verzino or oricella or rose colour. If you wish jasper, put burnt orpiment ; for what is made of glass, is made of crystal, as before. 240. To make pearls.— Take very clear crystal glass, and reduce it to as fine a powder as you can, and incorporate it with white of egg, and slime of snails, and with that paste make pearls in moulds, so that they may be round, perforate them with a hog's bristle, and then put them in a hollow vase over the fire, so that they may become white hot ; then quencli them in cold water, and they will be very beautiful. 241. To make beautiful saucers of crystal. — Calcine bright crystal or white marble stones, and then take 6 rotoli^ of this very white calx, 2 rotoli of burnt tartar, and 1 rotolo of sal alkali ; put them all into the glass furnace, and let them melt there, and you may make saucers and whatever you like, and they will be as beautiful as crystal ; and if you paint them with saf- fron of Mars, and heat what you have painted at the fire, it will be like fine gold. 242. To make rubies. — Take of roche alum 2, 1, of saltpetre 3, 1, and reduce them to fine powder together ; then take ver- zino boiled with wine till reduced one -half, and with this wine mix and knead up the said powders to the consistence of sauce ; put them into a glass vase with a gentle fire, that the liquid 1 Rotolo, a Venetian weight of about 32 oz. ; also a Sicilian weight of i^lbs. But sec No. 221, p. 499. AD LAPIDBS ANULLORUM COMPONENDOS. 509 baffidmuin deinde tolle salis alcali lb. 5 et subtiliter tere et coznimsce bene insimul et hunc pulyerem pone in forti oUa coperta et Into aapientie lutata et pone in formace vitrialorum ubi stet quinque diebus vel secptem ad pins et illic fundatur yitrimn postea superpone de bono azurro et insimul stempera et fiet color cilistrinns et conficias zafiros grossos yel parvos quos actabis cum petra que vocatur smiraglius. Si vis habere topatium pone desuper crocum. Si rubinos claros pone cina- briunu Si obscuros pone verzinum. Si granatas pone yer- zinum siTe oricelle aut rose. Si iaspides pone exustum de auripiumento nam quod fit de vitro fit de cristallo ut pre- dictum. 240. Adfatiendum jnargaritcu. — Accipe vitrum cristallinum lucidissimum et subtiliter pulveriza quantum potes et incorpora cum albumine ovj et spuma lumace et de ilia massa forma perlas cum formis ut sit bene rotunda et perfora cum una seta porci deinde pone eas in uno vase cupo ad ignem tantum quod fiant albe postea extingue eas cum clara aqua et erunt pul- cherrime. 241. Adfatiendum pulcras scutes de cristallo. — Habeas lapi- des vivos cristallinos sive marmorinos albos et de ipsis fac cal- cina de quo vis deinde accipe de ista calcina albissima rodulos 6. tartari usti rodulos 2. et sal alcali rodulos unum et pone in farnaoe vitri et ibi fitc fimdere et poteris facere scutellas et quod- quumque volueris et erunt pulcre ut cristallus et si pingis de croco ferri et calefatias ad ignem picturas erunt sicut aurum finmn. 242. Ad rubinos componendum. — ToUe aluminis rocci 2. j. sails nitri 3. j. et pulveriza subtiliter insimul deinde accipe ver- zinum bulitum in vinum ad medium et cum dicto vino impasta et incorpora dictos pulveres ad modum saporis et pone in vase vitrio cum parvo igne ut siccetur et in unam massam reducetur r 510 BOLOGNESB MANUSCRIPT. may evaporate, and that the whole may form one mass. Take it off the fire, and let it stand 7 days, and you will find a well- coloured substance like dough, mould it into any shape you please. ♦ 243. Tonuike balas rubies. — Put a stone of pure crystal into a hollow iron ladle, and make a good fire under it. When the whole of the ladle, with the stone in it, is red hot, take clear and cold spring water, and throw a drop of it upon the stone, and afterwards put it back gently to the fire ; then take dra- gon's blood in fine powder, make it into a lump, and anoint the stone, and put it back to the fire so that the ladle may get red hot with a little fire, and then remove it from the fire and let it cool near the fire, and when it is almost cool, rub it with a piece of very rough wooUen cloth, and it will be well done. 244. To make fine pearls^ and of a good colour to all appear- ance,— ^Take stones from the heads of fishes in fine powder, and incorporate the powder with white of egg to the consistence of dough, and then shape the pearls that they may be perfectly round ; perforate them with a hog's bristle, and pass a horse- hair through the hole ; then place them in the sun to dry. Then boil them in new milk, and let tliem cool in a place free from wind and dust until they become hard. 245. To make pearlsy which are just like natural pearls^ and undotibtedly real and good. — Take mother of pearl, or very fine pearls, or that shining matter which is in pearls' shells, pound it fine, and take two parts of this powder, and one part of very white powdered gum arabic, mix the whole with dew, and then make up the pearls into a good shape and dry them before the fire, and before they are quite hard perforate them with a hog's bristle, and then let them get very hard, and polish them gently with the tool with which the goldsmiths polish stones. Then take very white cheese and some milk of a fig-tree, and put the powdered cheese into that milk, and expose it to the open air in a clean vessel, and it will be dissolved. Then string your pearls on a horsehair or thread, warm them well before the fire, AD LAPIDES ANULLORUM COMPONENDOS. oil et IcTa ab igne et dimicte stare per 7? dies, et invenies mathe- riam in modum paste bene coloratam et fac aut forma quid vis ad libitum. 343. Ad fatiendum balascios. — Accipe lapidem cristalli puri et habeas unam palectam ferri concayam et ea micte lapidem et fac subtus ignem bonum et cum fuerit ignita tola palecta cum lapide intus habeas claram et frigidam aquam surgentem et proice imam guctam super dictum lapidem postea suaviter repone ad ignem et habeas sanguinem draconis finum pulveriza- tam subtiliter et fatias ex eo unam maxam et unge lapidem e^ remite ad ignem ut palecta veniat rubea cum paryo igne deinde elleya ad igne et permitte frigidarj justa ignem et cum fuerit quaffl frigida firica eam cum pettia panni lini acerrimj et bene erit factum. 244. AdfatiendumpuJcmsperlas tamquam et laudabilis cohris in aparentia, — Habeas lapides pisscium de capitibus pulyerri- zatos snctiliter et incorpora cum albumine oyj ut pasta forma postea et &c ut sit bene rotunda post perfora cum seta porci per quod foramen pone setam equi et dimite ut ad solem siccentur demum quoque eas in lacte recenti et dimicte fridare in loco sine yento et pulyere donee in duritiem conyertantur. 245. Ad fatiendum margaritas siveperlas tanquam naturcdes ^ cptimcu et veras sine dubio. — Summe matrem perle siye perlas minutissimas aut lucidum illud quod est in conchiliis perlarum et pdyeriza subtilissime et de eo pulyere adpe partes duas et partem unam albissimam gummam arabicam pulyerizatam et misoe cum aqua roris demum informa optime et desicca ad humbram et antequam multum indurescant perfora cum seta porcina et dimitte fortiter durescere postea poli plane cum quo polinnt aurifices lapides postea acipe casum albissimum et lac fici et pone in eo lacte ditum casum pulyerizatum et dimicte ad serenum in yasculo mundo et disolyetur postea micte perlas tuas in seta caballi aut in filo et calefac bene eas ad ignem postea tnerge eas in tali disolutione et eleya et dimitte sicari demum 512 BOLOGNESE MANUSCRIPT. dip them iDto this solution, and take them out and let them dry, and then warm the solution. Dip the pearls in it and dry them, and repeat the process until you have very bri^t pearls ; tiien bury them in barley meal for 2 hours, and rub them well with a cloth. And a certain Spaniard^ told me that I mi^t dissolre them in lemon juice^ and dry the powder, and make up the pearls with snails' slime, so as to be like dou^. Then shape them, and take a piece of stale and tender beef, cut it open, and, making holes in the meat, put each pearl into a separate hole, and join the pieces together, and tie them well lest the vapour of the pearls should escape, and bake them in the oven until the meat is well dressed for eating, and they will be good and perfect ; but if by chance the meat should be too much burnt for eating, ^ve the pearls to a pigeon to swallow for a day or more, and they will then be very bright. 246. To make large pearb out of small ones, — >Grind small pearls fine in a bronze mortar, and then take the juice of citrons, and filter it ; next take urine and spirit of turpentine, of eadi one-third part of the quantity of the citron juice, and knead up the powder with this water so that it may become like dongh ; let it stand for 3 days in the sun, and afterwards knead it well together and put it upon glass, and make pearls just as you please with " oleo muscellino,"* and then perforate them with a hog*s bristle, and pass a horsehair through the hole and leave them in the sun until they are dry. Then put them into the belly of a fish, having thrown away the inside, and bake it as if it were a pie ; then take out the pearls, and you will find them converted into hard stones. Rub them well in a linen cloth with barley meal, and they will be very bright. 247. To clean pearls. — ^Take pearls, and wash them well in clear water in a very clean cloth, and then take ultramarine soap,' and dissolve it in water, and wash them as before. ' '. u ^ . — 1 Probably Jacopo de Tholeto before mentioned. 2 A composition of oil, water, spices, and odoriferous drugs. See Rioet- tario Fiorentino. AD LAPIDES ANULLORUM COMPONENDOS. 513 iterum calefac dictam disolutionem et sumerge et desica et sic tandia reitera donee habeas perlas luccidissimafi deinde sepelias eas in furfdre ordeacio per duas boras et frica optime cum panno. Et quidam Ispanns dixit mibi ut eas in succo limonum sol- ▼erem norem recottam et siccetur et cumglutinetur cum glutine limatii et dnt sicut pasta et formentur postea accipe frustrum camis veteri et macer tauri et divide frustrum et facta fovea incame colloca singulas perlas in singulis foveis et reiunge cames et liga perfecte ne vaporet fumus perlarum et infumo bene assa et sint bone ad comedendum et erunt bone et perfecte sed si forte erunt nimis aduste da comedere columbo per diem vel plus et erunt lucidissime. 246. Adfatiendum perlas grossas de minutis. — Tere parvas margaritas in mortario bmnzi subtiliter demum accipe citosita* tern citrorum et distilla per filtrum et de urina et de aqua rasi quantum est tertia pars aque citri et impasta dictum pulverem cum hac aqua ita quod deveniat sicut pasta et dimicte per tres dies ad solem postea cum glutina diligenter et depone super vitrum et forma margaritas ad libitum cum oleo muscellino postea perfora cum porcina seta per quod foramen pone setam eqninam et dimite ad solem donee sicentur demum pone in ventre piscis bncefallj egeritis interioribus et sue sive cuscias ventrem et fac inde pastillum et quoque et extrage et invenies lapides duros. Et frica eas cum fiirfure ordei in panno fortiter demum da coUumbo vel gallo comedere per diem j vel amplius ncut videtur et iterum frica cum fiirfure ut prius et erunt luci- dissime. 247. Ad margaritas sive perlas clarificandas. — ^Accipe perlas et lava fortiter in aqua limpidissima in panno mundissimo et tunc acipe saponem ultramarinum et disolve in aqua et lava ut supra. s Probably the Roman Soap, with which it was said in No. 4, that the Azunim Citramarinam was to bo washed. 5 1 i BOLOGNESE MANUSCRIPT. 248. To make an emerald of crystal. — ^Take crystal, and soak it in alum for 12 days, and then cook it in verdigris, and it will be in appearance a fine emerald, like a real one. And so you may make a sapplure and all other precious stones according to the colour you add to the crystal, proceeding in the same manner as before, and you will have imitations of all the precious stones. 249. To make a chrysolite with crystal. — Take a crystal, and steep it in alum for 15 days ; then cook it in orpiment, and it will appear a chrysolite. 250. Tomaheamber.^ — Take burnt tartar, and make a ley with very strong vinegar, reduce it by boiling to one half, strain it again through the burnt tartar, and let it settle and dear itself. Then take yolk of eggs for the red, and white of egg for the white, and beat them well, and let them stand for 3 days in the sun until they are decomposed ; then put the vinegar with the eggs into a glass vase, place them near the fire, and make them boil, and for each egg put 2 [oz.], 5 [dr.] of spirit of wine and of honey ; of tempered saffron, 3, 1 ; of myrrh, 3, 5 ; and of dierry gum, 3, 5. Strain all these things so prepared, boil them for an hour, and let them cool, and make amber [beads] just as you please ; then pierce them with a hog's bristle, and aflierwards anoint them with linseed oil, and at length, when they are dry, anoint them with liquid varnish, and they will be very beautiful 251. To make amber (beads). — ^Take the whites of hen's eggs, and whip them with a sponge till they cease to froth ; add a little roche alum, colophony well powdered, and some cherry gum. Strain the mixture through a cloth, and put it into a flask well closed and luted, and set the flask in a jar full of water ; boil it for an hour, and then put it to cool in the open air, and dry it, and afterwards wrap it up in a linen cloth and bury it in dung for 3 days, and it will then be liquid, so that you may work it in your hands, and make beads and whatever you please. While you are modelling them, anoint your hands 1 The value of amber at this time may be estimated by the numerous AD LAPIDE8 ANULLORUM COMPONENDOS. 515 248« Ad Jatiendum smiralgdum de chrtstalh. — Habeas cris- taUum et micte in allumine per dies duodecim postea quoque in yiride ere et erit smiraldus nobilis in aparentia ut esset finom. Et sic poteris habere zafirruni et omnes lapides pre- tiosoe secundum colorem quern vis mictere cristallum et iac in supradicto modo et babebis omnes lapides pretiosos contrafactos. 249. Ad fatiendum crisolitum de cristallo. — ^ToUe cristallum et micte in alumine per 15 dies demum quoque in auripiumento et apparebit crisolitum. 250. Ad fatiendum atnbra. — Accipe cinerem fetie et fac lis- ciyium cum aceto albo fortissimo et deinde fac eum bullire per medium ut revertatur et iterum cola per dictum cinerem et fac eum quiescere ut sit bene clarum demum acipe ovorum vitella pro rubeis et albumina pro albis et percute bene et permitte per tres dies ad solem quiescere donee fiant putride deinde tolle dictum acetum cum dictis ovis in uno vaso vitrio et pone ad ignem et fac bullire et pro omni ovo mitte 2. 5. aque vite et melliB ana, et croci stemperati 3. j. mirre 3. 5. gumme cere- aarum 3. 5. stringentur ea et omnia sic preparata fac bullire per unam horam et micte frigidari et forma ambra ad libitum tuum et fora ea cum porcina seta et postea unge ea cum oleo seminj linj demum quando sunt sicce unge ea cum liquida ver- nice et permitte sicare et erunt pulcherrime. 251. Ad ambra fatiendum. — Tolle albumina ovorum galli- narum et cum spungia tantum perchute ne aliqua spuma ap- pareat et mite aliquantulum aluminis rocci et colofonie optime pnlyerizate gume cerese et per pannum cola et pone in ampulla bene clausa et lutata et pone in oUa aque plena et fac bulire per unam horam demum pone ad refrigidare ad serenum ut siccetur postea involve in panno lineo et pone sub fimo per 3 dies postea erit liquida qua poteris ducerc in manus et forma ambra et quioquid vis aliud et cum formabis ea unge tuas manus comuni oleo et fora ea et pone ad siccandum et erunt facta. recipes for imitating it. The use of this factitioas amber appears to have been for making " beads for Paternosters," as it is expressed in No. 272. VOL. IL <> 516 BOLOONESE MANUSCRIPT. with common oil, pierce the beads, and let them dry, and they will be done. 252. For the same.— Take white of eggs, beaten as if for distempering vermilion, and put it into a flask and boil it in very strong vinegar until it coagulates ; then break the flask, and make beads of it. 253. For the same purpose, — Take arsenic in crystals * and roche alum finely pounded, of each equal quantities ; distemper these ingredients with white of egg well whipped, and then put them into a very clean budello di castrone, which must be boiled until it becomes hard. When you wish to use it and soften it, boil the budello with white vinegar, and make the beads as you please. If you wish to make them yellow, add some saffiron, and mix the ingredients well together in powder ; then strain the powder through a linen cloth, and boil it as before directed. And if you wish the colour to be red, mix the white of ^g used for vermilion with sandal-wood* in ppwder, and do as before di- rected. And if you wish the colour to be green, take verdi- gris, and mix it with white of egg, and do as before. And if you wish it to be blue, take azure, and do as before directed. 254. For the same^ as before, — ^Take purified white of egg, coagulate it over a slow fire, and make beads of it ; then let it dry in the sun, and you may make it of whatever colour yon like by putting into it the colour which you wish to give it, but it must be coagulated in a round shape. 255. To calcine crystal — ^Take small pieces of crystal of the size of chesnuts, wash them well, and dry them ; put them in a reverberatory furnace, until they are red hot, then throw diem into clear water. Do this 4 or 5 times, and then pound what was calcined ; and in the same manner the emerald must be calcined. 1 The method of preparing arsenic in crystals is thus described by Mat- thioli : — *' Crystalled Arsenic, so called because it is transparent, like ciys- tal, is not found native with orpiment, as my countryman Vannoccio writes in his Pyrotechnia ; but is prepared artificially from pounded orpiment and salt, by heating and subliming them together in certain covered earthen AD LAPIDES ANULLORUl^ COMPONENDOS. 517 252. Ad idem. — Habeas albumen ovorum ruptum in modum ad temperandum cenabrium et micte in ampulla ut impleatur et in aceto acerrimo fac buUire donee eongeletur demum frange ampulla et forma ambra. 253. Super eodem. — Piglia arsenico cristallino alumi de roccho bene pisto ana et distempera queste cose cum chiara dora rucpta bene poi mecte queste cose in uno budello de castrone bene necto et & bullire tanto che divente sodo et quando el vorai adoperare et indolcirlo fa bulire lo dicto budello cum aceto bianco poi forma Umbra [lambra ?] a tuo piacere. Se tu le voi fare gialli mistace del zafaramj et remista bene insiemj in polvere poi lo cola cum panno de lino et cocilo commo e dicto disopra et se lo yoi rosce mista cum la chiara del cinabrio cum li sandoli in polvere et fa commo e disopra dicto. £t se lo voi verde tolli verderamo et mista cum chiara et & commo disopra. Et se volesce azurre tolli azurro et fa per lo modo sopra dicto. 254. Ad idem ut supra. — Habeas ovorum clara purificata et coagula lento igne et fac ambra postea dimite ipsum sicare ad solem et potes fiicere de quolibet colore vis colorare pone intus ool ^^^ ^^ again till it dries, and then set it by to cool. Make it into any form you please. With oil it will make amber, and without oil it will appear like crystal. 258. To soften crystal,— Take roche alum, and grind it well upon marble with very strong vinegar, then put it into a glajsed vase, and make it boil until it is dry. Having done this, take it out and grind it again, and do this 5 times, and afterwards put it in a glass flask beneath dung until it is dissolved. Then throw away the supernatant water, and you may then give a colour to the crystal, and mould whatever you like. 259. To imitate precious stones with crystal. — Take roche alum, alum zucarino, Roman vitriol, and " salis copertum," of each equal quantities, and put these ingredients into clear and strained ley, and dissolve them, and you may colour the crystal. For a sapphire, add azure ; for an emerald, add ver- digris ; for a ruby, add vermilion ; for a balas ruby, add ver* zino or *^ stupio ;" for hyacinth, sky-blue and a little azure ;. for amethyst, some oricella ; and so you may imitate aU stones by adding different colours* Remember, however, that the crystal and the colours must be dissolved like colours and coagulated. Then boil them till they become like stones. 260. To soften crystal previous to stamping or carving it like wax. — ^Take fine crystal and put it to soak in the blood of a * The old method of preparing this oil was by steeping chamomile flowers in olive oil, and exposing the bottle to the sun for 40 days. See Rioet-> AD LAPIDES ANULLORUM COMPONENDOS. 519 256. Adjixandumcristallum. — Tolle crifitallum et calefatias eum valde fortiter et proice in aqua firigida et ipse frange et redue in pulverem et eo pulverizato recipe de ipso partes 5 et partem j de tartaro calcinate et partem j de sale alcali et Ainde insimul donee tartarum et sal alcali consumentur et ibi colora ipsom de quo colore vis colorare si placet et fac de ipso opus tuum. 257. Adfatiendum christallum corUrqfactum. — Habeas album trigmta ovorum et ^ : 2. {sic) salis comunis et bene spumatum pone in ampulla ut buUiant donee reducatur ad tertium et iterum repleatur ampulla et in ea ponatur olei camomille 2. ij (sic) et iterum buliatur ut desicetur et pone ad refrigidan- dum et forma quic vis cum oleo erunt ambra et sine oleo apare- bit cristallum. 258. Ad molificandum cristallum — Accipe aluminis rocj et tere bene super marmorem cum fortissimo aceto deinde pone in vase vitriato et fac bulire donee desicetur hoc facto extrahe et iterum tere et sic fac vicibus 5. postea pone in ampulla vitria sub fimo donee solveatur deinde aqua que supematet proi- ciator et tunc poteris dare coUorem christallo et formare quic- quid vis. 259. Ad faciendum lapides pretiosos cantrcifactos de anstallo. — Abeas aluminis rocce, aluminis zucarini, vitriol! romani, salis copertum ana et tere bene simul et pone in urina colata et clara et dimite ut disolvitur et poteris colorare cristallum pro zafirro pone azurrum pro smiralgdo pone viridi es et pro rubino cinaprium pro balascio brasilem sive stupio pro iacinto celeste parum azurri pro amastito ex oricella et sic poteris habere omnes lapides ponendo colorem. Memento tamen quod cris* tallus et collores debent resolvi ad modum colons et congellare demde bulliant in modum lapidum. 260. A moUiJicare el cristallo prima che porai impromptare et tagliare comma cera. — Recipe el cristallo fino et metilo a tario Fiorentino, p. 5M8. At the present time a distilled oil is made Trom Chamomiles. 520 B0L06NBSE MANUSCRIPT. Iamb, or of a calf fresh killed, and it will soon become soft, and when it is cold it will again become hard and shining as before. 261. This is a hidden philosaphieal operation^ that is to say, to make large corals out ofsmaU ones in this way. — ^Take what- ever quantity you like of the small seed corals, and pound them and pulverize them so as to be almost impalpable, and then take lemon-juice, well purified, as follows: — ^Take the juice and first strain it through a tliick woollen cloth, and do this 3 or 4 times, and then filter it until it is perfectly clear, and knead up the powder with this juice in a glass vase ; and, when well incorporated and soaked, let the juice cover the powder by two or three fingers' breadths, and then you will see that it will produce a certain creamy or thick liquor on the top of it. Take this and put it aside in a clean jar ; then take the powders, and let them dry until they become as hard as stiff paste, and with this paste make large corals, or images, or horses, or figures, or branches of coral, or whatever you like, and put them into a place secure from dust, smoke, wind, and sun, and let them dry a little ; and before they are quite dry, anoint them with that creamy liquor which you reserved ; let them dry well and completely, and you will have a fine and polished and genuine work, which is of considerable profit. 262. To make good liquid varnish. — Take 2 lbs, of com- mon oil, and 2 lbs. of fresh linseed, and boil them together in a glazed pipkin until it is reduced one-half, and then pour it into another glazed vase, such as a pipkin, and take a tripod and place the pipkin on it^ and make a clear fire under it, and when the liquid begins to boil add to it 30 or 40 cloves of garlic, cleaned and scraped fine, and a little roche alum at discretion, and let it boil ; and if you wish to know when it is well done, take a hen's feather and dip it in the mixture. If the feather is burnt it is done well ; take it from the fire, and liefore it is cold add to it one pound of sandarac well pounded, a little at a time, and keep continually stirring it round with h AD LAPIDES ANULLORUM COMPONENDOS. 521 moUe in sangue dagnello o de vitello quando se amaza, e poco stara che sera morbido, et commo sera freddo retomara duro et lustro comme prima. 261. Questa e un opera ocuUa JUosqficale : doe fare coralli ffrossi de li piccoli in questo modo. — Accipe quella quantita cbe tu voi de li coralli picoli finissimi et pistali tanto et polverizali tanto subtilmente che paiano essere senza tatto de poi tolli el 8ugo de Umone che sia bene depurgato in questa forma tolli lo sugo et prima lo distiUa per uno panno de lana grosso et questo fa 3 o 4 Tolte poi lo (Ustilla per filtro tanto che sia bene chlaro poi impasta cum lo dicto sugo la predita polvere in uno vaso de vetrio et commo sonno bene incorporate et imbeverate de vantagio tk die ce sia tanto sugo che avanze sopra alia dicta polvere doi o tre deta de poi tu vederai che produra de sopra ima certa graseza o licore grasso piglialo et polio da parte in uno vaso neto poi tolli le polvere et lassale seccare taato che fomano dure ad modo duna pasta uno poco duretta de la quale pasta forma li coralli grossi o forma vase o imma- gine o cavalli o figure o branch! de coralli o quelle che te piace et polle in loco dove non sia polvere ne fumj ne vento ne sole et lassale alquanto secare ma prima che siano fornite de secare ungile con quella graseza o licore che reservasti de poi lassale seccare bene in tucto et haverai opera polita et bella e vera et de bono guadagno. 262. A fare vernice liqquida bona. — Ahwi lb drt dolio comane et doi libre de semj de lino fresca et fa buUire insiemj in una pignatta vitriata tanto che calla per mita poi la mecti in uno altro vaso vitriato commo uno pignato poi havvj uno tre pei et disopra vi mecte la dicta pignatta et fall! di socto el fooo diiaro et commo comenza a bullire e tu ce pone 30 o quaranta spighi de alglio mondato et bene alanato sutili poi ce pone uno poco de alumj doi rocho a discretione et lassa bulire et cociare et se voi sapere quando e bene cocta tolli una penna de gallina et baguala in la dicta cocictura se la peuna vieni pellata e cocta et facta et levala dal foco e nante che se fredda mectice una libra de vernice da scrivare bene pesta a poco per 522 BOLOGNE8E MANUSCRIPT. stick, and when it is nearly cold add six or eight whites of egg, well beaten and cleared, as they are used for Termilion, and mix the whole well, and then place the varnish for one day in the sun, stir it every hour, and keep it in a cool place, and it will be good. 263 To make vermilion, — Take qnidcsilver, and two parte of yellow or white sulphur, incorporate the sulphur well ground with the quicksilver, and put it into a battle well luted with lutum sapientiae, and let it dry. Then put it into the oven and give it a gentle fire, and cover the top of the vase with a tile, uncover and cover it finequently, and when you see a yelbw smoke come over it is nearly done ; let it remain, and give it more fire until a red smoke, almost purple, arises. Hien. ex- tinguish the fire, and let the bottle cool, and you will have fine vermilion. 264. To make^ with ^ pearls^ one fine and very good pearL — ^Take the juice of moderately ripe lemons, and put it into a glazed saucer, and distil [or strain it ?] * and take care not to let dust or smoke or any other dirt have access to it. Then pour the juice into a glazed vessel, such as a cup, and put into the juice as many pearls as you like, let the pearls be perfectly free from all dirt, and let them remain closely covered up until they are well softened. Then take them out of the lemon juice and wash them well with clear water, so that no greenness may remain on the pearls. Then make them up into a paste with water of slugs, which is made in this way. Take the slugs and clean them well, and put them into a glazed saucer, and sprinkle a little salt well pounded ufoa them, in order to clean them from all slime, and then a little sal-ammoniac, and let them remain so for a day and a ni^t, after which distil them in an alembic, and use the water that comes over for your purpose. Then take a piece of very clean glass in the palm of each hand, and with the pieces of glass make your pearls dexterously round, whether you wish 1 and ' These words are illegible in the original. ■•^^••■B AD LAPIDES ANULLORUM COMPONENDOS. 523 ▼olta e sempre vienj mistando intorno cum uno bastone poi quando sera quasi jGredda et tu la cola cum una stamegna poi quando sera fredda mectice sei o 8 albuma dova bene dibatuti et chiara commo se fit per lo cinabrio et mista bene poi la mecti uno di al sole et mistala ad omne ora et serbala al fresco et stara bene. 263. Affare cinabrio, — Abbi argento vivo et doi parte de zolpho bianco o giallo et incorporalo lo solpbo bene trito cum largento et polio in una boccia alutata bene de luto de sa- pientia et lassa sciutare poi la pone nel fomello et fiedli foco ligiero et copri la boca del vaso cum ima tegola et spesso lo scopri et ricopre et quando tu vedi vuscire el fiimo giallo sera apresso che facto et lassalo tanto stare et dalli lo foco che facia lo fumo rosso quasi pavonazo ahlora toli via lo foco et lassa fredare e de facto fino cinabrio. 264. Affare de perle una hella perla et bona de van- tagio. — Tolli sugo de limone i quali siano mezanamente ma- turi et mectilo in una scutella vitriata et distillalo per lingua et fa che non vi possa andare polve ne fumj ne altra bructura poi pone lo dicto sugo in uno vaso de vetrio commo e una taza poi mecti in lo dicto sugo quanti perlj che tu vqj esiando le dicte perle ben necte da omne loto et salla- vezza et lassale stare ben coverte per spatio che siano ben mollificate dapoi le remove dal sugo e lavale bene cum aqua chiara bene scrillente per modo che non rimanga nisciuna verdeza ale perle poi le impasta cum aqua de lumache la quale se fa in questo modo. Tolli le lumache et mondale bene et mectili in una scutella vitriata poi li pone suso uno pooo de sale bene trito acio depurga omne baviglia poi li pone suso uno altro poco de sale armoniaco et lassale stare cusi per uno di et una nocte et poi le pone a stillare per lambicco e de questa aqua usarai ala tua opera poi habbi doi peze de vetrio bene polite in cescheduna palma de le mano et cum li dicti peze de vetrio le ritonda dextramente o vo fare una o doi o 3 perle o 524 BOLOONESE MANUSCRIPT. one, two, or three pearls, or as many more as you like ; and when the pearls are perfectly round string them upon a dean hog's bristle, first boring them with a silver thread or horsehair, and hang these pearls between two saucers of glass, suspended between the two saucers so as not to touch them in any part. Fasten the two saucers closely togetlier, and then put them in the sun to dry ; and when they are hard rub them well with the dust of emeralds and with a doth. Then take barley- meal, and mix it witli the pearls and powder, and rub them well again with the cloth, and they will be bright and fine. 265. To make sapphire^ and to refine and colour it — ^Take a crystal, or a transparent stone, and whichever you take beat it strongly and then quench it several times in cold water ; then ])ound it, and take an equal quantity of sal alkali, and melt them together. Afterwards put them into a furnace, and add a little zaS&rro. And if you wish to have the colour green, add a little minium, and note, that some say that ^^caUamita femina" ^ makes a transparent red. Note also, that these stones are found upon Mount St. Bernard, and are good and perfect crystals, as if they were really mineral. 266. To make a gold colour, —Take ley and ochre, of each equal quantities, and grind them with linseed oil ; then mix a little verdigris and black, and grind them together, and then put them in a small jar over the fire, and when the oil begins to boil take it off the fire, and spread it wherever you like, and it will be of a gold colour. 267. To purify zajirro, — Take the zafirro and wash it with salt and vinegar, and then keep it in strong vinegar for the space of 6 days, change the vinegar every day, and keep doing this until the impurities are removed and the colour is refined. 268. To make red glass. — ^Take 1 lb. of copper, and melt it, ^ Agricola (Dc MetalliciB, Lib. v. p. 249) says there were several kinds of minerals called Calamites ; that they differed in appearance and in pro- |)ertics; that some attract iron powerfully, and these are called the *'male calaniitcs;" others attract it lc&> ])owcrfully, these arc called the *' female AD LAPIDES ANULLORUM COMPONENDOS. 525 quanto voli et quando le dicte perle seraimo bene retonde mec- tile in una seta de porcho bene necta et forale prima cum uno filo de argento o cum una seta de cavallo lungha et mecte queste perle in mezo de doi scudelle de vetrio suspese suso in la dicta setula de cavallo per tal modo che le dicte perle stiano in mezo de le dicte doi scudelle in aiere suso in le dicte sete che le dicte perle non tochano in nisciuna parte et le dicte scudelle siano bene serate insiemj poi le pone al sole a seccare et quando seranno dun tu le pone suso de la polve de lo smeriglio et sfregale bene cam quella polvere de lo smeriglio cum uno canavaccio poi tollj semoladorzo et mista cum le dicte perle et polvere et sfrega de novo molto bene cum lodicto canavaccio et saranno lustre et belle. 265. Ad fatiendum zaffirrum et ipsum affinando et color- ando. — ^Accipe christallum vel lapidem trasparentem et quod vis accipe et eos calefac fortiter demum extingue in aqua frigida plnribus vicibus postea pistetur deinde tolle totidem de sale alcheli et insimul funde et postea pone in furnum et adde secum parum de zaffirro. Et si vis quod fiet viridis adde pamm de mineo. Et nota de callamita femina aliquis dicit quod &cit rubeum trasparentem. Et scias quod dicti lapides ioveniuntur in montagna sancti Berardi et sunt perfecti et boni cristallini tamquam de propria minora. 266. A fare coUore doro. — ^Tolli ranno et ocria ana et ma- eina cum oleo de semj de lino poi ce mista uno poco de verde- ramo et de nero et macina insiemj poi lo pone in imo pignatino al foco et quando cominza a bolire levalo dal foco et lavoralo dove voi et sera in collore doro. 267. A porificare el zafirro. — Ahavve el zaffiro et lavalo cum lo sale et aceto poi lo lienj a moUi nello aceto forte per 6 di et omne di li muta laceto et tanto fa cbusci che lo loto o stista vada via ed e facto fino. 268. Affare vetrio rosso, — ToUi libra j de ramo et fundilo et cdamites." In the former it is not difficult to recognise the loadstone or magnet; the latter from the properties ascribed to it, such as making copper white when added to it, was probably Electric Calamine, or siliceous oxide of sine. See Phillips' Min., p. 354. 526 BOLOGNESE MANUSCBIPT. and when it is melted add 4 oz. of lead, and incorporate them well with each other and throw the mass into cold water, and it will be broken small like grains of com. Then grind it as fine as you can, and stir it into the glass, and it will become red glass, for making paternosters and other articles. Also note that copper filings thrown into the glass make a red, but they require a very gentle fire. Calcined lead has the same effect, and so also has minium and white lead. 269. To lay gold upon glass. — Take very thin bladders of crystal glass, as clean and pure, and liquid as possible, and break them just as you please, and lay real gold upon them. And Frate Giovanni told me that in order to fix the gold on to the glass, it was necessary to employ a solution of borax, the Alexandrian borax,^ which the goldsmiths use, toe this water makes the gold adhere well. And when you have laid the gold on to the white glass, put it in the mouth of the furnace, that is, where you stand to work, so that it may become hot, and take care as it dries to have ready in the furnace the glass upon which you wish to lay the gold, and with this glass some very fine safiron of Mars of the alchemists roust be mixed, in order to serve as a mordant for the gold, which will appear of a deeper colour. Then take out of the furnace the quantity of glass which you require, and heat it upon the marble slab upon which you make drinking glasses, and be quick, and take it with the iron for making drinking glasses, and lay upon it the piece covered with gold, and put the gold on the under side of it, that is, let it be between the two glasses. Then put it in the furnace to spread, and spread the glass vrith the gold in it with another iron, and when you see that it is well spread out and that it adheres well together, take it out and set it to cool on the top, where you set the rest of the glass to cool, and then use it for your own purpose just as you please. 270. To paint glass^ that is to say^ cups or any other works in glass with smaltiof any colour you please. — Take the smalti' 1 This is the true Borax. 2 The composition of these smalti is not described. They were proba* bly, as I have mentioned in a former note, like those coloured glasses, or AD LAPIDES ANXJLLORUM COMPONENDOS. 527 quando e fiiso metice oz. 4 de piombo et lassalo bene incor- porare et butalo in laqua fredda et vira minuto commo granelli de grano poi lo trita piu Be poi poscia lo mecte nel vetrio et Tira vetrio rosso da fare patrenostri et altre lavore. Idem Dota la limatura del ramo messa nel vetrio fa rosso ma vole poco foco et lo simile fa lo piombo arso et simili £ei lo minio et la biacha. 269. A mectere oro in el vetrio. — ^ToUi vesiebe de vetrio sub- tilissimi che siano de vetrio cbristallino polite et necte et oocto quanto piu poi et rompilo commo a te piace et metivj suso loro vero et che frate gioahnne me disse per apiccare bene loro al vetrio se voleva torre aqua de borace quella borace Alisandrina che adoperano li orefici et cum qudla apicare loro in su lo vetrio la quale aqua lo fa apichare bene et quando hai apicato el dicto oro in su lo vetrio bianco pone lo in su la bocha de la fomace doe dove stai a lavorare in si facta forma che se scalde pot habbi cura commo e seccho poi debbia el tuo vetrio apari- diiato nella fomace in su lo quale voi mectere loro nel quale vetro vole essere miscolato crocum ferri subtilissimo de Arcfai- mista et questo vi vole essere dentro acio che facia lo lecto a loro die parera piu coUorito poi cava de la forma cio e quella qnantita de vetrio che voi et scaldala in su lo marmo dove lavore i bichiere et fa presto poi la piglia cum lo ferro che pig- lie li bichierj et poue suso la peza dove e loro et pone loro ala parte de socto cioe fa che Aa atramendoi queste vetrie poi lo pone nella fomace a stendare cum uno altro ferro et stende quella peza de loro si che sia bene stesa et quando vede che e bene stesa et bene apiccata cavela fora et metila de sopra a fredare dove mectj li altre vetrj poi ladopera al tuo lavoro commo te piace. 270. A dopengiare li vetrij cum li smalti de otrnie collare che tu volf commo sonno tazze o altre lavore de vetrio. — Tolli ismalte eoamdi, spoken of in the MS. of the Marciana, No. 325, which were hrottght fnmi Germany, and which were used for painting on glass. 528 B0L0QNE8E MANTJSCRIPT. you wish to use, and let them be soft and fusible, and pound them upon marble or porphyry in the same way that the goldsmiths do. Then wash the powder and apply it upon your glass as you please and let the colour dry thoroughly *, then put the glass upon the rim of the chamber in which glasses are cooled, on the side from which the glasses are taken out cold, and gradually introduce it into the chamber towards the fire which comes out of the furnace, and take care you do not push too fast lest the heat should split H, and when you see that it is thoroughly heated, take it up with the '^ pontello " and fix it to the ^^ pontello " and put it in the mouth of the furnace, heating it and introducing it gradually. When you see that the smalti shine and that they have flowed well, take the gla^ out and put it in the chamber to cool, and it is dome. 271. To make blood red glass. — Take 100 lbs. of white glass and melt it in the furnace, and then take 8 lbs. of caldned manganese pounded, and 8 lbs. of sal alkali, which is to be mixed with the manganese, put these ingredients into a jar in the furnace to remain white hot for one day, and mix them well with an iron rod, and then take the mass out and reduce it to powder. Next take 3 lbs. of this powder and put it with the glass, that is to say, with 10 lbs. of glass ; stir it well with the iron and let it fine itself. If it is too dark, add white glass to it ; and if too light, add more of the material to it, and it will be good and perfect. 272. To make yellow fflcus for paternosters or beads. — Take of lead 1 lb., of tin 2 lbs., melt and calcine them, and make glass for paternosters. 273. To maAe ffiallolino for painting. — ^Take 2 lbs, of this calcined lead and tin, that is 2 lbs. of this glass for paternosters, 2} lbs. of minium, and i lb. of sand from the Yal d'Arno pounded very fine ; put it into a ftimace and let it fine itself, and the colour will be perfect AD LA.PIDES ANULLORUM COMPONBNDOS. 529 che tu volj adoperare et fa che sieno ben tenere et corrente et pistali in su lo marmo o porfido nel modo che fanno li orifice poi lo laya et polio ne lo tuo vetrio nello modo che lo vol porre poi lo lassa bene seccare poi lo pone in su lorlo de la camera doTe se freddano li bichierj dallato dove se cavano i vase frede e a poco a poco lo spigni nela camera verso lo foco che escie da la fomace et habbi cnra che non lo metesci troppo presto acio per troppo caldo non scopiassce poi che vedi che e ben caldo tolo con lo pontello et apiccalo al pontello et polio a la bocha de la fomace a poco a poco li da el caldo metendolo dentro et quando tu vedi che i smalte lucano et che sonno bene stesi et apicati cavali fora et pone a fredare nella camera e de facta. 271. A fare vetrio ihcamato, — Accipe lb cento de vetrio bianco et mectilo a cociare nella fomace poi tolli lb octo de roaganese pisto de quello arso poi tolli lb 8 de sale alchali et mistica cum lo dicto maganese et mecti le dicte cose in uno testo nella caldara ad imbiancare per uno di et mistalo bene com uno ferro poi cavalo fora et pistalo et fanne polvere poi toi 3 lb de questa matheria et mecti sul vetrio do e in X. lb de vetrio et mista bene cum lo ferro et lassalo afinare et se fiisse tn^po scuro metivj dento vetrio bianco et se fusse troppo chiaro agionpvi de la dicta matheria et sera bono et perfecto. 272. A fare vetrio giallo per poire nostra o ambre, — ^Tolli piombo lb j. stagno lb doj. et fundi et calcina et fa vetrio per patrenostro. 273. A fare zaUolino per dipengiare, — Havve lb doi de questo stagno et piombo calcinato et doi lb de questo vetrio da patrenostrj et doi lb et j^ de minio et meza lb. de rena de valdamo sotilmente pista et mecti in fomace et fa affinare et sera perfecto. ( 530 ) HERE BEGINS A TREATISE ON MOSAIC COLOURS. AND FIRST HOW TO MAKE THE MATERIAL FOR THE MOSAICS. 274. Take lead and tin, of each 1 lb., melt them together, and calcine them with common salt, until the whole is reduced to powder, in a reverberatory furnace, and then melt the mass and add to it its own weight of raw tartar, and reduce it to powder, and mix it again with common salt and put it in the reverberatory furnace for one natural day. Then wash the salt out with common warm water, and add more salt and calcine it again and continue this until it becomes a white cak. Take 7 lbs. of this calx and 1 oz. of calcined bones, and nux all together and put the mass into a glass pot, melt it and let it remain in fusion for 3 days, and try with an iron rod whether it is well digested and mixed, and it will be mosaic or white glass, of which you may make all other colours in glass as follows. To 8 lbs. of the said material, put one ounce of zaffirri in powder, and mix it well with an iron rod, and when it is quite melted, try with a little of it whether it is a good blue ; if not, add a little zaffirro, and let it continue liquid until it is of a good colour. Then cast it, and it will take whatever shape you like, but take care of the wind while you are cast- ing it. 275. Another kind of mosaic. — ^Take 1 lb. of crystal glass, and put it in the fire, and when it is red hot, throw it into spirit of wine id which roche alum is dissolved and so quench it 16 times, and then pulverize it on porphyry and mix with it three times its own quantity of ceruse in powder. RU a jar half full with it and cover it and lute it down, and put it in a soda fiimace and let it remain there as long as if it were soda, and when it is cold you will find your material fit to receive what- ever colours you like. ( 531 ) INCIPIUNT COLLOBES MUSAICI. KT PRIMO AD FATBENDUM MATERIAM MUSICAM. 274 Aocipe plumbum et stagnum ana lb j et funde insimul et calciua cum sale comuni quousque fuerit totum pulveri- zatum ad fumum reyerberationis post funde cui adjungepondus sm tartari crudi et pulveriza et iterum mise de sale comuni et pone in fumo reverberationis per diem naturalem postea lava inde sal cum aqua comuni calida post redde aliud sal et iterum calcina ut prius et sic fac tamdiu quod fit calx alba de quo acipe lb 7*. ed oz. j. ossum calcinatum et omnia insimul misce et pone in patella vitri et fac fundere et stet ita fiisum in fiisione per tres dies et cum virga ferrea vide si sit bene degestum et comistum et erit musaicum seu vitrum album mtus et extra quo poteris componere omnes alios colores vitreos in tali forma in octo libris supradicte matherie pone oz. j zaffini pulyerizati et misce bene simul cum vergha ferrea et cam fuerit bene fusum proba cum modico si fuerit in coUore azurri quod si non esset adde modicum de zaffirro et stet in fnsione quousque habeat bonum colorem postea proice et erit in forma quo volueris custodi tamen a vento quando proicis. 275. Alius modus musaici. — ^ToUe christallinum lb j et pone ad ignem et cum fuerit ignitum proice in aquam ardentem in qua at desolutum polvere aluminis roccj et ita extmgue 16 vicibus post pulveriza super porfidum et misce cum eo ter tantnm de cerusa pulverizata et pone in olla ut sit semiplena et coperi et luta et pone ubi dequoquitur soda et ibi stet tantum sicut soda et cum infrigidatum fuerit invenies materiam tuam preparatam ad recipiendum onmes collores quos volueris. VOL. 11. P 532 BOLOQNESE MANUSCRIPT. 276. To make a taffiwn colauredy tfuxt is golden coloured, mosaic. — Take some of the prepared material, and add to it 1 oz. of 8a£Eron of Mars, and mix with it 8 lbs. of the prepared white material, and let it stand until it is of a gold colour. K it does not become so, add a little more safiron of Mars, and it will certidnly be like gold. But if you wish to make a red mosaic, put into the wUte material 1 oz. of alcocu, (?) and 1 oz. of calcined brass to 8 lbs. of the said material, and it will be red. But if you wish to make black mosaic, melt 1 oz. of iron, and 1 oz. of tin, and throw powdered sulphur upon it and it wiU make a very good black. 277. To make red mosaic.^ — ^Take three parts of the white material, 1 part of calx letitise, that is, calx of gold, 1 part of ashes of verzino and three parts of sal gem in powder ; mix the whole well together upon porphyry, and set it to melt in a glass pot in a glaas furnace and let it remain there for 4 or 6 hours. Then take it out, and you will have a red mosaic. 278. To make a rose coloured mosaic. — ^Take 8 parts of the white material and 3 parts of calx letilise, that is calx of gold, and 2 parts of cineris pencholim, i. e. brass burnt and reduced to powder, and 3 parfas of sal gem, pulyerize the whole to- gether, and do as you did before. 279. To make a pomeffranate-coloured mosaic. — ^Take 3 parts of the said material, and 1 part of calx solis, t. 0., calx of gold, half a part of manganese [ ?], and 1 part of salgem, and do as before. 280. To make a blue mosaic. — ^Take 3 parts of the said ma- terial, 2^ parts of ultramarine azure, and 3 parts of salgem, and it is done. 281. To make a green mosaic. — ^Take 3 parts of the said 1 This and the suooeeding chapter are proofs that the art of prodadog a red colour from gold was known and practiaed at this early period. It IB not likely that the verzino mentioned in the first redpe could hare produced the red colour, for it must have been converted into cbarooal kvg COLORES MTJ8AICI. 533 276. Ad faciendum mu9aicum croeewn i. e. colorem cattj,— Capias de dicta matheria preparata et pone cum ipsa oz i. cro^ fem et uriece cum ea 8 iLs de dir«.*eria p^paxai et alba et stet quoiisque sit in coUore aurj si non fuerit adde adhuc de dieto crocho ferri et certe fiet ut aurum* Si autem volueris facere musaicum rubeum pone in dicta matheria alba oz. j alcucu, j. es ustum in octo libris dicte materie et fiet rubeum. Si autem volueris facere musaicum nigrum fiinde oz. j $ martis et onciam ^ Jovis et proice desuper sulphur pulyerizatum et fiet nigrum valde bonum. 277. AJ fatiendum musaicum rubeum. — Accipe partes 3 de dicta materia alba et partes j calcis letitie i, e. solis et partem j. cineris brasilij et partes tres salis gemme pulverizatj et misce omnia simul multum bene super porfidum et pone fiisionj in una patella yitrj in fiimo vitri et stet per 4 vel 6 horas demum extrahe et habebis rubeum musaicum. 278. Ad fatiendum musaicum rosatum. — ^ToUe partes 3 de dicta matheria et partes 5 calcis letitie t. e. solis et partes 2 cinenis pencholimj i, e. es ustum et pulverizatum et partes 3 salis gemme et pulveriza omnia simul et fac ut supra fecisti. 279. Ad fatiendum musaicum granatum. — Habeas 3 partes dicte materie et partem j. calcis solis i. e. ami et partem me- diam de maneriaci et partem j. salis gemme et fiet ut supra. 280. Ad fatiendum musaicum azurrum. — ToUe partes 3 dicte materie et partes 2 cum dimidia azurri ultramarini et partes 3 salis gemme et fiet. 281. Ad fatiendum musaicum viridem. — Capias partes 3. before the glass melted. I requested the opinion of an eminent chemist on the probable eflfectB of these three recipes, and he told me, that there was nothing in them which could have produced the red colour but the gold. p2 531 BOLOGNESB MANUSCRIPT. material, and 2 parts and 2 oz. more of calx of iron, and Sparts of sal gem, and it is done. 282. To make a crysolite^ t. e., glass of the colour ofgold^ viz. — ^Take 5 parts of the said material, 10 parts of calcined lead, 10 parts of sal^gem ; put the whole together into the fiimace for 5 hours, and it is done. ^M COLORES MTJSAICI. 535 materie dicte et partes duas cum duabus oz. ma^ calcis martis et partes 3 salis gemme et fiet 282. Ad fatiendum crisolitum^ t. «., vitrum colloratum colhre auri viz. — ToUe de dicta materia partes 5 satumi ard partes x. salis gemme partes x et pone omnia insimul in fdmo per 5. horas et fiet. ( 536 ) HERE BEGINS A TREATISE ON THE VARIOUS COLOURS WHICH POTTERS USE TO INCREASE THE BEAUTY OF THEIR VASES. AND WE MUST SPEAK OF THEM IN ORDEB; AND FIBST, 283. To make fine white with marzachotto.^—Take 4 lbs. of calcined tin, 2 lbs. of marzachotto, 2 lbs. of stone,' and 3 oz. oi litharge. This is a tried recipe for painting vases. 284. To make a baked vase white without painting it^ ifH^ wish the vase to be white and clean, — ^Take 100 lbs. of litharge ground fine with water and with 20 lbs. of powdered tin» ^ grind the whole together, and then lay it on the jar liquid with water, and it will make it white. 285. To make a white with fflass.—Take 5 lbs. of tin, 3 lbs- of " pietra fucara de la viersa," 2 lbs. of good glass ; and if J^^ wish to improve it, so as to have it still finer, take 1 lb. 1^ of the said stone. 286. To make a white on which to lay azure. — Take 81be. of marzachotto, 5 lbs. of stone, and 4 lbs. of tin. 287. To make white for azure.— Take 5 lbs. of white glass, 3 lbs. of stone, and 4 lbs. of tin. 288. To make white for azure. — Take 2 lbs. of marzachotto, 1 lb. of stone, and 1 i lb. of tin. 289. To make white.— Tske 6 lbs. of tin, 3 lbs. of stone, and 4 lbs. of marzachotto. 1 The composition of this substance, which served as a base for the white covering of pottery, is not described. It probably resembled Mastichot or Massicot, which Kunckel (Art de la Yerrerie de Neri, Merret, et Kunc- kel, 2* partie, Livre 2, § premiere, traduit de I'AUemand par M. D. . • [Baron d'HolbackJ, Paris, 1759, p. 407) says was used for this purpose by the Dutch. It consisted of 100 parts of sand carefully washed and calcined, with 40 parts of soda and 30 parts of potash. For the second pre|)aratioo ( 537 ) INCIPIUNT DIVERSI COLLORES QUIBUS VASARII UTUNTUR PRO VASORUM PULCRITUDINE PER OBDINEM DICENDUM. £T PRIMO, 283. Affare triarico fino de marzachatto. — Accipe lb. iiij de stagno cocto t . e. stagno calcmato et lb. ij de marzachotto et lb. ij de petra et oz. iij de terra gietta et deprovata per dipen- giare vase. 284. j^are liancho el vaso cocto senza dipentura se tu vox cite lo dicto vaso lia biancko et neeto, — Habeas lb cento de terra gietta macinata subtilmente cum aqua et cum lb vinti de Jove 8pol?eri2ato et macina tucto insiemj poimectecum aqualiquido et fara biancho. 285. Affare biancho de vetrio. — Tolli lb 5 de stagno et lb 3 de petra fucara de la viersa et lb ij de bono vetrio et se lo voi oorre^are che sia piu bello tolli ima lb meno de la dicta petra. 286. Affare bianco per mectare azurro. — Ahwe lb 8 de mar- zachotto et lb 5 de petra et lb 4 de stagno. 287. Affare bianco per azurro, — Piglia lb 5 de vetrio biancho et 3 lib. de petra et 4 lb. de stagno. 288. Affare bianco per azurro, — ^Tolli lb 2 de marzachotto vaaa, lb de petra una lb et mezo de stagno. 289. Affare biancho, — Havvi lb 6. de stagno lb 3. de petra lb. 4 de marzachotto. of thiB massicot, 100 parts of massicot were mixed with 10 parts of salt, and the mixture was calcined several times. The Venetian MS. in the Sloane Collection, No. 416, mentions *^Mazachoto provenzale " as an in- gredient in the preparation for working " with azure upon vessels ' of yerth." ' See No. 286, where it is called ^'pietra fucara (focaja), (i. e., stone «hicb reddens in the fire, silica flint), de la Viersa." 538 BOLOONESE MANUSCRIPT. 290. To make white for a thin andjlat coat of azure. — ^Pnt in the mortar 4 lbs. of marzachotto, 2 Ibe. of stone, and 3 lbs. of tin. 291. To make white for paintinff certain colours demsed jud as you think proper. — ^Take 6 lbs. of marzachotto, 9 lbs. of tin, and 3 lbs, of stone. 292. To make a white for laying a flat tint of azure. — Take 6 lbs. of calcined tin, 3 lbs. of stone, and 4 lbs. of marzachotta 293. To make white.— Tdke 6 lbs. of marzachotto, 8 lbs. of stone, 9 lbs. of tin, and it is done. 294. To make white for azure. — ^Take 12 lbs. of marzadwtto, and 12 lbs. of stone, and 13 lbs. of tin, and it is done. 295. To make white for azure in relief. — Take 20 lbs. of tin, 10 lbs. of marzachotto, and 12 lbs. of stone. 296. To make white for azure in relief. — ^Take 5 lbs. of fine marzachotto, 6 lbs. of tin with lead, and 4 lbs. of stone. 297. To refne whites that are hard in the fire. — Take 10 lbs. of calcined tartar and 1 oz. of manganese. 298. To make the vase yellow. — Take litharge only, and it will be yellow, and take care that the earth contains no copper, for it would make it greenish. 299. To make yellow for glazing on the inside. — TUce 6 lbs. of litharge, 2 lbs. of stone of La Viersa, and 2 lbs. of tufo firom Civitella. 300. To make the vetse green. — Take strips of copper, and grind them fine, and you will make a fine green. 301. To make a green for glazing. — Take 12 lbs. of litharge, 6 lbs. of stone, and 4 oz. of copper-parings. 302. To make a deeper green. — ^Take 4 lbs. of tin, 2 lbs. of marzachotto, 2 lbs. of stone, and 4 oz. of copper-parings. 303. To lay on azure with the paintbrush. — Take 1 lb. of marzachotto, 1 oz. of zaffirro, 3 oz. of stone, and, if it does not melt, add to it one quarter [of an ounce] of Venetian tin. 304. For the same purpose, to make azure to lay on with the paintbrush.' — ^Take 10 lbs. of marzachotto, 2 lbs. of stone, 1 lb. of azure, 1 oz. of smalto ; and, if it does not melt, add an ounce more of smalto. COLORES QUIBU8 VASARH UTUNTUR. 539 290. Affare bianco per azurro mbtili spianato. — ^Recipe nella pila lb 4 de marzachotto lb 2 de petra lb 3 de stagno. 291. Affare hiancho per dipengiare certe collore divisati com- mo te pare. — Ahwe lb 6 de marzachotto lb 9 de stagno, e lb 3 de petra. 292. Affare biancho per metare azurro spianaio. — ^Tollilbsei de stagno caldnato, lb 3 de petra et lb 4 de marzachotto. 293. Affare biancho. — Piglia lb 6 de marzachotto lb 8 de petra et lb novo de stagno fomito. 294. Affare biancho per azurro. — Tolli lb xij de marzachotto et lb xij de petra et lb xiij de stagno facto. 295. Affare biancho per azurro relevato. — Ahwe lb xx de stagno lb x de marzachotto et lb xij de petra. 296. Affare biancho per azurro relevato. — Havve lb 5 de mar- zachotto fino lb 6 de stagno cum piombo et lb 4 de petra. 297. Adaffbiare i bianchi duri afoco. — Recipe lb x de taao cocto et oz. j de manghanese. 298. Affare ffiaUo el vaso. — ^Tolli solo la terra gietta liquida et sera zallo et guarda che la terra non tenga de rame che lo &rebbe verdegiare. 299. Affare giallo da vitriare denfro. — Ahwe lb. 6 de terra gietta et doi lb. de petra de la viersa et doi lb. de tufo de qnello de civitella. 300. Affare verde el vaso. — Piglia loppe de le rame et maci- nale subtili et farai verde bello. 301. Affare verde per invetriare, — Tolli lb. xij de terra gietta et lb. 6 de petra et lb. j. et j. oz. de ramina. 302. Affare verde de vantaggio. — ^Tolli lb. 4 de stagno lb. 2 de marzachotto lb. 2 de petra e oz. 4 de ramina. 303. A mectere CLzurro apenello. — ^Ahwe lb. j. de marzachotto oz. j de zaffirro oz. 3 de petra et se non fundesse vi mete uno quarto de sfagno venitiano. 304. Ad idem affare azurro per mectare a penello. — Hawe lb. X de marzachotto lb. doi de petra lb. j de azurro oz. j de smalto et se non fundesse mectivi oz. j piu de smalto. 540 B0L0GNB8E MAIOTSCBIPT. 305. Azure to u$e with the painibnuh. — Take 4 oz. of mar- zachottOy 1 oz. of stone, and 3 quarters [of an ounce] of azure. 306. Azure to use with the paintbrush. — ^Take 12 oz. of mar- zachotto, 4 lbs. of stone, 1 lb. of azure, and 1 oz. of zmalto, and it is finished. 307. To make azure in relief after the Florentine fashion. — Take 12 lbs. of marzachotto, 4 lbs. of stone, 1 oz. of enamel, and 1 lb. of azure. 308. To make azure. — Put into the mortar for the white 5 lbs. of calcined tin, 4 lbs. of marzachotto, 3 lbs. of stone. 309. To lay it on with the paintbrush.— Take 1 lb. of mar- zachotto, 1 oz. of azure, 2 or 3 oz. of stone, half an ounce of sal gem. 310. To make cLzure in relief to lay on with the paxntbrush.— Take 7 lbs. of marzachotto, 18 oz. of stone, 6 oz. of azure, 3 oz. of blue smalto. 311. To make violet azure. — ^Take 14 lbs. of marzachotto, 2 lbs. of stone, 1 lb. of azure, 1 oz. of manganese ; and, if it is not sufficiently purple, add half an ounce more of manganese. 312. To make a good light blue colour. — Take 18 oz. of ter- raghetta, 12 oz. of stone, 1 oz. of fine azure. 313. To make a fine coat of azure. — Take 18 oz. of tin, 6 oz. of azure, and 6 oz. of marzachotto. 314. To calcine tin and lead.— Take 100 lbs. of lead and 25 lbs. of tin, and put them into a reverberatory fiimace. 315. An earth for mending broken vcues, — Take 2 lbs. of dry [potter's] earth kneaded, and 3 lbs. of ground stone — a tried recipe. 316. To make a colour for painting vases^ such as Damascus vases or Majollica. — Take 2 oz. of pietra focara, 1 oz. of lead, 2 oz. of '^ crocus Martis," that is, yellow [hydrate] of iron, and it requires a moderate fire, and 3 oz. of marzachotto well purified. 31 7. To make azure to use with a paintbrush, — Take 12 lbs. of marzachotto, 1 lb. of azure, 2 lbs. of stone, and one quarter [of an ounce] of scarlet enamel. COLORBS QTJIBUS VAflABn UTUNTUR. 541 305. Azurro per operare a penello. — Tolli 6z. 4 de marza- chotto, 02. j. de petra et 3 quart! de azurro. 306. Azurro da peneBo.-'^CBfiisB lb xij de marzachotto lb 4 de petra lb j. dazurro et una oz. de smalto fomito. 307. Affare azurro relevato a modo Fiorentino. — PigUa lb xij de marzachotto lb. 4 de petra oz. j de smalto et una lb de azurro. 308. Affare azurro. — ^Mecti nella pila per lo bianco lb 5 de stagno acharso lb. 4 de marzachotto lb 3 de petra. 309. Per mectare a pwello. — Ayve lb j de marzachotto oz j. dazurro doi o 3 oncia de petra meza onda de salgemmo. 310. Affare azurro relevato per mectare a peneUo. — ^Tolli lb 7. de marzachotto oz. 18 de petra oz. 6*de azurro oz. 3 de smalto azurrino. 311. Affare azurro violato. — Awe lb 14 de marzachotto lb 2 de petra lb j de de azurro oz. j de Manghanese et ee non fiisse tanto violato metivi meza oncia piu de manghanese. 312. Affare colore de azurrino bono. — Havve 18 once de ^etta once xij de petra oncia j d azurro fino. 313. Affare azurro eubiili spianato. — ^Tolli once 18 de stagno oz. 6 de azurro et 6 once de marzachotto. 314. A eociare i. e. calcinare stagno et piambo. — Piglia lb C de piombo et lb 25 de stagno et metilo in fomello de reverbe- ratione. 315. Terra per araconciare vasi ro<^. — Tolli lb 2 de terra secdia lavorata et lb 3 de petra macinata prorata. 316. Affare coUore per dipengiare vase commo vase damasco e de mayoUica. — Ahvye once 2 de petra focara once j. de piombo ooce 2 de crocho de marte i. e. crocho de ferro et vole foco temperato et once 3. de marzachotto bene purgato. 317. J^are azurro da penello.— Tolii lb xij de marzachotto lb j de azurro lb doi de petra et uno quarto de smalto ver- miglio. 542 BOLOGNESE MANUSCRIPT. 318. To make ajine yellow far miniatures and other thingt.— Put two "Anconitani" of fine silver into a crucible to melt, and heat them in a blast furnace, and, when they are melted, add some well pounded yellow sulphur, and mix all well toge- ther. When the sulphur is consumed, add more to it, and continue this until the silver is quite dissolved ; then take it out of the crucible, and throw it into an iron trough. When cold, pound it, and grind it upon porphyry ; and if it does not grind well, that is, if it is not sufficiently burnt, return it again to the fire in the same manner, and continue this until you can grind it very fine. When the matter has been well ground with clear water, take French ochre, pound it and put it on an iron shovel, and let there be 3 oz. of it, and 6 denarj of common salt calcined ; mix, and heat the ochre upon the iron with the salt until it becomes red, and then grind it with the silver upon a brass plate, or upon a smooth brass basin with clear water as fine as possible, and let it dry. When you wish to use it, distemper it with gum water, and use it wherever you like, and you will have a fine yellow for painting and making flowers on black, white, azure, and green, and wherever else you like. B 319. To make a water to dissolve pearls. — ^Take 2 lbs. of sal-ammoniac, distil it through an alembic, and reduce it to water, and keep it in a well-closed bottle. Put the pearls into this water, and they will be converted into water, &c Hiis is a water that dissolves pearls, &c. B 320. To make pearls just like natural pearls. — ^Take pearls and pound them fine, and then put them into the before-men- tioned water ; then place the vessel containing the water with the pearls dissolved in it on the hot ashes to dry ; and when the water is nearly evaporated, and the pearls remain at the bottom of the vase, take it out, and add to it white of egg well beaten as if for vermilion, and knead up the pearls with white of egg like smooth paste. Then take moulds and make the paste into pearls, and let them dry ; pierce them, and let them boil in lin- seed oil. Then take them out and rub them in bran, and COLORES QUIBUS VASARIl UTUNTUR. 543 318. A fare zallo bello per minii o aUro. — Recipe doi anconi- tam de fino ariento et mectili in uno cnigiolo et mettili a fon- dare et & Aioco a vento poi commo sonno fusi metice solfaro giallo ben pisto et mista bene insiemj et quando e bniseiato el dicto 6ol&ro aragiongivinj piu et cusi fa tanto che el dicto ariento sia bene corupto poi cava la matheiia del crugiolo et ^etala in canale de feiro et quando e fredda et tn la pista poi la macina in su lo porfido se non se macinasse bene cioe che Don fiisse tanto bniseiato. Iterum lo ritoma al foco in lo dicto modo et tanto fa cosi che tu la possi madnare subtilis- simamente poi che e bene macinato la dicta materia cum laqua chiara toUj ocria francese et pistala et polla in su una palecta de ferro e fa che sia tanta che ariyj a tre once et sei denaj o Tero denaratj o deratj de sale comuno arso et mista insiemj et scalda la dicta terra in suso lo ferro cum lo sale arso per infino a tanto che tome rossa poi la macina cum lo dicto ariento in una piastra de octone o voi in uno bacili piano de octone cum laqna chiara quanto piu subtili poi lassa siucare et quando la Toj adoperare distemperalo cum aqua gomata et adoperala dovj te place et haveraj bello giallo per dipengiare et fiorire in nero bianco azurro et in verde et doi voi altroye. B 319. A fare aqua da disolvere perk. — Recipe sale armo- niaoo lb doj et distillalo per lambiccum et reduc in aquam et earn serra in ampullam turatam et pone in dicta aqua perlas et convertuntur in aquam etc hec est aqua disolvens marga- ritasetc. B 320. Afareperle naturaJe quasi. — Recipe perle et pistali subtilmente poi le pone in la supradicta aqua a disolverle et pone a zelare la dicta aqua cum le perle solute in le cenere calde et quando laqua e quasi andata via et le perle remangano oel fondo del vaso et tu le cava fora et ponli in albumj dovo ben dibatuta commo per cinabrio et intridi le dicte perle cum la dicta chiara al modo de pasta bene incorporata et habi le forme et fanne perle et lassale scuhare [sciugare?] et fidli forare et poi le pone a bollire in olio de seme de lino et poi le toglie et caciale in lo gozo ad uno piaonj per 5 hore et 544 BOLOONESB HAIOTSCRIPT. afterwardB in a linen cloth. And if^ instead of pearls, you put mother-of*pearly it is good, and will make good pearls, &c Also, the mould for making the pearls must be of fine silver, and ^t, like that for a ^* Ciara botana," ^ but small And many persons have them perforated in order that they may pass a horse-hair tinrough the hole, and that they may be easier to pierce, &c. B 321. To make a stucco for mahinff imitaiian corals. — ^Take the white horn of a cow, break it, and soak it in a^roDg ley for the space of a fortnight ; then make it boil over the fire nntil it becomes soft like glue, and so that you can stram it through a cloth or a strainer ; and when it is drained, take vermilion in the fimest powder, and mix it up with the strained liquid, so as to be like dough, and ni^ke paternosters of it in moulds like pearls as before ; then boil them in linseed-oil, and let them dry. And if you scrape the horn with a glass, and then soak it in the manner above mentioned, it will soften so that you may strain it more easily, and do with it as before, and you will have fine and beautiftil imitation corals. B. 322. To make a gold cohurfor painiing earthen vessels pre- viously glazed. — Take pure silver caldned and burnt with alum, and arsenic and sulphur, three parts of lime, and one part of e^shells ; mix the whole together with white of egg and with juice of celandine and distemper it with gum arabic, and with this paint the vases before they are baked. 1 The word is frequently used by Benvenuto Cellini, who writes it << ciorbatana." Florio (Diet., Ital. and Eng., London, 1698) defines it to COLORES QUIBUS VASARH UTUNTUR. 545 renchiude lo pianoj in loco che lo possce havere et poi cavali et stropiciali in lo remolo et poi in lo panno de lino. £t in loco de perle anco se ce pone la matre perle e bona et faraj perle belle etc Item le forme da fare dicte perle TOglino esser dargento fino et dorato ad modo de quello de ciarabotana ma piccolini et anco ce sono multi che le fanno forate acio possino poi mectare una seta de porco per mezo el bucio a cio siano piu fadli a forare etc 6321. A fare stucho per fare coralli cordrafatti, — Recipe oomo bianco de bo et rompilo et mectj lo a moUo in ranno forte per spatio de xv dj poi lo fa bollire al foco tanto che tomj moUe ad modo de colla et per modo che se colara cum panno de Uno o stamegna et coUato che sera tolli cinabrio subtilissimo et bene macinato de vantagio et incorpora cum detta colatura ad modo de pasta et fannj patrenostrj cmn le forme commo le perie de sopra et poi li fa bollire in olio de semj de lino et lassale seccare. Et se tu radesti el como sopra dicto cum uno ?etiio et poi lo mectesti a moUo in lo modo sopradicto et moli- ficarasse in modo che lo colarai piu &cilmente et fa commo de sopra et haverai coralli contrafacti et belli etc. B 322. AfarecoUoredoroperpegnarevase de terra primo vitriate. — Recipe argento pure caldnato et abrusciato cum alome de araenico solphoro parte tre de calcina gusce de ova parte ima tucta cum chiara dova mestica cum sugo de celi- dooia e distempera cum gomarabico et pigne luase inuante che se cocano. be '< a tninke to ahoot pelleti with one's mouth. Alao a kind of mortar- cbamber or short bombard." ^ ( 546 ) HERE BEGINS THE TITLE OF THE EIGHTH CHAPTER. ON DTES FOR DYEING CLOTH, 8ILK, SKINS, AND CHAMOIS LEATHER, AND DIVERS OTHER THINGS. ALSO HOW TO MAKE CHAMOIS LEATHER IN MANY AND VARIOUS WATS. AND FIRST HOW TO DYE CHAMOIS LEATHER. 323. To dye kidskim with verzino. — Take kidskins and wash them and press them well with the hand as much as necessary, and then take 9 oz. of verzino well pounded, and add to it 24 bocali full of plain water, and 1 bottle of water of quick- lime, which lime must be slaked with a little, that is to say, half a glass, of ley made from the ashes of the vine, and when you see the lime begin to smoke, add to it three bocali of lime water, and pour it into the verzino and let it boil until it is reduced one-third ; then strain it and spread the skins one upon another. Then take 4 oz. of roche alum, with 4 bo- cali of water, and dissolve the alum in the water over the fire, and when the water is tepid, apply it lightly on both sides of the skins with a paintbrush gently, giving them one coat only ; then set them to dry in the shade, until they are half dry. Next take the said verzino and make it boil for a quarter of an hour, and then remove it from the fire, and take 1 oz. of fenugreek, and 1 oz. of linseed, well pounded together, and put them into the water with the verzino, let the mixture cool so as to become tepid, then give two or three coats on eadi of the skins, and each time let them dry until they are soft to the hand, but not quite dry, and stretch them on the pummel. And if you wish to have them of a fuller colour, the more coats of dye you give them the darker they will be. Put them to dry in the wind or in the air in a place where they will not be exposed to the sun, and fold and pull them to ( 547 ) INCIPIT DISTINTIO OPCTAVI CAPll ULI D£ TINTIS AD TINGENDUM PAMNUM SETAM £T PELLEM IN CAMUSSIUM ET MULTA ALIA. £T DE GAMUSIIS FIENDIS FEB MULTOS ET DIVERSOS MODOS. ET PRIMO AD TINGEN- GENDUM CAMUSSIUM. 323. A tegnere caprete in verzi/io. — Reccipe li caprete et lavali et premili bene cum le mano tanto che sia bastevile poi toUi once nove de verzino bene pisto et metilo in vintiquattro boeali daqna comuna et j. bocali daqua de calcina viva la quale caldna se vole spengiare cum uno poco de liscia de cenere de vite cioe mezo bichiere de quella liscia et quando lo vede che comenza affumare et tu ce mectj tre bocali daqua de calcina et mecti nel dicto verzino et lassa bulire tanto che manche el terzo poi lo cola et toUi li caprete et stendilj tuctj uno sopra alaltro poi toHi once quattro de alumj de rocho cum quatro bocali daqua et metti lo alumj a disfare in dicta aqua al foco et commo laqua e divinuto tanto che sia tepida et tu ne da de questa aqua ale pelle cum uno penello da tucti doi li late de le pelle una volta ligiermente poi le pone asciugare alombra tanto che se sciugano per mita poi tolli el dicto verzino et fallo buUire per uno quarto de hora poi lo leva dal foco et tolli once j. de fingreco et once j. de semj de lino pisto bene insiemj et metilo in nel aqua del verzino ct lassa refredare che vegna tepda pioi ne da ale pelle doi o tre volte per pelle et omne volta le lassa sciugare che siano pastose ala mano et non siano seccbe in tucto poi le mecte ala storta o ala stroppa. Et se piu le voi pine de collore quanto piu li darai la tinta tanto viranno piu cupi et mectili asciugare al vento o alaiere dove non habiano sole et mectile alia stroppa et falle morbide. Et ancho chi volesse piu pino collore tolli uno torlo dovo et VOL. II. Q 548 BOLOONE8E MANUSCRIPT. make them soft. And if you wish the skins to be of a still deeper colour, add for the maestra the yolk of an egg to this solution of verzino and stir them together and the colour will be very fine. 324. To dye ktdskins in scarlet. — ^Take kidskins soaked with alum, and wash them well until the alum is washed out of them, and for every dozen of skins take 8 oz. of verzino pounded or rasped with a rasp, and put it over the fire with as much water as you may think sufficient for the skins, but the usual quantity is 3 bocali of water for every ounce of verzino, and let it boil until the verzino becomes nearly black. Then re- move it firom the fire, and let it settle for a night, and in the morning there will appear a certain scum on the top of it, which you must remove gently, because it would soil the skins. Pour one half of this dye into a basin, and put the skins into the other half to soak one by one, and manipulate them well, that is, stir them about and squeeze them and then put them on a string to dry without wind or sun, and when they are nearly dry, put them back into this dye or water one by one, take them out gently, and do not squeeze them. Then put them to dry as before, and when they are nearly dry, work them about well in your hands, and for the maestra take two ounces of tartar, and put it into a glazed jar, and make it boil until reduced one half, or more, and this is the maestra. Then take that first quantity of dye which you set apart, and add to it a little of the maestra and mix them well together, and tiy it upon your hand ; if you see that it has not enou^ colour add a little more to it, and take care not to add too much, be- cause it would make the dye too dark. And when the dye is tepid, apply it with a sponge on both sides of the skins and put them dripping as they are, upon a string to dry without wind or sun, because that would make them too hard, and when they are nearly dry, stretch them well with the hand or with a wooden hammer until they are quite soft, and this is the best and most masterly practice for dyeing. DE TINTIS AD TINGENDUM TELLEM. 549 mectflo in questa aqua de verzino et stempera insiemj et mectilo per maestra in nella tinia et viranno beletissime. 324. A tegnare caprede in vermiglio. — ^Tolli pelle de caprette alumate et lavale bene tanto che nescha lo alumj et per omne dofiina de pelle toUi 8 once de verzino pisto o raspato cum raspa et polio al foco cum quella aqua che te pare che sia bastevile per le pelle ma il consueto e questo che per omne oncia de verzmo vole tre bocali daqua et lassalo tanto bolire che el verzino diventi quasi negro ahlora levalo dal fuoco et lascialo posare per una nocte et la matina aparera uno certo panno et quello levalo via legiermente per che £ma machiarc le pelle poi toUj una catinella et metivj una parte de questa tinta et metila da parte poi tolli laltra mita et metivi dentro a bagnare le pelle a una a una poi le conda bene cum mano cio e remenale et spremile bene cum le mano poi le cava fora et mectile in una corda asciutare alombria senza vento e sole et quando seranno apresso che sciute et tu le rimecte in questa medesima aqua o intinta a una a una commo prima et cavale l^ermente et non le torcere et polle a sciugare al modo disopra et quando sonno a presso che sciute et tu le rimena per mano molto bene et per sua maestra tolli doi once de alumj de feecia et metila in una pignata vitriata et fallo tanto bulire che calli per mita o piu poi tolli de questa aqua per sua maestra et poi tolli quella prima in tenta che reserbasti et mistace uno pooo de quella aqua de maestra et miscola bene insiemj et £Bumi el saggio in su le mano se tu vede che non agia asa ooUore et tu ve ne gionge im poco piu et guarda non ve ne mectassce troppo perche te daria la tinta troppo cupa et quando la tmta sera tepida vienj bagnando le pelle cum una spogna da tucti doi li cante poi le pone cosi sgociolante in su una corda a sdugare senza vento e senza sole perche le faria incrudire troppo et quando sonno a presso che sciutte et tu le stendi bene cum le mano et cum la stroppa tanto che siano bene a 2 550 BOLOGNESB MANTTSCRIPT. 325. To dye sheepskins scarlet^ on the side of the Jlesh^ for shoes. — Take the skins, and wash and wring them, and work them well with three or four waters, and then beat them well with a wooden hammer in order to press out the water, and then take a dyer's horse and spread the skins upon it and scrape them with a knife so as not to cut them, and squeeze them well, and then stretch them out upon a cord, and let them dry a little, and then beat them with the hammer until quite dry, in order that the dye may not penetrate through the skin. And for every dozen of sheepskins take 9 oz. of rerzino well ground, and put it on the fire with two metadelle of water for each ounce of verzino, and boil until the water is reduced one half. Then pour it into a glazed earthen vessel, and covw it up so as to confine the vapour, and put back the lees that remain behind, with ten metadelle of water, and make it boil until reduced to less than one half, and then begin to dye the skins with this last water, of which you must ^ve them two coats, and mix up the lees, and after each time let the skins dry, and the third time give them the stroppa and open them well, and when they are well opened, give them a third C4Mi.t of the first colour, and then give them a second coat of this colour, and when nearly dry, rub them lightly with your hand ; and then, for the fourth time, put for each dozen of skins one metadella, and one-third of ley into the dye, for its maestra. Some per- sons, in order to make the colour deeper and more brilliant, add two yolks of eggs. When they are dry, dye them with the dye into which you put the maestra, and, when again diy, rub them gently, and they will be done. 326. To dye sheep-skins scarlet on the side of the hair, to make shoes. — Take the skins well washed and cleansed from lime, and 4 oz. of galls well pounded, and boil them [in water ?] until re- duced one-third, and let them become tepid. Put the skins into this water and gall, and wring them well, and then let them remain in the water for a night ; then take them out and let DE TINTIS AD TINGENDUM PELLEM. 551 morbide et questa e la migliore pratica et maestra che se £acia per tegnare. 325. A tegnare montcne in vermiglio da h lata de la came per fare ecarpe. — ^Avve le pelle et lavale et Btorcile et rimenale multo bene a tre o a quattro aque poi torcele multo bene ala stro]^ acio neisca quella aqua bene poi habbi iino cavalecto et distendile multo bene cum una costa non che taglie et apremile bene poi le 8tende in una corda et lassale sdugare uno poco poi li da la stroppa o la steccha tante volte che sia bene sciucta acio la tenta non passa la pelle. £t per omne dozina de pelle de montone toUi novo once de virzino bene trito et mectilo al ibco cum doi metadelle daqua per oncia de verzino et fallo tanto bolire che advenga per mita poi lo pone in uno vaso de terra yitriato et coprilo bene che non sfiate poi lo cola et rimecte la feccia che rimane al foco cum dece metadelle daqua et fa bullire tanto che mancha piu che la mitta poi comenza a tringiare queste pelle cum questa ultima aqua de fecie et dalinj due mano di questa ultima aqua et rimista le fecie et da una volta et laltra lassale sciutare et la terza volta tu li da la stroppa et aprele bene poi che sonno ben aperte et tu li da el primo coUore questa terza volta et daglini doi mane et quando 8ono apresso che sciutte stropale ligiermente cum mano poi la quarta volta tu vi ni mecte per dozina una metadella et uno terzarulo de ranno in lo coUore per sua maestra et alcuno ce mettj per fare piu lustrenti et piu pino el collore doi torlj dova et quando sono scucte et tu le tengne cum questa tanta che hai dato li dentro la maestra et quando sonno sciute et tu le stroppa ligiermente et sonno facte. 326. A tegnare montonj in vermilglio dal canto del pelo per fare scarpe. — Abbi le pelle bene lavate et divolte dala calcina poi toUj once quattro de galla bene pista et falla tanto boUire che aventre per terzo poi la lassa devenire tepida et in questa aqua gallata mectj le pelle et storci le bene poi ce le lassa stare per una nocte et poi le tira fora et poUe asciutare et quando sonno 552 60L00NESE MANUSCRIFT. them dry, and when tbey are nearly dry, giye them the stroppa, and then take i oz. of roche alum to each skin, and make it boil in a vessel with a small quantity of water, and soak the skins in this alum water, and squeeze and wring them so that aD the water may run well out. Then take a piece of lime which has not been slaked, put it into a basin, and add to it enough water to cover it by one finger's breadth, and stir it well, so that it may be perfectly dissolved ; then let it settle, and when it has settled for one night take off the sciun or crust which the lime forms on the top of the water, and then take two bocali of fresh water, and pour them into a pan, and when the water boils put into it 2 oz. of verzino well pounded, and boil it until it is reduced one-half, add to it a little pounded gum araUc, and remove it from the fire, and when it is tepid take away the skins, and sew them up all round so that the side of the flesh may be outside, and leave the neck open, and pour in the dye through the neck, and stir and shake it well 4 or 5 times in the dye, so that the dye may cover the whole of the skin. And if you wish to have a fuller colour, add to it for its maestra as in the last recipe a yolk of egg, well beaten up, adding it a little at a time to the dye until the colour appears full enough. Then pour it into the skin, and shake it all over it, so as to touch every part When the skins are dry, polish them on a smooth bench with glass, and they are done. 327. To dye doff-cottars and couples a good and fine scarlet. — Take the skins, wash them well with fresh water, and let them dry ; then take 3 oz. of roche alum to each skin, bml the alum [in water], and when it is dissolved and tepid give each skin two or three coats of it. Then take for each skin 3 or 4 lbs. of galls well pounded, boil them a little, and let them cool so that you can bear your hand in the liquor, and then put this water and galls into a bucket, and shake the skin well about in this water, and let it remain in it a day and a night that it may be- come soft. Then put it to dry, and while it is drying, work it about in your hands that it may become soft. When it is well dried, take 3 oz. of verzino well pounded for each skin, and to DE TINTI8 AD TINQENDUM PELLEM. 553 apresso cbe sciute et tu le stroppa et stecchale poi toll j una onda dalumj de rocho per pelle et fallo bulire in uno padelecto cum una bocalecta daqua poi mectj le pelle a moUo in questa aqua alumata et spremile et Btorcile bene siche nesca via quella aqua multo bene. Et poi tollj de la calcina in petra che non sia disciolta et media in una catinella et metive tanta aqua che sopra avance uno deto et mista bene che se disolva tucta de ▼antagio poi lassala riposare et commo e bene riposata per una nocte et tu li leva via uno certo solo o panno che la calcina per- duradisopra alaqua poi tollj doibocalj daqua frescha et mectila in uno padelecto et quando bollj et tu ve pone dentro doi onci de verzino ben jnsto et iallo bollire tanto che manche la mita de et mectiyj uno poco de gommarabico pisto et levalo dal foco et commo e tepido et tu tollj le pelle et coecile de intomo intomo per mode che lo lato de la came vegna di fora et lassa el collo scoBcito et per quello collo scuscito vi mettj la intenta et mane- giala et rimenala multo bene de vantagio in qua et in la cum la intenta 4 0^6 volte tanto che la intenta agiungha per tutto la pelle. £t se tu volesci lo coUore piu pino metivj per sua maestra laderietavolta uno torlo dovo bene sbatutoetmetilo in la dicta intinta a poco a poco tanto che te ptua che sia pino poi k) mecte in la pelle et dallj bene de intomo dela et di qua re- menando la dicta pelle poi che sonno tente et tu le liscia in uno banco polito cum lo vetrio et sonno facte. 327. A tengere pelle de sovatto in vermiglio bane et belle. — Havvj le schinj et lavale bene cum laqua chiara et lassale suc- care poi tollj once tre de alumj de rocho per cescuna schina et fiiQo bollire et quando e tepido che sia bene disfacta dannj doi o tre mane per schina poi toUe per omne schina lb j. de galla bene pista et mectila a bollire uno poco et lassala refiredare tanto die tu ce posse patere lamano poi mectj questa aqua gallata in una bigoncia et menerai la schina multo bene per quella aqua et lassala stare cusci undi et una nocte che se molla bene poi la pone a sciucare et infinentre che se sciucca et tu le palmegia ado diventano morbide et quando e bene sduta tolli once tre de verzino per cescuna schina bene pisto et per omne oncia de ! 554 BOLOGNESB MANUSCRIPT. each ounce of verzino put two bocali of water, and then add two glasses .of solution of tartar, and put it into the Y&nsDo when it is boiled, and then add i oz. of gum arabic, and put this dye into a glass vessel, as clean as possible. Tlien take the grounds of the verzino, and add to it 3 glasses of water, and make it boil until reduced one-half, and with this water, boiled on the grounds, begin to dye the skin with a paintbrush or a sponge, and let the dye be tepid, and so put it on as often as necessary, but do not put too much tartar (which is its maes- tra), that it may not be too highly coloured ; and when yon dye it, let it dry each time, and when it is dry ntb it with your hands, and then with the stick on the side of the flesh to make it soft, and it is done. 828. To dye scarlet. — Take ^ lb. of sandal wood and ^Ibw of madder, boil them together with plain water until reduced to one-half, and then add half a fogliecto^ of ley for its maestra to make the colour deeper, and a piece of quicklime, and boil it until reduced to one-third ; then prepare the skins for dyeing as in the other recipes. 329. To dye very fine scarlet, — Take 1 lb. of verzino co- lumbine well ground, and soak it in clear water for the space of two days, and then put it into a boiler containing 3 or 4 bocali, to boil until reduced by one-third, add to it 2 oz. of quicklime and 3 oz. of roche alum ; and if the colour is pale add 2 oz. of fenugreek ; and if you wish to have it of a fuUer colour add a fogliecto of boiled ley and it will be of a fine colour. 830. To dye skins of a very beautiful and good purple colour, — First take the skin prepared like chamois leather, and dip it two or three times in clear water, and shake it and wrii^ it, and then take 2 oz. of roche alum, and put it into two bocali of plain water, and make it boil, and let it cooL Tlien take the skin, and dip it in the alum water, and wash and wring it well, and let it dry in the shade. Then take 2 oz. of 1 A liquid measure used at Florence. ^■IP DE TIKTIS AD IINGENDUM PSLLEM. 555 verzino metivj doi bocalidaqua et poi ce mectj doi bicbiere de aqua de alumj de fecia et polla in lo verzino qiiando e oocto poi oe mectj meza oncia de gommarabico poi mecti questa tinta in UBO vafio de vetrio neto qnanto poi poi tolli quello fondaccio de verzino et mectice dentro 3 bicbiere daqua et fallo bollire tanto che maoche la mitade et cum questa aqua del fondaccio comenza a tegoare in su la schina cum uno penello o vero una spogna et fa che la tenta sia tepidaet cusi vi ni da tante volte che siaasai et n(m cemectare troppo alumj de fecia che e sua maestra acio non havesse troppo coUore et quando tu li daraj la tinta laasa scingare per omne volta et quando e facto et tu la mena cum mano et foi cum la stecca dal canto de la came che divente bor- bida (sic) e de £buHx>. 328. A tegnare in vermifflio.—ToUi meza libra de sandoli et meza lb de robbia et fa bullire insiemj cum aqua comuna per in fino divengha piu che la mita poi ce mectj meza foglieta de raimo da capo per sua maestra et piu pino lo colore mectice una zupa de calcina viva et fa bullire tanto che arentre per tertio poi Dutrica le pelle per tegnare commo in le altre reoepte. 329. A tegnare in verzino bellitissimo. — ^Abbi libre j de ver- zino columbine bene trito et metilo a molle in aqua chiara per spatio di doi di poi lo mecte in uno caldaro de 3 o 4 bocali a bullire tanto che calli per terzo poi ce mecti doi once de calcina viva et 3 once de alumj de rocho et se el collore fiisse chiaro mec* tice doi de fino greco et se lo volesti piu pino mectice una fbgli- ecto de ranno hollo et sera bono collore. 330. A tegnare le pelk in colore de pcMmazzo bellitissimi et ^e. — Prima tolli la pelle concia in camoscio et bagnala doi o 3 volte in laqua diiara et remenala et storciala poi toUj doi once de alumj de rocho et mectilo in doj bocali daqua comuna et fallj levare el bolore poi la lassa fredare poi toUj la dicta pelle et bagnala in la dicta aqua alumata et lavala et storcila bene poi la pone asciucare alombra poi tollj doi once de verzino bene 556 BOLOONESE MANUSCRIPT. verzino, well pounded, and put it into a boiler with three bocali of water, and make it boil until it is reduced by one- third, and take the skin, very dry, and stretch it well, and then take the verzino, which must be tepid, and spread it o?er the skin with a paintbrush, or with a sponge, and let it dry in the shade, and out of the wind. When it is dry pve it two other coats of the verzino, letting it dry between each coat Then take a lump of quicklime, and put it into a piece of linen, and tie it closely and dip it into what remains of the verzino, and while you are thus wetting it, press out all that you can into the verzino, and then take the skin, and give it another coat, and it will become purple and beautiful. And if you wish to dye more than one skin, take for each skin 2 oz. of alum and 2 oz. of verzino, and as much water as was mentioned above, and make it boil as before. 331. To dye skins red, — ^Take the root of knot grass, other- wise called blood wort,^ which children put to their nose or tongue to make it bleed ; then take one metadella of strong white wine vinegar, and put into it some of this root very well pounded, and make it boil until reduced one half, and then put this dye into a pan, and when it is tepid dye the skins, and give them so many coats that they may have a good colour. And you may reduce this root to powder, because it is then good for dyeing all the year round. When the skins are dry rub them in your hands to make them soft. 332. To dye kidskins green. — Take of the grains or berries of the plant or shrub called privet, by some called also " fioria,*' and by others ** oriola," which has a leaf like the laurel, and its leaf grows crosswise upon the bough, and at the end of the bough there grow several berries, black like pepper, which re- semble ivy berries, and which are ripe in the month of Sep- tember. Take 1 oz. of these berries for each skin, and then take several tender twigs of a fig tree, and cut them into little bits, and then distemper the said privet berries with two cup6 1 FoligoDum Aviculare. DE TINTIS AB TINGBNDUM PELLEM. 557 pisto et metilo in uno caldaro cum 3 bocali daqua et fallo tanto boUire che arentre per terzo poi tollj la dita pelle bene sciuta et stendila bene poi tollj el verzino che sia tepido et dallo sopra ala dicta pelle cum uno penello o spogna et metila a sciugare aloaibra et senza vento poi che e sciuta dallj doi altre mane de lo dicto verzino et sempre da una mano alaltra lassa sciutare. E de poi tollj una zuppa de calcina yiva et metila in una peza de panno de lino et lega la bene poi tollj la dicta peza et bagnala in quello rerzino che te rimase et commo tu la bagni cusi la yieni spre- mendo in lo dicto verzino quello che cenuscira poi tolli la pelle et darai li una altra mano et lassa sciugare et sera pavo- ,naza et bella. E se tu volesci tegnare piu che una pelle tolli per onme pelle doi once de aliimj et doi once de verzino et tanta aqua quanta fii dicto sopra et fallo tanto bulire. 331. A tegnare in rondo la pelle. — ^Ahwi radice de herba spagnola alias dicta Saguinarella che li fanziulli se la mectano al naso o vero alia lingua per fare uscire el sangue poi tollj una mectadella de aceto forte de vino bianco et metiyj dentro de questa radice pista bene et fa tanto bullire che manche la mita poi mecti questa tinta in una catinella et quando e tepida vienj tang^ndo le pelle et dalinj tante mane che habia bona tinta et de questa radice fanne polvere perche e bona tucto lanno per tegnare poi che le pelle sonno sciute menale per le mano acio diventano morbide. 332. A tengnare caprecte in verde. — ^Tolli de quelli grani o acinj che fa questa herba o arbore che se chiama olivella et alcuno la domanda fioria et chi la chiama oriola che fa la folglia commo lorbacho et fa la folglia in cruce in su la rama et in capo ce & parecchj granj commo pepere nigri et sonno commo adnj o pipere de hellola et sonno mature del mese de setempre colglie de li dicti granelli once j per pelle poi tollj parecchi ra- mictinj de fico tenere et talglialj in frustri menuti poi distem- pera cum doi scudelle daqua la dicta olivella et bene sbactuti 558 BOLOGNESS KANU8CRIPT. of water, and beat it all up well together and let tbe water boil for a quarter of an hour, and then set it to cool untal it becomes tepid, and before you boil it, put into it a glassful of strong vinegar ; and when it has become tepid, lay two or three coats of tliis dye upon the skin, until it is well dyed. And if you wish to hare the dye of a deeper colour, add more of tbe privet berries, and it will be a fine bright green. 333. 7b dye skins green. — ^Take ripe buckthorn berries and put them into a boiler, and add an equal quantity of vinegar, that is, an equal weight to that of the berries, and let it boil a little, and then strain it through a piece of linen doth, and poiur it into a glazed vase, and when you wish to use it, take the skins, and spread the colour upon them with the paint- brush, and they will become green, and you can keep this colour or dye for a whole year, if kept well closed. 334. To dye the skins yreen, — Take some "pero citrine'* when ripe, and extract the juice, and then add some good and strong white wine to that juice, that is to say, for every petitto of juice, two of wine, and boil them together until reduced one half; then take a hare's foot or a paintbrush, or a small sponge, and dip it in the juice and dye the skins once or twice with it, until you consider the colour to be sufficiently deep. It must be dried without sun or wind. 335. To make a green dye for dyeing cloth, thread, or silk. — Take roche alum, and dissolve it in a boiler, and let it boil till it is well dissolved ; then take it o£F the fire, and let it cool so that you can bear your hand in it, and then put the cloth, or silk, or thread, into it, and let it remain for a day and a night, and then take it out and let it dry well. Next take a little verdigris and make it boil in the water, and then remove it, and wheu the water is become tepid, put the cloth into it, and work it well in your hand, and let it dry, and if you give it another wetting with a little roche alum, it will become of a brighter colour. If you wish it to be darker, add more ver- digris. 336. To dye skins blue. — Take for each skin 1 oz. of indigo, DE TIKTIS AD TINGENDXIM PELLEM. ,559 insiemj et poi pone a buUire dicta aqua per uno quarto dhora pm la poDe a fredare tanto che diventj tepida et nante che tu faci bolire metice dentro uno bichiero daceto forte et commo sera direnuta tepida et tu da de questa intinta a le pelle doi o 3 mane tanto che sia ben tento. Et se le voj piu cupi mectivj piu de qaelli granellj et rira verde chiaro et bello. 333. A teffnare pelle in verde. — Accipe semina spinj cervinj matura et micte in caldario et tamtumdem fortis aceti scil: quantom est pondus semina predictorum et &c ut buliat parum demum cola cum peza alba linj pannj et eum pone in vitriato vase et cum vis operare acipe pellas et da super eas collorem ilium cum penello et reniet virides et potes servare dictum collorem sive intintam per totum annum bene clausa. * 334. A ieffnare la pelle in verde. — ^Tolli del pero citrine quando sonno mature et trannj el sugo poi toUj vino bianco bono et grande et mectilo in quelle sugo cioe per omne pectito de sugo doi de vino et fa buUire insiemj tanto che callj per mita de poi toUi uno pe de lepore o uno penello o uno poco de spogna et bagna in quelle sugo et tegne le pelle ima volta o doi secondo che te pare che habia vivo collore per omne volta vole essere sciuta senza sole e senza vento. 335. Affare tenia verde da tegnare pannoj o refe o seta. — Re* cipe alumi de rocho et melilo a strugiare in una caldara et fidlo bullire tanto che se distrugia bene poi lo leva dal foco et lassalo refredare tanto che tu vi possci patere la mano poi ce mecti dentro lo panno o sete o refe et lassalo per uno di et una Docte poi lo tint fora et lassalo bene sciucare poi tolli uno poco de verderamo et fallo bullire in la dicta aqua et poi la leva via et quando laqua sera diventata tepida et tu vi mecti lo panno et manegialo bene cum mano et polio a sciutare et se tu li darai imo altro bagno cum uno poco dalumj de rocho vira cum piu vivo collore et se piu cupo lo volesci mectivi piu verderamo. 336. A tegnare pelle azurre. — Summe pro qualibet pelle 560 BOLOGNESB MANXTSCRIPT. and grind it well with strong vinegar, and to each otinoe of indigo take one foglietta of vinegar, and dip a paintlnrash or a hare's foot into it, and lay it upon the skins, and dry them in the shade. Then give them a second coat, and let &em dry, and they will be very beautiful. And if you boil the vinegar a little with the indigo, the skin will be of a much bri^ter and fuller colour. 337. To dye the skins Mack. — ^Take the skin prepared with sumach and scrape it on the side of the flesh and rub it well with pumice stone ; then take whites of egg, and lay them on the side which you have pumiced, and let it dry. Next take fine black, and lay it with a paintbrush upon the white of egg which you laid upon the skin, and let it dry, and then take the maestra mixed up with oil, and lay it upon the black with a paintbrush, and let it dry in the shade, and then break it with the steoca, and it will be like silk, and its maestra is lime water mixed with common oil. 338. To make a black dye for dyeing skins^ that is to sat/t fine shoemaker^ s black, without iron. — ^Take a boiler full of the juice of sumach, and add to it some dust from a wheel [or grindstone] and let it boil until reduced by two fingers' breadths in depth ; and when it is cool you may dye the skin with this dye, and every hour it will be a finer dye. 339. To dye kidskins a fine and beautiful black. — ^Take the skins, and wash them very well in three or four waters ; then squeeze them and wring them well in the stroppa until the water is run well out of them. Then stretch them upon a string to dry, and for every dozen of kidskins take 2 oz. of verzino ground, and boil it until it is reduced to one half, and then take it off the fire, and when it is tepid begin to lay the colour on, and squeeze it well with your hands, and each time let the skin dry a little, and do this 3 or 4 times, and the 4th time put a little very clear lime water into the dye with which you dyed the skins, and this is its maestra, and dye them the fourth time, and when they are nearly dry, give them the stroppa until they are dry. Then take a little oil with a sponge, and DE TINTIS AX) TINOHNDTJM PELLEM. 561 oncia j de indico et emn bene macina cam forti aceto et pro qiudibet oncia indid unam foglietam acetj et infunde penellum ant leporis pedem et da snper pellas demum sicca eas sine sole deinde desuper alteram yicem dictam tintam et permite sicari et erunt polcherrime. £t si fetcies bulire aliqnantulnm dictum acetnm cum dicto indico Tenient tibi multum magis clare et colloris plene. 337. A tegnare h pelle in nero. — ToUi la pelle conda in scotano et radda ben dal canto de la came poi tolli una pu- mice et pumiciala bene poi tolli chiare dova et dalli dal canto che tu hai pumiciato et lassa sciugare poi habbi lo nero fino et dallo cum lo penello sopra a la dicta chiara dova che desti sopra ala pelle et polla a sciugare poi habbi la maestra incor- porata cum lolio et dalla sopra a lo nero cum lo penello et polla a sdugare alombria poi la rompe ala torta poi la rompe ala stecca et sera morbida commo seta et la sua maestra sd e aqua de caldna viva nusta cum oleo comuno. 338. A fare tenia nera per tegnare peUe doe tenta da calzo- hre Jinasenzaferro. — Ahyye uno caldaro daqua de scotano frngato e &Ila tanto bullire che calli quatro deta poi ce mectj de lo lozo de rota et bolla tanto che calli doi deta et quando sera fredda cum questa aqua tu porai tegnare la pelle et omne bora sera piu fina tenta. 339. A tegnare caprecti in nerojini e belli. — ^Tolli le pelle et lavale molto bene a 3 o a 4 aque poi torcele et spremile bene alia stecca o ala stroppa tanto che nesca bene quella acqua poi le stende insuso una corda asdugare et per una dozina de pelle de capretti tollj once doi de verzino trito et &llo boUire tanto che manche per mita poi lo leva dal foco et quando sera tqndo et tu li comencia a dare el collore et premili bene cum le mano et da luna Tolta et laltra lassale uno poco sdugare et cosd fa 3 o 4 volte poi la quarta volta pone in nella tinta che bai tmti li caprette uno poco daqua de calcina vivd che sia ben chiara et questa e la sua maestra et tinge la quarta volta et poUi a sdugare et quando sonno a presso che sciutte et tu li da la stropa tanto che siano sducte poi tolli uno poco dolio cum 562 BOLOGNBSE MANUSCRIPT. lay on the kidskins as much of it as they will take, and then give them the stroppa in order that the oil may penetrate well into the skins. When you hare done this, roll up eadi skin into a lump by itself, and let it stand so for a ni^t, and then giye them the stroppa again, and spread them out in the shade, and they are done. And know, that the more yon soften them with your hand or with the hammer, the softer they will be. 340. To dye sheep or kidskins a fine cmd good bla bene disfacti et tu leva dal foco la dicta pignata et mecti '.^^ 576 BOLOONESE MANUSCRIFI. solved remove the pipkin from the fire, and pour the water in which the alum and salt were dissolved into a pan, and when it is just tepid add for each skin 3 or 4 eggs well beaten. Mix them well with the water, to which add a little flour well beaten with the other ingredients, and a little oil, less than the fourth part of a foglietta to each skin, and mix all well together ; then put the skin into the liquor and stir them well in the preparation ; let them remain in it covered closely for 3 days. Then take out the skins, and squeeze them well one by one, and then rub them in your hands one at a time in order, and put them to dry shel* tered from sun, wind, or smoke ; then beat them with tlie ham- mer. 356. To make a preparation for chamois leather^ good^ and true^ and tried.^ — ^Take dry skins well seasoned and from healthy beasts, and put them into a tank of water to soak for 3 days, and then wash them well in the tank from all dirt that may hang about them, and when they are well washed throw away the water. Then take fresh quicklime, and put it into the tank, and mix it well with water, and when the quicklime is well slaked and dissolved so that it is very thin and liquid, put the skins into it one by one, continually stirring the lime water, and let them remain in soak for three or four days, more or less, according to the state of the skins, and until the hair comes well oS, Once every other day, or every day at the most, take them out of the lime water, and hang diem over the tank for an hour to drain ; then put them back into the tank, and when the hair comes well ofl^, lay them to drain well in a trough for two hours. Then take a beam supported on two feet, and lay the skins upon it in order, one upon another, and then take a crooked stick of the shape of a horse's rib, and scrape the hair with tlie stick from each skin, and when the hair is all stripped off, put them back to soak in the tank containing the lime and water for 16 or 20 days, and every other day stir them about well in the lime water ; after 16 or 20 days take them out, and carry them to a running ^ This recipe is distinguished in the original by a hand drawn in the margin. DK CAMUSIIS FIENDISv 577 laqua alumata et salata in una concha et commo la dicta aqua e divinuta tepida et tu ce mectj 3. o 4 ova per pelle bene diba- tutj et mistalj bene cum la -dicta aqua et poi li mecte uno poco di formento disfiicto bene cum la dicta aqua et mective uno poco dolio cioe manco che el quarto duna foglietta per pelle et mis- tica bene omne cosa insiemj poi ce pone le pelle et menale bene per la dicta conda et lassa stare per 3 dj le dicte pelle bene copeTte dala dicta concia et passati i tre dj cava fora le dicte pelle et spremilj bene ad una ad una poi le remena per mano ad una ad una ordinatamente poi le pone a sciutare in loco che non habia ne sole ne vento ne fiime et ponele ala stroppa o stecca. C^ 356. A fare concia in camoscio bona et vera et probata. — Tolli le pelle stagionate et non sieno de bestie insane et sieno le pelle seche et metilj in uno mastello daqua a moUe per tre dj poi le lava molto bene in lo dicto mastello da omne immun- ditia che Ic pelle havessaro et commo sonno bene lavate gietta viaquella lavatura poi toUj calcina nova et viya polio in lo dicto mastello et distempera la dicta calcina cum aqua molto bene et commo la calcina e ben disfatta et disolta et che ella sia ben brodosa et liquida et tu ce pone dentro le dicte pelle ad una ad una sempre remenando la dicta aqua et calcina et lassale stare a moUe li dentro per 3 di o 4 o piu o meno secundo le pelle et per mfino a tanto che se pelano bene. £t omne di o vero onrne doi di al piu le cava fora una volta da la dicta aqua et calcina et poUe sopra alo dicto mastello per una hora a scolare poi le ritoroa dentro in lo mastello commo prima et commo se pelano bene et tu le pone a scolare in una caviglia molto bene per doi hore poi habbi uno cavallecto da doi pei et mettice suso le dicte pelle ordinatamente luna sopra laltra poi toUj una bastone re- tratto in forma duna costa de cavallo et mandato giuso el pelo cam lo dicto bastone molto bene a pelle per pelle poi che sonno ben pellate remectile a moUe in lo dicto mastello dove te rimase 1a dicta aqua et calcina per spatio de 16 o 20 di et omne capo 1 5#8 BOLOGNESE MANUSCRIPT. stream, and wash them and squeeze them well, to remove the lime from them. And when they are well washed and clean, throw away the lime and water from the tank, wash it very clean, and pour into it as much lime water as you think will just soak the skins, and then put into it sufficient bran to make the warm water pretty thick. Put the skins, when well washed, one by one into the \iTaxi and water, and let them remain so for 3 days; then take them out and wash them in a running stream to remove the bran, and afterwards carry the skins well washed to a ladder or a trough, and then take the skins one by one and wring and squeeze them well so that there may not remain any water in them, and the better they are squeezed and pressed the whiter they will become. And if in pressing the skins any bladders should form, prick them with a needle in order that the water may drain out ; and when the skins have well drained, and have been all squeezed separately, smooth the skins one at a time by pressing the hand all over them, and lay them one upon another well stretched at the neck, at the shoulders, and all over the skin, and then make the tank very clean, and put into it as much tepid water as you think the skins will well bear, and rather more than less. Then take an ounce of roche alum well pounded, and an equal quantity by weight and not by measure of pounded salt, and } oz. of gum arabic well pounded ; put the powders into the tank with the tepid water, and mix them well in order to dissolve them ; then take the skins one by one well stretched out, and dip them into the water in which the powders are dissolved, pressing them and dipping them, and stirring them well, that they may soak up more of the alum water, and do this to each skin separately, and when the skins are well stirred and soaked put them to drain for an hour, and let the drippings fall into the water in which the skins were dipped. Then take as much flour as you think sufficient for the skins, and wet the flour with the drippings of the skins which you reserved, and distemper it so that it may be like paste for making fritters. Add to the paste an ounce of oil, or one egg for each skin, and know that when you mix BE CAMUSIIS FIENDIS. 579 de doi di le remena molto bene in la dicta aqua calcinata de poi 16 0 20 dj et tu le cava fora et portale alaqua corrente et lavale et spremile molto bene acio la calcina escha fora. £t commo soimo bene lavate et neetj tolli lo dicto mastello et gietta via quella aqna et calcina et lavalo per modo che aia bene necto et mectice tanta aqua tepida cbiara quanto tu crede che le pelle pofiBano ben stare a moUe poi ce pone dentro tanto dc remola groeea che la dicta aqua tepida yengna uno poco spessa poi tollj le dicte pelle ben lavate et metile dentro in la dicta aqua re- molata ad una ad una et cosi le lassa stare per 3 di poi le cava fora et lavale molto bene alaqua corrente acio tucta la remola vada via poi porta le pelle bene lavate ad una scala o vero ad una caviglia poi tollj le dicte pelle ad una ad una et dallj lo torcholo et premile bene che non ce rimagna niente daqua et quanto seranno meglio spremute et atorcholate tanto piu bianche viranno. Et se in lo torcolare le pelle faeessaro alcunc vesiche apuntale et foraJe cum uno adbo acio la pelle se possa bene soo- lare dalaqua et commo le pelle sonno bene scolate ad una ad UDa et bene spremute de vantagio stendile cum le mano per tata la pelle ad una ad una et pone luna pelle sopra laltra ben distesa al coUo a le branehe et per tucta la pelle poi tollj lo dicto mastello bene necto cum tanta aqua tepida quanto tu poi com- prehndare che le dicte pelle possano bene ricevare et innanze pin aqua che meno poi tollj una oneia dalumj de rocho bene pisto cum altretanto de sale pisto a misura et non a peso et meza osda de gomarabica bene pista poi pone le dicte polvere in lo dicto mastello dove e la dicta aqua tepida et remistale bene acio se disolvano poi tollj le dicte pelle ad una ad una bene stese et metile in la dicta aqua tepida dove sonno disolute le dicte polvere spremendole et reimbeverandole et remenandole bene ado pt^iano meglio quella aqua alumata et cusci fa a pelle per pelle et commo le pelle sonno ben remenate et et imbeverate et ta le pone a scolare per una hora et ricoglie la scolatura sopra alaltra aqua che te remase de le pelle poi tollj farina afiorata tanta quanta te pare bastevilj ale pelle et distempera la dicta fiirina cum la dicta scolatura dele pelle che reservasti et dis- VOL. II. s 580 B0L0GNE8E MANUSCRIPT. the flour, the drainings must be tepid and not hot Mix them well together, then take the skins one by one and put them into the paste or composition, and let them remain for three natoral days at the most ; then take the skins just as they come, with- out stretching them at all, and put them to dry upon a string in the shade, and as they dry you must stretch them, and theo beat them with the hammer, and rub them well with your hand that they may have a finer surface, and the work is done. And know that each kidskin, and skin of the same size, requires the alum and the other things of the weight above given. And if the skins are those of sheep, or goats, or such like, they re- quire 3 oz. of alum and 3 oz. of oil, or 3 eggs and U oz. of gum arabic for each skin. Follow the recipe as above directed. 357. To dye silk or cloth red, — Take 1 lb. of silk, and 4 oz. of soap, and put them into a cauldron with water, and let it boil until you see the silk appear starred. Then take it out, and wash it well in clear water until the silk becomes white ; drain it well, and wring it with your hands, and then spread it out, and this is done when the silk is not boiled. Then take 4 oz. of alum in another small vase and boil it, and dissolve it in dear water, and when it is dissolved take another larger vase, and fill it with firesh water, and put the alum into it, and then put in the silk, and let it remain 3 days and 3 nights, and then wash it and stir it about well in fresh water, wringing it well with your hand until the alum is washed out. Then take a kettle of fresh water, and 3 oz. of powdered verzino, and let it boil until reduced one third ; then fill it up widi fresh water, and boil it again till reduced one finger's breadth. Then take it ofi^ the fire and divide the water into two portions, and into one of these put the silk and let it stand till it is cold. Then wring it with your hand, and put it back into die other water which you reserved, and let it be as hot as you can bear A TEGNARE SIKICO. 581 temperala per modo che sia commo pasta da fare fritelli poi pone in la dicta pasta una oncia dolio per pelle o vero uno oto per pelle et sappi che quando tu disterapere la dicta farina la seo- latura vole essere tepida et non calda et mistica bene insiemj poi tolli le dicte pelle ad una ad una et metile in la dicta pasta 0 compositione et lassale stare per 3 di naturalj al piu poi tolli le pelle commo le venghano senze extirarle de niente et polle in su ima corda a secare alombra et commo se venghano secando cusci le vienj stirando poi le pone ala steccha et remenale bene per mano acio levano piu bella grana et diventano piu morbide e de facto. Et sappi che omne pelle de capretto o similj a quelle vogliano lo alumj et laltre cose al peso dicto de sopra. £t se fiissaro peUe decajstrone o capre o altre simili vogliano 3 once de alumj per pelle et cusci 3 once dolio o vero 3 ove per pelle et una oncia et i de gomarabica et seguita la recepta alo sopradicto modo. 357. A tengnare airico o drappo rosscio. — Tolli una libra de sirico et 4 once de sapone et mectilo in uno caldaro cum aqua et bolla per iniino che vede aparere lo sirico ad modo de stelluccie da poi trallo fora et lavalo ben in aqua chiara per infino che lo sirico sera facto bianco et scolalo bene et torcilo cum mano dapoi lo stende. £t questo se fa quando lo sirico non e cocto. Ma poi tolli oz. 4 dalumj in uno altro vaso picolo cum la boli- tione et strugilo in aqua chiara commo e structo toUj uno altro Taso magiore et impilo de aqua chiara et mectj dentro lo dicto alumj et poi ce pone lo dicto sirico et stia li dentro tre di et tre nocte poi lo lava et rimenalo bene in aqua chiara torcen- dolo bene cum mano tanto che quelle alumj escha fora poi tollj uno^caldaro cum aqua chiara et tolli 3 once de verzino trito et &llo boUire tanto che arentra per terzo poi reirape lo dicto vaso daqua chiara et bolla de novo tanto che calli uno deto poi levalo dal foco et parte per mezo la dicta aqua de verzino et in una de queste parte ce pone lo dicto sirico et lassa stare per infino ehe se refireddj de poi lo torce cum mano poi lo repone in laltra aqua che reservasti et sia tanto calda che tu ce possce 82 582 BOLOONESE MANUSCRlPr. your hand b it. Then drain it and wring it well, and spread it out in the sun and it will be fine. 358. To dye silk or thread saffron coloured or yellow, — ^Take 1 lb. of silk and 4 oz. of soap, and boil it until it gives the before-mentioned sign of little stars, and then distemper it with 4 oz. of alum as before and put the silk into it, and let it re- main in soak for 1 natural day. Then draw it out, and do not let it be stirred or washed in the water, but take it out and dry it in the sun so as not to crease it. Then take 2 lbs. of 'Vherba roccia," called also ^^ panioella," and put it to boil in a cauldron until it is well boiled and prepared, and then take a ^rase, and put fresh water into it, and an equal quantity of the decoction of this herb, and let both these waters be so hot that you can but just bear your hand in them. Then put in the silk and let it soak for 3 or 4 hours ; then wring and put it back two or three times into the decoction, which must be tolerably hot, and without any other mixture, and then spread it out to dry. ' S£9. To dye silk or thread purple. — Take 4 oz. of soap and lK)il [&e fiilk] as before directed, until it appears starred, and let it be washed in clear water, and then be spread out ; then take a vase with clear water, and put into it 2 lbs. of oricelloto every pound of silk, if the oricello is good ; if the oricello is not very good, put 3 lbs. of it into a cauldron for 2 hours, and let the fire be moderate ; then let it cool, and wring it well, and put it into a very clean woollen cloth and squeeze it well, and let it remain so for 3 days, and then wash it well in clear water, wring it, and then stretch it out in the shade, and when it is dry roll it up in a white linen cloth tolerably tight 360. To dye silk or thread violet, — Take 2 or 3 lbs. of ori- cello, and divide it into two portions, and put one part of it into water to boil with the silk, and let it boil for an hour ; then draw out the silk and stretch it out, and fold it up ; after- wards put the other half of the oricello to boil together witli the former portion until there remains but a very little water. A TBGNABE SIRICO. 583 patere la mano poi lo scola et torcilo bene et stendilo al sole et sera beUo. 358. A tegnare sirico croceo o vero giallo o refe. — Hawe una libra de sirico cum 4 once de sapone et bolla tanto che facia lo sopradicto signale de stellucie dapoi distemperalo cum 4 once dalumj commo e diclo desopra et mectj dentro lo sirico et stia a molle per uno dj naturali poi tiralo fora et non sia remenato nella dicta aqua ne lavato ma sia tracto fora et steso al sole per modo che non se intriche poi tolli doi libre de herba roccia cio e panicella et metila a bullire in caldaro per infino che sia ben cotta et confectata poi tollj uno vaso et metice aqua chiara et altretanta aqua de la cocitura de la dicta herba cotta et tucti doi quelle aque siano ben calde che tu ce possce patere la mano poi mectj dentro lo sirico et stia a molle per 3 o 4 bore poi lo torce poi doi o 3 altre vole mectj lo sirico a molle in la dicta aqua cotta et sia ben calda senza altra mistura poi lo stende a sciutare. 359. A tegnare sirico pawnazzo o refe, — Ahyve once 4. de sapone et cocilo commo e di sopra dicto che apare certe stel- luccie et sia layato in aqua chiara et poi sia steso poi toUj uno Taso cum aqua chiara et mectice doi libre de rogello per una libra de sirico se lo rogello e buono se non fusse troppo bono meticene 3 libre et fa bene bollire cum lo sirico in uno caldaro per doi bore et sia lo foco temperate et poi lo pone a fredare et poi torcilo bene et metilo in uno panno de lana bene necto et stringilo bene et cusci lo lassa stare per 3 dj poi lo lava bene in aqua chiara et torcilo bene et poi lo stende alombra et. commo e sciutto metilo in uno panno de lino bianco ordinatamente strecto. 360. A tegnare sirico violato o refe, — Tolli doi o 3 libre de rogello et partilo per mita et una parte sia messo in aqua a bullire cum lo sirico et bolla per una bora poi tira fora lo si- rico et sia steso et revoltato dapoi sia messo laltra mita de ro- gello a bollire insiemj cum lo sopradicto per infino che aremanga uno poco daqua poi levalo dal foco et stia lo sirico in quella 584 BOliOGNESE MANUSCRIPT. Then take it away from the fire, and let the silk remain in that water to cool for one natural day. Then wring it and wash it with clear water and let it dry in the shade, and then pat it into a linen cloth rolled up tolerably tight as before. 361. To dye silk and thread black. — Take i lb. of galls well crushed, and boil them in a cauldron with water, until they are well boiled, and then put in the silk to boil in the decoction of galls for half an hour. Then take it out and let it dry in the sun or in the wind, and then take 3 pitchers of shoe- maker's blacking, and 1 pitcher of the decoction of galls, and two petitti of dust from a grindstone, and mix the whole to- gether and make it boil for an hour. Then let it cool and clear very well, and then separate that clear water from the lees in another vase, and add an ounce and a half of well pounded vitriol and set it to boil, and when it has boiled for the fifth part of an hour, add to it half a glass of common oil, and then put in the silk to boil for half an hour. Then re- move it from the fire and let it remain so for a day and a half, and then take it out and wash it in clear water and wring it well, and spread it out in the sun, and this dye as long as it lasts is good for dyeing. And know that the silk must be always boiled, and if it has not been boiled it cannot be dyed ; and it must be boiled in the before-mentioned manner with soap. And the silk that has not been boiled is distinguisbed in the following manner from the silk that has been boiled. Put the silk into your mouth and chew it a little, and let it be wet with the saliva, then rub it with your fingers ; if it rustles while it is wet it is not boiled. 362. To dye silk or thread green, — First make the fflik yellow with " panicella " as was before directed for yellow silk, and then take 1 lb. of silk and 4 oz. of indigo, and put it into a saucepan with a little water to boil for half an hour or less, and then take it away from the fire, and cover it for half a day with a cloth, and if the indigo is not dissolved, rub it up with your fingers in the water, and let it clear itself; then separate the water from the lees, and put the water into a vase that is A TEGXARE SIBICO. 585 poca daqua a refredarse per uno dj natural] p(H sia torto et laYBiD in aqoa cbiara et polio a aciucare alombra poi metilo in uno panno de lino agollupato competentemente strecto commo e dicto desopra. 361. A tegnare sirico negro o refe, — Piglia lb \ de galla Dene amachata et cocila in uno caldaro cum aqua che sia cocta bene poi mecte dentro lo sirico a boUire in nella dicta aqua gallata per meza bora poi lo tira fora et polio a sciutare al sole 0 al vento poi tolli tre brooche de tenta da calzolare et una broccba de quella aqua gallata et tolli doi petti de loto de rotta et mista omne cosa insiemj et fa bullire per una bora poi lassala refredare et multo bene rescbiarare et poi sepera questa aqua cbiara dale fecce in uno altro vaso et in questa aqua duara mecte una oncia e ^ de vitriolo ben pisto et polio a bul- lire et commo ba bollito per uno quinto dbora et tu ce mectj mezo bichiero dolio comuno poi ce mectj lo sirico a bullire per meza bora poi toUj via dal foco et lassalo cusi stare per uno di et mezo poi tiralo fora et lavalo in aqua cbiara et torcilo bene poi lo stende al sole et questa tenta dummentre cbe ella dura e bona per tegnare. Et sappi cbe lo sirico deve essere sempre cocto et se non fusse cocto non se poria tegnare et cocilo in lo modo sopradicto cum lo sapone et quando lo sirico non fusse oocto se cognosse in questa forma da lo sirico cbe e cocto se vole mectare lo sirico alia booha et masticarlo uno poco et fa che sia bagnato cum la saliva et da poi lo sfrega cum li deta et se quella bagnata stride non e cocto. 362. A tegnare sirico verde o refe. — Prima fa lo sirico giallo com panicella commo e disopra dicto de lo sirico giallo poi tollj una libra de sirico once 4 de indico et metilo in uno oal- dareto cum poca aqua a bullire per meza bora o manco poi tola dal foco et coprila per mezo di cum uno panno et se lin- dioo non fusse desfato atritalo cum li deta in la dicta aqua et lassa rescbiarare poi sepera laqua cbiara dale fece poi mete la dicta aqua in uno vaso che sia bono da tengiare et quando tu 5S6 BOLOONESE MANUSCRIPT. fit for dyeing. And when you wish to dye it^ take the solution of indigo and put it to warm, and when it is hot, take a lump of quicklime as big as an egg, and half a pound of honey, to every pound of indigo. Then put one -third part of the lime into the wat«r, and when it is hotter, put in another third part, and when it is nearly boiling, add what remains, and then re- move the water from the fire, because if it were to boil, it would boil over the saucepan. Then pour the decoction into a vase, and let it be well covered over like a stew, and when it is cool enough to bear your hand in, put in gently the yellow silk, which must have first been dipped in fresh water and well wrung. 'Hien put it into the solution of indigo, and warm it gently, and if it is but sUghtly coloured put it back again into the dye, and you may repeat this several times with the dye as long as any of it remains, if you preserve it ; and when you wish to dye anything, put in fresh indigo and honey, but not ia such quantity as before. 363. To dye silk a dark green. — ^Take the silk dyed with a purple or violet colour ; and when you have taken it out, dip it in alum, and then dye it with ^ pamcella,'* as was before directed for a yellow dye ; and when it is so dyed, you will do as before directed for a green colour, and you will have a dark green. 364. To dye silk or thread blue, — Take the silk boiled and washed as before directed for boiling silk white and without alum, put it into the indigo-dye, and you will have a fine light blue. 365. To dye red. — Take for every pound of thread 3 oz. of roche alum well ground, and put the alum into a vase with water over the fire ; and when it has boiled a little, put Che thread into it, take it off the fire, and let the thread remain soaking in it until it is cool. Then take it out and wash it well until the water comes off clear ; and take 1 oz. of verzino in powder, either scraped or rasped, and pour water upon it, and boil it for an hour and a half. Hien remove it away from the fire, and strain it through a linen cloth ; then first set the strained liquor to boil, and when it is nearly bmling put the A TEGNAKE SIHICO. 587 vole tegnare tollj la dicta aqua indicata et metila a scaldare bavj poi che e calda una zuppa commo uno oyo de calcina viva et meza libra de mele per libra de indico et poi mectj in la dicta aqua la terza parte de quella calcina et quando sera piu calda mectj laltra terza parte et quando sera per bollire me* tice laltra vanza et alora remove la dicta aqua dal foco perche Be boUisse usciria fora del caldaro et mectj la dicta bullitione in uno yaso et stia bene.coperta ad modo duno stufo et quando sera tanto fredda che tu ce possce patere la mano pianamentj mectice lo dicto sirico giallo e bagnato in nelaqua chiara prima et bene spremato poi lo mete in la dicta aqua indicata et calda pianamente et se havesse poco collore de novo lo remectj in la dicta tinta et cusi poterai fare piu fiate cum la dicta aqua per infino che durara se tu la conserve et quando tu volesti tegnare reoova la calcina et lo mele et non in tanta quantita quanto prima. 363. A tegnare lo sirico verde scuro. — Ahwe lo sirico tento in collore pavonazo o vero violato et tracto che laj fora tingilo in lo alume poi lo tegne cum la panicella commo e dicto de aopra in lo colore giallo et cosci tinto farai commo e dicto disopra in lo colore verde et haverai verde scuro. 364 A teffnare lo sirico in turchino o refe. — Tolli lo sirico cocto et lavato commo e dicto desopra dela cocitura de lo sirico cosci bianco et cocto senza alume commo e dicto desopra mectilo in la dicta aqua indicata et haveraj bello turchino. 865. A tegnare in roacio, — Havve per omne libra de refe once 3 de alumj de rocho bene trito et mectj lo dicto alume in uno vaso cum laqua al foco et commo ha bullito imo poco et tu vi mec^ dentro lo refe et levalo dal foco et lassa cusci stare lo refe nel bagno fino che se fredda poi lo tira fora et lavalo bene per infino die nesci laqua chiara poi tollj once j. de yerzino in polvere o raso o raspato cum la raspa et metice suso de laqua et &llo bollire per una bora et j^ poi lo leva dal foco et colalo cum uno pannp de lino poi pone la dicta coUatura a bullire et quando sera per bollire et tu ce pone lo dicto refe et lassalo 588 BOLOQNESE IdAMUSGRIPT. thread into it, and let it boil for an hour, and dien take out the thread and put it upon a stick to dry. Next add to the liquor which remains one glassful of very strong ley for eadi pound of thready and stir the liquor well, in order for it to unite with the ley, and then return the thread into it and boil it for a quarter of an hour ; afterwards stretch it out to dry in the shade, and it will be fine. 366. To dye thread with verzino, — Take verzino, and boil it in water as long as you think sufficient, and then take the thread and gall it well ; afterwards wash it in fresh water, and then alum it, and let it nearly dry ; warm the verzino, and dip the thread several times into the dye to colour it, and dry it weU in the shade. 367. To dye thread red. — Take some madder well pounded, and put it into a little ley made from vine ashes, and let it boil, and put the thread to boil in the ley for some time ; then remove it from the fire, and let it dry ; when it is dry alum it, and then boil it in a little verzino well boiled with water and ley mixed together ; then dry it in the wind without sun, and it will be fine. 368. To dye silk blaeh^ — Take soot, and scrapings of boilers, and well rusted iron, and boil these ingredients in red wine til] reduced more than one-half, and when it has become tepid, pat in the thread well dipped and dried several times in the dye, and it will become fine black thread. 369. To dye cotton or silk black, — ^Take 1 lb. of iron filings. 2 oz. of galls well pounded, 1^ oz. of Roman vitriol, rinds of pomegranates, bark of the roots of walnut-trees, 2 oz. of verzino well ground, and strong vinegar; boil all together until reduced to one-fourth, and let the decoction cool, and put it in the sun for 3 or 4 days, stirring it 8 or 10 times every day. Then strain it, and when you wish to dye silk or cotton set the decoction to boil, and boil the silk or cloth in it for a quarter of an hour ; then dry it in the shade, and the more you dip it, the finer and more beautiful it will be. 370. To dye cotton cloth. — Take 5 lbs. o£ galls well pounded, A TEGNARB R£F£ O QUARNELLO. 589 boUire per una hora poi cava fora lo dicto refe et polio sopra uno bastone che se sciuta poi mectj in lo dicto bagno cbe te aromasto uno bichiero de ranno fortissimo per cescuna libra de refe et mista bene lo dicto bagno acio se incorpora cum lo ranno poi tomalj lo dicto refe et ponalo abullire per uno quarto dhora et poi lo pone asciugare alombra stcso et sera bello. 366. A tegjutre refe in verzino. — ^Tolli verzino et cocilo in aqua tanto cbe te paia che sia bastevile poi tolli lo refe et gal- lalo bene et poi lo lava alaqua chiara poi lo aluma et lassalo quasi sciutare poi scalda lo verzino et mecte a tegnare lo refe piu volte in la dicta tenta et sdugalo bene alombra. 367. A tegnare refe in roseio. — Ahwe uno poco de robbia bene pista et media in uno poco de ranno facto de cenere de vite et fallo bullire et mecti lo refe a bullire in lo dicto ranno per una peza poi lo leva dal foco et polio a sciutare commo e sduto et tu lo aluma poi lo pone a bullire in uno poco de ver- zmo bene cocto cum aqua et ranno misto insiemj poi lo sciuca al vento senza sole et sera bello. 368. A tegnare in nero lo refe, — Tolli fuligini raditura de caldaro et ferrj bene aruginatj et fa bullire queste cose in vino Termiglio piu che per nuta et quando sera divinuto tepido et tu ce pone lo refe bene callato et sciucho piu volte in essa tinta et ▼ira bello refe nigro. 369. A tegnare guamello o seta in nero, — Ahwe una libra de limatura de ferro once 2 de galla bene pista cmce j et ^ de ▼itriolo romano scorze de mele granare scorze de radice de Dooe poi tollj once 2 de verzino ben trito poi toUj aceto bianco forte et fa bullire omne cosa insiemj tanto che toma per quarto et poi lassa fredare pone la dicta decotione al sole per 3 o 4 dj et omne dj lo mista Sox volte poi la cola et quando tu vole teg- nare mecti a bulire la dicta decotione et metice la seta o panno a bullire dentro per uno quarto dhora et poi lasciuta alombra et commo piu ce la metera piu se fara bella et piu fina. 370. A tegnare guarnello. — Tolli galla bene pista lb 5 et 590 BOLOONESE MANUSCRIPr. and put them into hot water with 10 lbs. of *^ pignolato,'** and then add 5 lbs. of Roman vitriol well pounded, and mix the whole well together, and let it stand a night, and it will be good. 371. To dye banes preen. — Mix finely powdered verdigris with the very strong vinegar, and put white bones into a vase closely covered, warm them a little, and they will become green. 372. To dye bones red. — Take verzino scraped, and put it into a glazed jar, and pour urine and ley upon it ; then dip bones into it, and they will be red. 373. To dye skins a light grey. — Take 12 bocali of water and 3 oz. of galls well pounded, boil until reduced one-third, and then strain the liquor, and add 6 oz. of Roman vitriol to the decoction of galls, and dye the skins. And if you wish to have a dark grey add to it a bocale of ley, one glass of oil, and boil it, but the vitriol must not be boiled. 374. To make good writing ink. — Take a bocale of good and strong white wine, 4 oz. of galls well crushed, one handful of dried rinds of pomegranates, one handful of the fresh bark of moun- tain ash scraped with a knife, and one handful of fresh baik of roots of walnut trees, and 2i oz. of gum arabic ; mix the whole together with the wine, and let the mixture remain for 6 or 8 days in the sun, stirring it well 4 or & times every day. TTien add 2j^ oz. of Roman vitriol, and mix it frequently, and let it remain so for several days ; then put it over the fire to boil for the space of one miserere^ let it cool, and then strain it and leave it for 2 days in the sun. If you then put in it a little roche alum it will make it much brighter, and it will be a good and perfect writing ink. 375. To dye bones of oxen^ buffaloes^ and goats^ of all colours inside and out. — Put the bones into strong vinegar, and let them remain for 7 days ; then boil them with that vinegar until re- duced to one-half. Add to them the colour with which you wish to dye them, and boil it with them ; then put in a little sal- Guamello is a kind of cloth made of cotton, but the teim is also used A TEQNARE OSSO. 591 poUa in aqua calda poi ce pone lb x de pignolato poi ce pone lb 5 de yitriolo romano bene pisto et mista bene insiemj multo bene et lassa stare una nocte et sera bona 371. A tegnare losso in verde. — Capias acetum acerrimum firidem erem subtilissimum et pone in dicto aceto et intus pone o«a alba in aliquo vaso bene coperto et aliquantulum calefac et efficitnr yiridis. 372. A tegnare losso in rosscio. — ToUe verzinum rasnm et pone in olla vitriata et intus pone de burina et de liscivio et in- tus pone de ossis et fient rubeis. 373. A tegnare pelle in bretino chiaro* — Tolli 12 bocalj daqua et once 3 de galla bene pista et fa tanto bullire cbe arentre per terzo et poi la cola et tolli once 6 de vitriolo romano et metilo in la dicta aqua gallata et poi tegne le pelle. £t se volesci bertino scuro metice uno bocale de liscia uno bichiere dolio et mecti a bulire ma non vole buKre el vitriolo. 374. A fare inchostro bono et ^da scrivare. — Tolli uno bocale de vino bianco grande et bono et once 4 de galla amachata bene et una mandata de scorze de mele granote seche et una manciata de scorze de omello fresco rase con lo cortello et una manciata See Lanzi, vol. ii., pp. 82, 251. Andrea di Salerno was also called Sabbatini. He was bom in 14S0, and died in 1546. PRELIMINARY OBSERVATIONS. 605 Unless, therefore, it can be shown that this recipe was written in the kingdom of' Naples, we must suppose that it was written a short time previously to 1513. In this recipe it was recommended to mix the blue pigments employed in fresco painting with milk ; and as Andrea di Salerno worked with Baffaello, it may be inferred that this was the practice of the best masters of that period. A recipe invented by Giovanni da Udine, for making Stucco, is given in this MS. Giovanni also worked at Borne under Baffaello, who had been invited by his kinsman, Bramante, to decorate the Stanze of the Vatican for Pope Julius 11.^ This invitation must have been given previous to 1513, for Julius died in that year. In 1527 Bome was sacked, and many artists lefl the city after this melancholy event, to seek in other parts of Italy a home more congenial to the arts; among these was Giovanni da Udine, who for some time resided at Florence, where he decorated the Palace and the Chapel of S. Lorenzo. Giovanni died in 1561, or 1564.* This recipe was communicated by another artist named in this MS.| who, although a sculptor and architect by profession, exercised consi- derable influence on the sister art of painting. This was Jacopo Tatti, usually called Sansavino or San- sovino,' a native of Florence, who studied painting under Andrea del Sarto. Sansovino, whose fame ex^ tended beyond the bounds of his native city, went also to Borne, on the invitation of Giuliano di S. Gallo, the 1 Julius II. was made Cardinal in 1471, and Pope in 1503. * Lanzi, Indice de* Professori. s Lena, vol. iii., p. 152; and Indice de* Professori. 606 MARCIANA MANUSCRIPT. architect of Julius II. He continued to reside in this city, returning occasionally to Florence, until the sack of Rome, when he was obliged to take shelter at Venice, where he died in 1570, at the age of 91. From the above statements it appears that these three artists were at Rome between the years 1503 (the period when Julius II. ascended the Papal throne) and 1527 (when Rome was sacked) ; and it is highly probable that the recipes were collected during this period. The notices, therefore, of the preparation of the colours and oil, and the various recipes for varnish, will be read with much interest; and may fairly be considered to have been employed at Rome and Flo- rence during the best era of Italian art. The following facts appear to be established by this MS.:— 1st. That colours for painting in oil were ground with oil only ; and, when too stiff for use, they were to be diluted with oil incorporated into the colour by working it in with the pencil. 2nd. That linseed oil was purified by boiling it over the fire with water for three or four hours. It was then suffered to settle and purify. 3rd. That olio-resinous varnishes were considered proper for colours and paintings in oil ; but whether they were mixed with the colours, or otherwise, does not clearly appear. 4th. That powdered glass was used as a dryer for lakes and other colours which dried slowly in oil. 5th. That all varnishes were extremely viscous, and were thinned for use as required. 6th. That oil varnishes were common at this period. 9na PRELIMINARY OBSERVATIONS. 607 7th. That the " vemice comune ** sold by the apothe- caries or druggists at this period was composed of linseed oil, pece greca, and calcined alum. The MS. contains some information relative to paint- ing on glass, and we find that there were several methods then in use : — 1st With certain metallic colours applied on the glass with gum-water, which, by the application of heat in the fiirnace, penetrated into the glass. 2nd. With transparent colours mixed with oil, which were to be afterwards varnished. 3rd. With coloured glasses or enamels brought from Germany. 4th. With colours tempered with glue, or white of The first and third methods were probably united, and there is documentary evidence that painting on glass with vitrifiable pigments was known and practised in Italy during the fifteenth century; since in the latter half of this century it was usual to stipulate in contracts for painting windows, that the colours should be burnt in the fire, and not laid on with oil — " cotti al fiioco, e non messi a olio.'* ^ The method of gilding on glass, described in No. 339, and attributed to a Venetian friar, may have been practised in the glass-works which have been carried on during so long a period at Murano. ) See Carteggio Inedito d'Artisti, vol. it., p. 446—449 ; and tee also the Introduction to this work. ( 608 ) EXTRACTS PBOM A MANUSCRIPT IN THE MARCIANA LIBRARY AT VENICE, BNT1TI.SD "DIVERS SECRETS." 214.* Yellow paste like amber. — Take of gum arabic oz. 3, of varnish in grains^ oz. 2, pulverize and mix them well toge- ther, place them in a glazed pipkin, and mix them with a drachm of saflron tempered with common water, and let them remain in that state until they become like a paste ; then take the yolk of an egg, strain it through an old but good linen cloth, incor- porate it with the before -mentioned ingredients, and model with it what you please. Then dry it in the sun until it is hard, and anoint it with white of egg which has been well beaten ; dry this also in the sun, and then varnish and gild it according to your pleasure. 301. Divers colours for painting works in oily or " a putrido,*^ 8fc} — And mark that the colours are of two kinds, one of which consists of those which have no body, and which do not conceal the colours laid under them, but only tinge them, as saffiron for instance ; the other consists of those which have body and which cover every other colour over which they are laid, and many of these colours are inimical to each other, so that by mixing together they spoil each other, as white lead and ver- digris and white lead and orpiment. 1 The numbers in the margin refer to those in the original, s That is, in grains or tears. ( 609 ) COPIA ESTRATTA DAL CODICB INTITOLATO "SECRETI DIVERSI/' ESISTENTE NELL A BIBLIOTECA MARCIANA. 214. Pasta gicdla ameambra. — ^Togli gomma arabica 02 : 3. vennoe in gran oz : 2. polveriza bene ogni cosa et mescola et poni in una scodella invetriata et mesoolavi una dramma di zaffe- rano stemprato con aoqua comuney et stieno tanto cosi cbe di- ▼entino come pasta, poi togli uno tuorlo dnovo, et colalo per peza lina veccbia ma buona, poi lo incorpora eon le predette coee, et improntane quello cbe vuoi ; poi seccba al sole cbe sia duro, poi ugni con cbiara d' uuovo cbe sia sbattata ben et sec- cba al sole, poi vernica et indora a tuo proposito. 30L Colori diversi per dipingere e lavari a olio o putrido etc, ~-£t nota cbe e colori sono di due sorte una cbe non hanno corpo e non proprono quello cbe trovono sotto, ma solamente tinghono, oome e verbigratia el zafferano etc. un altra sorte e che^ hanno corpo e quali quoprono ogni altro colore cbe ^ trouoYono sotto, et molti sono inimici I'uno del altro in mode cbe mescolandogli insieme si guastono, come e biacca e verderame et biacca et orpimento. ' A ptttrido->that is, with white of egg which has been suffered to stand until it has become decomposed. See MS. of Jehan Le Begue, No. 298, p. 282. 610 MARCIANA MANUSCRIPT. If, then, you wish to make whiter take good white lead, and if you wish red, take lake or miniuni or cinnabar. The lake has no body, therefoi-e take cinnabar, and according as yon wish the colour to be more or less dark, take more or less lake. If you wish to make it still lighter add a little white lead, so that it may become lighter coloured, &c. 302. If you wish to make Jksh colour take white lead and lake, and make it lighter or darker as you please. If you wish ffreeuy take verde azurro, and mix it with giallolino and white lead, making it darker or lighter as you please. If you have no verde azurro, take giallolino, or orpiment and azure ; mix them together, and you will have a green, adding more or less of one or the other according to the degree of obscurity which you may desire. 303. " Pofflionazo " [jxivonazzo,^ — Take white lead and azure and red lake, mix well together, and if you wish the colour to be darker, add more azure ; if lighter, add more white lead, and if you wish it redder, put more lake. 304. Yellow. — Take pure giallolino, item pure orpiment, item ochre ; and because these colours have no body, lay white lead underneath. 305. Black. — ^Take peach stones and char them, or born ivory, which will make perfect black, &c. 306. Grey. — Take white lead, verde terra, ochre, and black ; mix together, and put more or less of one or the other until the colour is to your mind. The colours which have no body are these : — 309. Verdigris, lake, ochre and verde terra, and they are very proper for mixing with those colours which have body. The tempera of these colours, prepared " a putrido/' is water and the yolk of an egg, and the quantity to be used is rather less than half the quantity of colour. COLORI DIVER8I PER DIPINGERE A OLIO. 61 1 Se adunque vuoi fare bianco pigli biaccha Btietta, se rosso togli laccha, o minio, o cinabro. La laccha non ha corpo, pigla adunque el cinabro, et secondo che tn lo vuoi, piu o man- cho scuro, pigla piu o mancho laccha. Se lo vuoi fare anchora piu diiaro mettivi un poco di biaccha secondo che tu vedi che rischiara, etc. 302. Se vuoi fare inchamato piglia biaccha e laccha tanto che lo &cda piu oecuro o piu chiaro come vuoi. Verde, piglia verde azurro et puossi mescolare con giallolino, et con biaccha, et sara jnu o mancho OBcuro secondo che vorrai, et 86 non hai verde azurro piglia del giallolino, o vero orpi- mento, et azurro et mescola insieme et &ra verde, et mettivi piii et mancho delF uno et del altro secondo che lo vuoi piu o manco oscuro. 303. Paghonazo o piglia biaccha et azuro et rosso-laccha, et mescola insieme et se vuoi che sia piu oscuro, mettivi piu azur- ro, se piu chiaro piu biaccha. Se piu rosso piu laccha. 304. Giallo piglia Giallolino stietto, item orpimento stietto. Item ocria, et perche non ha corpo campeggia sotto di biaccha. 305. Nero, piglia noccioli di pesche et fane carboni o vero avorio ars% et fa perfetto nero, etc 806. Bi^o, piglia biaccha, verde terra, ocria, eK nero, et mes- cola insieme et mettivi piu o manco dell* uno o dell' altro se- condo che tu vedi, e viene a tuo modo. Colori che nan hanno corpo sano qnetti : — 309. £1 verderame, la laccha, I'ocria, el verde terra ; et son buoni a mescolare con quelli che hanno corpo. La tempera di quest! colori fatti a putrido .La acqua e el tuorlo del vuovo un pocho manco che la meta del colore etc. vou n. V 612 MARCTANA MANUSCRIPT. 314. To make ^^indaco.*^ — Take flowers of woad and alum water, boil them together, strain through a linen cloth into a vase ; then take what remains on the cloth, spread it out on a tile, dry it well, and it will then be fine '^ indaco." 315. To make fine azure, — Take 6 ounces of copper filings, 3 ounces o^ calcined eggshells, 4 ounces of sal alkali, and 2 ounces of quicklime. Pulverize them well and mix together ; then place them in a vase of tinned copper, adding* as much of tbe strongest white vinegar as will cover them, then make the vase air tight, and put it under dung (horse-dung is best) for 20 (»r 25 days, after which you may take it out, and it will be done. 323. A most beautiful red from verzinofor pairUing or writ- inff. — Take lime and make ley, and when you have made it and strained it through a cloth, take any quantity you please, and scrape into it some good verzino, using the quantity which seems best to you, and leave it in that state for 2 or 3 days, until you see that the ley has well extracted the colouring matter of the verzino ; then strain it through a cloth, and put on it as much pulverized roche alum as will make the whole of the material feel its virtue,* and let it dissolve. Then add to it as much pulverized gum arable as will give the colour sufficient body, and expose it to the sun for 3 or 4 di|ys, stirring it occasionally that the gum may be dissolved and well incor- porated ; and when you think it is well purified and of the pro- per colour, take it from the sun, strain through linen, and keep it for use. The longer it is exposed to the sun the thicker it will be, &c. ; and if you leave it so long as to become hard enough to require distempering when used, you may distemper it with a little of the same ley, and your writing and painting with it will then be very beautiful, &c. You may add that portion of the verzino which remains on the cloth after the first straining to other verzino, and repeat > That is, a quantity sufficient to coagulate it. COLORI DIVERSI PER DIPINGEKE A OLIO. 613 314. A fare lo Indaco. — Togli fiore di guado, et acqua allu- minata, et fa bollire insieme, et con un panno lino cola sopra un vaso questa cocitura et quelle che rimane in sul panno dis- tendilo in su una tegola et fallo asciugbare bene, et e indaco fine etc, 315. Afore azurrofino. — ^Togli limaturadi rame oz. 6 scorze di Tuova calcinate oz. 3. sale arcfaoli oz. 4. calce viva oz. 2 polver- iza ogni cosa et mescola bene insieme et penile in uno vaso di rame stagnate, et mettivi tanto aceto bianco fortissimo che quo- pra questa materia, et turalo che non respiri, et mettilo setto el litaxne et maxime di cavallo per 20 o 25 ^omi, di poi lo cava et sara fatto. 323. Colore belKssimo rosso di verzino per dipingere et scri- f^e. — ^Togli calcina et fa liscia et quando Thai fatta et colata per peza pigliane quella quantita che tu vuoi, et rastiavi su del ?erzino buono tanto quanto pare a te et lascialo stare cosi due o3di tanto che tu yegghache la liscia habbia cavato la sustan- tia bene del colore del verzino, poi lo cola per peza, et mettivi su tanto allume di roccha polverizato che tutta quella materia ne poBsa sentire destramente della sua virtu, et mestalo che si solya, et mettivi tanta goma arabica polverizzata che gli dia corpo (liscretamente, et tienlo tre o quattro di al sole, et rimestale qualche volta acdoche la goma si solva et incorporisi per tutto, et quando ti pare che sia bene purgato et fatto di colore a tuo muodo, lievalo dal sole et polalo per peza lina, et serbalo et adoperalo. « Quanto piu eta al sole tanto piii si fa corpulente etc. £t se tu lo lasciassi stare tanto al sole che riventassi si sede che poi alio adoperare havessi bisogno di stemperare, stemperalo con un poco di quella liscia, et scrivi, et dipingi con esse, et farai luia cosa bella etc. Quella materia del verzino che rimane della prima colatura, vi puoi aggiugnere verzino eodem mode et rifame e o simile al u 2 'f 614 MARCIANA MANUSCRIPT. the process in the same manner, either adding the same kind of wood as at first, or uang a more common sort, accor^ng to the quantity which you may add, &c. 325. Divers colours for colouring windou>-glasses and other tcorks, — If you wish to make a beautiful black which will pene- trate into the glass, take fine iron filings, especially those of needles, if you can procure them good, or otherwise those scales which fisiU from the iron when it is beaten while red hot on the anvil ; then take an equal quantity of burnt lead or tin, or per- haps rather more of the lead than of the iron, which you will learn by experience, and grind them well together, with water on the porphyry like any other colour. Then distemper the mixture with gum water made with soft water, and draw your subject on the glass with this, letting it dry in the shade ; place it in the fiimace of a potter (who will generally know how to regu- late the heat), and heat it according to the best of your know- ledge in an iron vase, otherwise cover it with ashes only, and it will be beautiful. Burnt lead or tin is prepared in the following manner: — Put as much as you wish of it into a vase over the fire and liqueff it ; and from time to time, while it is still over the fire, take off the scum, and continue to do this until no more arises. In order to refine it, put the whole into an empty vase; and while it is over the fire, stir it so that the whole of the contents may be well calcined, and then keep it for use. If you wish to make a beautiful yellow colour ' which may penetrate into the glass, grind some silver leaf with a little honey and water, that it may hold together ; then wash it in 1 Silver, " either in the metallic or any other form, possesses the sin- gular property of imparting a transparent stain, when exposed to a low, red heat, in contact with glass. Modern glass painters are accustomed to obtain three colours from silver, yellow, orange, and red. For this purpose no flux is used, the prepared silver is merely ground up with ochre or clay, and applied in a thick layer upon the glass. When removed from the fur- nace the silver is found not at all adhering to the glass ; it is easily 8cni{KHJ off, leaving a transparent stain, which penetrates to a certain depth. If a large proportion of ochre has been employed, the stain is yellow ; if a small COLOUI DIVERSI PER COLORIRE VETRI. 615 primo, o del piu dozinale secondo la quantita che ve ne aggi- ungi etc. 325. Cohri diversi per cohrire vetri da finestre et da altri lavori. — Se lo vuoi fare nero bello et penetra nel vetro togli lioiatura fine di ferro, et maxime limatara d' agoro quanto se ne pofessi havere, e buona, o di quella scaglia del ferro che cascha quando si batte caldo in su 1' anchudine, et togli piombo 0 Btagno arsoy d* ognuno parte egaale et piu presto un poco piu piombo che scaglia come per experientia vedraj, et macina bene con 1' acqua in sul porfido, et fanne a uso di colore, poi lo tempera con acqna di ghoma che sia dolce, et dipingi quelle che Tuoi in sul vetro et lascia secchare a V ombra, poi gli metti in fomace di questi che fanno stoviglie, e quali gli sanno com- munemente quocere et quocigli ut scis in vaso ferreo assuoli con la cenere et Terra bello. El piombo o lo stagno arso si £bi cosi. Metti quella quantita che ttt vuoi in uno vaso al fuoco e squaglialo, et stia cosi al fuoco, et quella stiuma che egli fa di mano in mano cayala, et tanto fa coei che si consumi in questa, poi per raffinaria mettila tatta insieme in quel vaso dove non sia altro, et stando sopra el fuoco, rimescolala in modo che si arda tutta bene, poi serbala al bisogno. Se vuoi fare colore giallo et bello el quale etiam penetra nel vetro. Macina ariento in foglio con un poco di mele acciocche si tenga insieme et con Tacqua, poi lavalo con le ditta nella proportion, it is orange-colourod ; and by repeated exposure to the fire, without any additional colouring matter, the orange may be converted into red. This conversion of orange into red is, I believe, a matter of much nicety, in which experience only can ensure success. Till within a few years this was the only bright red in use among modem glass painters ; snd though the best specimens certainly produce a fine effect, yet it will ■eldom bear comparison with the red employed in such profusion by the old artists." Extract from an Essay on the Art of Glass-painting in the Phi- lotopbical Magazine for December, 1836. 616 MARCIANA MANUSCRIPT. water with the fingers until it is well purified, in the same manner as powdered gold is treated. Distemper this silver with gum water made with soft water, dry it, then heat it in a furnace as before, and it will become very beautiful, &c. If you wish to paint with other colours whidi, although beau- tiful, do not penetrate into the glass, but remain on the sur£sux, especially with verdigris, fine lake, peach-stone black, or char- coal black, and generally all the colours which have no body, and also with fine azure, that is, ceneri azzurri, ^ve a coat of nut oil or linseed oil, which last is to be preferred for painting on glass, according to the painting which you wish to execute, and let it dry in the shade ; then grind up the colour with the same oil, and paint upon the coat of oil and let it dry, and it will be beautiful ; and although the ooloiu* does not penetrate, it will for a long time remain beautifu], and you may even varnish it afterwards, according to the best of your skill. And with these colours, and with coloured glasses brought from Germany, and with ornamental works done with gold ^'ut scis," on glass, you will make Jieautifiil windows and other works. And when you paint with the verdigris, if you grind some safiron in the same manner with the before-mentioned oil, and with this distemper the verdigris, it will be a green so much the more beautiful, &c You may also paint with these colours on window glasses and on drinking glasses, and on other utensils made of glass ; and you may also fasten on the glass leaf gold and silver ; and on this you may paint with colours or smalti, whichever you please ; and in the same manner you may lay divers colours over each other, and you will thus execute most beautiful works on glass or crystal, on vases, windows, and bell-glasses, and on plates of glass which are to be afterwards joined toge- ther, and a thousand di£Perent kinds of painting according to your taste, &c. 328. If you wish to paint on glass ^^aputrido^ — First lay COLORI DIVERSI PER COLORIRE VETRI. 617 acqua tante volte che sia bene purghato come si fa aV oro madnato : poi tempera questo ariento con acqua di ghoma che sia dolce et lajscia secchare ; poi quoci in fornace ut supra et verra molto bello etc. Se vuoi colorire d' altri colori e quali saranno begli ma non penetrano nel vetro, ma stanno in superficie : et maxime verde- rame, laccha fine, nero di noccioli di pesca arsi, o di carbone et universalmente tutti e colori che non hanno corpo et azurro fine . I . di cenere, etc. Da col pennello una mano di olio di Doce, o di lino e meglio in sul vetro secondo la dipintura che Tuoi &rey poi lascialo bene secare a V ombra, poi macina el colore con detto olio, et dipingi sopra quelle, et lascia secchare ; et sai% bello, et benche non penetri durera assai tempo bello, paoi etiam poi invemicarlo ut scis. Et con questi colori et con vetri coloriti, che vengono della magna, et con lavori fatti d' oro ut scis in sul vetro farai bellis- sime finestre et lavori. Et quando tu dipingi col verderame, macina del zafierano al medesimo modo con detto olio et con questo tempera el colore del verderame et sara tanto piu bello verde etc. Puoi etiam in su vetri da finestre et bicchieri, et altri lavori di vetro fare lavori di questi colori et puoi etiam appicchare in sul vetro Y oro et V argento di pezi, et in su quelle lavorare di colori et di smalti quelle che vuoi etiam di diversi colori V uno sopra r altro, et in questo modo farai lavori bellissimi sopra retro o cristallo, sopra vasi, finestre, et campane, et piastre di vetro da congiungerle poi insieme, et fare mille lavori secondo la toa fantasia. 328. Se vuoi dipigniere in sul vetro a putrido, — Da prima 618 MARCIANA MANUSCRIPT. on a coat of soft and hot glae, and when this is dry paint on it. You may temper the colours with yolk of egg, and also with weak and slightly warm glue, the blue and white especially, for these two colours are much more beautiful and bright when distempered with glue than with yolk of egg. When you paint with blue in fresco, that is, on walls, and you desire that it may retain its colour and not turn black, as generally happens to the blues, dbtemper the colour with the milk of goats or of any other animal. This I had from Master Andrea de Salerno. 329. The mode of making the best black printing ink. — Make a large lantern^ two feet and a half broad on each side, and ten or twelve feet in height, and cover it with cotton paper or parchment, for one \& as good as the other, and let there be a door at the foot of it, and put into it a tripod, and on the tripod a pan, and on the pan two pounds of Greek pitch. Set the pitch on fire, then shut the door ; take care that the lantern is air-tight, and let the pitch bum until it is entirely consumed, when the smoke frt)m it will affix itself to the interior of the lantern like soot ; then take out the earthen pan and the tripods shut the door, and with a rod beat the outside of the lantern, when the black will fall to the bottom, leave it to settle there ; then take it out and preserve it for use. But if you wish to clean the lantern more perfectly, tie some hen's feathers to a rod, and sweep the inside of the lantern with these, and add the black which you thus sweep off to the other black. When you desire to make printing ink, take the varnish which is used for varnishing, and the more perfect its quality the better. But in default of other, you may use that common sort which is sold by the apothecaries^ for varnishing wood and similar things, and procure a wooden rod, such as is used in making carpenters' glue, with which the varnish is to be stirred ; and put some of the black into it, and liquefy it as you require it ; and with this you know books are printed, &c. * Sec the recipe for " Vernice comunc,** No. 406, ^^^■^^■■HHHMMiaMi^Ban^pqp NERO DA STAMP ARE LIBRI. 619 una mano di colla doloe et calda et quando e seccha dipingivi su. Et puoi temperare i colori col tuorlo dello vuovo, et etiaiii ODD la ooUa doloe et un pooo calda, et maxime lo azurro et el bianco per questi due colori vengono piu begli et piu chiari a temperargli con la colla che con V uoto. Et quando tu dipiugi con 1' azurro, in fresco cioe in siil muro et tu voglia che mantenga il colore et non riventi nero come comunemente fanno gli azurri, temperalo col latte o sia di capra o d' altro non importa. Hoc habui a Magistro Andrea de Salerno. 329. Modo di fare el nero da stampare e libri optimo. — Fa un lantemone largo per ogni verso un braccio et quarto et alto cinque o sei braccia, et incartalo di carta bombagina o pecora non importa ; et da pie fa che habbia uno sportello et mettivi un tre pie et in sul tre pie un tegame ; et nel tegame due libre di pece greca et metti fuoco nella pece, et serro lo sportello, et fa che el lantemone non sfiati da alcuna parte, et lascia ardere, tutto el fumo che riesce s' appicha per il lantemone, a uso di filiggine ; alhora cava el tegame et el tre pie, et sera lo spor- tello, poi batti di fiiora el lantemone con una bacchetta, et quella materia chaschera in fondo, lasciala riposare, poi la cava et serbala et se tu vuoi meglio nettare il lantemone, in sur una bacchetta legate penne di gallina et spazalo dentro per tutto, et questo serba col primo, et quando voi fare la compositione per istampare, togli vernice fatta da invemicare, quanto mig- liore e tanto e meglio : ma basta di quella comune che vendono gli spetiali per invemicar legname et ogni cosa : et habbia un menatoio di legno di quegli da fare colla da legnaiuoli, et ri- mena di questa vernice et mettivi di questa materia, et falla liquida a tuo proposito, et con questa si stampa i libri come tu sai, etc. 620 MARCIANA MANUSCRIPT. 339. Mordant for gilding ghus, which has been tried by a Venetian friar. — Take one ounce of mastic which has been roastedy not burnt, but dried carefally, one ounce of coperoea' which must be fine and white and not grey, one ounce of yar- nish in grains, and half an ounce of burnt roche alum. Pul- verize the ingredients finely, and grind them up with weU puri- fied linseed oil. When you use this mordant, grind it with linseed oil well purified, and when you use it distemper it with the same oil, so that it may be of the consistence of ink, lay it on the glass, and expose it to the sun when it does not shine very strongly, and if the sun is very hot, place it in the shade, but in such a place that the sun may be reflected on it, and let it dry so far that when touched with the Qnger a slight impres- sion may be left on it ^lien this is the case, lay on the gold and let it dry well ; then clean it with the cotton, varmsh the gold, and let it become perfectly dry. But do not wash vases gilded in this manner except with fteA\ water, and be very careful in rubbing them. Linseed oil is thus purified : — Boil it over the fire with water for 3 or 4 hours, then let it settle and separate it from the water. * Thried by the painter Fundano? — A most excellent mor- dant for laying gold on oil paintings, on walls, on wood, on leather, on silk, and on cloth, and on everything you please, first laying on glue (and fish glue is best) wherever you may wish to lay on gold ; and the glue must be applied thinly on cloth and similar things in order that the cloth and silk may not absorb it. The glue being laid on and dried, the mordant is applied, and then immediately the gold, leaving it to dry, and not burnishing it. So where there is no glue lay on the mor- dant, and immediately after apply the gold. 346. On marble and stones, — Take linseed oil boiled in the usual way, and take giallolino and verdigris and tow (?) in equal parts ; grind these tilings dry, then mix them with Sulphate of Zinc. « From p. 167 of MS. MORDENT!. 621 339. Mordente per parre oro in vetro exfraire vinitiano pro- vato. — ^Togli mastice abbruciato, ma non sia arso, ma diseccato discretamente once una, et coperosa che sia bella et bianca et Don bigia oncie mia. Yernice in grani onde una. AUume di rocha arso oncie mezza. Polverizza ogni cosa sottilmente, et macina con olio di lino bene purificato : et quando lo adoperi stemperalo etiam cum questo olio che vengo come inchiostro cioe corrente ; et polio in sul vetro, et poi polio a sole che non sia molto caldo ; et se el sole fussi caldo assai polio a sechare a Fombra dove el caldo del sole reverbera, et secchisi tanto che resti in modo che toccandolo col dito pizichi un poco et all'hora poni loro et lascia seccare poi spaza e campi con la bombagnia quando e secco bene. £t poi davi su la vemice in su loro et &lla bene seccare. Ma non lavare questi vasi dorati in questa maniera, se non COD acqua fresca et stropicciali discretamente. L'olio di lino si purifica cosi : &II0 bolire al fuoco tre o quattro bore con Tacqua, poi lascialo riposare poi separalo dalF acqua. Ex pinctore fandomo pravato. — Mordente ottimo a porre ore in muro sopra dipinture a olio in su legno in cuojo et seta in tela, ma dando prima la coUa et in su ogni altra cosa che Tuoi, dando la colla dove bisognassi daria : et di pescie e m^lio, et in su tela o simili cose da la un poco tenaretta accioche la tela o seta non la bea, et data la colla et seccha si pone el mordente et subito Toro et lascia secchare et non brunire, simil- mente dove non si pone la colla, poni el mordente et subito I'oro. 346. In sul marmo et pietre. — ^Togli olio di seme di lino se- coDda la quantita che ne vuoi fare, cotto ut scis et togli giallo- lino, verderame, et stoppino in parte eguale, macina queste ' Lanzi mentions seven painters of the name of Fontana, most of whom flourished io the sixteenth century. 622 MARCIANA MANUSCRIPT. oil, and lay the first coat on the marble or stone, and let it dry. This is done on account of the fragility of the marble, in order that it may not spoil the other things which are laid on it, &c. Then lay on a coat of liquid and hot glue, and proceed aa aboye directed. Although these coats must be very dry they should not remain long exposed to the sun, but for a short time only, espe- cially in winter, and then rather to prevent their being cold than for the purpose of drying them in the sun. ' And observe, as an universal rule, that all oil mordants resist the water, and that those in which no oil is used do not with- stand the water, &c. Also when you wish to lay the mordant on polished iron or marble, or any other polished surface, you must first lay on a coat of glue neither too thin nor too thick, and let this dry ; then lay on the mordant, and then the gold, because without the glue, the mordant would not adhere firmly. 351. Item. A moit excellent mordant of garlic juice for gild'- ing all things^ pasteboard^ panels^ toa/&, tron, marble^ tin, gessoy and leather, even if they are rough, — Take gum ammoniac, re- duce it to powder by pounding it on a stone with garlic juice, and while grinding it, add a little gum arable in such quantity that all the substances which you are grinding may have a slight pro- |K)rtion of it, because if you were to put too much it would dry too quick. Then grind up so much bole as will colour the whole substance, and grind up all these things together one after the other with garlic juice strained through linen, and if during the grinding these ingredients should become too viscous on account of the garlic juice and consequently difficult to grind, add some vinegar, but not more than is necessary. It is then finished, and you may use it immediately, distempering it with vinegar so that it may be sufficiently liquid and may flow well on the pencil. If you wish to preserve it ready made, it will keep for some ' From p. 171 of MS. HORDENTI. 6'23 cose asciutte et mescola con I'olio, et da il primo letto in sul marmo o pietra, et lascia secchare, et questo n fa per la fra- gilita del marmo accib che la non guasti I'altre cose che vi si pongano su etc. Poi da una mano di coUa liquida et calda poi fa tutto come h detto di sopra. Queste cose anchora che bisogni sieno bene secche non vog- liono molto stare al sole se non un poco, et maxime di ?emo, piu per conforto del freddo che per secchare col sole. Et nota che nniversalmente, tutti e mordenti a olio reg^ono a I'acqua il che non fanno gli altri che non sono fisitti con rdio etc. Itemquando vuoidare il mordente insul ferropulito, o mar- mo o altra simile cosa liscia : da prima una mano di colla, non troppo liquida ne troppo tenace, et lasciala seccare, poi da el mordente, poi poni I'oro : perche senza quella coUa non si appicberebbe bene el mordente. 351. Item. Mordente di sugho d^aglo ottimo per parre aro in su ogni cosa^ cartaniy tavolaj murOy ferro, fnarmOy staffno^ gesso^ gopra corame etiam ckefttsse crespo. — Togli armoniaco et pes- talo in polvere prima, poi lo macina in su la pietra con sugho d'aglo poi vi metti macinando un poco di gomma arabica, tanta che tutta quella materia macinata ne senta per tutto modes- tamente, perche la troppa sarebbe troppo di secchativa, poi simul etiam madna tanto bolio che dia colore a tutta questa materia, tatte queste cose macina insieme Tuna dopo I'altra con sugo d*aglo colato per peza, et se nel macinare queste cose le fossino troppo viscose per amore del sugo, et non le potessi cosi bene macinare, mettivi dello aceto quanto puoi forse tanto che basti a fare bene macinare et e fatto : Et lo puoi adoperare al' bora se tu vuoi, et stemperalo con I'aceto tanto che sia liquido che corra bene col pennello a tuo proposito. Et se tu lo vuoi serbare fiitto dura assai tempo et quando ne vuoi adoperare sendo sodo stempera tlien gild and burnish the work. And I think, according to the experience that I have had of the simple garlic juice, that it is good for laying gold on almost every- thing, even on marble, and it is not afiected by the dampness of the marble, or by the dampness of its situation unless it is exposed to the rain, and in this case every mordant of garlic is afiected. And if you wish to gild on silver with amalgam in some pkces only, and not all over, lay garlic juice with the pencil over those parts to which you intend the gold shall not adhere, and let it dry. Then lay on the gold with the amalgam all over, just as any other thing is gilded with amalgam, and the gold will not adhere to those parts on which garlic has been ap- plied, and you will thus have the gold alone on clean grounds. You may then remove the garlic juice from the work and dean it well, and in this manner you may execute beautiful works. Take aLso any work executed in tin after your own design, and clean it well ; then cut, or pound, or bruise a clove of dean garlic, and anoint well with it the tin over the design on which you wish to lay the leaf gold ; then gild and fix the gold with the cotton, and let it dry ; afterwards burnish it dexterously, and, lastly, uncover the ground of tin which you did not intend to pld. On these you may paint or enamel, or varnish, and execute most beautiftil works. MORDENll. 625 353. 7^^171. Mordente di sugo daglo. — Pesta Taglo et passalo per peza» poi macina di questo sugo con un poco di biacca tanto che gli dia corpo a discritione, et poi tanto bolio armenio che tiDga quella qualita che tu macini, et tanta orina che basti a farla bene macinata, et incorporata, et liquida a tuo proposito per darlo col pennello, et polio in sullavoro et lascialo secchare, poi lo rinyieni con \ alito caldo, et poni 1' oro, et fermalo con la sua bambagia, et lascialo seccare ; poi spaza e campi ut scis. Questo mordente, dura assai tempo fatto, et quando ne vuoi adoperare et fiissi durOy stemperalo con 1' orina, pruova a brunire. £t credo secondo la esperientia che ho del sugo d' aglio semplice che sia buono a porre olio quasi in su ogni materia ; et etiam in sul marmo, et non rinviene propter humiditatem marmoris nee loci humidi, nisi desuper pluat, il che fa etiam ogni mor- dente d' agio. Et se vuoi dorare sopra argento com malgama et vuoi che resti dorato in alcun luogo et non per tutto, dove tu vuoi che r oro non si appichi ; da col pennello sugo d' agio, et lascialo secchare ; poi da \ oro con la malgama per tutto come si dora ognaltra cosa con malgama, et dove sara il sugo dello aglio, non si attachera, et cosi harai 1' oro solo in su campi netti, poi puoi levare el sugo del aglio et nettare bene^ et farai lavori begli et netti. Togli etiam el lavoro di stagno fatto a tuo modo et nettalo t>eQe, poi habbia uno spicchio d' agio mondo, et taglialo o sop- pestalo, o masticalo et poi ugni con esso sottile lo stagno sopra el disegno dove tu vuoi porre 1' oro di pezzi et ponvi loro et fer- malo bene con la bambagia poi lo lascia secchare, poi lo bru- nisci destramente, et poi scoprire poi e campi dello stagno dove tu non vuoi che sia loro, puoi etiam sopra loro dipignere snial- tare invernicare, et farai lavori bellissimi. 626 MARCIANA MANUSCRIPT. You may also draw what you please on the tin, and gild the remainder of the ground ; thus the works will be tin, and the ground gold. You may also try the experiment on parchment or cotton paper, first polishing it, and then anointing it witli the cut clove of garlic, having previously bruised or pounded the garlic, if necessary, gilding it as above and burnish it if you please. 370. Colours tempered with oil are prepared in the following manner. — Grind up the colour wit& linseed or nut oil as stiff as you can, that is, with as little oil as posable, and so that it may be very fine, and that on being felt between the fingers, no hard grains can be perceived ; and when you paint with it, if you find the colour too stiff, dip the pencil in a little dl and incorporate it well with the colour. 877. A most excellent glue for damp and moist places which alvoays becornes harder^ but only fears the heat, and fives every- thing to wood and sfone^ which must be cu smooth as porphyry. — Take one pound of good yellow wax, nine ounces of liquid varnish, and one pound of black naval pitch. Put the vamidi into a pipkin over a slow fire, that is hot enough to liquefy without burning it ; ^ then throw in the wax, liquefy it in the same manner and incorporate it well with the varnish ; then do the same with the pitch, having previously pounded it, etc. Hien take Armenian bole ground to a fine powder, and stir some of it into the other ingredients until the whole material becomes liquid, and yet so tenacious that it fixes and holds together firmly the things which you wish to glue together ; and you must stir the ingredients well together and use them warm, because in a short time the cement hardens so that you cannot glue with it. And when you have applied it where you please, and wish to make the surface smooth and polished, take a firebrand fit)m the fire and bring it near to the glue until the heat causes it to liquefy and spread ; you should also move about the firebrand > A proof that varnish was eztremeljr viscous, if not absolutely solid. COLLA PER LUOGHI HUMIDI. 627 £t puoi etiam disegnare lo stagno seoondo che tu vuoi et poi el resto de campi mettere a oro et oosi e lavori saranno biancbi, et ercampo doro. Puoi prouare anchora ad ugnere la carta pecora et bamba- ^na, prima lisciata et poi ugneria sottilmente con lo spiochio del a^o tagliato, et se bisogna masticato o sottopoBto et porre r oro Qt supra et vedere se esibrunisse. 370. E cohri temperati a olio si farmo in questo modo. — Macina el colore con olio di lino, o di noce et macinalo duro quanto puoi, .1. con poco olio, quanto puoi, et macinalo tanto cbe aa bene sottile che tu lo senta col ditto senza nocciolino o rendina alcuna : similmente quando tu dipigni e ti fussi troppo sodo toca un poco d' olio col pennello et incorpora bene col colore. 377. CoUa ottima per luogki humidi d molli che sempre piu induriwce^ ma solo feme el caldo et appicha ogni cosa insino a legno con pietra et che la pietra sia liscia come porfido. — ^Togli cera ^alla buona libbra ima. Vemice liquida oz. novo. Pece nera navale lib. una. Metti la vemice in uno pignattino, et poni al fiioco lento che si scaldi bene, et si squagli et non arda, poi mettivi lacera et squagliala similmente et incorpora colla ver- nice ben, poi fii similmente della pece la quale prima sia pesta bene etc pdi habbia bolio armenio pesto bene in polvere et mettivene su tanto che tutta questa materia resti tanto liquida che possa essere tenace in modo che si possa bene appicchare, et tamen pig^ et tenga forte a cose le quali yuoi incollare insieme, et incorpora bene ogni cosa insieme, et subito cosi calda incolla qnello che Tuoi, perche aspetta poco et indurisce poi in modo, che non potresti incollare. Et quando tu 1' hai posto dove tu vuoi, et tu lo Yoglia fare liscia et pulita di sopra, togli un tizone di fuoco et accostalo alia colla tanto che senta el fuoco et si distenda per se medesima, et va menando il tizone per tutto et falla distendere, et assottigliare a tuo modo, et verra vou II. 628 MARCIANA MANUSCRIPT. over the surface of the glue, and melt it so that it at length becomes smooth and beautiful, &c. And on putting the woii which you have cemented into water, it will immediately be- come very hard. 394. Modes of making divers wimiAes ; and firsts of "fcn- ffivC^ (Bemoin), which will dry in the shade. — Take 2 oz. of spirit of wine which has been distilled 4 times (that which has been distilled 3 times will do, but not so well), and one ounce of benzoin. Put the ingredients into a bottle, and shake them until the benzoin is dissolved ; the varnish b then finished. It must be kept in a vessel closely stopped. This is a very fine varnish upon miniatures and all other deli- cate works, on paste, or glue, or wood, and also on paper afid glass. 395. Item, a varnish, — Take one pound of linseed oil, boiled " ut sds,^' * etc., and anoint the vessel with it while hot, and 4 ounces of pounded carabe; " place it to dissolve with die bottle closed on the coals, and when it is nearly dissolved pour in the hot oil and stop it up ; afterwards, at the proper time, when the whole is dissolved, stir in 3 oz. of alum. Dilute the varnish with the necessary quantity of naj^tha, or linseed oil, or spirit of wine, and use it warm. 396. /fern, a varnish of benzoin^ which dries very quickly and may be used on everything^ because it is pate and admirable far all delicate works.'^-Vui into a large glass vessel 5 ounces of good spirit of wine, with an ounce of fine benzoin pounded into very small pieces ; stop the vessel closely, and agitate it until the benzoin is well dissolved. Then let it stand for a day and a night ; pour ofi^ the clear part, throw away the sediment at the bottom, and keep the liquid in a welln^losed glass vessel : this liquid is tiie varnish. 397. Item^ an excellent varnish which is made without the aid * Ut scis, &c. See ante, No. 339, p. 620. s The word is written ^^Carbone" in the MS. in the Marciana, and **• carabone " in recij)es somewhat similar in the Nuovo Plico and Abece* dario. 1 have vexHured to translate it " carabe *' (amber), because it is quite VERNICI DIYERSE. 629 liada et bella etc. £t mettendo il layoro incollato nelF aoqua freaca si faiu subito durissima. 394. Modi di fare vemice di Verse et prima di bengim che teeha etiam a/' ombra. — Togli aoqua yite Btillata quattro Tolte, tre Yolte fii, ma non si perfettamente oz due bengivi oz una di- guaza in ampoUa usque ad aolutione belzui ut Bcis, et e fatta : serbala turafca : questa e coea finissima, quasi sopra miniature, et ogoi altro lavwo fine di pasta, o coUe o legname et cartoni, et yetro. 895. Item vemice, — Togli olio di lino libre una cotto ut scis etc ugni la boocia cum illo calido : carbone oz quattro, pesta et pooi a solyere con la boocia turata in su carboni, et quando e quasi soluta inmitte olium calidum et tura ; de inde tempore suo quantum est aolutum, inmitte tres uncias alluminis. Stempera coo olio di sasso . I . petronio o di lino o aoqua yite qn opz caldar. ut scis ^c. 396. Item Vemice di bengim che eeceha prestissimo etpuossi ^>v in ogni luogo pereM i chiara et mirabile in su ogtii lavoro faiissimo. — ^Metti in una ampoUa grossa di vetro og cinque d' *^ua yite buona, et una oz di belzui buono pesto in pezzuoli iiunoti, et metti tutta detta acqua et tutto il bengiyi et tura 1 ampolla bene et diguazala tanto che el bengiyi si solya bene : poi lasdalo posare un giorno, et una notte poi cayala per de- chnatione et buta yia el fondaccio che resta, et senra questa ^ua bene turata nella ampolla et questa e la yemice. 397. Item vemice ottima la quale si fa senzafuocOf et seecha cfearthftt carbone does not liquefy over the fire, and becaiue, after a diUgent ^^irch, I can attach no other meaning to it. I consider this to be the com- mon recipe for amber varnish : the amber being dissolved in a vessel prc- ^^^7 greased to prevent it from burning, before the hot oil is added. x2 630 MARCIANA MANUSCRIPT. offirtj which dries very quickly vnthaui being exposed to the son, and remains very clear j and with which may be varnished any- thing painted on panels pasteboard^ or iron. — ^Take qiirit of wine which has been rectified at least three times, because otherwise it would not dissolve the benzoin properly, and put it in a glass Tessel ; then take some benzoin and add either at once, or a little at a time, that quantity which you know to be suffitaoit. Then stop up the bottle and agitate it until the benzoin is ^- tirely dissolved ; and if, after it is dissolved^ it b of the con- sistence of good ** vemice liquida,*' and, as it were, tenacious^ and yamishes well, it is finished ; but if it is too thick, add more spirit of wine until you bring it to the correct standard ; and if it is too thin, add more benzoin. You may then pre- serve it for use. 398. Item, a varnish tried by Master Jacopo de Monie San SavinOf the Sculptor^ which is proper for every kind of work and on all materials. — ^Take one ounce of sandarftc, (pround to a very fine powder, and 3 ounces of clear nut oil. Heat the oil in a glazed pipkin over a slow fire in the same manner as linseed oil is boiled ; then add the powdered sandarac a little at a time until it is dissolved ; add to it also at the same time so much clear incense finely powdered as will impart a pleasant savour to the whole mixture, stirring it well that it may dis- solve, and, if you please, you may also add a sufficient quantify of burnt and pounded roche alum to have a sensible effect on the whole composition ; and the addition of the alum will im- prove the varnish if you stir it until it is dissolved. It should then be strained through a linen cloth, and afterwards exposed to the sun and dew until a sediment is formed, which should be separated by pouring off the clear varnish, after which it will be ready for use. 399. Itemy a varnish which spreads like oilj dries quickfy, and is very lustrous and beauJtifvl^ appearing like a glass mirror j and which is admirable for adhering firmly and for varnishing lutes and similar things, — Take one pound of linseed oil, boil it in the proper manner in a clean glazed pipkin, add to it half YERNICI DIVERSE. 631 senza sole prestissimo^ et resta molto chiara^ et si pub vemicare offni lavoro dipinto in tavola o in cartoni o sul ferro. — Togli acqua vite che sia passata ire volte almanco perch^ non sol- Terebbe bene altrimenti et mettila in una ampolla di vetro, et togli del bengivi et mettivene dentro quella quaniita, tutta a nn tratto, o a poco a poco che sia abastanza ut intelliges : et tura r ampolla, et diguasa tanto che el bengivi si solva tutto bene, et se quando e soluto ti resta come vernice liquida buona, e che sia in modo tenace che invemichi bene, a 1' bora h fatta. Sn autem, se fnssi troppo dura aggiungivi tanta acqua vite che torni ala misura, et se fiissi troppa liquida aggiugnivi tanto bengivi che torni al proposito, et serbala et adoperala. 398. Item vemiee ex Ma^. Jaccbo de Monte S. Savino scul" toreprooata, Et serve a ogni lavoro et in ogni materia, — Tc^li una oz di vernice in grani macinata sottilissima et tre oncie di olio di noce chiaro ; quoci I'olio lento igne in pignattino inve- triato, come si cuoce Y olio di lino : poi mettivi su la vernice a poco a poco, mestando anche quousque solvatur : poi mettivi 8u al medesimo modo tanto incenso chiaro polverizato sottile, che condischa discretamente tutta la materia et mescola tanto che d solva bene, et se vuoi poi mettivi tanto allume di roccha arao et pesto che condischa questa materia virtute sua : tanto saramiglore, et mesta quousque solvatur. Poi colala per pezji hna poi tienla al sole, et al sereno poi colala per declinatione, et serbala et adoperala etc. 399. Item Vernice che si distende come olio et seecha presto et ^ moUo bistrante et bella et pare uno specchio di vetro et per stetre a la cosa et sopra liuti et simile cose h mirabile. — Togli per una misura : una libra d' olio di linseme, et quocilo come ^ fii in una pignatta invetriata netta, poi vi metti su meza 632 MARCIANA MANTTSCRIPT. a pound of well pulverized dear and fine Greek pitch, and stir and incorporate the whole oyer a slow fire ; then add half a pound of powdered mastic, and the moment you haye done so, withdraw the pipkin gradually from the fire, hecause it swells up, and incorporate the ingredients thoroughly ; then re- place the pipkin on the fire, and keep it there until cTerythiog is well dissolved and mixed, when some burnt and pounded roche alum of the size of a nut should be added and mixed, until that also is entirely dissolved and incorporated. Then take the varnish off the fire and strain it through an old linen cloth. Your varnish is then made, and it will be found to be beautiful varnish for wood, iron, paper, leather, and all kinds of painting and works, and for withstanding water. When you find it too viscous, dilute it with linseed oil in the proper manner. 400. Item, a most excellent varnish qfnuuticfor lutes, leather, panels, cloths, wood^ and pasteboard. — ^Take 3 ounces of strained and clear linseed oil, and boil it. Then take half an ounce of mastic pounded and ground, and add it gradually to the oil, mixing it in such a manner that it may be entirely dissolved and incorporated with the oil, and that it be properly evaporated and made into a varnish *^ ut scis ;" then put in a little pulverised roche alum at discretion, but sufficient to afiect all tibe yamish ; keep it over the fire until it is entirely dissolved and incorporated with the varnish and evaporated, after which you may take it off the fire, and strain it throu^ an old and good linen clotb, when it will be finished. But observe that everything should be done over a charcoal fire and with great care. 401. Item. A most excellent mastic varnish. — ^Take one pound of mastic, half a pound of naphtha, and half an ounce of clear nut oil ; melt them together in a bottie or glass over a charcoal fire, and strain through an old linen cloth. 402. Item. A most excellent clear and drying varnish pro- per for colours^ both in oil-painting and otlwr kinds of painting. — Take 2 ounces of clear and good nut oil, one ounce of clear and good Greek pitch, and half an ounce of clear and good mastic ; VERNICI DIVERSE. 633 liblNa di pece grecba chiara et bella et polverizzata et mesta quando la metd, tanto che si incorpori bene a fuoco dolce, poi vi metta su mezza libra di mastice macinato, et quando lo metti perdi^ ei rigonfia lererai perb la pignata da fuoco et mettilo su a pooo a poco raestando et iaeorporaadolo bene, poi torna la pignata al fnooo et mesta tanto ohe si solva ogni cosa bene, poi mettivi quanto una noce di allume di roccha areo pesto et mesta che si solva et incorpori bene poi lievala dal fuoco et colala per peza lina veecfaia et serbala, et per legname, et per ferro et per carta et corame et per ogni dipintura et lavoro &ra un opera bellissima et per stare alia aqua, et quando ti pare soda stempera con olio di lino come si fa etc. 400. Item Vemiee di Mastice optima per LitUi, qtioioy dipin- tare di Tavola et di tda^ per lavari di legname et oartani. — Togli tre oz d' olio di lino colato et cbiaro, et quocilo, poi abbia un oz ^ di mastice pesto et macinato, et mettilo in sul' olio a poco a poco mestando in modo che si solva et incorpori bene oon 1' olio et che aa afiunato ben et fatta vemiee, ut scis ; poi mattavi un pooo di allume di roccha arso et pesto, et sia a di^ cretione aecondo che tutta la quantita della vemiee ne parti- cipi : et ata al fuoco taoto che si risolva et incorpori la virtu sua ooUa yemice et svt^ri, ritiralo poi dal fuooo, et colala con peza lina vecchia et buona, et e fatta. fa ogni cosa con fiioco di earboni et discreto. 401. Item. Vemiee di mastice qptima.-^Tog^ mastice libre ima, olio petranio Ubre meza, olio di noce chiaro oz meza fondi nisieme in boccia o in biechiere aopm earboni. cola con peza lina recdua et e fatta. 402. Item, Vemiee ottima chiara et diseccativa hen per colori ^ a olio ei per egni dipintura. — ^Togli per una misura : due oz. S olio di noce chiaro et hello, et una oz. di pece greca chiara et bella, et meza oncia di mastice chiaro et hello, macina la pece 634 1£ABCIANA MAKUSCRIPT. grind the pitch and the mastic [separately] to a very fine powder, and place the oil m a clean glazed pipldn over a char- coal fire, and let it boil gently until it is done suffidently, that isy until one-third has evaporated ; then put in the powdered pitch a little at a time, mixing and incorporating it well ; after- wards throw in the mastic in the same manner, and when it is dissolyed, take the vanush off the fire and strain it.throu^ a fine and old linen cloth. And if you wish it to be still clearer, prepare the mastic with tepid water in the following manner : — ^Take the larg^t and clearest tears of mastic that you can find, and soak them in tepid water, so that they may become tender ; then select the best pieces, dry them, and pound them. You may also try the efiect of adding a little burnt and pulverized roche alum when the other ingredients are dis- solved, so that the whole may virtually be seasoned with it, straining it afterwards. This \b done in order to purify it better. 403. Item. A varnish of ^' olio di abezzo" which dries both nt the sun and in the shade. — Take " olio di abezzo," which must be genuine and not adulterated, and if you wish to know whether it is fabified, distemper it with nut or linseed oil, or naphtha, heating both the oils, &c., and spread it on a work, when, if it is not genuine, it will not dry for a long time, and then badly, because it is adulterated with turpentine, but if it is genuine it will dry quickly and perfectly. If you desire to varnish delicate works which will not be ex- posed to. water, but merely to bring out the colours and show their beauty, distemper the olio di abezzo as above. But if you wish to varnish more permanently on works which are intended to resist water, do not distemper the olio di abezzo with other ingredients, but heat it in a vase, melt it, and varnish with it. When you distemper it with linseed or nut oil, let it be with oil which has been exposed to the sun to evaporate, and the varnish will be much clearer. VERNICI DIVERSE. 635 et il mastico sottile, et poni a fuoco di carboni in uno pignattino netto et inTetriato 1' olio et fallo bollire dolcemente tanto che sia bene cotto . I . tanto che scemi el terzo : poi vi metti su la pece macinata a poco a poco mestando ed incorporando^ pen vi metti el mastice similiinodoy et quando e bene soluto, ritirala et colala con peza Una sottile et yecchia. Et se tu Yuoi che la sia ancora piu chiara ; acconda el mastice con r acqua tiepida in questo modo. Togli i grani del mastice piu grossi et chiari che puoi et metti in acqua tiepida tanto che intenerisca. Cavane el midollo et secchalo, poi lo macina. Puoi etiam provare quando ogni cosa e soluta a mettervi un poco di allume di roccha arso polverizzato tanto che condisca virtualiter tutta quella materia poi la cola. Questo si ia per farla piu purgata. 403. Item. Vemice tT olio di-beza che seccha al sole^ et senza 9ok, — Togli olio di bezza che sia schietto et non falsato et se vuoi conoscere se e falsato stemprane un poco con olio di noce, 0 di lino, o di sasso caldi tutti due etc., et distendine in sur un la?oro, e non seccherii se non con gran tempo et male, perche lo falsano andbe con la trementina, ma se e schietto seccha presto etbene. Se tu vuoi invemichare lavori gentili che non habbino a stare a r acqua, ma per colori et bellezza stemperalo ut supra. Ma se tu vuoi invemicare piu fermamente in lavori che reghino alia Acqua non lo stemperare con altro, ma scaldalo in un vaso et struggilo et invemica. Quando tu lo stemperi con V olio di lino o di noce, togli che ftumo stati al sole a svaporare et sera piu chiara assai. 636 MARCOANA MAXUSCRIPT. 404. A most exceOeni varnish for varnishing arquebusesj cross- howsy and mm armour. — Take of linseed oil, Ibe. 2 ; varmsli m grams (sandarac), lb. 1 ; dear Greek pitch, oz. 2. ' Boil the oil, thai dissolve in it the other ingredients, and stridn through a much worn linen cloth, and when you ^dsh to use the varnish, scrape and polish the work, and heat it in a hot oven, because that is the best place to heat it ; and when it is of a proper heat, that is, when the varnish adheres to it firmly and does not fry [bubble or blister from too great heat], then lay it on thinly with an instrument of wood, so that you may not bum your fingers, and it will make a beautiful chanpog colour. And if you supplied the place of Greek pitch with naval pitch, I think it would make the work black when you varnished it. When making the varnish you must boil it well, even to such a d^ee as to make it foam and bubble, if necessary, in order that it may be clear and thick. 405. Item. An excellent common vamisbj good for varnish- ing whatever you please. — Take 2 ounces of clear and good lin- seed oil, and one ounce of good and dear Greek pitch, but 2 ounces of the latter also will make the varnish thicker and gi?e it more body ; boil the oil over a slow fire, and then put in the pounded pitch a little at a time, that it may incorporate well, and add a little rodie aJum previously burnt and pounded, and when it is incorporated and boiled suffidently, that is, when you try a little of it in your fingers and find that it is done, strain it and keep it. When it is used it will be beautiful and good ; if it is too tenadous you will dilute it witli a little oil. And if you wish it commoner so as to sell it at a larger profit, take 10 ounces of oil to one of pitch ; and if you use black pitch it will be good for pommels of swords, spurs, and similar things. 406. Item. Varnish l^pouncelfor writing paper. — Take the shells of unboiled eggs, soften them in water for a fortnight, then take off the pellicles and wash them ; dry them well by exposing them to the heat of the sun or the fire, then pound and grind VERNICI DIVERSE. 637 404. Vemice otHma per invemichare arehibusi et balestre et armadure diferro, — Togli olio di seme di lino libre 2. Temice in graxu libre 1. pece grecha chiara oz 2. Quod r olio, poi stniggivi dentro 1' altre cose, pen cola con peza lina usata, et quando vuoi inyemicare el lavoro, limala o oettala prima bene, poi lo scalda in un fomo caldo perche fa meglo che scaldarlo altrove, et quando e debitamente caldo, cioe caldo in modo che la vemice vi si appiccha su bene et non frigge alhora invemicha et dalla sottile, con uno istromento di legno, accib non ti qnocha le dita, et fara un bello colore cangiante. £ se tu vi mettessi in luogo di pece grecha pece navale, credo fitrebbe il lavoro nero quando tu lo invemicassi. Quando la fai falla bollire assai, et stiumala si oportet accioc- che la da bene ohiara et spessa. 405. Item, Vemice ottima eomune et buana da invemichare queUo che vuoi. — Togli olio di lino chiaro et buono, oz. 2. Pece Grecha chiara et bella, oz. una ma se ne toi due verra piii tenace et corpulenta : quoci V olio lento igne, poi vi metti la pece pesta a poco a poco tanto che incorpori bene, poi mettivi un poco di allume di roccha arso et pesto, et quando e incorporate et cotta a sufficientia : e quando ne pruovi un poco fra le dita et sentila fatta : colala et serbala, et usala, et sera bella et buona, et quan- hai adoperarla fassi un poco tenace temperala con olio. £t se la Tuoi piu dozinale per vendere con piu guadagno togli X oncie d' olio et una di pece. Et se la togli nera sara buona per pomi di spade et sproni, et similia. 406. Item, Vemice da porre in su le carte da scrivere, — Togli guscia d' uova non cotte, tienle in molle nella aoqua per 15 di, poi lieva bene le pillicule et lavale bene, poi le asduga bene al sole, o al caldo del fuoco, poi pestale et macinale, et 638 MARCIANA MANtJSCRIFT. them and sift them through very fine rags. Then add to a pound of these i an ounce of clear incense, also strained throu^ rag and grind them up together ; then pass them again through rag. This is found to succeed well. 393. Tried by Master Jacapo di Monte S. SavinOj the seuljh tor. Admirable stucco for making and modelling figures^ and for colouring themy and it resists water.^ — ^Take of finely pow- dered trayertine lb. v., and if you would have it finer and more delicate, take fine marble instead of travertine, and 2 lbs. of slaked lime ; mix them together with water, and stir and beat them well together like a fine paste, and execute what works you please with it, either by forming it with your hands or in moulds, and dry it in the shade. And if you wish to colour it white, when the work is dry enough to be tolerably firm, but not quite dry, grind white lead with water in the same way as colours are ground, and flower [or finest particles] of afted lime, and apply it with the pencil, and it will be very wUte, and will effectually resist water. And if you wish to cobur it with other colours, let the work dry perfectly, and then colonr it ; but these colours will not reast water, like the white, be- cause they do not incorporate or unite so well as that does with the materials of which the work is composed. If, then, you wish the colours to resist water, apply on the work the above- mentioned composition (which is to be used in the manner de- scribed), and paint on it with oil-colours. You may also coloiur the stucco with colours ground up dry, but these will not be so bright as if they were applied after- wards. 1 The invention of this stucco is ascribed to Giovanni da Udine, on the following authorities :— Morelli,* in his description of the Marciana MS.* observes, . . . *^ M. Jacopo da Monte, whose method of making varnish and stucco is there shown ; the stucco is the same as that which, on the authority of Rafaello Boi^hini (Riposo, p. 402) and of others, was inrented by Gio- vanni da Udine, and hj him employed in the celebrated Loggie of the Vatican.*' Borghini*fl • Catalogo de' Codici delU Libreria Nani, p. 32. YERNICI DIVERSE. 639 paasale per istraccie che sieno finissime, poi mescola una libra di questa con | oz d' incenso chiaro, passato come questa et ma- cinale insiemey et passa iterum per gtraccio et h buona, et pro- vata, et riesce bene. 393. Ex Moffistro Jacapo de Manie S. Sauino Scultore — prouato. Stuecho mirabile per fare figure ^c. et etiam im" prcntare et cohrirlo, et regge allacqua. — ^Togli treuertino ma- dnato sottile v libra, et se uuoi che sia piu gentile et delicato, Togli marmo fino in luogo di treuertino, et togli dua lib. di caldna spenta et mescolale insieme con acqua et rimenale et battile bene inaeme come pasta fine et &nne che lauoro tu uuoi, 0 con mano o impromptato con le forme, et secchalo alombra et se lo uolesd colorire di bianco, quando il lauoro e tanto seccho che aa fermo, ma non secoo interamente, madna la biaccha con 1' acqua auso di colore, et fiore di caldna colata, et dalla col pennello, et sara bianchissimo, et stara forte allac- qua, et se lo uuoi colorire d' altro colore, lasda secchare il lauoro perfettamente ; poi lo colorisci, ma questi colori non reggeranno a lacqua come quelle bianco, perche non a incorpo- ranno, ne si miscono con la materia del lauoro come & quelle. Se a dunque tu uuoi che questi colori reghino a lacqua da in- sol lauoro la inzuppatura disopra detta la quale si da come qui dice, et poi dipigni k olio. Puoi etiam colorire lo stuecho co' colori madnati asduttj : ma non uenghono tanto yivi, quanto a colorirgli poi. Borghinrs account of the invention of this stucoo is as follows : '' While Giovanm was working with Raffiiello at Rome, excavations were made in search of antiquities among the ruins of the palace of Titus, and some Apartments were discovered decorated with grotesque paintings and small hbtorical figures and ornaments in relief, composed of stucco. Giovanni lad Raffiiello went together to see them, and were lost in admiration. Pic- tures of this kind being found in grottoes, were called < Grotesques/ Thej were carefullj copied by Giovanni, who made manj imitations of them in ^ous places, and nothing was wanting but to discover the mode of making the ancient stucco ; he, therefore, tried so many things, that at last he dis- covered that he could make the ancient stucco with lune made from white 640 MARCIANA MANUSCRIPT. traYertine, mixed with white marble in the finest powder; end ao, theie stucchi, with beautiful grotesque ornaments, and many new and rare designs, were employed by the order of Pope Leo (X.) in the Loggie of the Vatican." Vasari, in his Life of Giovanni da Udine, mentions these experiments st greater length, and informs us what materials he tried befbre he succeeded in imitating the andent stueeo. MANUSCRIPT FRB8BBTBD IN THE LIBRARY OF THE UNIVERSITY OF PADUA, EMTXTLBD " RICETTE PER FAR OGNI SORTE DI COLORE," ETC. PADUAN MANUSCRIPT. PRELIMINARY OBSERVATIONS. Thi3 Manuscript^ without the date or name of the author, is certainly Venetian. It is in quarto, is written on paper, and is numbered 992. The handwriting is of the seventeenth century ; and although, from the following circumstance, the MS. may have been written diu-ing the latter part of the sixteenth century, I think it more probable that it was composed during the middle, or latter part, of the seventeenth century. In the fly-leaf preceding the commencement, and in the same hand-writing, and in similar coloured ink, is a sonnet (dedicated to Prince Emanuel Philibert, of Savoy), which appears to have been composed by the Canonico Michael Angelo Blanchiardi di Torino, as his name is affixed to it.^ Now, Emanuel Philibert died in 1580 ; if, therefore, Dr. Blanchiardi composed the MS., he must have done so previous to this period, and the MS. might have been written soon afler the sonnet. » The work on colours is followed by a copy, in a more recent hand- writing, and with blacker ink, of a letter from " II principe D. Anton. Ot- toboni al Sig. P. Pietro suo Figlio hora Cardinale eletto dal Ste Papa Aletnndro Ottavo suo Zio. 1698." VOL. II. Y 644 PADUAN MANUSCRIPT. Some parts of the early sections of the work, from No. 1 to No. 13 inclusive, bear such strong resemblance to parts of the 3rd book of Lomazzo's Treatise on Faint- ing, that it can scarcely be supposed that one was not copied from the other. Lomazzo's work was published in 1584 ; i^ therefore, parts of the MS. were taken from this, the date ir.ust be later than that period. But independently of these considerations, the work bears intrinsic evidence of having been composed at a later period. A change seems to have taken place during the interval that elapsed between the composi- tion of the MS. of the Marciana and the Faduan MS., not only in the pigments used, but in the varnishes. Essential oil varnishes are introduced in great abund- ance ; Spirit of Turpentine, Oil of Spike, and Naphtha, are the diluents ; while the hard varnishes, made with amber and sandarac, have nearly given place to mastic and olio di abezzo. Among the varnishes for pictures is one (No. 94) described as ^^ Alia Fiaminga," which is composed of spirit of wine, sandarac, and olio di abezzo. ^' Oglio cotto," prepared by boiling nut or linseed oil with litharge, is twice mentioned, namely in No. 70 and No. 96. One recipe only is given for making Lac Lake, but Gum Lac is frequently mentioned, being applied to the novel purpose of composing varnishes, by which the In- dian Japan work was to be imitated. The MS. con- tains recipes for varnishes of this description composed of different ingredients ; and for the preparation of the colours used in Japanning. Gamboge was used at this period as a pigment, and PRELIMINARY OBSERVATIONS. 645 was prepared for paintmg by grinding it with lemon- juice and roche alum. I do not know when this sub- stance was first used as a pigment, but it was first em- ployed for medical purposes about 1 603. Articles of American produce are mentioned as in use ; among these are Campeachy wood (or Logwood) and Cochineal lake, which seems almost to have super- seded the lac lake as a pigment Cochineal is said to have been introduced in the beginning of the sixteenth century.^ It seems at this time to have been usually prepared with lemon-juice, or crystallized arsenic. In order that the Lakes, and some other colours, should dry when mixed with oil, glass, very finely pul- verized, was mixed with them ; and it is added, that they would then dry in twenty-four hours. We also find that paintings in oil had begim to suffer irom the effects of age ; and that they required, or it was believed that they required, to be washed with some corrosive liquid, and to be re-varnished. Directions, or rather recipes, for both these processes are given. No. 83 contains some recipes in Latin (the only part of the MS. written in that language), which seem to have been considered secrets. A method of transferring prints on to a plate of glass is described (in No. 95), in which it appears that the design was fixed by means of heat. It was probably painted afterwards, for in No. 96 a recipe for painting and gilding on glass is given, in which the colours are to be ground with boiled oil. The fact of this method being described in two Italian MSS., and the stipulation ^ It was introduced into Spain soon after 1623. y2 646 PADUAN MANUSCBIPT. respecting it in contracts, proves the extent to which it was used in Italy. Two different recipes for etching grounds, and aqua- fortis, are mentioned in this MS. In conclusion I shaU observe, that in addition to the subjects I have mentioned, the MS. contains the usual recipes for colours used in miniature painting. PADUAN MANUSCRIPT; EtrrnxBD " BICETEK PER FAR OftNI 80RTE DI COLORF," ETC. ( 648 ) RECIPES FOR All KINDS OF COLOURS. 1 . Of Colours in general^ and of what materials thgy are composed^ 8fc} White is made with gesso, lime, white lead, powdered marble, egg-shells well pulverized and sifted, and with the bone of the cuttle fish ground to a very fine powder. Yellow is made with '^ gialdolino di fomace " of Flanders and Germany,' orpiment, and ochre, with safiron and gamboge for water-colour painting. Blue is prepared with ultramarine and Hungarian' blues. Others are made with " smalti " and " smaltini " * of every kind, especially with those of Flanders, which are the best, with *' biadetti " * and similar pigments. Green is made with the " verde azzurri,'* * verdigris, " ver- detto,"' which is called '^ gialdo santo,'^ and approaches to yellow, ' The whole of this chapter so closely resembles the fourth chapter of the third book of Lomazzo's Treatise on Painting (although additional co- lours are named in each class of punting), that it b scarcelj posable to suppose that the author of the MS. had not seen that work ; unless, indeed, it could be proved that both writers had made use of some common ori* g^al work, which had been used as a text book by the Lombard painters, in the same manner as the old Byzantine MSS., so variously rendered ioto Latin, in the Paris copy of Eraclius, the Clayicula, the Sloene MS., and the Theophilus of the British Museum. s In Uaydocke's translation of Lomazzo, written in 1590, the namet of these two colours are translated '* Masticot " and " generall." ( 649 ) RICETTE PER FAR OGNI SORTE DI COIORI. D^ Colari in generdk^ e di qmUi materie si camponffhino. tl Bianco si fa col gesso, calcina, biacca, marmo pesto, gnsci ater-colour painting is made with verdigris, rue-juice, and saffit>n. Dark green is made with verdigris, indico, and umber, and it is lowered by adding black. 6. The mixtures of Indico. Dark purple is made with indico and lake. DE- COLORI IN GENBRALE. 653 Color di rae si & con biaca e cinapiio, ma piu cinaprio che biaca. Color di sassij legni, scarze d! albert e eapelli si fa con biaca e terra d' ombra. Color di paglia si ia con biaca e gialdolino. Mischio del Gialdolino. Color verde per lontani paesi si fa col gialdolino, e azurro, smalto o snudtino, e biaca. Verde si fa col gialdolino et indico insieme. Verde piu vivo si fa col gialdolino, indico, et orpimento. Color difame e ^lendori si fa col gialdolino e cinaprio. Color di Naranzo si fa con gialdolino e cinaprio, ma piu cina- prio che gialdolino. Mischie degli azurri smaUi e biadettii Verde oscuro si fa con aznrro e gialo santo. Pavonazzo e Morello scuro, si mischia azurro con' biaca. Morello che perde un poco si fa con azzurro, lacca, e terra d' ombra. Morello che perde assai si fa con azzurro, lacca, e negro. Mischie del verderame, Verde tUvo si mischia il verderame col gialdo santo. Verde vivo per T acqttareUa si fa col verderame, succo di nita e za£Ferano. Verde perso si fa con verderame, indico, e terra d' ombra, e si perde assai piu aggiungendovi il negro. Mischie delV Indico^ Pavonazzo oscuro si fa col indico e lacca. 654 PADUAN MANUSCRIPT. The colour of irorij Hlver, tin^ ^c, is imitated with indico, lake, and black. 7. The mixtures of cirmabar. The colour of ripe strawberries is imitated with cinnabar and lake. Scarlet is made with cinnabar, lake, and white lead. Blood colour is made with cinnabar and lake. Ttte red colour on the cheeks of beautiful flesh is represented with cinnabar, lake, and white lead. The colour of burnt ochre is imitated with dnnabar and black. 8. The mixtures of lake. The colour of cinnabar is imitated with lake and minium. The shades of the flesh are made with lake, minium, and umber. The colour of black velvet is made with lake, blue, or indico and black. The colour of velvet of a berettino colour [grey] is imitated with lake, cinnabar, ochre, and white. Flesh colour is made with lake, cinnabar, ochre, and white. Violet colour is made with lake and blue. Dark morello colour \b made with lake and blue or indico. 9. The mixtures of minium. Orange colour is made with minium alone. A light orange colour is made with minium and gialdolino. 10. The mixtures of Gialdo santo. The colour of green grass or verdure is represented with gialdo santo and verdigris. Emerald colour is imitated with gialdo santo, rue-juice, and verdigris, for miniature painting. 11. The mixtures of black. Light berettino is made with black, white, terra d' ombra, lake, and indico. DE' COLORI IN GENERALE. 655 Color diferrOy Argento^ Uagno^ et similiy si fa con indico lacca e negro. Mischie del cinapro. Color difragole mature si fa con cinaprio e lacca. Color di scarlato si & eon cinaprio lacca e biacca. Color di sangue si fa col cinaprio e lacca. Color di guancie eolorite di bella came si fa con cinaprio, lacca, e biacca. Color cf ocrea arsa si compone col cinaprio e negro. Mischie delta lacca. Color di cinaprio si fa con lacca e minio. Ombra di came si fa con lacca, minio, e terra d' ombra. Color di veluto negro si fa con lacca, azurro oyero indico, e negro. Color di veluto berettino si fa con lacca, azurro o indico, negro, e bianco. Color di came si fa con lacca, cinaprio, ocrea e bianco. Color di viole si fa con lacca e azurro. Moretto oscuro si fa con lacca, e azurro overo indico. Mischie del minio. Color di naranzo si fa col solo minio. Color ranzato chiaro si fa col minio e gialdolino. Mischie del gialdo santo. Color di verele pianure si fa col gialdo santo e verderame. Color di smeraldo si fa col gialdo santo, succo di ruta, e ver- derame per miniare. Mischie del negro- Berettino chiaro si & col negro, bianco, terra d' ombra lacca et Indico. 656 PADUAN MANUSCRIPT. Smoke colour is made with black and vihite. 12. The mixtures of white. T/ie colffur of the tops of mountains is made with white, ochre, and maiolica,' and they will appear as if touched by the sun. Flame colour is made with white, gialdolino, and cinnabar. 13. Of the shades in general, and how each of the above- mentioned colours should he shaded? We must first warn you that the shades must not be laid on lighter or darker than the colour which is to be shaded can bear. AH the mixtures of compound colours must be shaded with the darkest of the colours of which they are composed, used pure, and in the following manner : — Celeste made with blue and white, must be shaded with pure blue. Green made with white and gialdo santo, is shaded with gialdo santo. Light morello mixed with umber, must be shaded with dark morello. Blue made with indico and white lead, is shaded with pure indico. Cinnabar mixed with white, is shaded with cinnabar alone. Umber mixed with white, is shaded with umber alone. Blue, black, smaltino, and biadetto, are shaded with indico, lake, and black. Verdigris is shaded with indico or black. Pure gialdo santo is shaded with umber. Dark morello is shaded with black. White is shaded with black or berettino. Gialdolino is shaded with ochre, or terra gialla, and umber. ^ M^folica, a red earth. (Terra Bossa.) DE* COLORI IN OENERALE. 657 Color difumo si compone col negro e bianco. Mischie del bianco. Color delle dme d£ Monti si fa con bianco, ocrea, maiolica, e pareramio toohe dal sole. Color dijiamma si fa col bianco, gialdolino, e cinaprio. Deff ombre in generate^ e come si debba ombreggiare ciascheduno de suddetti colori, Avertasi prima a non dar ombra pia oscura, ne piu chiara di qaello che pub comportare quel colore che si deve ombreggiare. Tatte le miscbie fate di piu colori si devono ombrare in quel colore pure, che nella mischia resta piu oscuro, e nel modo cbe segue. Celeste, fatto con azurro e bianco, Y ombra con puro azurro. Verde fatto di bianco e gialdo santo, V ombra col gialdo saoto solo. Morello cbiaro cioe mischiato d' ombra con morello scuro. Turchino &tto d' indico e biaca, o bianco, s* ombra con in- dico puro. Cinaprio mischiato con bianco, s' ombra con dnaprio solo. Terra d' ombra mischia con bianco, s' ombreggia con terra to the depth of a finger, mix them well together ; let the cinnabar fiiU to the bottom, and wash it as before for 2 or 3 days, so that the smell will be removed from the cinnabar ; and then^ when it is well purified, pour in some more white of e^, and mix well together. Leave it thus, and it vrill be most perfect When it is used, stir it well. COLOia DIVBRSI. 66S Bei oncie di grani uno d' alume, e cocendo molto bene sine alia oonsiunatioiie quasi della metk dell' acqua, lasciala raffredare, si colli per tella di lino, e la collatura si ponghi in vesiche di porco, di poi si mettooo a aeocare al sole overo al fiimo, si chiama pasta di vesicha. Verde rame come si raffini, — IS piglia il verderame, si tritta bene, piritu urinae si desit adhiberi pote8t lixivium ex tartaro calci- nate nitro fixo, et urinae sale oonfectum. Si in hoc lisivio coquantur vellera panni carmesini extrahetur inde color mirificus cocdneus qui vulgo dicitur scarlato col secreto idem die de caeteris ooloribus. K nitri spiritum solyatur cuprum, ac deinde lixirio salis tar- tari praecipitetur babebitur color viridis alios colores minime rodens. Si eodem spiritu solvatur cerusa, ac deinde solie aqua praeci- pitetuTy babebitur candidissimus delicatissimusque color. Afar lettere verdu — R. ruta e cavane il succo, verderame, e zafierano e macina insieme, e scrivi con acqua gonunata. A far inchiostro turchino. — B.. endico bagatelle madnalo sottile, e liquefalo con acqua di gomma della soprad^, e chi lo vol &re bellifls"^ li meta alume di rocca, e senza acqua di gom- ma uon correrebbe ed e fatto. Fer fare il verde gilio. — Si piglia i gilij pavonazzi, e Be li levano le parte piii colorite poi si pone per un giomo a putre- fiursi, poi si pestano in mortaro, e si cava il suco, si pone in tazza, poi si mete calce viva et aliune, e messo in pezza di lino si pone nel detto suco &cendolo girare sin che si vede ricavato il colore verde e conserva poi asciuto in carta, e si fa in tempo bono. Modo di cavar il colore dal branle. — ^Piglia il brasile raspato 0 limato u. g. (sic) oz. 2. piglia bianchi d' ova a discretione che tatto resti inzuppato, poi piglia due ottavi alume di rocca abruc- ciato, e il tutto metti insieme dentro una scudella poi con spatola di legno rimena il tutto sintanto che vedrai il tutto ben colorito^ 686 PADUAN MANUSCRIPT. the whole is well coloured, strain it through a linen rag, and immediately expose it to the sun that it may dry ; and if yon wish to make a beautiful purple, take Campeachy wood (?), and do the same with that 88. To make the Indian varnish, first notice. — You most first heat an earthen vase, and while it is Tery hot put into it the gum lac pounded and sifted through a silk sieve ; then add to it about \ of an ounce of colophony, and at the same time, that it may hare a body, collect it on the end of a stick in order to present all parts of it to the fire, that it may all be of the same colour, and as soon as it is liquefied you will add to it, a little at a time, the powdered colours, observing that they must be quite dry when they are put in. 89. For green, — Take 15 drachms of orpiment, a drachm of in- dico, more or less dark in colour, for the sky-blue, sulphur well pounded with indico at discretion, and so with the other colours. After the colours are well mixed on their sticks with the gum lac they must be frequently beaten on the marble, or in a hot mor- tar, in order to mix them well ; they are afterwards worked in the hands, and little tablets are made of them for use when they are wanted. For dark blue, indico alone ; for yellow, orpiment ; for red, cinnabar or mmium ; for olive, burnt orpiment ; for flesh colour, sulphur and minium ; and so for all the other colours. 90. To extract the colour of the gum lac^ so that it will serve for bright colours, — ^Pulverize coarsely the gum, and put it into a ley of rosewood or vinewood, which will extract its co- lour ; you must then separate the water from the gum, and evaporate it carefully until it begins to thicken. You must then take it from the fire, and stir it with a silver spoon, and let it settle till the next morning, and when it is sufficiently thick, you must place it on a slab of marble, dry it and use it for giving a lustre to the gum and to all colours. Observe that this colour mixed with white lead makes a most beautifid flesh colour. The remainder of the gum lac must be washed in the ley until it has entirely lost its red colour ; it will then do for melt* VERNICE INDIANA. 687 oolla per pezza, e poni al sole subito a seccare ; se voi fare un bel pavonazzo, piglia il campucdo e fa Y istesso. Per fart la vemice Indiana^ jP avertimento. — Bisogna far scaldare un vaso di terra, essendo ben caldo metti della gomma lacca pesta e criyelata al setazzio di seta, ponivi insieme circa i d' oz. collofonia e n^' istesso tempo eh' havera fatto corpo, la coglierete alia cima d' un bastone per presentarla al foco Toltandola da tutte le parti a fin che prendi ugualm^ il colore, e subito liquefatta che sara, li metterai a poco a poco li collori ben pesti osservando che siano ben secchi nel ponerli. Per il verde. — Vi bisognano 15 dramme d' orpimento, e una dranuna d' indico piu o meno oscuro, per il turchino solfaro ben pesto con indico a discretione, e cosi dell' altri colori. Doppo che li colori saranno ben mescolati sopra li bastoni con la gomma lacca, bisogna batterli sopra il marmo, o dentro un mortaro ealdo molte volte per renderlo ben mescolato, e dopo voltarlo nelle mani e fame tavolette, per servirsene ne bisogni, il tur- (diino scuro, V indico solo, il gialo 1' orpimento, il rosso il cina- prio, o minio, color d' oliva orpimento abbruciato, color di came, sol&ro e minio, e cosi di tutti li altri colori. Per tirare il colore della gamma lacca che serve per li colori tnm. — ^Polyeriza grossam^ la detta gomma, e ponila in liscia di legno di rosa o di vite, e la detta liscia tirera il colore, bi- sogna separare le acque dalla gomma, e farle svaporare so- dl'* sin tanto ch' essa cominci a divenir spessa. All' hora bisogna levarla dal iuoco, e moverla con un chuchiaro d' ar- gento, poi lasciarla riposare insino alia mattina, e quando bavera fatto corpo, metterla sopra una pietra di marmo e farla seccare, e ye ne servirete per dare il lustro alia gomma, e a tutti li colori. Nota che questo colore con biacca fa color di came bellissimo. La residenza della gomma lacca bisogna lavarla nella liscia, sin tanto (Al habbi lasciato il ador rosso, e vi servirk per fon- 688 PADUAN MANUSCRIPT. ing with the other oolourSy as cinnabary orpiment, and others, because the gum being 'passed through the ley, is clarified [or bleached], and all the impurities of the inside will pass off with the colour. Tlie wood should be covered with a coat of yellow made with orpiment, and the colours placed on it, ad libitum. But this must be after having spread the yellow with a willow wand or some other stick. 91. To purify the gum lac, so that it wiU gioe a lustre like crystal. — Take the clearest gum, break it in a strong and dear cloth bag, 2 fingers in breadth, and at the two extremities of the bag tie two sticks, so that they may keep the bag closed, which you will present to the fire, and continue turning it round until the gum passes through the doth, which you must scrape with a wet knife, on the marble, and continue to do so until the whole has passed through, taking care that you do not bum yourself, and this gum, thus purified, serves for giving a lustre to all works. 92. An amber varnish, — Take common turpentine, make it to boil for a quarter of an hour, add to it some amber well powdered on the marble, boil it for half an hour imtil the amber is lique- fied, and take it from the fire. As soon as it is cold it will become hard ; when you wish to use it, dilute it with oil of tur- pentine in order that it may liquefy, and it will be better to beat it slightly that it may be more manageable, taking notice that while it is hot, it should be passed through a doth, and the part which passes through will be the best part. Apply it with the pendl or with the warm hand. It is necessary to ac* quaint you that this composition should be washed in hot water, after it has been well strained^ that it may be clean and pure. 93. Another secret to make the true Indian varnish. — ^Take gum lac and oil of spike, both of them clean and pure. Tlie oil must be cleansed from its impurities with an equal quantity of litharge of gold; it must then be redistilled and again left to settle until it becomes clear aftier being passed tvrice VERNICI DIVERSE. 689 dere con li colori, oome cinaprio, orpimento, et altri, perche la gomma essendo passata per la liscia si rendera chiara, e tutte le sporchezze di dentro se ne anderanno alia tintura. Bisogna coprire il legno di gialdo fiitto con Y orpimento e di poi mettergli li altri colori ad libitum sopra, ma questo dopo haver bene disteso il detto colore gialo con un bastone di salice o altra Per purijicare la gomma lacca che darh il lustro came cris- tcUlo. — Prendi la gomma piu chiara conquassala dentro un sachetto di tella forte e chiara, che sii stretto due dita, et alle due estremitk del sacco, lega due bastoni che tengano serato il sacco, qual presenterai al fuoco, voltandolo sempre sino che la gomma pasai fiiori della tella, qual raschierai con cortello bag- luito sopra il marmo, e seguiterai sino che h passata, ma averti di non abbrucciarla, e questa gomma cosi purificata serve per lustrare tutti li lavori. Vemice ^ambra, — Piglia grassa terbentina, fala bollire per \ d' hora, e ponili del ambra sul marmo ben in polvere &ta, e falla bollire per mez' bora sin che f ambra sia lique&ta, levala dal ftioco, e subito fredda, diverk dura, volendola adoperare bisogna aiutaria con T oglio di terbentina, acci6 si liquefacda, e iala un poco scaldare per maneggiarla bene, avvertendo che quando e calda di farla passare per un panno et quelle che passeia sark il buono, applicandolo con pennello overo con la mano ben calda. Bisogna avertire che tutta questa composi- tione, si deve lavare nel acqua calda dopo d' haverla ben colata acci6 sii ben netta e purgata. Mtro tecreto per fare la vemice vera d* India. — R. Gomma lacca, et oglio di spiga tutti neti e puri, 1' oglio bisogna che sia oetatto dalla sua grossezza con tanto di letargirio d' oro, quanto di ogliOf e questo bisogna far passare per un vetro per distilla* tione, e si toma a riposare, sino che sia ridotto chiaro, e pa8<^ 690 PADUAN MANUSCRIPT. through the still. Another vessel shaped like this must be pro- cured, and for every 4 ounces of spike must be taken one ounce of gum lac (if it is very yellow and clear there is no doubt of its good- ness) ; the whole is then to be placed over a diarcoal fire and to be boiled until the colour is changed, and the varnish becomes like honey. To know whether it is good, put a drop on a knife, and if it remidns united it is good ; it must afterwards be poured through a linen doth into a vase of majoUca and preserved. Cinnabar is ground up with pure water, and dried on the stone ; then ground for a quarter of an hour with seven times its quantity of varnish. The varnish is then applied with a pendl, and the work is to be exposed to the air for 2 hours in order that the odour may pass away ; for the same reason the work is to be kept in a warm place ; any colour may then be laid on 5 or 6 times. After this it must be made perfectly clean and again var- nished, continually dipping the pencil in oil of spike. When- ever you varnish you must dry the whole perfectly. In using the yellow colour you must wait some time for the dissolution of the gum, or you must dissolve it over a slow fire if you do not wish to wait long. 94. A very clear varnish for pictures and paper alia Fia- minga. — Take 7 ounces of highly rectified spirit of wine, 2 oz. of sandarac, and 2 ounces of olio d'abezzo. The sandarac, which should be very clear, must be pulverized and put in a bottle with the olio d'abezzo, which also must be very clear. Tlie spirit of wine must then be added, and the whole boiled gently over the fire, until the whole is dissolved, keeping the mouth of the vessel well closed, that the spirit of wine may not evaporate. The varnish must then be strained into a glass vase, learing the impurities at the bottom. When it is used it must be put into a majolica cup, the picture also must be heated, and the varnish applied with the pencil. VERNICI DIVERSE. 691 I sato due volte si piglia un altra bozza come qui e per ogni qoattr' oncie di spiga, si piglia un' oncia di gomma lacca, e come sark ben ^allo, e cbiaro, non si dubiti della sua bonta, questa tutt' in* sieme si mette sopra foco di carboni, e si & tanto bollire sin che si muta il colore, e diyenti come mele, per conoecer questo s' e buono, si mette una goccia sopra un oortello, e restaado tutto unito, e buono, e poi s'infonde per panno lino in vaso di Majolica e si consenra. II dnabrio si macina con acqua pura, e si fa seccare nella pietra, poi si piglia sette volte piu di vemice cbe di colore, si macina ben bene insieme per im quarto d'hora, poi si piglia nn pennello, e » mette alia robba, poi si fa stare all' aria due hore accio passi 1' odore, e si tiene la robba a loco caldo acci6 piu presto passi 1' odore, e porre il color che piace 5. o 6 volte. Poi si netta polito, poi si piglia la vemice, e si da sopra il lavoro un' altra volta, con bagnare il pennello nel oglio di spiga sempre. Ogni volta che darai la vemice lascierai ben asdugare il tutto. D color gialo 1' hai d' attendere per disolutione della gomma, overo la farai a fuoco lento, se non voi aspettar tanto. Vemice lucidissima per pitture e carte aila fiamenga. — R. oz. 7. acquevita sflematt"^ oz. due Sandaraca, oz. due abiezzo. La sandaracca sia ben chiara si polverizzi, e si meti in bozza in- sieme con r abbiezzo, che deve essere chiarissimo, et poi ponivi I' acquevite, e falla bollire dolcem^ al foco sino che tutto di- yenti acqua tenendo stopata la bozza accio Y acqua vite non tvapori, e poi si coli in vaso di vetro facendo restar a dietro il fondo, e quando si vol adoperare si mette in tazzine di Majo- lica, e si fa scaldare anco il quadro, e con pennello si va se- gaentemente dandola vemice. VOL. II. 2 B 692 PADUAN MANUSCRIPT. 95. Mode ofengranoing and painting on glass? — ^The engraT- ing you wish to transfer must be soaked in water for tiie space of 24 hours or more, adcording to the size of llie paper. Then take a glass cup containing an ounce of tui^ieotine, and place it to boil oyer a slow fire for half a quarter of an hour ; add to it a drachm of powdered mastic, and let it again boil for half a quarter of an hour. Take the glass [to which the print is to be transferred], heat it well on one side only, then lay the print on a doth in order to absorb the superfluous moisture, and lay the glass on it, which should not be very hot ; then turn it over and remove the air-bubbles witii the fingers and also the paper, so that it may come oflf without force. When it is dry, take a wet rag, and rub until the design be^s to clear ; then, when it is dry, heat it a little by the fire xya the side oppodte the print, let it cool, and again rub off the paper with the wet rag, and, when it is dry, heat it by the fire more strongly than before, in order that the varnish may soak into the print and make irito di vino disflemato lib. j. si pestano tntte k gonmie, e poi si mette in bocia dal colo longo, e vi si lasci in infusione per due giomi accib si disolvi le sod'* gomme teoendobenissimotnrato la bocda, epoisi metea fiiooo di sabia gradaiistf"^ per sette o otto hore, e poi si lascia rafreddare e 00^ sara fatta. Vemiee ehiara. — Lib. una spirito di vino, oz. 4 trementina fina, un quarto d' oncia di mastice bianco, et un quarto di sandraeca, il tuttomesso in boocia come 1' altra vemice, e le si da fdoGO per sei hore perb di sabia tantoche si vede a boUire, e poie&tta. Ltutro di rata. — D lustro di rasa si & per macinar colon vivi in vetro con parti uguali d' acqua di ra^a, e pecce greca sopra foco moderato sino si liquefacci la pecce greca. La vemice si fa come sotto. — Oz. una gomma di ginepro, oz. ^ oglio d' abezzo puro e chiaro, quale si addimanda oglio d' abbiezzo per £Eur vemice oz ^ acqua vite boniss"'* di sette cotte. Si macina la sandaracca e si fa pasta eon Y abiezzo e si mette in bozza, e se li mette sopra la d^ aoquavite e si mette sopra fuoco dolce, tanto che il tutto s' incorpori, fatto questo by the name of Tern Rossa di Spagna, but it is believed to be identical with the Terra Rossa d'Inghilterra, and to be actually brought fVvm England* ■P 698 PADUAN MANTTSCRIPT. it must be placed over a slow fire until it is well incorporated. When this is done, the wood or glass which is to be varnished is painted with a tuft of feathers. 107. A varnish far miniatures and picture frames. — ^Take of spirit of turpentine lib. 1, of benzoin oz. 4, and of mastic oz. 2. Reduce the mastic to a very fine powder, and mix it with the benzoin in a varnished pipkin. Then put the spirit of turpen- tine into a bottle, which you must heat by means of a water- bath, and then mix it with the benzoin and mastic in the pip- kin ; afterwards incorporating it with the other things over a slow fire, &c. When this varnish is used on picture frames, you must add to it two ounces of sandarac also well pounded, and you must mix with the varnish the colour which you wish to apply on the frames. 108. To make very pure white lead. — ^Take the calcined lead of the potters, or litharge of gold or silver in proper quantity ; pound it finely, pass it through a coarse sieve of silk, and having placed it in an earthen vessel with very strong white vinegar (if distilled it will be better), leave it for 3 or 4 days, frequently stirring it, and letting the impurities of the lead go to the bottom. Then decant the vinegar, and pour over the lees fresh vinegar in such quantity that no odour may proceed from it and that the precipitate may be almost black. Then take rain or well water with the proper quantity of salt, and with this salt water precipitate the lead which is in solution, and wash it with common water until it has no more odour or savour; then dry it, by placing it on leaves of blotting paper until it is dry. 109. To make a colour like carmine. — Take powdered cochi- neal, put it into a ley, and add to it some finely pulverized crystallized arsenic, which is proper for precipitating the colour ; it will then turn out well. 110. Colours for miniature painting. White lead, Burnt yellow [earth], Paris carmine. Burnt lake. VERNICE PER MINIATURE E CORNICI. 699 con pennello di piuma si pinge il legno, o vetro se vole inver- nigare. Vemice per miniature e camici. — Acqua rasa lib. una, bigione oz. 4, mastice oz. 2, pestasi il mastice in sotill"* polvere, e si mesoola col bigione dentro una pignata vernicata, Y acqua rasa si mette in una boccia di retro, qual si fara scaldare al bagno maria e dappoi la mescolerai col bigione, e mastice nella pig- nata^facendola poi incorporare con le altre cose a fuoco lento, etc. Per mettere sopra le comid vi metterai due onde di sanda- racca anche ben pista, et il colore che vi yorai mettere, lo ma- cinend con la vemice. Per far lnm all ungrateful savour, odour, and malignity. Then pour off the water, dry the powder, and keep it for use. The dose is half or even a scruple in some convenient vehicles, &c. 112. Lily green. — ^Take the juice of the flowers of purple Elies, but the juice of the buds will be better, and having purified two glasses full of it, add a piece of lime of the siie of a small pea, and the same quantity of unbumt roche alum with a little pulverized candied sugar ; and when they are well dissolved and incorporated, the colour must be dried by ex posure to the air. 113. To make very fine lake.* — Take oz. ) of lac, half drachm of crystals of tartar pulverized, and a acudella of hot water. First dissolve the tartar, then take the lac which has been ground, put it on a clean linen rag, and tie it into the form of a ball, and then cut off the superfluous part of the rag, and put the ball into the above-mentioned hot water, placing the scudella over some hot cinders, and leaving it there until the 1 Probably native yellow ochre. The best kinds are sold in the lump, and not in powder. * In the original M5., this recipe is broken into two parts by a repetitioD PER FAR LACCA FINISSIMA. 701 Minio d' olanda, Biondo di terra verde bruggiata. Rosso delle aguze, Terra d'ombra bruggiata, Boeso di Titriolo Romano, Nero d' India, Rosso di rugine di ferro, Nero de' giande brugiato, Terra d* Inghilterra, Oltramarino, Gialo di pietra, Verde gilio, Gialo di Randra, Indico. JPreparazione segreta della 9cammonea. — Piglia qnella quan- tita che voi di scamonea netta, Uque&tta a dolce caldo con acqua vite gagliarda, dove prima sia stato distemperato un poco di sal tartaro a discretione, poi stemperata feltra la solutione^ poi in bagno maria & sfdmare la meta, poi rafiredato alquanto il d^ fiquore metivi dentro tanto d' acqna rosa quanto basti per far eadere nel fondo del vaso, che vol essere di retro, la resina prniss™* della scamonea libera a £Bttto da qual si yoglia ingrato sapore, odore e malignitk. Poi leva 1' acqua, secca la polyere e oonsenrela per i bisogni. La dose e mezo, o pure un scru* polo in yehicoli conTenienti, etc. Per fare verde gilio. — Si cavi il succo da fieri di gilij pavo- nazzi, da bottom sara migliore, e purgato nella quantita di due Incfaieri, si mette quanto un cece di fior di calcina, e un altro d' alume di rocca non abruggiato con un poco di zuccaro can- dido spolverizato, il che dis&tto che sia, e ben incorpwato, si sciuga all' aria. Per far iacca finish, — Si piglia lacca mez' oncia, cristallo di tartaro in polvere meza dramma, et una scudella d' acqua calda, si pone prima il cristallo, e si & disohrere, poi si piglia la lacca madnata e si pone in un pezzetto di lino pulito, e si trenge in forma di balla poi sL Per far lacca finiss^. — Osserva K due segni n€ri.|| Si piglia lacca, mez' oncia; di cristallo Tartaro in polver& meza;|{ of the title and the first tine ; as this was evidently a mistake, I have avoided it in the traBslstbn. i 702 PADXTAN MANTTSCRIPT. i water becomes well coloured. When this is the case, take the ball from the water, and evaporate the water gently over the hot cinders until the colour is condensed at the bottom ; it will then be done. 115. To make a most beautiful purple lake, — Take an ounce of fine grana or cochineal, a quarter of an ounce of roche alum, and about a bocale full of common water. Boil the water with a quarter of an ounce of fennel seed until it is diminished one- third ; then add the grana or cochineal finely pulTerized, and boil the whole over a slow fire for a quarter of an hour ; then add the pulverized roche alum, and let it boil for another quarter of an hour. After this take it from the fire, strain it through a linen cloth into a new and unglazed earthen por- ringer, and leave it there for 8 days. You must then decant the water, or take it up gently with a spcxige, evaporating the little which remains until the colour is condensed, which yon must afterwards keep in shells, adding to it a little lemon-juice. 116. Another sort of fine lake. — Take 12 grains of powdered cochineal or fine grana, add to it 2 ounces of ley ; leave the infusion for about 2 hours ; strain it through a linen cloth, and put it over hot cinders. When it boils» add to it pulverized roche alum of the size of 2 peas, when the ley will make a thick red scum ; as soon as this happens throw it all on to a stretched linen cloth, when the clear ley will pass through, leaving the coagulum on the cloth, which coagulum must afler- wards be dried and made into tablets. 117. To make a red Parisino [Parisian] colour. — Take oz. \ of Brazil wood, and half a bocale of clear ley ; put the ley into a new glazed pipkin, and when it is hot, add to it the Brazil wood, keeping it over a slow fire for a quarter of an hour. It must then be strained through cloth into a new pipkin, and some pulverized roche alum of the size of a grain of rice must be added to it, and the mixture taust be stirred without heat for 7 or 8 minutes. The whole must then be put PER FABE LACCA FINA. 703 taglia il superfluo di d*^ pezzetta, si mette la detta balla nella soprascritta acqua calda, applicando la scudella ad un poco di cenere calda, et ivi si lascia sino che V acqua sij ben colorita, air hora si leva la balla dalF acqua, e si fa svaporare 1' acqua plan piano sopra la cenere calda sin a tanto che il colore si condensa nel fondo, e sara fatta. Per fare una laeca pavonazza belliss^. — Si piglia un' oncia di grana fina, o cocciniglia, allume di Rocca un quarto d' oncia, acqua commune circa un bocale, si fa bollire la detta acqua con un quarto d' oncia di seme di finocchio, sino alia diminu- tione d' un terzo, poi nella d^ acqua si aggiunge la d^ grana, 0 cocciniglia macinata bene, e si fa bollire a fiioco lento per un quarto d' ora, poi vi si aggiunge 1' allume di rocca fatto in polvere, e si lascia bollire per im altro quarto d' hora, ci6 fatto si leva dal fuoco, si cola per pano lino in scudella nova di terra non vitriata, e si lascia per otto giomi, qual poi si decanta o si leva gentil^ con spugna facendo evaporare quel poco che restera sm tanto che il colore si condensa, quale si conserva nelle con- chiglie applicandori un poco di succo di limone. Un altra sorte di lacca fina, — R. Piglia 12 grani di coccini- glia, 0 grana fina fatta in polvere, si pone in due onde di lissivio lasciandola in infiisione due hore incirca poi si cola per pano lino, e si mette sopra cenere calda, quando vorra bollire vi si aggiunge quanto due piselli d' allume di rocca in polvere, quando il liscivo fara schiuma grossa incamata all* hora si getta tutto in un panno lino steso, e passara il lissivo chiaro restando la schiuma nel panno, quale si fa seccare, e si fa tavolette. P^ far color rosso Parisino, — La quarta parte d' un' oncia di legno di Brasile, mezo boccale di lissivio chiaro, si pone il liscivo in pignata nova invitriata, scaldato che sij, vi si aggionge il d^ legno tenendolo a foco lento per un quarto d' hora, dopo si cola per pezza in pignata nova, e vi si agionge quanto una rizzolla d allume di rocca in polvere, e si mena senza foco per mezo <}viarto d' ora poi si pone il tutto in un sacco accuminato, e si 704 PADUAN MANUSCRIPT. into a pointed bag and passed through twice, as in straimng wine. It may be kept in shells, &c. 118. To make rose colour. — ^Take the aboYe-mentioned co- lour, heat it over the fire, and when quite hot add to it a little fish-bone (that is, sepia) in powder, but in very small quantity, that the colour may not be too dry ; then stir die whole well in ihe sun until it is cool. It may be kept without adding gom, but must be distempered with parchment glue. 119. To prepare minium. — ^Take the minium, steep it in water, beat it up well ; then decant the finest part, and let it dry. It is to be incorporated with parchment size and a little purified honey. 120. To make violet colour. — Take bastard madder,^ grind very finely a small quantity of it, and put it in hot [liquid] ^' color di verzino," but take care there is no roche alum in it, which precaution you ought also to observe with the rose colour. 121. Straw colour. — ^Take lead yellow [massicot], wa^ it with a very strong and clean ley, then decant the ley, and dis- temper the colour with parchment glue. 122. A most beautiful white. — ^Take some powdered Venice crystal [glass], add to it a third part of powdered sulphur, place it in a well-luted pipkin over lighted charcoal, and leave it there until the pipkin becomes well heated and red hot ; then take it off; and when it is cold break it, and collect the pig- ment which is in it, grind it and preserve it 123. Another violet colour. — ^Incorporate 2 parts of the above-mentioned rose colour with 1 part of turchino or turnsole, and it is done. 124. A most beautiful black. — Bum the books of gold-leaf, leaf by leaf separately ; let the ashes fall into clean water, then take them and incorporate with parchment glue. The colour will be most beautiful. 125. A most beautiful blue.— Take ^' smaltino," pass it 1 Galium Mollago, Gralium Album. The great ladies' bed straw, or wild Bastard Madder. COLORI DlVEllSI. 705 paBsa due volte come il vino oolato^ e si conserva in conchiglie &c. Per far color di rosa, — Si pigiia il color soprad*®, si pone al foco acci6 si scaldi bene scaldato vi si giunge im poco d' osso di pesce in polvere cioe di seppa, ma pochiss™* quantita accib il colore non riesca troppo secco, si move il tutto bene al sole sin tanto che sij rafiredato, e si conserva senza porvi gomma, ma si stempera con cola di pergamena. Per preparare il minio. — Si pigiia il minio posto nel acqua, si sbatte beniss°^ ; poi si decanta la parte piii suttile, e si lascia asciugare ; s' incorpora con acqua pergamena liquida con poco miele purificato. Per far color di vioU. — Pietra [pigiia ?] Galica bianca, si macina ben sottile in poca quantita, e si pone in color di ver- zino caldo, ma che non vi sii alume di rocca, il che si deve awertire nel color di rose ancora. Gialdo di Paglia, — Pigiia gialdo di piombo, si lava con lisciyo ben forte e netto, poi si decanta il liscivo, e si stempera il colore con cola pergamena. Un bianco bellis^. — Si pigiia cristallo di Yenetia fatto in polvere, vi si agionge la 3* parte di solfo in polvere, si pone in pignata tutto ben lutata sopra li carboni accesi, e si lascia sin a tanto che la pignata sij ben infocata, et accesa, poi si rimove e fredda ebe uj si spezza, e la matteria che vi sara dentro si nuu^na e serve. AUro color di viole. — Doi terzi di color di rose soprad*^ s' uicorpora con un terzo di color turchino, o tomasole ed e fatto. Un hellish nero, — Li libbri del oro in foglio abbrucciati a foglio per foglio al lume, e &r cascare 1' abbrucciato nel acqua netta, pigiia poi quella robba incorporala con coUa pergamena ed * belliss"* Ac. Un Turchino hellish > — Si pigiia smaltino passa per settaccio ^ttile, incorpora con biacca e gomma macinata. 706 PADUAN MANUSCRIPT. through a fine sieve, incorporate it with white lead, and grind ' it with gum. 126. Mountain green. — Grind the mountain green with parchment size and " succo verde." 127. Sap green, — ^Take the berries which grow on the hedges in bunches like grapes, collecting them 24 days before the feast of St. Michael. When they are ripe, place them in a pipkin, and dry them well with pounded alum for 2 days in the sun. Then add to them clear ley, and boil them over a slow fire until reduced two fingers' breadth ; then strain the liquor, and pour it into a bladder and expose it to the air that it may dry. 128. To prepare saffron for painting. — ^Take the safiron, tie it up in a rag, and steep it in white vinegar, with a little gum or white of egg beaten and strained ; but if you make use of the white of egg, use no gum. 129. To make gold colour. — Take orpiment which has been well ground with ox gall, put it into a pipkin with saffiron and white wine, and let it boil over a slow fire until it has a body. When you wish to use it distemper it with white wine mixed with the above-mentioned gall. 130. To make verdigris. — Take pieces of copper anointed with purified honey, and fasten them to the cover of a well- glazed pipkin, which must be full of hot vinegar made with strong wine ; then cover it and place it in a warm situation for 4 or 5 weeks, and when you uncover it, remove the colour which you will find on the pieces of copper, and it will be most beautiful. 131. To make a colour of dragons blood. — Dri^on's blood is ground up with sal ammoniac and pounded gum ; it will be much better for the addition of white lead and minium. 132. Distempering of cinnabar. — When the cinnabar is well ground, it is to be incorporated with a strong white; it is then dried on the stone, and reground with well- beaten white of egg and a small portion of Hepatic aloes. It may then be preserved, and when used it should be distem- COLORI DIVERST. 707 Verde di numtagna. — Si macina il verde di montagna cou cola pergamena liquida e succo rerde. Stuxo verde, — Si pigliano bacche che vengano per le sieppi in fonna d'ave, si raccogliono 24 giorni avanti S. Micbele quando sono matturey si pongono in piguata, e a' abbruciono bene con alnme pestato due giorni al sole in infusione, poi si aggionge lisciyo chiaro, e si pone al foco lento acci6 bolli sino al calo di due detta poi si cola e si pone in vescica all' aria accia secchi. Accomodar il zafarano. — Si piglia il zaffarano, si pone in pezzetta legata, si pone in acetto bianco con un poco di gomma, OTero bianco d' ora ben sbattute e p&^sate, ma senza gomma se adopri il bianco dell' oyo. Per far color d^oro. — Orpimento ben macinato con fiele di bne si pone in pignata con zaffiurano, e vino bianco, e si lascia bollire a foco lento sin tanto che piglij corpo, poi si distempera con vino bianco, quando lo voi adoperare misturato con fiele soprad** . Afar verde rame. — Piglia pezzette di Bame onte con miele pnrificato, attaccali al coperchio d' una pignata ben vitriata die sij piena d' acetto caldo di vin forte fata, poi coprila e po- nila in loco caldo per quattro o dnque settimane e scoprendola lever^ il colore che troverai sopra li detti pecci di rame che sara belliss"^. Per far color di saangue di Drago, — Sangue di drago si ma- dna con salmiaco, e gomma pista riuscira piu bello con agion- gervi un poco di biacca e minio. Tempra del Cinaprio. — S' inoorpora il cinaprio con un bian- co forte, quando sara ben macinato, poi si lasda seccare sopra la pietra, e si macina di nuovo con chiara d' ovo ben sbatutto, et una picciola parte d' aloe epatico, si conserva, et quando si VOL. II. 2 c 708 PADUAN MANUSCRIPT. pered with spring water and a little white of egg, and it will flow more freely if a little myrrh be added. 133. To make giallo ionto} — ^Take the berries of the bock- thorn towards the end of the month of Angaat» boil them with pnre water, until the water is loaded and thiek with colour ; add a little bnmt roche ainm and then stnun it Yon may boil the strained liquor to make the colour deeper, mixing witb it some very pure gilder's gesso ; then make the colour into pellets, and dry them in the shade. 134. Secret far making lake. — ^To 2 pints of common water add 2 ounces of pulyerized soda, and leaye the mixture in this state for 24 hours ; then strain it, and put into the ley 6 ounces of ^* pastella ;'' then leave it again for 24 hours, strain it through [a bag shaped like] a capuchin^s hood, add alum water, stir it with a stick, and add water to it in order to remove the salt When the colour has fallen to the bottom, pour fM the water, collect the lake which will be at the bottom, dry it, and it will be finished. 135k 7b make a carmine colour. — ^Take powdered cochineal, add ley to it, and instead of alum water, add well pulyerixed crystallized arsenic, for this will precipitate the colour, which will be brighter if treated as above. 136. To extrad; the colour from Chinese grapee for pmiiing ofid miniatures. — ^Take the grapes when quite ripe^ pound them, pass them through a press, filter through linmi rag, and evaporate the juice over hot cinders ; when all the moistare is evaporated, take spirits of urine, which you must pour on to the juice, and let it remain until you see that it is well coloured. Then take some spirits of wine, and add them, ao that the colour may be precipitated, or evaporate it» and preserve the colour in small bags of parchment or skin. 137. To make most beautiful sap green. — ^Take the berries of the buckthorn when they are quite ripe, which will be about the ■•••■ 1 In the Nuovo Plico, Giallo Santo is ndd to be made of the flowers of the Erba Lizza, Barba di Beooo Orellow goat's beard). We may, tber»- COLORI DIVKRSI. 709 vorit adoperare u piglia acqua di fonte oon un pooo di chiara d' oTo» e percfae corri meglio aggiongi un pooo di mira. Per far giaio sanio. — Piglia grana di qpincervino nel fine d* agoeto, fidlo boUire oon aoqua pura sin tanto che sij bencarico, e 8pe88o di colore con poco d* alume di rocca non bruggiato, p(n si coli quale per farlo per fBtrlo (jnc) piii colorito ai pu6 &rIo bollire, e con detta oolatura B'impasti gesso purgato di quello d' indcMratori, e se ae fiiccino ballotte quali si seccano all' ombra. Secrettoper la laeca. — Piglia due pnte d' aoqua comune, e meti dentro due ojs. di soda polverijeata e lasdalo per 24 bore poi a cola, e pcH metti nella d* lisda oz. 6 paateUa, e A lascia per 24 liore» poi passala per capoceio, poi metti aoqua alumata, pcu mesoola con bastone et aggiongi aoqua per levare la sal- sediney qua&do il colore sara andato al fondo decanta 1* acqua poi piglia la koca che sara al fcndo^ falla seccare e sara fata. Per far oolare di camdno, — ^Piglia conaoniglia pesta, meti in lisdai e in cambio d* acqua alumata meti arseuioo cristalino ben poWeri^ato che questo precipita il colore e si & piu vivo a &re come sopnu Per cavare il colore dalF uoa ddla China per dipingere e mi- mare» — Si piglia la d*^ uva ben matura, poi si pesta, e si pa^sa per tordiio, poi ^ feltra per pezza di lino» poi A fa evaporare sopra le cieneri calde, paosata tutta 1' humidiia j^glia spirito di vino, si pe-'menHontd warh,-^ Boil llic rind of the pomegraimte in water tmtil a tliird part is consumed, and lay it all orer tiie work, which must be quite hot, with a pencil of hog's bristles ; then let it dry in the shade, and in the same manner give 3 coats, having the water always quite hot, and always leaving it to dry in the shade. Item, take Campeachy wood (f) which has been boQed in water with a little roche alum until a third part bas eva- porated, and while it is still hot, give 3 coats of it as above, leaving it to dry in tbe shade. Item, for putting on the black. The strongest white or red wine, in which you must put a quan- tity of iron filings at discretion, bearing in mind that the more iron filings you add the blacker will tiie composition be, and it should be left in inftuion for 24 hours ; it will thus make a most beautiful black. When the 24 hours are past you may add to it ox gall at discretion, afterwards boiling it until it is reduced one third. You must apply 3 coats of it while hot on the work, allowing each coat to dry in the shade, and the more coats you lay on, the blacker will the woi^ be. 143. To polish the work. — Rub it well with new cloth ; then take fine Tripoli powder which has been well rasped and pounded finely with goatskin, and rub the work well, so that it will have a lustre ; then take white wax, if you wish it to be still brighter, and rub it over the worky wbidi will thus become most beautiful. 144. To grind lake. — Spirits of wine or candied sugar, at discretion, with gum water and a few drops of oil of tartar. 145. Beautiful smaUino. — Grind It up with ispnits of wine ; then regrind it with dragon's MOod iti fears before the spirits have evaporated, and it will be beautiful. It should ako be in- corporated with burnt Roman vitriol or burnt ^^pietra focaia,'^' &c. 146. To make the Turkish paper waved with dieers coloun, — The colours which succeed best on tfiis paper are fine orpi- ' See ante, p. 537, n. PER PARK LA CARTA TURCHESCA. 71S Acqua per dare it nero a toprad** lavori. — Scorze di porno granato A faocino bollire in acqua che consumi un terzo» poi con penneUo di setola si dij 8opra il lavorOy che sij ben calda. Doppo coperto tutto il lavoro di detta acqua A laad sdugare air ombray e di quest' acqua sempre calda se ne dij tre mam, e ri laaciaao sciugare all' ombra sempre. Item n piglij compuodo a discrezione boUito in acqua comune alia consumatione del terzo con un poco d' alume di rocca, e cori calda si dij sopra tre mani come sopra, e si lasci sciugare all' ombra. Item per dare il negro. Vin fortiss"^ bianco o negro nel quale porrai dentro queUa quantity di limatura di ferro a discretione, avertendo che quanta piu ne sara verra sempre piu nero, e si dere lasdare in infusione bore ventiquat- tro, e iaxk nero belliss"^^ passate poi le 24 bore, o che il ferro aj consumato vi si pone dentro fiele di hue a discrettione, poi fidla bollire all' callo (jne) d' un terzo* £ la darai sopra il lavoro calda tre mani, e lasda sciugare mano per mano all' om- bra e oon piu mani piA nero verrk. Per hutrare il la»aro. — Sfrega bene il lavoro con canevazzo novo, e poi piglia tripolo fine e ben pesto raspato sottil^ con pelle di camozza si fre^ il lavoro ben bene, che si lustreri^ e pi^iia cera bianca per darli piii lustre, e frega sopra il lavoro che verra belliss"***. Per macinar iicoo.— Spirito di vino o zucchero candito a discrettione con acqua gommata con qualche gocda d' ogHo di tartaro. SmaUino belh. — Si macini con spirito di vino, e poi rimad- narlo oon sangue di drago in lacrima, coei bagnato e sarii hello, et con rosso di vitriolo romano abbrugiato o pietra focaia bni- giata inooiporati &c. Per fare la carta turcheeca cndata di diverei colori. — ^Li co- lon quali riescono meglio in questa carta sono, orpimento, lacca 714 PADUAN MANUSCRIPT, ment or common lake, cinnabar, that is dark morello^ indico, that is purple, and .white lead ; but the eye must be the judge of the mixture and making of the colours. The colours are to be kept separate, but because the orpi- ment is rather light coloured, it should be mixed with cinnabar during the grinding, and thus it will be of the colour of gold. The lake should be ground up with cinnabar, which will flonk to the bottom, so that it requires to be mixed with lake; purple, not being found in nature, is made with indico aod lake ; green is made with orpiment and indico ; sky-blue with indico and white lead ; and black with ivory calcined in an uncovered crucible, but not too much calcined, as in that case it will become white, and indico is the colour which gives it body. These then alone are the colours which suc- ceed ; they must be well ground up with simple water and moderately liquid, so that they may be collected on the stone and placed in their respective vases. They are to be distem- pered wfth spirit made from good and not spoiled wine, after- wards adding to them 5 or 6 drops of the gall of an ox or calf, which makes them spread over the gum water of which we shall speak ; and if you do not think that the colour spreads sufficiently, add a drop or two more, and every time that the colours dry add spirit of wine. When they are ground you must add no more water, but spirit, which has the property of fastening the colours to the papers. We have now spoken of all that pertains to the disposition of the colours, and it remains for us to speak of the method of employing them. You will take, therefore, a tray of the size of the paper which you wish to psunt, with the sides 3 fingers high, and en- tirely covered with pitch ; you will fill it with water, but you must first put the water into a vase, and for one measure of the water you will add an ounce and a half of gum, or one ounce if it is pure and good, adding a little more water, because the gum will absorb part. Leave it in infusion for 2 days and 2 nights, and then mix and squeeze it with the hand into the vase 2 or 3 times a day in order to perfect the water ; and while PER FAKB LA CARTA TURCHESCA. 715 fina, o commune, dnabrio, cioe morello scuro, indico cioe pavonazzo, biaca overo bianco di piombo, sij ^udice 1' occhio nel mischiare i coloii e nel &rli. Qnesti seirono separati, ma perche 1' oropimento sia troppo chiaro si mischia col cinabrio nel macinarlo, e cosi piglia il color d' oro, la lacca si madna col cinabrio, il cinabrio va a fondo da lui si che richiede compagna la lacca, per fare il paronazzo, non trovandosi naturale si fa con 1' indico et lacca, il verde si & con orpimento et indico, per il celeste si fa con indico et biacca, il nero si & con 1' avoglio in crociolo scoperto caicinato, ma averti che non stia troppo perche diviene bian-* chiss"* e V indico e quelle che li da corpo. Questi dunque solamente sono li colori che riescono, quali vanno macinati bemasimo, e ei macinano con acqua semplice e mezanamente Hqoidi si che si possano raccogliere sopra la pietra, e posti nelli ▼asi n stemprano con acqua vite &tta di vin bono e non guasto, di poi vi si pone 5, o 6 goccie di fiel di bue o vitello maschio, che questo fa stendere sopra V acqua di gomma che si dira, e 86 parerk che si stenda poco vi porrai una o due goccie di piA, et ogni volta che li colori sciugheranno, ag^ongi acqua vite, ne da che sono macinati yi porrai piii acqua semplice, ma acqua vita, che ha virtii di far attaccare li colori alia carta, e questo e qoanto appartiene alia disposicione de colori, resta ora che digponiamo il corpo di quelli. Piglierai adonque una cassetta fatta granda come la carta che voi dipingere, con le sponde alte tre dit atutta impegolata, empirai la cassetta d' acqua, ma prima porrai 1' acqua in un ^^aeo e per la misura di detta acqua vi porrai un oz. e meza di gonuna, e se la gomma sara pura e bella bastera un oz. averti porvi un poco piii d' acqua, perche la gomma sorbisce la sua parte, e lasdala in infosioae due giomi, e due noti, e poi la meaoolarai e premerai con la mano nel vaso due o tre volte al giomo per perfetionar 1' acqua, e nel porla nella cassa &lla 716 PADUAN MANU8CBIFr. pouring it into the tray, make it pass tfaroaj^ a strong rag* To know whether the gam is too thidc, take a feather and lead it backwards from one side to the other frequently in tins manner ^S« first pouring in one or two colours ; aud if these colours r^ flow after the feather, it will be perfect ; and i^ on the contrary, they do not follow the feather, the mixture is too thick, and will require to be mixed with some spnng water, which must be stirred by the hand, moving it all oyer the tray. But this imperfeclion may also arise from a defect in the co* lours, for instance, when there are not sufficient ingredients, that is, too little gall or not sufficient spirit of wine ; the remedy for this can only be learned by experience. We may also warn you that if there is too much spirit the colour will be too light For each vase of colour you must have a pencil, and must place one colour after the other, a drop for each colour ; but you must not toudi the water with the pencil, and by its motion you must make the paint fall at equal distances. The colours being placed according to your &ncy, you must con- duct the pencil from one side to the other as previously di- rected, merely touching, howerer, the surfieioe of the water. You must afterwards make a comb of thin wood as long as the breadth of the tray^ in which you will insert hog^s l»istlee in this manner, {^imfflaaaaiiiiiH J> ^^ ^ thicker they are the more mKKHKtKMKKr delicate will be the waves of colour. Witii this comb you will pass over the whole tray, taking care to touch only the surfisu^ of the water, and you will thus succeed well. If you choose, you may make with tiie feather, circles, snakes, labyrinths, and similar things. 147. 7b cauie a rose or carnation to become white. — Bum sulphur in such a manner that the flower may be exposed to the fumes, and it will become quite white ; but take care that tiie companion, which is on the same branch, may not feel it. 148. To make fruits gnno wiAaui Ji^meb.— Oeave the youi^ plant to the root, take out the pith cm both sides ; then imite the parts, plaster them with ox-dung, and tie them to- geAer. This will succeed admirably. PER FARE LA CARTA TITRCHESCA. 717 paflBare per pe2za forte. Per oonoBcere poi se la gomma h troppo spessa piglia una penna alia royesda, e goidala da una parte e dall' altra spesso in questo modo ^^ ma prima vi porrai un colore o due, se quelli colori ^F" corrono dietro la penna sark perfetta, altrimenti sara troppo spessa e conyerrk porvi aoqua di pozzo e mischiaria con la mano per la cassa, ma averti che db pu6 anche ayenire per difetto de colori, quando non yi sono ingredient! a sufficienza doe poco fiele, o poc' aoqua Yite et in ci6 Y esperienza vi fara pratioo, averti di piii che quando ri sara tropp' acqua rite, il colore sark troppo chiaro. Per ciascun vaso di colore haverai un pennello, e vi porrai uy color doppo Y altro una gocda per ciascun colore, ma non toocar r acqua col pennello, ma con il moto di quello &rai cader la pittura in egual distanza ; posii li colori a tuo modo, li condurrai con la penna da ima parte e dall' altra come ho detto di sopra, toccando perb solo la superfide del acqua. Di poi &rai un pettine longo come il trayerso di detta cassa, e lo farai d' asse sottile, nella quale y* inserirai delli pelli di porco in questo modo i£]5!E]J5iiiiir!!!JEEEiif ^^ quanto saranno piii spessi, le j||||l||||l||l^^ ^^^^ saranno piii deli- cate, e con il pettine scorrerai tutta la cassetta, ma ayerti di toccar solo la superfide dell' acqua, che cosi riusdra bello, e se yorai con la penna yi farai de' circoli, bisde, laberinti, e sinuli. Per far una rata o garofalo che divenghi bianco. — ^Piglia fooo di zolfo e con delicatezza fallo senlire al fiore che riuscirk bianchiss™^ ; ma ayerti non lo senta il compagno ch' b sopra la rama medema. Fare che lijrutti naschino eenza armella, — Schioppa la panta g^oyine sino alia radice, e leyali 1' anima da una parte e dal altra, poi unisse le parti, e con stereo di hue impiastra, e legale inaeme, che riusdra mirabile. MODO M TENER NEL DIPINGER. BT GIAN BATISTA VOLPATO. r f. YOLPATO MANUSCRIPT. PREUMINART OBSERVATIONS. Giovanni Batista Volpato, the author of the following MS., was a painter, bom at Bassano in 1 633. He was a pupil of Novelli, who had studied under Tintoretto, He settled at his native place, where, after the ancient school of the Bassani had become extinct, he practised the art^ and had several pugpils. He left some writings on painting, which were preserved in the select and valuable library of Conte Giuseppe Bemondini. From the Bemondini family the MSS. passed into the public library at Bassano, where diey are now preserved. One of these works, entitled *La Veritk Fittoresca,' is believed to be still unpublished, although it was an- nounced for publication at Yicenza in 1685. In the preface to this work, says Lanzi, Volpato protests that he had no master, but in a MS. at Castel- firanco it is stated that he was a pupil of Novelli He adds that the work is foil of good observations, whence it may be supposed he was well acquainted with the theory of tbe art Mr. Eastlake remarks' that this MS. 1 Notes to Goethe on Colovn, p, 406. 722 VOLPATO MANUSCRIPT. afterwards formed the groundwork of Verci's ' Notizie intorno alia Vita e alle Opere de' Pittori di Bassano.* Volpato left also another MS. in his own hand- writing, entitled * Modo da tener nel Depingere,' which is now published for the first time in the following pages, and the original of which was kindly lent to me by Sig. Baseggio, the librarian and president of the Athenaeum of Bassano, with a permission to copy it if we could, for the hand-writing was so bad as to render this extremely problematical. With some trouble, how- ever, we deciphered the MS^ with the exception of six or eight words, of which I took fac-similes. The MS. appears to have been composed in the latter part of the seventeenth or beginning of the eighteenai centary. That it was uot written previous to 1670 is certain, because Volpato quotes the work of Padre Lana, which was published in that year, and it was probably later, because he alludes to the practice of Canziani, the Veronese painter, who survived Volpato five or six years, being still living in 1712.* The terms also in which Volpato speaks of his recollection of the face of S. Pietro Martire in Titian's celebrated picture, suggest the idea of its having been written by an old man. On these grounds, therefore, I am of opinion that the notices in this MS. respecting painting in oil, are to be considered as applying to paintings of the Venetian school at the conclusion of the seventeendi century. The MS. purports to be a dialogue between two apprentices of painters, in which the elder explains to 1 See Oriandi's Abeeedario. PRELIMINARY OBSERVATIONS, 723 the younger, who appears to have just entered the pro- fession, the various technical details in which he is to be employed, such as preparing the grounds of the pictures, grinding the colours, setting the palette, tracing the outline, and other mechanical processes, on which the apprentices^ were usually employed. Volpato commences by describing the kind of canvas proper for painting, and observes that smooth canvas requires a thin ground only. He then teaches how to prepare grounds, of which he describes several, and states the advantages and disadvantages of each kind, and particularly the eflFects of gesso on grounds, which he illustrates by referring to the practice of Bassano. He also shows the advantages arising from making the surfaces of pictures smooth. After speaking of the preparation of grounds for pictures, Volpato treats of the preparation of walls for painting with oil colours. The next subject discussed is the different methods of transferring the design to the canvas, which is said to be the work of the boy and not of the artist; and then he takes occasion to speak of tracing paper and the method of using it, and of other mechanical con- trivances for copying pictures. Volpato then treats of grinding and preserving the colours, and of cleaning the palette and brushes, of the preparation of boiled oil, by boiling it with litharge, of the different kinds of varnish, of which he mentions three, namely, the "vernice grossa,** amber varnish, and mastic varnish. He says that he purchases the two former ready made ; the latter he makes himself. I Sec also the Brussels MS., pp. 771, 772, 782. VOL. II. 2 n 724 VOLPATO MANUSCRIPT. and in this part of the dialogue he refers to the works of Armenini da Faenza and Raffaello Borghini, *' who," he adds, ^' teach all things pertaining to our trade, and how to make all kinds of varnish, as well as the proper mode of using them.*' Again, in speaking of the method of distempering the colours, of setting the palette, and preparing the sketch for the finishing, he speaks of these works, and says the directions given to him for this purpose by his master, '^ correspond exactly with those of Armenini, and you may write them out also, for besides this he teaches the whole process." These passages certainly afibrd a fair presumption, that the method of painting in the Venetian school was on the whole like that de- scribed by Armenini and Borghini, modified probably by the peculiar habits and style of every artist He then speaks of the choice, preparation, and tests of the goodness of the colours, and of the means of rendering certain colours more drying. Yolpato also alludes to the mode of preparing the sketches. He says, *^ I wash the sketches, I oil them, I varnish them, and on some of them I lay the white of egg, according to his (the master's) orders;" and it is on this occasion that he refers to the work of Armenini.^ After describing some other mechanical operations, he mentions the injuries done to pictures by cleaning them, and in particular by copyists, whose bad practices he describes and reprehends in the strongest terms, and he adduces one instance (the S. Pietro Martire of Titian) of the ill effects of applying oil (which he says ^ See Armenini, Dei veri Precctti delta Pittura, cap. ix. PRELIMINARY OBSERVATIONS. 725 is not good on pictures) on the surface of a painting, in order that the copyist might see it more distinctly. " This picture,** observes Volpato, " has been oiled so many times by the sacrilegious blockheads who have copied it, that he [the figure of the martyr] is so blackened and spoiled, that there is no telling what sort of face he has, and yet,** he adds, "I recollect when he was beautiful, and you may observe the children [the angels in the upper left-hand corner of the picture] which, being above the reach of similar influ- ences, are in excellent condition.*' This difference, however, is not so perceptible as it was in the time of Volpato, for the Pietro Martire was sent to Paris, where it underwent the operation of cleaning, and of a partial repainting. It is now in the church of S. S. Giovanni e Paulo at Venice. In the fly-leaf, but in difierent hand-writing, are the following words: — LidnioL Silvio. p. netar quadri lume di feccia. II libro delle stampe del Ricci, d. L. ii mi conto* . . • lire 4. 4. Conto di ... 3. Spesi .... 6. 6 .. 18. 2l> 2 ( 726 ) COPY OF AN AUTOGRAPH MANUSCRIPT OF GIAN BATISTA VOLPATO, ZNTITLBD "THE MODE TO BE OBSERYED IN PAINTING." PRESERVED IN THE PUBLIC LIBRARY AT BASSANO. F. My Silvius, on what subject shall we converse ? S. I have been but a few days with Sig. Floriani, therefore I should like you to teach me the mode of preparing canvas, colours, and those things which pertain to the buaness in which I am engaged, as I have had but little practice in such thmgs. F. Come, you fool, eat, eat, this is not the time for study ; when you have appeased your appetite I will tell you all. S. You are right, give me a glass of that wine which you praise as being so exquisite. F. Here, take it, you will find it most delicate. S. To the health of our masters. F, I know you are not a servant, but a friend of your master, because servants, being enemies of their masters, desire that they may have all kinds of misfortunes, and not success ; there- fore you do not deserve the name of a servant, but that of a friend. S. My master's kindness obliges me to act thus. F. My master is not at all inferior to yours, and I would shed my blood for him ; I will therefore join you in drinkiog their healths. S. Truly, the wine is not inferior to the capon, and they botli deserve to be consumed in a proper manner. F, There is no one waiting for us, therefore we can take our time, and when we have finished, I will willingly instruct you, ( 727 ) MODO DA TENER NEL DIPINGEE. COPIA TRATTA DALL' AUTOGRAFO DI GIAN BATISTA VOLPATO, CHE 81 CONSEBYA NELLA PUBLICA BIBLIOTEGA DI BASSANO. F. Silvio mio, e che volevi discorrer ? iS. Pochi giomi sono che stb con il S. Floriani, e per cib vor- rei che m' insegnasti il modo di preparar telle, colori, e tutto cib, che fa bisogno per servirlo, perche ho poco pratica di simil coee. F. H6y pazzo, mangia, mangia, che non e tempo questo d' ap- pUcatione, che fomito ti farb veder il tutto. S. Hai raggione. Da mi un bichiere di quel vino che mi celebri cosi squisito. F, Eccolo, e sentirai una coea delicatiasima. S. Alia salute de' nostri patroni. F. Conosco bene che non sei servo, ma amico del padrone, perche li servi essendo nemici de' padroni, le desiderano bensi tutte le disgratie, ma non la salute, e percib non meriti nome di servo ma d' amico. 5. La sua bonta m' obliga a questo. F. Veramente, ne anco il mio non e punto inferiore che span- derei il sangue per lui, et io istessamente ti rendo in loro salute ragione. 5. Veramente, il vino non e punto inferiore al capone, e me- ritono r uno e T altro esser devorati come si deve. F. Non vi e alcuno che ci aspetti. Se la potremo prender comoda, che poi volentieri t' insegnerb principiando dal pre- 728 VOLPATO MANTJSCHIPT. beginning with the preparation of the canyas, and gradually going through all those things which belong to the art, because such pertain not to painters, but to those who senre them. S. We have now finished, therefore you may have the table cleared, but leare the wine, which will season but discourse. f. Drink away, for I have more of it. S. I will not disobey you. F. Now I will tell you what you desire to know. Rrst, you must be told that the canras must be good, strong, smooth, and well made ; that it must be prepared with a thin ground, and must be so durable as to last as long as the picture, and it is the duty of him who buys the canvas to asoertaio this, for if the canvas is bad it decays in a short time. Smooth canvas requires but little ground for priming, for if Ae priming be too thick, the colours become black &om the abun- dance of oil which is used, and the repetition of so many primings; wherefore you must take good canvas, stretch it on the frame, and give it a coat of glue made of the parings of very young pigs' skins, that it may be softer, for sudi glues as parchment glue, being strong and harsh, cause a cer- tain shrinking of the canvas, which has a bad efiect, iherefiire do as I teach you. When this coat is dry, polish it with pumice stone, give it another coat of glue, aa before, and let it neither be too weak nor too strong ; for if too weak it will not defend the canvas from the oil, and if too strong it irill cause the colour to crack ; that which is of the proper conast- ence will be soft like jelly when it is cooled. S. If the priming were to be laid on with pure oil, without glue, what would be the result ? F, When the canvas has no glue to defend it from Uie oil, it loses its strength, for the oil dries, so that it becomes like the bark of a tree, and when the canvas is taken off the stretching frame it cracks and splits. S. In some shops where they prime canvas, I have seen flour paste used: is this improper? F, Flour paste is very bad, becaiise if it is too stiff it cainses MODO DA TENER KEL DIPINQER. 729 parar tele, e poi di mano in mano di tutte quelle coae che ci appartengono, perche queste cose non sono da pittori, ma ben da dii li serve. S. Siamo al fine, puoi sbratar, lasciendo il vino, qual servira per stemprar li nostri discorsi. F*. Bevi pur alegramente, che ne ho delF altra S. Non dubitar che non le mancherb. F- Hora ti dirb cib che brami, e prima sarai havertito che le telle sijono buone, forte, liscie, ben lavorate, che con poca noateria restino impresse, la bonta serve che tanta dura il qua- dro, quanta dura la tela, ed e dovere di chi le compra, che come Bono cative in breve si consumano ; le telle liscie poca materia 1' imprime, che come vi e troppa materia anerisse li colon per 1' abondanza de 1' olio che vi si pone ed il replicar molte primiture ; e perb piglia buona tela, e tiratain telaro, gli darai una mano di coUa di retagli di nonnate o maschiette per che riesce piii dolce, che le colle come di bergamina, essendo forte e crude, & certe ritiramente nelle tele che fa cativo efietto, e percib fa come t' insegno : asciuta la lisciarai con la pomice, e li darai un altra mano di cola come prima et osserverai, che non si troppo dolce ne troppo forte, la troppo dolce non difende la tela dair olio, e la troppo forte fa crepar il colore, e la buona sera tenera come gelo quando e rafiredata. & Chi dasse la primitura con olio puro senza cola, che sarebbe? f. Quando la tela non ha la cola, che la difende dall' olio, non pub conservar la sua fortezza, che 1' olio si disecca in modo che viene come una cortecia d' arbore, che volendosi maneggiare giu del telaro si taglia e si rompe. S. Ho veduto in certe botteghe ove si imprimisce tele usar coUa di farina, che forse non e buona ? F. La cola di farina e pessima, perche come e un poco gag- 730 VOLPATO MANUSCRIPT. the colour to crack and scale off, and if it is too weak the damp causes the canvas to decay, and the rats eat it These persons use it because they prime very bad canvas, winch perishes in eight or ten years, and because the flour paste fills up the holes of the canvas. S. And those who use gesso ? F. To use gesso, is to tempt fortune, for many old paintii^ are to be seen spoiled by the gesso, yet many are in good preservation, but this arises from the quality of the glue, which may be either too strong or too weak, but weak glue is best, be- caude the strong absolutely spoils the canvas, whereas with the former very little gesso is required, for I have observed in the works of Bassano, that those pictures which have been primed with but little gesso are in good preservation, while those on wliich too much gesso has been used scale off; and you may distinguish these from the others by the texture of the canvas, the threads of wliich are visible, although being painted they are covered with gesso, priming, and colours ; while others which have smooth surfaces, from having too much gesso, scale off. Besides the pictures on canvas, we have examples of this in old paintings on wood, which are well preserved in consequence of this practice of using glue. But dust also is very injurious to old pictures, as you will observe in those belonging to the nuns " Riformati," and Capuchins, whose pictures being kept free from the dust, the colours are preserved admirably. In order to avoid this difficulty, I use simple glue, as I have told you, which I lay on twice, using the pumice stone after each coat when dry, that the canvas may become smooth. I afterwards give them the priming ground up with linseed oil. All earths are good for this purpose according to the taste of him who uses them. I use '^ terra da bocali,"^ terra rossa, and a little umber * Terra da boccali, called by Baldinucci (Voc. Dis.) Terra di Cava or Terretta. *' The earth or clay used in making earthenware for table ser- vices, which, being mixed with powdered charcoal, was employed for making grounds, and for painting chiariscuri, and even in the tints, and which was also used, temi)ered with glue, upon canvases on which triumphal arches, perspectives, and other scenes, were to be painted. It is better adapted for MODO DA TENKR NEL DIPINGER. 731 liarda crepa il colore e si scorza, e se pur e poca, al umido marcisce le tele, e 11 topi le mangiano, e queli l' adoperano percbe imprimono tele tristissiiney che in otto o died anni res- tano coDsumate, e perche la cola di farina ottura li buchi della tela, si senrono di questa. * S. Quelli poi che adoperano il gesso ? JP'. Con il gesso si gioca di fortuna, perche si vede assai pitture antiche sconcerti per il gesso, e molte ancora si conservono, il che proviene dalla qualita della cola, o troppo forte, o troppo dolce, ma la meglio e la dolce, che la forte sciupa assolutamente, et In questo modo ci vol pochissimo gesso, che ho osservato neir opere delBassano, che quelle che hano poco gesso si conservano, e quelle che ne ha troppo si scorzano, e ci6 si conosce dala tessitura dela tela che si scopre li relevi di detta, ben che habia gesso, pri- mitura, e colori, essendo dipinte, e quelle liscie che hano assai gesso si scorzano, et oltre le telle si vede I'esempio nolle tayole antiche^ che assai si conservono, e cib proviene da questa pra- tica della cola ; ma anco la polvere rovina assai, che osserverai dalle monache, da Riformati, e Capucini, che tengono le sue pitture nete da la polvere si conservano benissimo, et in fatti il gesso » vede che conserva molto bene il colorito. Ma per levar queste difficolta, io adopro cola semplice come ti ho detto, che data doi volte apomicando ogni volta dopo asciuta acib la tela vcnga liscia, li do poi la primitura macinata ad olio di lino, e tutte le terre sono buone per questa faccenda, secondo il gusto di chi comanda, io piglio terra da bocali, terra rossa, et un poca di terra d' ombra distemperate dopo fate in polvere sotile e pas- sate in foco con olio di lino senza madnarle, le do con il cortelo supra dela tela, e dopo asciuta e pomicata, le do un altra mano macinata, e cos^i resta impressa benissimo, e questo e un modo il piu sicuro e migliore per la riuscita. Ho veduto anco metter modelling than any other clay, because its particles are so minutely divided, that works made of it can not only receive the highest degree of |K)li8h, but the most minute works can be executed in it. It is dug at Rome, near St. Peter's, and at Monte S()ertoli, 13 miles from Florence." It appears to be like what is called in England ** China Clay." 782 YOLPATO KAKUBGRIFr. finely powdered and mixed with linseed oil and stirred together for a abort time, but not ground, over the fire. I then q>read this preparation over the oanyas with a knife, and when dry and pmnioed, I give the canras another coat of the same colouiSy but these must be previously ground, and thus the canvas will be well primed ; this is the best mode and the most certain in its results. I have also seen some persons steep the *^ terra da bocali " in water to soften, when it liquefies immediately ; then, removing as mudi water as possible, the same quantity of lin- seed oil as of the water which remains behind is to be added ; then the difierent ingredients are stiired together with a spatula until well incorporated. The priming is then applied to the canvas for the first time, but for the second coat the ingre- dients must be previously ground as I have before said. This method succeeds weU and is quickly done, as little colour is re- quired in the second coat, the canvas being already made smooth with the first. To the first coat made with earth dia- tempered with water is added the oil which is pressed fit>m the pencils when cleaning them, and which, being boiled with the sediment of the colours, dries like a mordant in the winter time ; but umber is suffident to make the second coat (which is ground) drying, and it does not require the boiled oil. TUs is the mode which I sometimes follow in preparing the canvas for my master, but the first mode which I mentioned to you is the best. S. How shall I know whether the glue is too strong or too weak, when it is made, since it is used hot? F. I touch it with two fingers, and feel whether it ia tacky, and thus I ascertain the fact ; if it is too strong, I add water, and do not let it boil any longer ; and if too weak, I let it boil until I consider it is of the proper consistence ; but take care you do not add to the glue either terretta or gesso, or any- thing, because these scale off in time ; but use the pure glue, in order to spread the priming, and that the canvas may retain its strength, as I have told you. S. When painters wish to paint on walls, how do they pre- pare them ? MODO DA TENBR NEL BIFINOER. 783 a mole nell' aoqua la terra da booale la quale si ]iqiie& suhito, e §^tata poi fuori tutta 1' aoqua che pub uadre, li getouo taato olio di lino quanto pub esser 1' aoqua che vi e rimastai e poi con una spatola la mescfaiono fine che b* incorpora, e poi k dano Bopra le tde la prima volta, ma la seoonda la dano macinata come t' ho detto, e rieaoe beninmo et e negotio breve che la seconda mano pooo colore & biaogno, easendo gk fatta liscia con la prima, nella prima Ceitta di terra stemprata con V aoqua vi si pone olio che si neta li peneli, che bulito con questa fece di ooloriy seca come mc^ente nel tempo del vemo, et ne la seconda che d Tnacina, basta la terra d' ombra per far secante, ne ci vol olio ooto. Questo e il mode che tengo alle volte preparar le tele al mio patrone, ma la meglio e nel prime mode che ti ho discorso* S. Per conoscer la cola quando si fa, se e troppo forte, o doloe, perche si da calda ? F. lo toco con due dita e sento se ha pidoo nel asciu- gard, e da quelo m' accorgo, se e troppo forte v' agiungo dell' aoqua e lascio levar il bolo, e se e dolce la lascio bolir fine che mi pare fatta giusto al bisogno, ma haverti di non por cosa al« cuna, ne terreta, ne gesso, nella cola, perche ocm il tempo si aoorzano, ma solo si dk la cola pura, acib si possa distender la primitura, e che la tela conservi la sua forza come t' ho detto. S. Quando li Pitori vogliono dipinger sopra muri in qual mode si preparano ? 734 VOLPATO MANUSCRIPT. F. On walls, neither glue nor gesso is used, because they would scale off in a short time, but the wall should merely be anomted with linseed oil, and after several days, when it is quite dry, a tint should be applied of earths ground up as a priming, and, when this is dry, the wall is ready for painting on. And in the same manner, to make coloured sketches on paper, a tint should first be laid with the brush, but let the paper be strong and well sized, such as the blue or the white. S. And how is paper made transparent ? F. Some sheets of huckster's paper, I do not exactly know what it is called, are glued together, according to the size of the picture or figure which is intended to be traced ; these sheets are then anointed with common oil, or, still better, with nut oil. Tliere is also a good mode of oiling paper for the use of children when drawing, and also for laying over writing ; it is prepared thus -.—Take, &c. * Spread the oiled paper over the picture, and with a pencil or charcoal outline the figures, which are visible through the paper very clearly ; and if they are too black, tiiey may be toudied slightly with gesso on the darkest parts, not doing as some clumsy and imprudent persons do who outline the paintings with lake ground with oil, and afterwards oil the paper above it, and then press it with the hand until the above-mentioned outlines are impressed on the oiled paper. Such people ought to have their hands cut off as a punishment for the crime of spoiling such gems, especially when they are able to accom- plish their object otherwise in a better manner ; but this is only practised by tracers, who rule their lines, and can do nothing but daub canvas, for virtuosi do not make marks on pictures. These proceed with proper respect, and those who have valuable pictures in their custody should be aware of this practice, and if they catch any of those clumsy fellows, they should kick them out, and send them to the gallows as 1 A blank in the original, in which it was doubtless intended to copy a recipe. MODO DA TENER NEL DIPINGER. 735 F, Sopra muri non ci vol cola ne geso perche assoluta* inente in breve si scorzano, ma solo si unge con olio di lino il muro, e passati diversi giorni che sij benissimo asciuto se la da una tinta macinata di tere come primitura qual benissimo seca, pu6 il PittxH^ dipingervi sopra. £ cosi le carte per far model! ooloriti, si le da una tinta con il penelo, ma che la carta si forte, e che habi baona cola, come 1* azzurra o bianca ma di quella reale. S. £t lucidi come si fara ? F, S' incola della carta da fatorela, non so il nome, quanta e la grandezza del quadro overo la figura che ci vuol lucidare, e poi si ungi ad olio comune overo di noce, che e meglio ; ma vi e anco un modo belo per unger carta qual serve a fanciuli per dis- segnar et anco per imponar a scrivere et e si, Piglia &c. — (jdc) (w) e detta carta unta si distendi sopra il quadro e si contoma con lapis o carboni le figure che gia spicono benissimo e se fos- sero troppo nere si pub legermente tocar con gesso nella parte pill perse, e non far come certi sgratiati e temerarj che contor- nano le pitture con lacca a olio, e poi V ogliono la carta di so- pra, e con la mano le vano ritocando fino che resta impressi li sudetti contorni, che a questi bisognerebbe troncar le mani in pena di tal delitto, volendo guastar ^oje cosi rare potendo in miglior modo conseguire il loro intento, ma cib non viene usato se non da calcanti che vano rigando, e che non sano se non im- piastrar telle, che li virtuosi non mettono le noti sopra le pit- ture. Codesti si va con que' rispeti che si deve et a cib dovreb- hero haver V ochio chi le hano in custodia, che capitando di que' sgratiati scatiarli, e mandarli alle forche come indegni, ne lasciarli acostar a gioje si pretiose. 786 VOLPATO HANUSCRIFT. Q&fit to live, and not suflbr them to approach such predoxu gems. S. I myself have seen persons do this more than onoe ; bat^ having made this taradng paper, how is it used ? F. A leaf of paper is covered witli dry white lead or gesso, which, being placed between the tracing paper and the canvas, where it is^ oiled, the outlines of these figures are pressed with a needle of bone, and the coloured paper, which is placed between the two, leaves impressed all those marks which you have indented with the needle, and thus you will remove in regular order this coloured paper, having, however, fixed the tracing paper in two plaees that it may not move. I also do this, although I am not a painter, because it requires no skill in painting, but it is properly our business. And in the same manner, in order to transfer the dedgn to white paper, the paper is coloured with charcoal, or with black or red chalk. S. The ^* velo " which I have seen on a cartoon of my mas- ter's, how is it used ? ' jP. It is applied on the painting like the tracing papa*, and the outline is drawn on it with gesso. It is then removed to the primed canvas, and the marks, being pressed with a piece of linen held in the hand, are thus transferred to the primed canvas, or the gesso is again passed over the outlines which are transferred to the priming. S. How is the Gralicola * used ? F. The Graticola is used in two ways : the picture which is to be copied is either crossed with white threads, or the Grati- cola, being made on a frame, is applied over the pcture, and the same number of squares are to be struck on the primed canvas, which, whether it is larger or smaller than the painting, is to be divided in the same proportion. 1 The " Velo " was used in a difibrent manner by L. B. Alberti, who describes it in his Treatise on Painting, Lib. II. It consisted of a piece of transparent gauze stretched on a framCi and divided into equal parts by MODO DA TENBR NEL DIPINGBR. 737 S, Ho yeduto piu d' una yolta ancor io a far di qneate, ma fato questo luddo, come s' adopra ? ^« Si tinge nn foglio di carta con biaca snta owero giesao, qiial posta tra il lucido e la tella ove sark ogliato e con mi ago di osso si calca li contomi di quelle figure, e quella carta tinta che fra posti, lascia impressi tutti quei segni, die haverai calcato con 1' ago, e cosi trasporterai per ordine quella carta tinta hayendo per6 saldata da due parti il lucido acib non si mova ; e questa la fado ancor io, bencl^ non son pittore, die in d& non yi entra artifido di pittura, ma e una pura operatione nostra, e cod per calcar sopra carta bianca, d tinge con car- bone, lapis nero, oyyero rosso. S, II yelo che ho yeduto in im cartone del mio padrone come s' adopra ? F, Quelo si aplica sopra la pittura come il lucido, e d con- toma con il gesso, e poi si trasporta sopra la tella imprimita, e con una peza di lino si ya con la mano calcando sopra quei segni ecosi restono impressi sopra la teliaprimita, oyeroche di nuoyo d replica con il giesso sopra li contomi, quali trapasseno sopra la primitura. S. La Graticola come s* adopera ? f. La Graticola si fa in due modi, cio e o sopra il quadro die d yuol copiare con fili bianchi, oyero fata in un telaro, d aplica sopra il medesimo quadro, e con 1' istesso comparto si bate sopra la tella primita, che essendo magiore o minore de la pittura si diyide con la stessa proportione. threads drawn acroas it. It was placed perpendicalarly between the painter and his subject, so that the rays of the visual cone might pass through it The points of intersection were marked with a pencil, and thus a correct outline was obtained, which was afterwards transferred to a panel or wall. * Gratieola. A square divided by white crossed threads. 738 VOLPATO MANUSCRIPT. S. How are the lines struck ? F, A thread is rubbed with dry gesso or white lead, and is beaten over the compartments exactly as the joiners do with terra rossa over their wood ; and the painters strike the lines of the architecture in their paintings in the same manner, drawing the lines to the point of sight. S, Why do the painters use these tracing papers or grati- cola? F. In the first place, to avoid the tediousness of drawing their works, which, in fact, is not their business, but ours ; and, in the second place, to profit by it, as it enables their scholars to copy their works with greater perfection ; and this plan was employed by Bassano, and my master has a chest half fiill of the tracings by the sons of Bassano from the works of their father, which, being touched up by the master, pass as his works. S' How are colours ground ? F. The white lead is ground with nut oil ; " verde etemo," * Indigo, and all other blues, charcoal and the other colours, with linseed oil. S. How are the stones cleaned after the colours are ground ? F. With bran, and then with a piece of rag, and the pa- lettes are cleaned in the same manner; but take care that, when you leave off using the bran, you do not leave any flour behind, which may have an injurious effect on the colours ; for when you grind up fine lake, or ^^ verde etemo," it will whiten and spoil, therefore the bran is better after it has been used several times. S. And suppose it should happen that you forget to clean the palette, so that the colour dries on it, how should it be cleaned ? F. With a little water and a pumice-stone. /S. How are the colours which have been groimd pre- served ? ^ Purified or, as it is sometimes called, distilled vcrdigrris. MOBO DA TENER NEL DIPINGER. 739 S. Come 81 bate ? P, Si tinge un filo con giesso overo biaca suta, e si bate sopra li oomparti come fano li marangoni con la terra rossa sopra li legnami, e li pittori cosi batono Y architettura che fano sopra li quadri volendoli tirar al punto. S. Perche li Pittori usano questi lucidi o graticola ? ^. Prima per levarti il fastidio di queste faccende non essendo sue ma di noi altri, e per valersi aci5 li scolari copiino le loro opere con maggior perfetione, il che U86 il Bassano, che apunto il mio Padrone ne ha meza una cassa di lucidi de figli del Baasano trati dalle opere del padre, che in tal guisa ritocate da maestri corrono come sue« S. Li colori come si macinano ? F. La Biaca con olio di noce, il verde etemo, e V Endico e cost tatti gr azzurri, et anco il carbone et gV altri con olio di lino. S. Come si neta le petre quando si e macinato li colori ? F. Con la semola di formento e poi con un pezo di stratio, e cosi istessamente le tavolozze ; ma averti che quando la semola non e piu stata adoperata, lascia qualche poco di fiuina si che habi V actio, che se macinarai laca finao verde etemo bianche- giono e si guastono, e percib la semola e meglio oome si e ado- perata diverse volte. & E se per caso si scordasse di netar che il color si secasse, come si neta ? F, Con un poca d' acqua et una pietra pomica. S. Li colori macinati come si tengono ? VOL. II. 2 E 740 VOLPATO MANXTSCBIPT. F. In divers ways, viz. — ^in folded papers, in small saucers, and in bladders ; and this last is the best mode, for the oolours keep better ; bat white lead is kept in a vase with water ; the palettes also are placed in water, just as they are set in order, that the colours may not dry when the painter wishes to use them the following day ; but remember that lake, ^allo santo, and verderame are spoiled by the water, and they must be taken off the palettes before they are put under water. S, How are the pencils preserved ? F. They are kept ta linseed oil, and with that they are cleaned, pressing out the colour with a knife on a palette sus- pended over a vessel of oil, which oil you may afterwards keep for distempering the primings, as I have before told you ; but the large brushes should be cleaned with soap and water, especially if they are afterwards to be used with blues, but as soon as Uiey are dry wipe them well with a linen rag ; then wind a thread round them from the handle to the extremity of the hiurs, to keep them closer together, otherwise they will spread like flattened fimgi. S, How is boiled oil prepared? jP. The linseed oil is put into a clean pipkin or saucepan with some litharge of gold,' which is tied up in a rag, and fixed to a small piece of wood, which being laid across the pipkin or saucepan, suspends the rag so that it does not touch the bottom, because, if it should touch, it would bum, and the oil would become black, and when the oil boiled it would rise to the brim of the pipkin and flow over, but when the litharge is suspended these effects are not so easily produced. If the oil is boiled very much it will be more drying, and so whether you use much or little litharge ; you may also boil with it a little umber, this will have the same effect, except that the oil will not be so light coloured. Sometimes also the oil, soiled with the colours pressed from the brushes, is boiled with olio di abezzo, and is applied to the backs of old pictures, which are scaling off their groimds, in order to fix them. I It 18 unnecessary to observe that litharge of gold and silver are the MODO DA TENER NEL DIPINGER. 741 F. In diverei modi cioe nelle carte piegate, ne scudelini, nelle vesiche, e questo e il meglio che si conservano piii, ma la biaca si liene in un vaso con acqua che apunto le tavolozze come sono preparate si metono nel acqua a cib li colori non si sechino, yolendoli adoperare il pittor il giorao dietro, ma averti die la lacca, il ^alo santo, et il verderame patiscono, e bisogna levarli avanti che si meta nel acqna. £>. Li peneli come si tengono ? F. Si tengono nell' olio di lino, e con quelo si netano, cavan- doli il colore con un cortelo sopra d' una tavoluza pendente sopra il catino dell' olio, qual olio poi ti serve per stemprar le primiture come t' ho detto, ma li grandi il meglio e netarli con sapone et acqua, massime come devono esser adc^erati con azurri, ma haverti che come sono neti asciugali bene con una peza di lino, e poi legali con filo dal manico fino alia estremita delle sete aci6 restino piu unite che altrimenti s' alargono come le vesce sponate [spianate ?]. S. U olio coto come si fa ? F. Si pone 1' olio di lino in un pignato o calderola neta e vi n pone del retargirio d' oro, legato in una pezzetta, legato con un filo e saldata ad un legneto che passi attraverso del pignato o calderola, lo sostenti che non tochi il fondo, perche come tocha il fondo s' abbrucia, e 1* olio vien nero, et anco volendo sor- monta I'orlo del vaso e si spande^ che cosi sospeso non fa tal effetto cosi facilmente, se bole assai si fa piu disecante, e cosi dal poryi piu o meno retargirio si puo anco cucinar con un pezzo di terra d' ombra e fa 1' istesso, ma non resta cosi chiaro. Si cucina alle volte anco V olio sporco con colori con olio d' abete e questo si da dal rovescio alii quadri che vechij che si scorzano per saldarli. same things. They derived their names from being extracted from ores which contained gold or silver. Litharge is the semi- vitrified oxide of lead. 2 E 2 "742 VOLPATO MANUSCRIPT. S. How are varnishes made ? F. Varnishes are of different kinds: some we make our* selves, others, such as the '' vemice grossa " and amber Tarnish, we purchase, but I make the mastic varnish myself. S. Tell me how you make it ? i^. I take pulverized white mastic, and put it into a pipkin with spirit of turpentine, or naphtha, in such quantities that the spirit of turpentine may rise two -thirds above the mastic in the pipkin. I then set the pipkin over the fire, and boil it until the mastic is perfectly dissolved, and sometimes add to it a litde ^^olio d'abezzo." This serves for varnishing finished pictures, but if you wish to see divers modes of preparing these varnishes, con- sult Armenino da Faenza and Raiael Borghini, who teach all things pertaining to our trade, and how to make other kinds of varnishes, as well as the proper mode of using them. S. I have not tiiese books, nor can I see them. F. Borrow them, and write down what you wish to know on this subject ; perhaps your master may have the works, and then you may use them, because as they wrote of other things appertaining to painters, if your master studies painting, be will most certainly have them. S. If tiiey treat of painting, tiiey will not write on these things which pertain neither to the art nor the artist, for tins would be unbecoming, because our operations are merely vile and mechani- cal, and require no skill, but merely the labour of the hands. F. They were not prudent enough to separate these things, and it is very proper that painters should understand them and know their use, so as to give orders to those whose business it is to prepare them, and to know whether the things made are perfect, and also to know good colours, but then they are not obliged to manufacture these things themselves. S. How are good colours known firom bad, because sometimes my master sends me [to purchase colours], and I have not bad much experience on this subject ? F. Many are known by the eye, others by grinding them on the stone, others on the palette, in using them, and others dur- MODO DA TENER NEL DIPINQER. 743 iS. Le vemici come si fanno ? F. Le vernici sono diverse, altre le facciamo noi, altre si comprano, come la vernice grossa, quella d* ambra si compra, quella di mastice la facio io. S. Dimi dunque come &i ? F. Si piglia mastici bianchi polverizati, si pone in una am- pola con acqua di ragia overo olio di sasso, la sua proporzione 81 che r acqua di rasa sormenti due terzi sopra li mastici, si pone al foco, si fa bolir sino che li mastici siino bene liquefati, se le pub agiunger anco un poco d* olio d' abezzo, e questa serve per dar sopra li quadri fomiti, e se voi vedere diversi modi circa queste vemici, vedi Armenino da Faenza e Rafael Borgini {sic) che insegnano tutte le cose appartenenti al nostro mestiere, altri diverse sorte di vernice con il modo proprio di adoperarle. S> Io non li ho, non li posso vedere. F. Trova V imprestito e scrivi cib che ti fa bisogno in questi particolari ; e forse il tuo Patrone li havera e te ne potrai ser- vire perche scriveva altre cose appartenenti a Pittori^ e se e gia studiofio della pittura li havera certamente. & Se tratono di pittura non scriverano di queste materie che non s' apartengono ne a 1' arte ne agli artefici che saria cosa indecente ; che le nostre operationi sono vili e mecaniche, ne vi entra altro artificio che un lavorar di mani. F. Non hano havuto questa prudenza di separar le cose, e bene che il pittor le conosca e sapia, per potersi far bene servire et ordinar a chi toca tale operatione, e per conoscer le cose fate, se sono perfette, come anco il conoscer li buoni colori, ma non sono tenuti a fabricarli. 5. Come si conosce li buoni colori da cattivi, perche alle volte il mio padrone mi manda e non ho molta pratica ? F, Molti si conoscon nel vederli, altri sopra la pietra ucl macinarli, altri sopra la tavolozza nel adoperarli, ct altri posti 744 VOLPATO MANUSCRIPT. ing the painting, but the knowledge of the last is the painter's business, and not ours, for we do not paint S. Give me some rule by which I may know them. F. The first rule is, that they must be of beautiful colour, as white lead, lake, the blues, cinnabar, red lead, '^ gialorino," ** giallo santo," &c. ; those colours which are in powder must be very finely pulverized. But with respect to the others, ^^smaltino" should be very bright, and so should all other blues. If you wish to know whether the ultramarine is adul- terated, put it over the fire in a spoon ; if it resists, it is good, but if it blackens, it is bad. The lakes should not only be beau- tiful and of lively colour, but in the grinding they should have body and not be liquid. The giallo santo, on the contrary, should be of fine colour, and in grinding should become veiy liquid so as to require very little oil in distempering, and should dry very quickly, which is a sign that it is pure ; but if it hardens and requires a great deal of oil in grinding, that is a proof that it contains dirt or other impurities, and in this case it dries slowly and fades on the pictures. In the same manner, the lake which dries quickly is the best, and the ^'verde etemo*' should be crystalline, clear, and of a lively colour. And the last test for the colours is to place the pictures in the sun ; if they are not injured they are good, but if the colours fade they are bad, especially the giallo santo, the lake, and the indico. The earths in the lump are best, because they are natural, and there is no other material mixed with them ; but the venders are ac- customed to falsify everything in order to promote their own interests, and for this reason Borghini teaches the making of all colours, so that we may learn to manufacture them and to have them perfect, i. e., those which are most important, because it is much better to buy some colours ready made. S. Are there not many colours which require to be burnt? how is this done ? F. Umber, yellow, green, and red earths should all be burnt in the fire, placing them over a slow fire that they may not break firom the excessive heat ; they are gradually made hotter until MODO DA TENEB NEL DIPINGBR. 745 in opera, e questa cognitione e del pittor che noi non dipin- gemo. S. Dami un poco di regola per conoscerli. F. La prima cognitione e che siino di bellissimo colore, come la biaca, la laca, gl' azurri, il cinaprio, e el minio, gialorino, e gialoeanto etc. queli cbe sono in polvere siino sottilissimi. Ma gl' altri, ilsmaltino e che sii chiaro di colore, e cosi tutti gl' al- tri azurri, 1' oltremarino per conoscerlo se e adulterate, si pone al foco sopra un guchiaro, se resiste e buono, se anerisce e cattivo. Le lache deno esser non solo belissime di color vivace ma che nel macinar abino corpo, e che non inliquidiscon. II giallo santo il contrario sii hello di colore, ma che nel macinar venga liquido che con pochissimo olio si stempera, et asciuga prestissimo che e s^no che e puro, ma come s' indurisce e che ci vole assai olio nel macinarlo, e segno che ha delle feci o di materia caliva e stenta asciugarsi, e nolle piture si perde, e cosl anche la laca che asciuga presto e la meglio, il verde etemo si cristalino chiaro e di color vivace. £ la prova ultima che si da ai colon e il por li quadri al sole, se resistono sono buoni, ma come svaniscono sono calivi, massime il gialo santo, la laca, e 1' endico ; le terre le grezze sono migliori, perche sono naturali, e non v' e altra materia mista perche usod per interesse a falsificar tutte le cose, e perci6 il Borgini insegna a &iT tutti li colon, si che noi poti- amo aprender il mode di fabricarli per haverii perfetti, cioe li piu important! perche di molti e meglio il trovarli fatti. S. Non vi soQO molti colon che si abruciono ? dimi in qual maniera. JF. La terra d' ombra, la ^la, la verde, e la rossa, tutte 8* abruciono nel foco ponendole a foco lento acib non si spezino per la troppa veemenza del calore, ma a poco a poco si riscal- 746 VOLPATO MANUSCRIPT. they have a most vehement heat and are roasted ; they are then sufficiently burnt. The yellow, however, is pulverized, and then burnt on a fire-shovel until it blackens, and when it cools it be- comes of a dark red colour. S. Tell me, pray, do you set your master's palette? F, Certainly ; I also distemper all the powder colours, and it is sufficient for him to tell me what he is going to paint, for I know what colours I ought to put on the palette ; I wash the abbozzi, I oil them, I varnish them, and on some I lay the white of egg according to his orders ; and then he has given me in writing full instructions in the distempering of the colours that I may know what to do, and his directions exactly correqx)nd with those of Armenino da Faenza, and thus you also may write them out, for besides this he teaches the whole process. Fatlier Lana^ also, a Jesuit, has treated of this matter m his discourse on painting. And remember to put boiled linseed oil 1 The treatise is contained in a larger work, entitled, " Prodromo overo Sag^o di alcune Inventione nuove premesao al opera che prepare il P- Francesco Lana, Bresciano, della Compagnia de Gesh ; " Brescia, 1670, fol. The part which relates to painting begins at p. 135. Four chapters are devoted to this subject ; Cap. I. treats of Invention, Cap. II. of Deagn, Cap. III. of Colouring, and Cap. IV. of different methods of Painting and Drawing. The chapter on Colouring contains the usual directions for painting with four colours — a recommendation to mix ultramarine with all the flesh tints — full directions for mixing various tints on the palette, but none as te the mixing of the pigments with any liquid — as to the distribu- tion of the light — and of the light in which a painting is to be placed while in progress. The directions as to *' oiling out " are precise. Lena recom- mends for this purpose " boiled linseed oil, that is to say, linseed oil to which have been added two ounces of litharge for each pound of oil, warmed until it begins to boil." ** This application,*' he says, ** is not injurious; to the picture, as some have imagined ; and the advantage is that it dries quickly, for raw oil is a long time in drying." According to P. Lana, *' The priming consists in covering the picture with some colour, which is usually umber finely ground with a little white lead and terra rossa, in linseed oil ; this mixture being very stiff, and less liquid than the otiier colours, is spread evenly and thinly over the picture with a large knife ; when it is dry, another coat is to be applied, and after this, a third coat ; which I do not approve of, because, being too thick, it causes the colours which are Itud on it to change, for these sink into It so much, that they MODO DA TENER NEL DIPINGER. 747 dono, e poi se li da foco vehemente fino che s' arrossiscono ; et allora sono arse. La ^ala, perb, si spolveriza e s' abracia sopra la paleta da fiiocco, fino che anerisce, che rafredata divene rossa oscura. S. Dimi in grazia, prepari tu la tavolozza al tuo padrone ? ^. Certo che si, li stempro anco tutti li colori che sono in polvere, e mi bcusta che mi dica cib che vol dipinger, che so qnali devo pore sopra la tayolozza, lavo gli abozzi, li ungo, H do la vemice, et altri ancora la chiara d' uoya secondo mi comanda, e poi mi ha dato in scrito tutto cib che occore nel distemperar de colori, a cib sapia cib che devo &re, et e apunto come insegna Armenino da Faenza, e cosi li potrai scriver anoor tu che in- segna il tutto et anco il P. Lana Gesuita ha scritto di questa materia nel suo discorso di pittura. Et haverti che ne colori die difficilmente s' asciugono di porvi de 1' olio coto et anco ver- derame, come nel nero fumo et aspalto, e cos^i 1' azuro di Spagna partidpate of the colour of the priming itself. But in order that the colours should retain their briUiancy, the same colour should be repeated several times upon the first, and the parts should be more charged with colour than the life ; for instance, in colouring the cheeks, or oth^r parts, with cinnabar and lake, they should be made a little more rosy than the natural carnations, because, afler a time, they sink, and are toned down to their natural hue ; without thu precaution, they would become too pale and dead." — p. 158. In Cap. IV. Lana treats of the difierent methods of painting, in distem- per, in oil, and fresco ; also of miniature painting, painting on marble, on silk, tapestry, mosucs, and metals. In page 166, he observes that, ** when the painting is finished, some painters are accustomed to varnish it, in order that the work may be more smooth and brilliant." He then mentions an invention of his own for painting on glass, and afterwards treats of engraving. The remainder of the work treats of other inventions. I have been thus particular in detailing the technical processes described in this Treatise, because the work itself is rare ; and, as it treats on other subjects, it is not likely to form part of the library of a painter. Indeed, it is so little known, that the scanty notice of it in the work of Volpato is the only reference I have ever found to it; and it was not without considerable research that I at last ascertained, that Uie Treatise of Padre Lana, on Painting, was contained in the above-mentioned work. 748 VOLPATO MANUSCEIPT. and verdigris with the colours which dry slowly, such as lamp black and asphaltum. And in like nuuDoier the Spaiush blue' should be distempered as stiffly as poadble with nut oiL The painters make it flow with spirit of turpentine, and ultramarine with naphtha. 5. How do you varnish with the white of egg ? F. I apply the white of egg upon those [pictures] which he finishes without having varnished the abozzo, and which he com- pletes by merely '^ oiling out " and then retouching imtil finished, and on the others I apply mastic varnish. I beat up this white of egg well with a spoon, agitating it till it flows well through a rag, and adding to it a little garlic cut small, which has a good effect, and this was used by Canziani on his paintings. Your master wiU order all the rest that you may have to do. 5. I am in a great fright and do not know what course to take ; the other day I let a canvas &11 against a box, and injured it so much that there is a large lump on one side ; and what makes the matter worse is, that my master is going to use the canvas so soon that I shall not have time to prq)are another, nor can I get any canvas of that size, and I ^ould not like my master to know it and be vexed about it ; what would you advise me to do ? F, Are the threads broken ? S. There is no hole in it, but it is in such a state that it cannot be used. F. What will you give me to tell you how to set it to rights ? S. Whatever you please, for I am very much annoyed at the accident, as it is a large canvas and of some value. F. We will share the reward between us, for I wish you only, as it were, to change wine for water. S. Most willingly ; but how is this change to be eflected? 1 This was probably the "azzurri di Spagna" mentioned by Malvasia, Felsiua Pittrice, Vol. II., p. 349, which I consider (see Art of Fresco Painting, Int, p. xMii.) to be the native Blue Carbonate of Copper. MODO DA TENEB NEL DIPINGER. 749 stemperalo piu sodo che si pub con olio di noce, li pittori lo fano score con I'aoqua di rasa, e 1' oltremarino con V olio di sasso. S. Dimi come le dai la chiara d'ovo ? f*. Quelli cbe fomisce senza dar vemice sopra V abozzo, che solo con il lavor li fomisce e con 1' unger li ritocca, a queli li do la chiara d' novo, et a gV altri la vemice di mastici ; e questa chiara la rompo benissimo con un guchiaro, agitandola fra pezza, ponendovi dentro un poco d' alio tagliato minuto, che fa beir effetto, e cio usava il Canziani sopra de suoi quadri e poi il tuo patrone ti ordinarii cib che devi fare. S. lo son molto intricato, ne so qual partito pigliare, 1' altro ^omo e cascata una tela sopra uno scrigno, et e sfondata con un rilevo bestiale, et il Patrone la deve pore in opera in breve, che non ho tempo di preparame altra, ne di quella misura non ne trovo, perche non vorrei che s' acorgesse e ricever qualche mortificazione, cosa mi consigli che facia ? F. E rota? S. Non e forata, ma in quel modo non si pub adoperare. F. Cosa mi voi donare che t' insegno il modo di agiu* starla? S. Cib che voi^ perche mi preme ; essendo tela grande di qualche consideratione. F. Goderemo insieme il mercato, che altro non voglio da te che in tal guisa contracambierai vino per acqua. S, Pill che volentieri, ma in che modo farb questo cambio ? > Gia Batista Canziani was a native of Verona and pupil of Antonio I Calza ; be flourished about 1712. Vide Crespi, Pittori di Bologna, p. 189. 750 VOLPATO MANUSCKIPT. F. Bathe with tepid water the back of the canvas, and it will become even. 5. I am very much obliged to you, for I did not at all know what to do, but I have another difficulty ; my master has several pictures soiled by smoke, and has told me to wash them, but I do not know how. F. It must be some trick he wishes to |^y a friend or patron, because good pictures either never are washed or the owners perform this operation themselves ; and it is not merely a mechanical operation, because the pictures are eaaly spoiled, for if washed too much, those last retouchings whidi are the perfection of the work are effiiced, and I have seen many paintings spoiled in this manner by ignorant persons who know not what mischief they do. And I have even seen them wash paintings on panel and on canvas, in such a way that after being washed they have scaled off, because the gesso undemeadi was affected by the moisture, and swelled ; therefore it is great folly to wash good paintings. iS. I do not understand, or know anything about it. F. Your master ought to know this himself. S, But how should I wash them t F. Take some ashes, which have been sifted very fine that there may not be any pieces of charcoal or any large substances which may scratch the picture ; put them into a small pipkin with pure water, and with a sponge spread them all over the painting, and clean it by uioving about the sponge gently, then wash it off quickly with pure water, because the ashes corrode the colour. Afterwards wash it well with clear water, dry it with a linen cloth, and then varnish it with white of egg. S. But shotdd it not be oiled ? F. No, for the oil is not good on pictures, except on their backs when they are scaling off, as I have told you ; and in proof of this, see the Saint Peter the Martyr, at Venice, who having been oiled so many times by sacrilegious blockheads who have copied him, is so spoiled and blackened, tliat there is no telling what sort of face he has, and yet I recollect when he MODO DA. TENER NEL DIPINGER. 751 F. Bagna con acqua tiepida dal rovescio dela tela, che il senritio sara fato, e restera ugualgiato. S. Ti ringratio infinitamente, perchb era molto intricato ; ma un altra cosa, il mio Patrone ha diversi quadri afumicati, m' ha detto che vol che li lavi, io non so come fare. F. Sara qualche stratio per agradir qualche suo amico o patrone perche quadri buoni, o che non si lavono mai, overo che lo &no loro, e non e cosa da manual!, perche si possono guastar facilmente, che con il lavarli troppo se le consuma que nltiini ritodii che sono la perfetione de V opera, come ne ho veduti tanti coa guasti, per mezo di ignoranti che non sano d6 che fiuio. £ di piii ho yeduto anco lavar quadri in tavola e cod in tela, che dopo lavati si sono scorzati, perche il gesso di sotto risente quell' umido e si rilcFa ; e percib e gran pazzia lavar quadri buoni. S. Non me ne intendo, ne so quel che sia. F. Lo deve saper lui. S. Come dovrb fare per lavarli ? F. Prendi un poca di cenere sedazata sotilmente acib non vi sii carbone o materia grossa che possa raschiar il quadro, ponila in una scudela con acqua pura, e con una sponga disten- dila sopra il quadro, e leggermente maneggia la sponga netandolo, ma fa presto a levar con acqua chiara la sud^ cenere per che rode il colore. Lavato bene con acqua chiara, aaciugala con un drapo di lino, et asciuto come sij, dali la chiara d'ovo. S, Che lo ungessi ? F. Non lo fare, che 1' olio non fa bene a quadri, se non dal rovescio, come si scorzano come ti ho detto, e che cib sia vero, vedi il S. Pietro Martire di Venezia, che unto tante volte da sacrilegi e sgratiati che lo copiano 1' hano cosi guasto et anerito che non si vede piii che facia egli abia ; e pur a miei ^omi era belUssimo, e puoi osservare li putini che essendo alti lontani da 752 VOLPATO MANUSCBIPT. was beaafcifiil, and you may observe the children, whidi being above the reach of similar influences>are in excellent preserva- tion, therefore these blackguards should be forbidden to copy such excellent works. This privilege should only be permitted to those who have a proper respect for pictures. Do you wish me to tell you anything else ? S. One thing, about which I am curious : my master has made me grind up several colours with pure water, and tells me he wants to make crayons of them for colouring on paper. What are these crayons, and how are they made ? F, You will see, because he will make the tints with the knife, and will make you point the crayons for use. But in order that the white lead and the powder colours may adhere together, he ynll tell you to add gum-water to them to make them firm so that they may be used, but the lamp black is formed into a paste with the " terra da bocali," and dried by the fire, and is sometimes used instead of charcoal for drawing. S. How is charcoal made ? JF. An iron tube is provided, the pieces of wood are pressed tightly into this, and the ends of the tube are stopped up with ashes that the smoke may not escape, and when the tube is red hot and no more smoke is given out, the charcoal is made ; the whole is then thrown into water. S. What sort of wood b used ? F. The plum-tree and the willow. S. Why is the tube fastened up air-tight ? F. Because if the wood were to bum, it would fall to ashes without making charcoal: when the crayons are made they are anointed with common oil, so that when used the marks may not be cancelled. Is there anything else you wish to know, for I would willingly communicate everything to you? S» I am very much obliged to you, and I think I want no more instructions for my functions ; if I have any difficulty £ will consult you. It is now time, however, for you to go to the ** piazza," and take your salad for supper ; our masters will perhaps come home late this evening. MODO DA TEKEB NEL DIPINQER. 753 simili influsi sono conservati belissimi, e percib si dovrebbe vietare a questa sorte di canagle il copiar opere si fatte, e solo permeterlo a soggetti che portano a quadri li doYUti rispetti. De»deri saper altro da me ? iS. Una curiositk. II mio patrone mi ha fatto macinar dirersi colori con aoqua pura, e mi dice che vol far delle pastele per colorir sopra le carte. Cosa sono qneste pastele e come d fanno ? F. Lo yederai perche fara le tinte con il cortelo, e poi ti fara £ur le punte a te per adoperarli. Ma perche la biaca e qneli che sono in polvere stijno saldi, ti fara meter un poca d' aoqua di goma a ci6 aino salde per poterle adoperare, ma il nero fiimo s' impasta con terra da bocali, e si seca al foco e senre anco per carbone da disegnare. # S. II carbone come si fa ? F. Si piglia una cana di fero, vi si pone dentro li stechi di legno ben serati, si atura con cenere delle parti di detta cana essendo posta nel focco acib il fumo non esali, e come la cana e infocata, e che si vede che non esala piii fumo, il carbone e fiito, s' estingue il tutto nel acqua. S. Che sorte di legno s' adopera ? F. Si piglia il susin, ed il salice. S. Perche s' atura e non si lascia respirare ? F. Perche ardendo andarebbe in cenere, ne si faria carbone, qual fatto si unge con olio comune acib che adoperato non si canceli. Vedi s* altro ti occore, che ti dirb il tutto volontieri. S. Ti ringrazio iufinitamente, che per la mia fontione altro non fa bisogno, e se haverb qualche di£Bcolta ti verb a trovare. Fra tanto e bora che vadi alia piazza a piglar I'insalata per la cena, li nostri patron! forse verano tardi questa sera. 764 VOLPATO MANUSdUPT. F. Mine is not gone far. They will come home at the usual time ; but before you go, I beg you will take a glass of wine, come. S, This cellar is very cool. F. Take this wine and taste it, it will taste as if it were iced. S, To the health of our masters I F. To theirs and to our own ! S. Truly, it is very cool. F. Now I will taste it, in confirmation of what you say. S. I will take another glass. F. Two or three, if you like. £>. One will do for the present. F. Take it S. And with this I will drink your good health. F. May you long continue in good health. MODO DA TENER NEL DIPINGER. 755 F. E poco lontano. Verano all' ora solita. Avanti che ti parti, bevi im bichier di vino. Andiamo. S, Questa cantina e molto fresca. F. Prendi e gusterai il vino che pare che sii in giaza. S. Alia salute de nostri patroni I F. AJIa sua et alia nostra ancora I S. Veramente e freschissimo. F. Hora lo gusterb anch' io alia confirmatione di quanto hai detto. S. Ne voglo un altro bichier. F. Anco doi e tre se ti gusta. S. Un sol mi basta per hora. F. Prendi. S. £ con questo ti lascio la buona salute. JP. In buon vigore oonservati. VOL. II. 2f BRUSSELS MANUSCRIPT, ENTITLED "RECUEUIl DES ESSAIES DES MERVEELES DE lA PEINTURE." BT PIERRE LEBRUN, PAINTER, 1635. 2f2 BRUSSELS MANUSCRIPT. PRELIMINARY OBSERVATIONS. The following pages are copied from the commence- ment of a MS^ preserved in the Public Library at Brussels, numbered 15,552, written in 1635 by Pierre lie Brun, a painter. The MS. is in small octavo, the writing extremely small and difficult to read, and the ink very pale. It appears to have been intended for publication, as it contains many drawings. The part of the MS. uncopied treats of Sculpture, Architecture, and Perspective. It appears from the MS. that Pierre Le Brun was contemporary with the Carracci, with Rubens, Laurens Dubry the Fleming, and Youet; and the scattered notices he has given relative to painting in oil must be considered as indications of the practice of this art in France, or rather at Paris, during the middle of the seventeenth century. The manner in which the author speaks of contemporary artists shows that he was living at Paris when the MS. was written. The object of the author in writing the treatise seems to have been to give amateurs such a knowledge of the mechanical parts of the art, and of technical terms, as would enable them to speak on the subject of painting with propriety, and without incurring ridicule. 760 BRUSSELS MANUSCRIPT. In the first chapter, therefore, he describes the im- plements used in the mechanical part of the art, and then recapitulates a number of technical expressions, some few of which ke explains, especially those relating to the light in which a picture should be viewed. This part of the work bears much resemblance to the Treatise of Bulengerus, De Pictura, Flastice, ^t Statuaria, lib. ii. cap. ii., a work which must have obtained some reputation, since it has passed through three editions, and has been translated into English/ The author then treats of painting in distemper and in fresco ; and he cites^ as authority for the rules he lays down for fresco-painting, Father L*Ange and Father Antoine the Capuchin, and M. Thierson, a painter. The latter he mentions frequently in the course of the work. The fourth chapter treats of painting on glass ; and I find, by comparing this chapter with the second part of Le Vieil's " Art de la Peinture sur Verre,** that the method described in the MS. was that which was gene- rally followed in France. The practice of the art, therefore, appears to have changed but little from the time of Le Brun (1635) to the date of the work of Le Vieil, 1774. In the fifth and sixth chapters, Le Brun treats of the proportion of the human body and of the beauty of the I The first Latin edition wai printed at Leyden in 1621, and the English translation in 1667. The work is mentioned in the letters of Rubens, who merely states that he had received the work, but had not had time to resd it. It appears from the explanations of many of the technical teims being in French, that the author was a Frenchman. His name, probably, was Boulanger. PRBLIMINART OBSERVATIONS. 761 &ce, and in the seventh he teaches the nature and com- position of colours. He describes six kinds of azure, the first of which, called Cerul^e or " Turchino/* is the azure of Fozzuoli, of Vitruvius, and the smaltino of the Italians. The second, formed of mercury, sulphur, and sal ammoniac, has been called Venetian azure. The third, which is caMed ^^Ultramarine," is said to consist of calcined silver, aqua fortis, and sal ammo- niac The fourth is the Carbonate of Copper, men- tioned in tiie first chapter under the name of ^* La Cendr^e." The fifth is Indico, composed of the scum of woad, starch, &c. ; and the sixth is the true Ultra- marine. The eighth chapter, entitled Secrets in Fainting, consists of detached hints relative to the technical parts of the art From these it appears that white was to be excluded from shadows (see No. 1), which we know was in accordance with the precept of Rubens, In No. 42, Umber and Lake are mentioned as forming a beautifiil colour for shadows. The directions given in No. 7, ** II faut fort ombrer en esbauchant,*' and the reason given for it, ^^ cela ayde a parachever avec plus grande facilite," appear to me to recommend the Flemish practice of getting in the subject in chiaro- scuro, after which it was necessary merely to apply the lights and local colours, leaving the deep shadows fi'ee from solid or opaque colour. In No. 10 it is recom- mended not to use umber in the grounds, because the colours sink into it. No. 19 shows that the colour of the grounds was generally of a yellow colour, the method of preparing which appears to be described in Chapter I. In No. 32 a process is mentioned by 762 BRUSSELS MANUSCRIPT. which a canvas can be prepared so quickly that a per- son may paint on it the same day. The author also advises the use of mineral colours, which were to be previously ground with oil (see Cap. 1.)^ and recom- mends that paintings should be exposed to the air. Nos. 23, 24, and 25 describe the method of preparing both drying and fat oils, whith were to be used for promoting the drying of certain colours, among which we find white lead, which is not usually placed among the slow dryers. Ground glass and verdigris are also said to be mixed with colours to make them dry. The method of applying the azure in powder, de- scribed in No. 39, is curious, but not uncommon, since it is mentioned several times in the MS. of De Mayeme* in the British Museum. No. 40 shows that even so late as 1635 statues or bassi rilievi were painted with colours. In order to preserve pictures from dust and fly marks^ it is recommended (No. 22) to wash them with white of egg, and the reason for using this is stated to be that it may be easily washed off with a damp sponge. It is added, '^ this cannot be done with varnish.*^ From this then it appears that it was not always usual to varnish paintings in oil, and this certainly implies that they were painted with a vehicle which rendered varnishing unnecessary; thus afibrding evidence of the truth of Vasari's statement that pictures painted in the manner of Van Eyck did not require varnishing. The MS. contains no directions as to the vehicle ; it is merely stated that the colours were to be ground with 1 See Mr. EastUkc^s ' Materials/ &c., vol. i. p. 456, 456. PRELIMINARY OBSBRVATIONS. 763 ail, and that certain colours were to be used with dry- ing oil, in order to make them more siccative. In No. 14, Oil of "Camamine" (Chamomile) is mentioned/ but on account of the difficult}' of deciphering the MS^ it is scarcely possible to distinguish whether Le Brun has written " bonne pour peindre/* or " bonne pour prendre." The supposition, coupled with the conclusion of the sentence, "it is as clear as rock water," is cer- tainly in favour of the first reading, whence we may suppose that oil of chamomile was used to dilute the colours in the same manner as spirit of turpentine is now used. With regard to the varnishes described in the MS., it will be observed that they are not oleo-resinous. The first varnish for pictures consists of mastic and " huile de sapin,*' which appears to be synonymous, or nearly so, with the "olio di abezzo" of the Italians. The second consisted of turpentine liquefied over the fire, thinned with oil of spike. The " Vernis Gros " (" ver- nice grossa** of the Italians) or common varnish was made of turpentine, oil of turpentine, and resin melted together. The two former, at least, were probably light-coloured varnishes ; the colour of the last seems doubtful. A passage in Chapter I. (No. 16) suggests the idea of a high-coloured varnish having been used occasionally " to lower the brilliancy of the colours." This may have been a relic of an older practice, and 1 The distilled oil of chamomile (Oleum Anthemidis) is sometimes of a blue colour : that which is found in the shops is generally foreign, of a yellowish or brownish yellow colour, and becomes viscid by age. — Brande*8 Dictionary, &c. 764 BRUSSELS IftAKUSCBIFT. appears more applicable to an oleo^resinous varnish than to one of those described in the MS. • Chapter IX. teaches how to speak of beautifiil paint- ings ; and Chapter X. is an account of the greatest painters in the world. The author commences this chapter with an extract from Quintilian (ch. 16, 1. 12), giving a brief account of a few of the great painters of antiquity. He then speaks of the modems, among whom he mentions Michael Angelo as a distinct person from Buonarotti. From the painters of the cinque- cento he passes to the artists who were contemporary with him, among whom he enumerates the Carracci, Rubens, and Simon Vouet, and he concludes this part of the work with observing that his friend M. Thierson, to whom he was indebted for many hints for his work, "is also a very clever man*" Chapter XI. treats of the various methods of gilding, and the work concludes with the recipes (or varnish before mentioned. ^ -— ^~— , COLLECTION OF ESSAYS, ETC. ( 766 ) COLLECTION OF ESSAYS ON THE WONDERS OF PAINTING, By PIERRE LEBRUN, PAINTER, 1635. PREFACE TO THE READER. When Alexander the Great visited Apelles the Great, and began to talk of colours and paintings, the apprentices buist into a loud laughs so that their master was fiightened and ashamed of them, and whispered to Alexander, saying, ^' Sire, I entreat you will not speak of the profession, for the boys who are grinding the colours are bursting with laughter at the mis- takes you make : you are good for conquering worlds, we for representing them on pictures ; jour sword and our pencils in the same hand do not agree, and, to do well, every one should speak of his own trade, otherwise he furnishes a subject of laughter to the whole company.'' Alexander was silent, and laughed. Reader — ^my dear friend, I desire to fifee you from this annoyance, and from the fear that your ignorance should be the subject of derision, when you speak of painting on a fiat surface, one of the most noble arts of the world. The greatest deceiver in the world is the greatest painter of the universe and the most excellent workman ; for, to tell the truth, eminence in this art consists in a deception, innocent, and full of enthusiasm and divine spirit. Poets have their inspirations in the head, which is the seat of the poetic nerve ; punters in the tips of the fingers, and in the flowing point of the pencil. But the eye must be deceived, or the picture is worth nothing ; this must appear ( 767 ) RECUEUII. DES ESSAIES DES MERVEILLES DE LA PEINTURE, De PIERRE LEBRUN, PEINTRE, 1635. PREFACE AU LECTEUR DE LA PEINTURE. QuAND le grand Alexandre visitant Apelles le grand Youlut parler des couleurs et des peintures, les Apprentis esclatterent si fort de rire que le maistre en eust pear et honte. Sire (dit- il tout has) ne parlez point de le mestier car les gar^ons qui broient les couleurs crevent de rire vous entendant ainsi be- gayes : vous estes bon pour conquerir les mondes, et nous pour les coucber sur nos tableaux. Vostre espee et nos pinceaux ne s^accordent pas bien en une mesme main, et pour bien faire chacun doit parler de son mestier autrement on appreste a rire a toute la compagnie. Alexandre se tent et se print a rire. Je desire lecteur mon grand amy, vous delivrer de ceste peine, et de la peur qu'on ne se gausse de vostre niaiserie quand vous voudrez parler de la platte peinture, I'un des nobles artifices du monde, le plus grand trompeur du monde c'est le meilleur peintre de Tunivers et le plus excellent ouvrier, car a vray dire Teminence dc le mestier ne consiste qu'en une tromperie inno- cente et toute pleine d'entousiasme et de divin esprit, les poetes ont leurs inspirations dans la teste ou.est la nerve poetique, et les peintres au fin bout des doigts et a la pointe scarante du pin- ceau. Mais faut tromper I'oeil ou tout n'y vaut rien : il faut qu'on croie que cela est creux et enfonce, cela enfle, et bour- souffl^, cecy bors d'oeuvres et qui se jette entierement hors du 768 BRUSSELS MANUSCRIPT. hollow and ooncaTe, that swollen and convex ; this appear to project and stand out from the picture, that must appear distant a good league ; this of a prodipous height, that perforated ; this living and full of movement. Let the horse gallop and foam at the mouth through its hard breathing; let the dog bark loudly ; let the blood flow from tbe wound ; let the douds really thunder and be torn to pieces by frequent flashes of lightning ; let this dying man appear with his soul issuing fit>m his lips ; let this bird tire his beak by pecking at the grapes ; let the spectators call for the curtain to be raised, so as to see what is behind ; yet there is no reality in this, for the surface on which the objects are represented is flat, and truth is imitated so art- fully that nature appears to have animated the picture in order to assist painting to deceive us, and to laugh at our foUy ; hence it is that one painter wrote in his works ** res ipsa ^ — it is the thing itself y not the imitation ; and another, ^^ fecit ApeUeSy^ which that great artist wrote on three works in which he sur- passed art, nature, and himself; on the others he wrote " fade- bat,'' that is to say, ^*he teas doing itJ* He would not finish his designs lest he should make Nature blush, for she had already acknowledged herself conquered by genius and art, — not like those simpletons who were such fools as to paint an ox or an ass for a horse, and so wretchedly was the imitation daubed, that it was necessary to write under it in large letters, ** Gren- tlemen, tbis is an ass ;'' or, ^* Gentlemen, tiiis is an ox ;" but even in this they lied, for there were two asses; he [the painter] was the first, and the brute he had painted the second. Tlierefore, to know how to discourse on this noble profession, you must have frequented the studio and disputed with the masters, have seen the magic eflects of the pencil, and the un- erring judgment with which the detdls are worked out by the of the wonders of nature by Bene Francis, the King's preacher. PBBFACE AU LECTBUR. 769 tableau, cecy esloigne d*une bonne lieue, cela d'une hautesse extreme, cela perce k jour, cecy tout vif et plein de mouve- ment, que le cheval court et escume a force de soufSer, que ce chien jappe vivement, que le sang coule de la plaie, que les nuees tonnent en etktj et que les nuages soient toutdeeoousuB a force d'esclaires qu'on voie sortir coup sur coup ; que eest homme rende I'esprit, et qu'on voie Tame sur ses leuvres, que les ojBeaux bequetteut oes raisins, et se lassent le becque, qu^on crie haut qu'il &ut oster le rideau afin de voir ce qui est cache, cependant il n'y a rien de tout cela, car tout cela est plat, pris bas mort et contrefiut si artistement qu'il semble que la nature se soit couchee la-dessus pour aider la peinture k nous tromper finement et se mocquer de nostre bestise, de la vient qu'un deux escrit en les ouvrages ret ijma^ c'est la chose meme non pas la peinture, et Tautre fecit Apelles; ce qu'il nut en trois pieces ou il surmonta I'art, la nature et soy^mesme, aux autres il mettaityoct^&z^, c'est h, dire il faisoit. et a dessein n'a point Touluz aeheyer de peur de fair rougir la nature qui se fut confefisee yaincue par I'esprit et par I'art, ce n'est pas comme ces badaux qui ^taient si niaiz que pour peindre un cheval ik &isoient une asne ou un Ixeuf et encore si mal fagotte qu'il &lloit eacrire en gros cadeaux : Messieurs cecy est une asne, cecy est un boeuf, encore mentoient-il2, car ilz estoient deux, lay le beau {nremier, et cdiuy qu'il avoit point Tautre ; Pour scavoir done parler de ce noble mestier, il faut avoir este a la boutique diq>ute avec les maistres, veu le traint de pinceau, et' le jugement asseure pour esplucher toute chose par le menu .' . . may des . . . merveilles de nature par Rene Francois Pk'edicat. du Roy. The words omitted are illegible in the MS. 770 BRUSSELS MANUSCRIPT. CHAPTER I. OF FLAT PAINTING. 1. The muller (that is, the stone with which the colours are ground) must be of flint or whetstone, so as to grind the colours on the porphyry and to incorporate them better with the oil The amassette ^ is of horn, and with this the colours are collected after grinding, and spread upon the stone. 2. The scaffi>ld or easel of the painter is used to support the paintings for working. 3. The pencils are made of a soft kind of hair, but which has suiScient resistance to keep itself straight, and to make a firm point for painting ; the hairs of bears are very good, so are those of martens and similar animals. Small brushes made of hogs' or pigs' bristles are also used, and pencils of fishes' hair^ for softening. 4. The pinceliere is a vase in which the pencils are cleaned with oil, and of the mixture of oil and dirty colours is made a grey colour, useftil for certain purposes, such as to lay on the first coats, or to prime the canvas. The pincelier is a vase containing oil, in which the pencils are placed that they may not dry. 5. A palette set for painting flesh colour must contain terre verte, cendre verte et bleue, brown pink, yellow ochre, vermi- lion, red ochre, lake, umber, bone black, and charcoal bbcl, with white lead in the middle. 6. The painter's palette is the mother of all colours ; for, from the mixture of 3 or 4 principal colours, his pencil will create, and, as it were, cause to flourish all kinds of colours. They say to set a palette for the carnations (that is to say, to make the flesh colour), with green, &c. ; and this is the work of the boy. The principal colours are, 1st, white lead (so called because it is found in lead mines) } 2ndly, fine azure I Amassette— instrument with which the coloars are collected and scraped together on the stone. DE LA PLATTE PBINTURE. 771 CHAPITRE PREMIEIL DE LA PLATTE PEINTURS. 1. B iant que la moulette soit de caillou (c'est a dire la pierre a broyer) de gre ou de queux, afin de mieux broyer les couleurs sur le poq)hir et les mieux incorporer avec I'huile. L'axnassette est de corne, et amasse la couleur broyee, et eparse sur la pierre. 2. L'Estodi, Teschafaux uu cheTallet du peintre, e'est sur quoy on posse les tableaux pour travailler. 3. Les pinoeaux sout fait d'un poil doux toutefois qu'il ait une resistance pour se tenir droit et faire une pointe assez ferme pour peindre, les poils d'ouris [ours] y sout tres bons, moustoil, foines et autres semblables ; on se sert aussi de petite bruis- sette fait de soye de pourceau (ou cochon). L'on a aussi des pinoeaux fait de poil de poisson pour adoucir. 4. La pinceliere est un vase ou Ton nestoie les pinoeaux avec Vhuile, et de ce meslange on fait un gris et bon a cer- tains ouTrages comme k fidre les premieres couches ou imprimer la thoile. Le pincelier est un vase ou Ton met tramper les pinoeaux dans de I'huile, de peur qu'il ne se seichent. 5. Une pallette de carnation est du verd de terre, cendre yerd et bleuse, stil de grun [grain], ocre jaune, vermilion, ocre rouge, lac, terre d'ombre, noir dos et de charbon, avec blanc de plomb au milieu. 6. La pallette du peintre est la mere de toutes les couleurs, car du meslange de trois ou quatre maistresse couleurs, son pinceau fiiit naistre et comme fleurir toutes sortes des couleurs, on dit preparer une palette de carnation (c'est a dire, pour fisdre la chamure) du verd, &c. Et c'est Touvrage du garden. Les mere3 des couleurs sont premierement le blanc de plomb (k cause qu'il se trouve en mine de plomb)» 2 le fin azur et « Probably seal's fur. VOL. IL 2 O 772 BRUSSELS MANirSCRIFT. and ultramarine ; Srdly, Venetian lake, which makes a moBt brilliant fleeh colour and scarlet; 4thly, Spanish yermilion; 5thly, la cendr^ ; 6thly, charcoal black ; Tthly, massicot^ which serves for the fine yellow ; 8thly, " verd de terra ;" 9thly, dragon's blood; and, lOdily, '«la rosette."' These are the florid oolomv, ike oth^s are common. 7. The canvases are covered witii pardiment glue or flour paste before they are primed with potter s earth, ydlow earth, or ochre ground with linseed or nut oil. The priming is kid on the canvas with the knife or amassette to render it smoother, and this is the work of the boy. 8. To take the portrait of a person, or to draw from the life. Anciently, the art did not extend beyond drawiiig the outlines ; in later times the outline was covered with a single colour. To give expression and diaracter ; to open the mouth, the eye ; to give a smile ; to paint the soul, the character, the passions, &c. 9. To paint the portrait after the life, to leave the work at the discretion of the pencil, and to the chance of the hand ; to heighten and relieve the colours, i. e. to give the colours lustre and lig^t ; item to varnish, and cover with varnish to produce lustre. 10. Outlines, gestures, symmetry, proportions, expressions, and character, give renown to the pencil, and are the principal points to be aimed at. The inner part is eaisily done ; but the outline, the finishing touches, and the roundings oflf of die difler- ent objects are difficult 11. To shade or shadow the works, put in the darks sod shadows, to give prominence to some parts, and make others recede, and to throw back the landscapes to a still greater distance, and compress them into a small space. The light and shade should be intermixed so that the divemty of colour may heij^ten and give roundness to both, 1 La Roaette. See Chap. VII. No. 11. J DE LA PLATTE PEINTURE. 773 rontremariiL 3*. la laoque de Veniae qui a un inearnat et une escarlatte fort rive. 4^ le vermilloii d'Espagne. 5^ la cendree^ 6° le Boir de diarbon, 7^ le ouussicot qui est le fin jaune, 8^ le verd de terre, 9« le sang de dragon, 10° la rosette : voila les coaleurs gayes, les autres sont nides. 7. Les toilles s'encoiles avec colle de parchemin ou de &< rine ai:^»araTaDt qae les imprimer ; oa les imprime arec terre de potier, terre janae ou oere broyes avec hoille de noix ou de lin. Lfa dite inqsrimure se coucfae sur les toilles avec un cous- teau ou avec Tamassette pour les readres plus unie, et c'est Toavrage du garqon. 8. Pourtraire et enlever au vif une personne, du eommenoe- ment on ne fiusoit que porfiller, puis apres on coumt le poui€l d'une seule eouleur . Donner contenance, sans images et bonnes nines, ouvrant la bouche, VcbH^ le rire, 6kc, peindre Tesprit, les moBurs, les passions, &c. 9. Faire le pourtrali; au naturel, laisse Pouyrage a ladiscre« tion du pinceau et au hasard de la main, rehausser les couleurs et relever Touvrage, c'est donner le lustre et le jour aux cou* leurs. item remisser et coucher du vemis pour faire esclate. 10. Les pourfils, les gestes, les simmetries et proportions, et , mines et bonnes oofttenances aont celles qui donnent bruit au pinceaux ; et le point principal de tout c'est eela. Le dedans se fait aisement, mais le pourfil, les demiers traits, et I'arrondisse- ment de la besogne est mal aisee. 11. Ombrer ou ombrag^ les ouvrages, Sure des nuits, des ombrages pour faire esclatte, les autres reculer, les paysages bien loin et en petit volume. L'ombragem^it et le jour s'en* tremeslent afin que la diversity des couleurs facent rehausser et arondir I'une et I'autre. 2o 2 774 BRUSSELS MANUSCaUFT. 12. Besides the light and the shade, there is the half light,' which is something between light and shade, and is a colour composed of a mixture of the two, and is that which separates the colours; it is called ^' dejettement," and in Greek ^'ar- moge." 13. To paint landscapes on a flat ground in architecture, in the air, and as if among the clouds, covering but a small sur- face of canvas ; the ancients had two sorts, and afterwards three, the Ionic, Sicyonic, and Attic. To make figures, flowers, fancy subjects, rivers, to raise mountains, and tempests, &c. 14. To paint landscapes, grotesques, arabesques, mstic scenes, fancies, chimeras, vignettes, tufts of trees, precipices, falls of water, sea pieces, storms, widi a thousand poetical inven- tions of the kind. 15. To paint draperies, and clothe die figures, that is to say, to dress them with drapery, always using more than one colour, but there must be a mixture of colours. There is simple dra- pery, and there is drapery damasked and embroidered with historical subjects ; there are robes tucked up and with folds, which the painters cover with crape, and which are visible through the veil and the transparent gauze ; others which are broken with shadows in order to lower the brilliancy of the . colours. 16. To lower the too great brilliancy of the colours with var- nish, which is like talc or crape spread over the painting ; to infuse into the painting the soul, the affections, the conceptions of genius (the inimitable invention of Apelles), in &ct to paint that which cannot be painted, such as thunder, lightning, the voice, the breath, &c. To lay on the colours with clean- liness, with harshness. 17. Ceruse is made of lead and vinegar ; it is good in the flesh colour and similar things. Burnt ivory, which was used 1 Millin giyes a difierent signification to this term. He aays, that in painting a picture, it is said to be in a fUse light, when it is i^oed in sn apartment in snch a manner that the nataral light enters on the side oppo* DE LA PLATTE PEINTURE. 775 12. Outre le jour et rombragement, il y a encore le &ux- jour, qui tien du jour et de I'ombre et est un lustre compose des deux, ce qui separe les couleurs, il s'appelle le ^^ dejettemaus " et en Grec " armoge." 13. Peindre en paysage, a fond plat, en architecture, en I'air, et comme parmy les nuees, peindre en petit volume. Les audens estoient a deux sortes et puis a trois, a Plonique, a la Sycioni- enne, eta rAtlique. Faire les personnages, les fantages, les fleurs, les fantasies^ les rivieres, dresser des montagnes, soulever des tempetes, &c. 14. Peindre des paysages, des grotesques, arabesques, la rus- tique, des fantasies, et des chimeres, vignettement, touffe de bois, precipices, chutes d*eaux, baricuies, la marine, et les orages et mille gentiUesses et inventions poetiques de la meme taille. 1<5. Faire la draperie, et drapper I'image, c'est Thabiller or en drappant, jamais on ne met une seule couleur ; mais il y &ut du meslange. II y a simple drapperie ; il y a celle qui est damassee, historiee a brodure, les robes retroussees et les repUs puisur& {sic\ les feintres les couvertes de crespe, et qui percen le voile et la thoille desliee, les autres qui sont meurtries avec les ombrages qui rabattent le trop grand esclat 16. Meurtrir la trop grande gayete des couleurs avec vemix qui semble du talc ou du crespe ou de lairs espars sur le ta- bleau ; Tame, les affections, peindre les conceptions d' esprit sur le tableau (invention d' Appellee inimitable), enfin peindre ce qui ne se pent peindre, comme les tonnerres, esclairs, la voix, la respiration, &c. asseoir les couleurs propremen, estre trop rude a charge des couleurs. 17. La ceruse se fait de plomb et de vinaigre ; elle est bonne pour incamer playe et chose semblable ; Tisvoire bruslee fait un site the artificial light which is supposed to illuminate the objects in the painting. Millin, Diet, des Beaux Arts. 776 BRUSSELS HANTTSCRIFT. by Apelles, is a most ezoellent black, for if it is dissolved in vinegar and dried in the sun it cannot be effiiced. There are some works of powerfiil colouring, others feeble ; the latter, after the first painting, must be heightened with vigorous ooIoutb. 18. A good picture should possess great invention, well observed proportions, pleasing and natural colouring, lively flesh colour, rich drapery, distant landscape, accurate p^'qpective, and tints so natural that the eye may earily be deceived. 19. The heightenings are produced by throwing li^ts upon them, the hollows and retiring parts are produced with the shades, and thick darkness must be surrounded widi li^t. Softening is that tender union of the colours by which one colour is almost lost in the other. By glazing is meant the last thin coat [of transparent colour] which softens and gives brilliancy^ by glazing the white, the purple, the green, the yellow, &c. 20. The painting should be placed in its proper light or in a full light, and concerning this you must know that all pednting supposes generally that the light comes from the right towards the left ; the false light^ is when the light shines from left to right, and in this case all the shadows are on the opposite side. Therefore, to place a painting in its proper light is to expose it to the light whence the painter supposes the li^^t to come, turning it towards the window, so that all the parts may appear as if hidden behind that part of the body which is illu- minated. It sometimes happens that the light fiills from above ; when this is the case the head, face, and nose are highly illumi- nated, and the rest of the neck, body, and person do not par- ticipate in the light except in a few places where streaks or rays of light fall on the folds and other parts which appear to swell and project out of the work. Again, it sometimes happens in the opposite manner, when the light shines from below, and io 1 This 18 now called Faux jour. See Millin, Dictionnaire dcs Beaux Arte. DB LA PLATTE PEmTURE. 777 ncnr excellent dont se aeryoit Apeles^ car 8*il est deamel^ et deffidten Tiiia]gre» et ara au soleil» il ne se pent effisuser. II y a des ofarrages de haulte cotdeur, d'autre Uaffiurde, mais apros la premiere couche 11 &iit domier la charge avee qoelques couleurs vigoureuBe. 18. Un beau tableau doit aroir rinyention gaillarde, les pro- portions bien gardees, le colons plaisant et naturel, la carnation vire, la drapperie riohe, les pajsages fi»t esloigne, la perspec- tive bien obsenr^, la teinte si naturelle que I'oeil soit ais^ent contrain d'estre trompe. 19. Les rebauts se font a force de jour qu'on verse dessus, les enfondremens, les creux, les rentremens, se font avec les ombres et les nuicts espaisses ceint de Jour et de lumiere. L'adoucissement se fait par une si douce liaison des couleurs qu'elle se perde quasi Time dans I'autre, glace, c'est mettre les demiers adoucissements et la coucfae demiere delicate qui donne I'esclat avec le blanc glace, on pourpre glace, verd glace, jaune glace, &c. 20. La peinture se doit mettre a son jour, ou estre k contre- jour ; surquoy il faut scavoir que tout peindre suppose d'ordi* naire que le jour vieime du cost^ droite vers le gauche ; le con- trejour, c'est la gauche a droicte, alors tous les ombrages sont du coste oppose done le jour vient ; de b,ijon que tnettre une peinture a son jour, c'est la toumer vers le jour que le peindre snppose devoir estre le jour, k la toumer vers la fenestre en telle &fon que tout les membres soient comme caches derriere la partie du corps qui est enluminee. II advient aussi que le jour se donne d'en hault, et a Theure la teste, le visage, le nez, sont fort esclairez ; et le reste du col, du corps, et de la personne ne partidpes point du jour que par certains esclairs ou filet de jour qui esclate sur les replis et autres parties qui sembles s'enfler et se Jeter bors I'ouvrage. H y en a au contraire qui prennent le jour par en has, et se doivent mettre bien hautes, alors les pieds, genoux, et autres parties bien eminentes soet fort esclairees le 778 BRrSSELS MANX7SCRIPT. this case the figures would be raised very hi^ and the knees and other prominent parts would be strongly illa- minated, while the &ce and other parts would be half eclipsed* Hie li^t must therefore always be suffered to enter on the side whence the painter supposes it to shine, tiiat is to say, the shadows must never appear to be thrown towards the window. 21. In a painting there must be the point of sight, Ae vanishing point, the hollows and retirements of the members, the perspective, the receding and approaching parts, the feints and deceptions ; there is even the movement of the eyes, which, by a miracle of the pencil, are made to appear to be looking everywhere, which they never do in nature ; they even appear to be moved by the eyelids ; nothing is wanting to the figures but speech and life. 32. To take the proper light, or the false light, that is to say, the side light which the window affi)rds the painter ; the feigned light trom another source, like the light on the angel in the Nativity ; the full light, when the li^t shines on the front of the whole portrait, and in this case there is no shadow. 23. Foreshortening, retreating, or retiring, which causes some objects to appear distant. These parts must be piunted tenderly, that is, with softness, for if the colours were too strong the objects would appear too near. 24. The shadows give roundness, the colours shade and give force to the work. The false light which appears where it should not ; a concealed light, such as that of a flambeau, a lamp. 25. Drapery. To cast the drapery and to drape the figures, to add the ornaments, that is to say, to imitate the embrmderyf or to paint vases or flowers on the robes which are of gold or of *^ dorage," that is to say, like fine gold ; and there are several sorts of ^^dorage," according to the lightness or darkness of the colour. 26. To represent the death of a stag or other animal. To paint a landscape you must begin with the air, t. e., where there are no clouds, that it [the landscape] may appear nearer, and DE LA PLATTE PEINTURE. 779 visage et autre paiiie sont a demy esclipsez. H faut done tous- jours dormer le pxxr du coste que le peiutre le suppose et jamais le contrejour, c'est a dire ne toumer jamais les ombrages du coste de la fenestre. 21. n y a au tableau le point de jour, le tiers point, les en fondremens, rentremens de membres, la perspective, les esloigne- mens, les aproches, les fintes et tromperies ; il y a mesme du mouvement des yeux par un miracle du pinceau qui fait que Toeil regarde de toute part, ce que la nature ne fit onque ; mes- mes avec les paupieres on fait remuer les yeux, il ne s'en faut rien que lea images ne parlent et ne soient animees. 22. Prendre le droit jour ou le centre jour, c*est a dire le joor du coste que la fenestre le donne au peintre ; le jour feint qui se prend d'ailleurs, comme k la nativite la clarte de lange, un jour de pleine face c'est a dire qui donne a tout le pourtrait un jour de front ; et la il n'y a point d'ombre. 23. A racourcissement, rentrement, renfondrement, pour faire paroistre la peinture loing il faut que la chose soit peinte floue- uient, c'est a dire doucement, car si elle estoit rude et non pas flone, elle paroistroit de trop pres. 24. Les ombrages font dejetter les couleurs ombrer et &ire rude labesongne, faux-jour qui se fait ou il nefaut pas, clarte desrobee c'est une lampe, flambeau, &c. 25. Drapper, faire la drapperie et faire le drap, faire Ten- richissement, c'est k dire feindre la broderie ou semer des cor- bettes, c'est k dire des vases ou fleurs sur les robbes qui se font d'or, ou de cirage [dorage?], c'est a dire comme de I'or fein ; ct il y a plusieurs sortes de cirages [dorages?] aelon que la couleur est plus claire ou sombre. 26. Faire un atterassement de cerf ou autre beste ; pour faire un paysage il fstut commencer a peindre I'air, c'est a dire, ou il n y a point de nufes, afin qu'il paroisse plus prfes et les autres 780 BRUSSELS MANUSdUPT. therest behind. Thefbr^round, that isi theground whichsii»- tains the whole work, is to be painted with forcible colours. 27. To paint or represent a dark night pierced by a single ray of light ; to round the figure, t. «., to make it appear in re- lief, which is done by means of light and shade. *^ Derober nn jour," that is, to represent a rising or setting sun in a comer, behind a mountain or something similar, which gives light to the whole. 28. There are different kinds of light ; the '' jour de droit fil " is, when the lig^t comes from the right side ; " jour cache ou derobe," as when the son is supposed to be behind a moun- tain, not yet throwing its golden rays on the surfieu^ of the earth, at the rising of Aurora, or when she has opened the gates of light to the beautiful son of Latona, to restore the agreeable day-light, and to show her golden wig to the habitants of tibis low universe, and this is called ** jour derobe.'' ^ Jour feint " is a light at midnight, as in the Nativity of Our Lord ; and ^' faux jour " is when one cannot discern whence the light proceeds. 29. Distance of the works, when they appear distant, the colours being faint Deception is the perfection of the art, deceiving the eye, which imagines it sees what in fiict it sees not To paint with black and white, or in distemper, or with nut oil, which is the usual way, and the best, or in fresco. 30. To work with crayons or charcoal, to sketch, to outline, to make the first design, to draw a roug^ sketch, to put on the first touches, to make the rough outline with crayon, chalk, charcoal, plumbago, vermilion, or to draw on the paper with ink. To sketch the first thou^ts on the canvas, then at Idsure to search for perfection and particularize all the parts ; to dniir the subject, to rub out the false touches of the rough sketch ; the " maistre traict" still remains to guide the sketched work. 31. To represent a full face, that is, all the face ; thu&— [This part of the work is illustrated with drawing?.] 32. To paint the outline or profile, t. e. the half or side &cc. •s DE LA PLATTE PEUtTUBE. 781 u la terrasse est fort rude, c'est a dire, la terre qui sou- tien toute Fouvrage. 27. Peindre ou &ire une nuict epaigse trendiee d'un petit filet de jour desrobe : arondir la figure, c'eBt a dire faire qu'olle eemble de relief, et qui se fait par le jour et Tombrage. Des- rober un jour, c'est fiiire en un coin derriere une montagne ou autre chose un soleil qui porte le jour, qui se leve, ou qui se couche. 28. II y a divers sortes de jour ; le jour de droit fil c'est quand on le £uct venir du coste droict, jour cache ou desrob^ comme par supposition que le soleil fiit derriere une montagne, ne jetant encore ses rayons dor& sur la surface de la terre, au lever de I'Aurore ou quand elle a ouvert les portes du jour a ce beau fils de Latone pour redonner les agr&bles clart& et Cure voir sa perruque doree aux habitans de ce baa univers, et s'appele jour desrobe. Jour feint c'est un jour en plain minuit, comme a la Nati- rite de Nostre Seigneur, et faux-jour, c'est quand on ne pent dicemer de quel coste il yient. 29. Esloignement des ouvrages quand ils aemblent loing, estant flou^ ; feindre, c'est le haut point de I'art, trompant Tceil qui cnnt voir ce qu'il ne voit pas. Peindre de blanc et Doir, ou a destrampe, ou a huijle de noix, qui est I'ordinaire et la meilleure, ou a fresque. 30. Crayonner, charbonner, grifR^nner, porfiler; jetter la {H^miere ordonnance, figuer grossement, jetter les premiers traictSy fiUre le grifibnnement avec crayon, craye, cbarbon, mine de plomb, yermillon ou figuer sur le papier avec I'ancre, Jetter des premieres pensees sur la toile, puis a loisir en recher- tber la perfection et particularisant toutes les parties, retirer la chose pourtraicte, efiacer les faulx traicts du griffonnement; le maistre traict demeure tout jours pour guider la besongne esbauchee. 31. Peindre de firont ou en &ce ou en plain ; c'est tout le visage ainsi. 32. Peindre de profil ou pourfil, c'est la moictie. 782 BRUSSELS MANUSCRIPT. 33. To paint back views, t. e. backwards, when only the hinder part is painted. 34. To paint with glories, as they paint saints. 35. By "ordonnance" and design are meant the first touches, for painting refers to the colours which are applied upon the portrait. The size of the picture may be increased or reduced to a small scale; it may be pricked and laid on the ground and outlines, and poimced with pounce. The design thus executed is called ^* poncif," but it is the work of the apprentice. 36. The colouring is very forcible, the colours well ai^ ranged ; the lights disposed in their proper places ; the drapery well cast ; the painter has a good touch, t . a. he paints the flesh well, t. e. the flesh colour of the face, hand, and foot, for the other part of the body is clothed. 37. Moresques are pencils or horns drawn round a pamt- ing, and they are made of gold on a ground of the colour of gold. 38. Grotesques, in addition to these, contain figures. 39. Arabesques consist of foliage and flowers. 39a. Estampes (engravings) are copper plates. The word comes from estamper, which signifies to print in Italian. 40. Cartouches are almost the same things, except that the *^ quartouche"^ partakes of the grotesque. 41. Terms are figures which are placed under brackets or cornices, which they support by their heads, like pilasters; they have the form of human beings down to the waist, the lower part being shaped into columns or pillars. 41a. Busts or models are generally half-figures ; such, ge- nerally, are portraits. 42. Cameos are figures composed of black and white or red, or some other colour. 43. The design of Michael Angelo, the colouring of Raf- 1 Cartouches were ornaments of painting, sculpture, &c. Tbejr nv^- DE LA PLATTE PEINTTJRE. 783 33. Peindre a doe c'est tout a rebours, qnand on peint le derriere seulement 34. Peindre en gloire, comme on fait les saints ou saintes. 35. On appelle ordonnance et dessein ces premiers traits, et pourtraire, ear peindre c'est avec les couleurs qui surviennent dessus le pourtraict. Si on veut aggrandir on peut reduire le tout au petit pied, le piquant et I'appliquant sur son fonds, et le poncer avec la ponce, et ce dessein ainsi fait se nomme le poncif, mais c'est pour les apprentifs. 36. Le colons est fort vif, les couleurs bien posees, et bien mises ; les rehauts fait bien a propos, le drap bien drappe, le peintre toucbe bien c'est a dire fait bien la carnation du nud, c'est a dire de la face, de] la main, du ^pied, car le reste est habille. 37. Moresques sont des pinceaux et des comets autour d'un tableau qui se font d'or sur I'or couleur. 38. Les Grotesques out de plus de personnages. 39. Arabesques sont feuillages et fleurs. 39 a. Estampes sont tallies douces : ce mot vient d'estamper, qui signifie imprimer en Italien. 40. Cuiyer (?) quarts touches sont quasi les mesmes choses, sinon que le quartouche participe de la grotesque. 41. Termes: ce sont figures que Ton mets sous trez ou poultres, ou sous comicbes^ les soutenans de la teste en guisse de pillastres et portent visage d'hommes et de femmes et le corps jusques a la ceinture, le bas estant fait en forme de colonne et pillier. 41 a. Bustes ou modeles sont figures a demy, comme on Cut d'ordinaire les pourtraicts. 42. Camaieuz, ce sont figures faites de blanc et noir ou de rouge ou de quelqu'autre couleur. 43. Le profil de Michel-ange, le colons de Raphael, I'inven- seated scrolls of paper, rolled or twisted. Their principal ase was for in- scriptions. The word ** cartouches" was derived from " charta." 784 BRUSSELS MANUSCRIPT. faello, the inyention and boidness of Pannigpaniiio, and die ni^t scenes of Bassano united, would present to an artist the beau ideal of good painters ; they constitute the four elenmts of a perfect painter. CHAPTER IL PAINTING IN DISTEMPSR, 1. For painting in distemper without oil, the oolotirs must be ground with water or glue ; gum is used for illuminatii^ and giving lustre and brilliancy to the colours which are heightened and rendered gay by the gum ; just as vamisb p^es a beautiful lustre to oil paintings, sernng as gauze and tak to defend them firom the dust ; and as crystal, to give lustre and light to that which seems gloomy and eclipsed. 2. Painters use several colours in finishing the pictures and in painting in gum, oil, or water, without trituration, grinding, &c. We shall only menticm in tiiis place tiioee which are used with water, yiz., black from burnt stag-horns, Flanders black, black stone, and ink, which the dark tan colours approach yery nearly in colour, and from whidi the paler tawny colours are &r removed ; dark violet. Indigo, tumsol, the violet from logwood [?], distilled and boiled in vinegar ; the paste which is made of a littie white mixed with the ]»«oeding colour ; blue, which has several degrees of price and vivacity, that friiich is called ** blanchette*' and ** mourante ;'' light blue and sky- blue ; brown-red, common pure lake, the colour of armour, which is composed of this lake and saffron mixed with uiioe; gamboge and lake made from [BraEil] wood, vennilion, pure vermilion, minium as common as blanchette and as thai wbicb b called ^^ rouge-blanc f' '' laque blanchette forte," with or with- out ceruse, of the colour of flesh ; the carnations, composed of vemulion, lake, and white ; or of minium, vermilion, and white ; true flesh-colour ; the colour ctiead flesh, gamboge, brown-piok, PEINDRE A DE8TRAMPE. 785 tioD et la hardiesse de Panuesan, et les nukts de Baesan foot un peiutre Tidee des bona peintres; ce Bont les quatres elemena d'un parfiiit peintre. CHAPITRE SECOND. PEINDRE A DESTRAMPE. 1. Pour trayailler en destrampe et saiiB hnyle U &ut broyer les couleurs avec de Teau ou de la colle, la gomme sert pour illuminer et doimer I'esclat et le rayon aux couleurs qui s'esTeillent et se rendent gaies k la faveur de la gosme, comme aussi le vemix donne un beau jour aux ouvrages en huyle, leur servant de crespe et de talc, pour le garantir de pousaere, et de crystal pour donner lustre et tirer au jour ce qui semble monie et esclipse. 2. Les peintres se servent de plusieurs coideurs pour achever leurs tableaux, et pour peindre en gomme, en huile, et a I'eau, sans trituration et broyement, ou autrement. Se mete seule- ment idj celles dont ils usent a I'eau, a sayoir, le noir de cerf bnule, de flandre, et de pierre noir, et d'ancre, dont les tannez brans approchent de bien pres, car le tannez mourant en est plus esloigne, et puis ils usent du violet noir, de I'inde, du toumesol : du yiolet de bois de perse distille et cuit en vinaigre, da paste qui se fait d'un peu de blanc mesle avec le pr&edent : dePazurqui a plusieurs degrez de prix et de viyacite, de celui que Ton appele blanchette et mourante, du bleu blanc et celeste, du rouge brun, de la laque pure commune, de la couleur d' armure qui se compose de la dite laque et du safiran avec Y urine, de la gomme goutte et de la lacque couleur de boia, du yermillon, du yermillon pure, de la mine tant com? mmie que blanchette, et de celle que Ton appelle rouge-blanc, de la lacque blanchette forte avec ou sans la ceruse ; de la couleur de chair ; vermillonnee, composee de vermilion, de laque, et de blanc : de la mine, et vermilion, [et ?] blanc, de la yraye couleur m 86 BRUSSELS MANUSCRIPT. saffiroD, which is mixed with massicot, pale yellow, golden yellow, brown minium and ** cendres,'' and the colour of dead leaved, sap-green, calcined [vitriol ?] " du mourant ;" sea-green and ^' du gay/' safiron, green-yellow made firom the berries of the buckthorn ; distilled verdigris [?], green-blue and mountain- blue, terre verte, grey-brown, grey [made of] white and black, tumsol and white, and several other compositions ; ceruse and Venice white, white lead, and chalk-white. I omit several other colours which are distilled and obtained from minerals and metals, as well as those used with oil, the different mix- tures of which would fill a whole book. 3. Indigo mixed with orpiment makes a beautiful green for distemper. 4. Orpiment makes a beautiful yellow, and is good for *' dorages." 5. The shadows are composed of white lead, vermilion, lake, umber mixed with flesh colour, that is to say, with divers co- lours,— ^yellow ochre, ochre de ru, that is, dark-coloured ochre, massicot, " verde doye,*' sea green. 6. Gold and silver of Germany, of Flanders, and of Paris, are also used with the colours, and in paintings with water colours ; but it must be remarked, that, when gold is to be applied on wood, iron, or copper, it must first have two coats of white, and the gold must be polished with the tooth of a dog or wolf ; and if it is to be laid on an oil ground, it must have one coat of white, two of red, and then one of gold colour : the gold is laid on this. As to the gold leaf, it is applied with a peflcil of badger's hair, and with the cotton. 7. niuminatmg is working on vellum with white of egg or gum to distemper the colours, and in painting on them, pow- dered gold (not leaf gold) must be used, and *' azur d' Acre,*' that is to say, the finest which is brought with gold from the mines ; this is ultramarine, and is brought from Spain and tbe Indies. PEINDRE A DESTRAMPE. 787 de chair, de la couleur de chair morte, de la gomme gontte, de la graine d'avignon, du safiran que I'on mesle avec le massicot, da jaune pasle et du dore, du minium brun et cendre et de la feuille morte, du verd de vessie, du calcine, du mourant, du verd de mer et du gay, du safrans, du Verd jaune da compose avec la graine d'ayignon: du distille, du verd Ueu et de montagne, du verd de terre ; du grisz brun, du gris blanc et noir, du toumesol et blanc, et de plusieurs autres compost : du blanc de ceruse et de venise, du blanc de plomb, et du blanc de craye. Je laisse plusieurs autres couleurs qui sont distillees, et que I'on tire des mineraux et des metaux, et toutes celles qui sont a huylle, dont les differentes compositions meritent un livre entier. 3. L'inde, meslee avec de Y orpin, fait un tres beau verd en destrampe. 4. L'orpin fait de tres beau jaune, et est bon a faire des drages [dorages ?]. 5. Blanc de plomb, vermilion, lacque, la terre d'ombre pour taire les ombrages mesle la carnation c'est h, dire de diverses couleurs, Tocre jaune, I'ocre dru [de rue] c'est a dire plus brun, massicot, verd doye, verd de mer. 6. L'on use aussi de Tor et de Targent d'allemagne, de flan- dres, et de Paris dans les couleurs et peintures a Feau, mais il &ut remarquer que I'or s'applique teliement sur le bois, sur le fer, et sur le cuivre, qu'il faut premierement mettre deux couches de blanc sur le bois, et qu'il faut pollir Tor avec le dent de chien ou de loup : et si on le couche en huile il faut nettre one couche de blanc, deux de rouge, et puis Tor de cou- leur sur lequel on met Tor ; quanta I'or en feuille, on Tapplique avec le pinceau fait de poil de blereau et avec le coton. 7. Enluminer c'est travailler sur du velin avec du blanc d'oeuf qui destrampe les couleurs ou de la gomme, puis on peint av«c de I'or moulu (non pas en feuille) et azur d* Acre c'est a dire le plus fin qui vient avec Tor dans la carriere c'est I'outremarin, on Tapporte d'fispagne,' ou des Indes. 1 Pacheco, whose work was published only six years afler the date of VOL. II. 2 H 788 BRUSSELS MANUSCRIPT. CHAPTER m. FRE800 PAINTING. Frbsco painting is the art of painting on the wall while the first coats [of plaster] are still damp, that the colours may be absorbed and penetrate into them. It is generally executed id distemper, and lasts twice as long as any other kind of paint- ing. If the foUowing conditions ' are ohsenred, it will with- stand all weathers. First If the wall has not been plastered, you must apply tiiree coats or beds composed of sand and old lime, the older the better. The first coat must be of coarse river sand, passed through a coarse sieye, and old lime, as we have said before, — 7 parts of sand and 1 of lime. The second coat must be of the same material, ^cept thai the sand should be finer, and the lime in less quantity, that is to say, the sand must be passed through a finer siere. Dis- temper with milk of lime, which is made by putting old lime in a vessel with water, to rednee it as it were to a milk and clear broth. Hie third coat must be composed of the same material, al- ways diminishing the quantity of lime, and unng sand of fine quality. The three first coats should be whitened with the same milk [of lime] : in working, the tool must be passed from right to left, and afterwards from ixjip to bottom, that all the holes may be filled; it must then be left a short tame before working on it. If the wall has already been fresh plastered, it will require but two beds or coats. The pencils are made with tolerably coarse hogs' bristles. this MS.y says, p. 391, that Ultramarine was not used by the Spanish painters on account of the expense. The azure sent from Spain to Flanders or France, therefore, may have been the native blue carbonate of copper. In the Bolognese MS. it is identified with Azzurro della Magna, which has been proved to be the native blue carbonate of copper. POUR PBINDRE A FRESQXJE. 789 CHAPITRE TROIS. POUR PEIXDRE A FRE8QUE. Peindrb h fresque ou k frais, c*est travailler stir Taparoir les couches premieres encore toutes fraisches afin que les couleurs 8*imbibent et penetrent au dedans, et se fait d*ordinaire en des- trampe, et s'y dure deux fois autaut que d autre. Ceste pein- ture tien bon contre tout temps. Premier. — SS le mur n'est crespy nij reduit, faut faire trois conches' ou lict arec sable ou chaux vielle, tant plus vielle elle est et tant mieux vaut La premiere couche sera de gros sable de riyiere, grossierement passe, et de chaux yielle, comme dit est, les sept pars sable et la huitiesme chaux. Le second lict sera de la mesme matiere, sinon que le sable 8cra plus deli&, et la chaux en moindre quantite, c'est-a-dire le sable {dus menu passe destrampe dans du lait de chaux, lequel se bit en mettant dans un pot de la chaux vielle et de Teau, pour la reduire en laict et claire bouillye. Le troisieme lict sera encore compose de la mesme matiere, diminuant toutjours la quantite de la chaux et affinant le sable. Les trois couches premieres seront blanchies du mesme laict, en tirant de gauche a droicte, et puis apres de hault>a-ba8, afin que tons les trous se remplissent, et fait on les laisse un pen re- poser pour y travailler. Sy le mur est ja recrespy, il n'y sera besoin que deux lict et couches. Les pinceaux sont fait de soye de pourceau, et assez grossiers. ^ This 18 the method of Father L*Ange and P. Antoine, the Capachin. ^* Thierson adopts the same roethod| as he himself informed me. — Margi- ^ «o*« by Author. 2h 2 790 BRUSSELS MANUSCRIPT. The colours are lime white and charcoal hlack (any kind of charcoal will do), and black stone, the one being blacker and the other browner, which last serves for the shadows. This painting is done in distemper without oil, and the co- lours are clear and liquid as fluid ink. The painting is executed while the above-mentioned coats are still damp, by which the colours penetrate and are ab- sorbed. If the beds or coats should dry before the work is finished, they may be moistened by throwing over them three or four jugs of water. The niches in which the figures are painted are generally red. Under the beams may be placed ** terms " or figures of the natural height, sustaining the beams with their hands and heads ; these figures are generally painted red. This kind of painting lasts nine or ten times longer than any other kind, and the more it is exposed to the rain the better it lasts. The ancients used to practise this kind of painting very much, and the Italians still do so. In the ruins of ancient Rome some beautiful examples of it are found, which testify its durability. When it is wished to represent a person, or some other figure, previous to laying on the coats of lime and sand, the design is to be drawn with charcoal or black earth, on several large sheets of paper glued together. The design having been drawn with charcoal made of the spindle tree, or of black chalk, the coats [of lime and sand] are then to be applied, and while these are still wet the niches and borders are drawn. When this is done, the paper containing the design is applied, and the principal lines having been pricked with a pin on to the niche, the designs are rubbed with the feathers of turkeys, or of some other bird. When the design is removed, the person or figure which was on it is found impressed on the plaster. POUR PEINDRE A FBESQUE. 791 Les couleure sont, scavoir, le blanc de la chaux, et le noir de charboD, il n'importe de quel bois et de pierre noire, Tun estant plus noir et I'autre plus brun, ce qui sert a faire les ombrages. Ceste peinture se fait a destrampe sans huile, et sont les eouleurs assez claires et liquides comme de lancre coulante. La peinture se fait sur les dites couches encore fraiscfaes par le moyen de quoy les eouleurs s'imbibent et penetres au dedans. Que si les couches et licts venaient a se seicher auparavant la perfection de I'ouvrage, on les rafraichit en jettant dessus trois ou quatre potees d'eau. Les niches dans lesquels on point les personnages sont ordi- nwement rouge. Soulz les taz et poultres on y pent mettre des termes ou per- sonnages de haulteur naturel soutenant a deux mains et de la teste les dites poultres ; et sont ordinairement de rouge. La dite peinture dure neuf ou dix fois plus que I'autre, et tant plus elle est bastie des eaux pluvialles tant mieux vault » Les anciens se servoient fort de ceste peinture, et encore au- jourdhuy les Italiens, il se rencontre dans les anciennes ruines de Rome des pieces de ceste peinture encore fort belles qui tesmoignent sa duree. LorsqueFon yeult representer un personnage ou quelque autre figure, on en fait le dessein auparavant que faire les dites couches, sur plusieurs grandes feuilles de papier collee en- semble. Ce diet dessein fait de noir de charbon de fusain ou pierre noir, puis on fait les couches et icelles estant fraisches on y &it les niches et les bordures et filets, cela estant fait on applique le papier portant le dessein piquette et perce avec une espmgle de principaux traicts dans la niche, puis avec plumes de coq d'Inde oisaux ou aultre on frotte le dit dessein, lequel estant oste, le personnage ou la figure portee en icelluy se trouve imprimee sur les couches. 792 BRUSSELS MANUSCRIPT. The back of the design is applied against the said fresh plaster ; and, as only the principal lines are marked, the de- sign is fixed upon boards near the painter, that he may imitate it in finishing, perfecting^ and shading the pierced drawing. Gypsum is of no use for making the plaster, for it swells and decays when exposed to the rain. CHAPTER IV. FEINTURE D*APREST — ( PAINTING ON GLASS). A '' BEL aprest" is a painting executed on glass, baked and re-baked in the fire with colours that can stand the fire, such as the mineral colours. 1. To make good black for drawing the outlines on the pieces of glass, you must take equal parts of clean scales of iron and rocaille ;^ grind them on a plate of copper for fire hours with a little urine. 2. You must provide some crow-quills for writing and for drawing on the glass, for they are more delicate and firm than other quills. 3. You must draw the figures as delicately as possible, keeping them very clean ; and whilst drawing them, be careful not to touch the surface of the glass with the fingers," for that would injure it^ but you must take the glass by the edges, and then leave it to dry. 4. The glass being dry, you must have a pencil with a brush at each end, which is used for washing and shading the figures. 5. The colours are to be applied smoothly on the figures which have been previously drawn ; and when they are dry 1 Rocaille--The white glass or flux to which different minerals were added for the composition of the various coloured glasses used for painting. POUR TRAYAILLER D'APKEST. 793 Le dos du dessein s'applique contre les dites couches fraiches ; et, d'aultant qu'il n'y a que les principaux traicts de ponces, on met le diet dessein dessus une esse [ais] pres de soy pour I'imiter en ragreant, perfectionnant, et baillant les ombrages au poncif. Le piastre ne vaut rien a faire les couches, d'aultant qu'il renfie et se pourrit a la pluie. CHAPITRE IV. POUR TRAVAILLEB d'aPREST. Un bel aprest c'est une peinture faite sur le verre cuite et re- cuite au feu avec des couleurs qid puissent soufirir le feu comme sont les mineralles. 1. Pour faire son noir pour retirer les oualles, il faut prendre des escailles de fer des plus nettes et de la rocaille, autant de I'un que de I'autre ; et les broyer I'espace de cinq heures sur une platine de cuivre ayec un peu d'hurine. 2. n faut avoir des plumes de corbeau pour escrire et retirer les oualles, car elle sont plus delicate et ferme que d'autre. 3. n &ut retirer des figures le plus delicattement que Ton pent, et les tenir tousjours nettes ; et en les maniant, ne mettre jamais les doigts dessus, car cela y nuict, mais il les &ut prendre par les costes, puis il les fisiut laisser seicher. 4. Les oualles estant seiches, on a un pinceau emanche par les deux boutz, duquel on se sert poiu* laver ses figures et leur donner les ombrages. 5. L'on couche les couleurs tout unie sur les figures qu'on a retires auparavant, puis quand eQes sont seiches on a un jun- Le Vieil says the best kind of rocaille was brought from Venice. See Le Vieil, " L'Art de la Peinture sur Verre," p. 106. s To write on glass— the technical eipression for painting on glass. 3 Le Vieil says that during the drawing, the glass should be covered with a sheet of ^itc paper. 794 BRUSSEI^ MANUSCBIPT. you must take a very hard pendl of hogs' bristles, with wUdi the figures are scratched where lights are required, so as to remove the colour aad leave the glass white. 6. Observe, that the under layer of colours must be dry be- fore laying on more colour. 7. The secret of this kind of painting consists in making the black properly. It is said the addition of a little urine does everything when it is neither in too great nor too small quan- tity. 8. The figuresare to be much softened (or shaded) v^digrey before colouring them, then the colours are gla2^ smoothly upon this. 9. The yellow is made with silver, copper, and a little yellow ochre, the whole ground up together on a plate of capper. 10. The furnace must be heated for 12 whole hours, first with a small charcoal fire for 4 hours, the heat being gradually in- creased ; then fw the last four hours the furnace must be stroD^y heated. But take care to remove the charcoal fi-equently for fear of burning the pieces of glass which are underneath, and heat the furnace so that the fire does not smoke, fat this spoils the work ; but make a clear and strong fire. 11. The pieces of glass are to be placed on a pan of iron on an iron tripod or fillet, just in the middle of the fire, so that the flame rises all roundit without mjuring them. 12. Beds or layers of lime are laid between the pieces of glass above and below, that they may not break. 13. You must provide some pieces of glass for experiments, which may be withdrawn trom the fire in order to ascertain whether the colours are sufficiently baked. 14. These are the principal points to be observed in this art, for, as regards the outline, one cannot fiiil in this on account of the design which is placed under the glass, the out- lines of which have been traced as delicately as possible with black as has been before observed. POUR TRAVAILLER DAPREST. 795 ceau de soye de pourceau fort rude, avec lequel on grate sea figures a Tendroit qu'il fiint les jours, pour les emporter et laisser le verre blanc. 6. Notte, qu'il fisiut que les couleurs de desoubz soient seiches auparavant que d'en remettre une autre dessus. 7. Le secret de oeste peinture est quand le noir est bien fait, un peu d'hurine comme dit est fait tout quand il n'y en a trop n'y trop peu. 8. Uon adoucit fort ses figures avec tm gri auparavant que les oolorer, puis les couleurs se glassent par dessus tout unie. 9. Le jaune se fait avec de I'argent, du cuivre, et un peu d'ocre jaune, le tout broyez ensemble sur une platine de cuivre. 10. n faut cbaufiTer le foumeau douze heures entieres, pre* mierement k petit feu de charbon quatre heures, pms en aug- mentant tousjours, les quatres demieres heures il le faut chauf- fer avec des esclat, et avoir soin de retirer souvent le braise de peure de brusler les oualles de desoubs, et le cbaufiTer si bien que le fisu ne &ce point de fiimee, car elle gaste Touvrage, mais un feu clair et flambant 11. On met les oualles dans une poille de ferre siur un trepied ou bande de fer justement au milieu du feu, de sorte que la flamme toume tout autour sans endommager les oualles. 12. On fiut des lictz et couches de chaux entre les oualles dessus et dessoubs de peur qu'elle ne se casseut 13. L'on a des essais que Ton retire pour veoir si elle sont assez cuites. 14. Voila les prindpauz poincts de ceste sciences, car pour ce qui est du crayon. Ton ni pent manquer par le moien du dessein qu on a dessous ses oualles, duquel on en fait le porfil avec du noir comme dit est le plus delicattement qu'il est possible. 796 BRUSSELS MAKTJSCRIFT. 15. As for the colours, there are works which teach the man- ner of composing them, but practice and experience do a great deal. CHAPTER V. OF THE PROPORTIONS OF THE HUBfAN BODY. Pythagoras was right when he said that man was the measure of all things — first, because he is the most perfect of all cor- poreal creatures, and according to the maxim of philosophers that which is the most perfect and first of its class is the mea- sure for all the rest; second, because in reality the common measures of the foot, the inch, the cubit, the pace, have taken their names and length from the human body ; third, beoause the symmetiy and well fitting of the parts is so admirable that all well-proportioned works, and especially buildings, temples, ships, columns, and similar pieces of architecture, are in some degree composed according to the proportions of man; we know that the ark of Noah, built by the command of God, was 300 cubits in length, 50 in breadth, and 30 in height or depth, so that its length was 6 times its breadth and 10 times its depth. Now let a man lie down at full length, and he will be found to have the same proportions as to length, breadth, and depth. ViUalpandus, speaking of that inimitable chef-d'oeuvre and model of good architecture, the temple of Solomon, has curiously remarked the same proportion in certain parts, and also by means of this he has observed such rare symmetry throughout the whole work, that he has dared to assure us that from a single part of this large building, such as a base or a cajMtal of a column, onemi^t calculate the measures of tiiis beautiful edifice. Other architects tell us that the foundations of houses and the bases of columns are like the feet ; the capitals, the roofs, and copings are like the head, and the rest of the building DE LA PROPORTION DTI CORPS HUMAIN. 797 15. Pour les couleurs, Ton a des recueilles qui enseignent la maniere de les composer ; la pratique et rexperience y font de beaucoup. CHAPITRE V. DE LA PROPORTION DU CORPS HUMAIN. Protagoras avait raison de dire que rhomme est la mesure de toutes choses, 1^ parce qu'il est le plus parfait entre touts les creatures corporelles, et selon la maxime des philosophes ce qui est le plus parfait et le premier en son rang, mesure tout le reste, 2® parcequ'en effet les mesures ordinaires de pied, de pouce, de coudees, de pas, out pris leur noms et leur grandeur du corps humain, 3^ parceque la symetrie et bien seans de ces parties est si admirable que toutes les ouvrages bien propor- tionnes, et nommement des bastimens, des temples, des navires, des colonnes, et semblables pieces d'architecture, sont en quel- que hqon composee selon ses proportions ; nous scavons que I'arche de Noe, bastie par le commandement de Dieu, estoit longue de 300 coudees, large de 50, et haulte ou profonde de 30, tellement que la longueur contenoit six fois la largeur et dix fois la profondeur. Or, qu'on coucbe un homme de son long, on trouvera la mesme proportion en sa longeur, largeur, et profondeur. Villapande, traitant du temple de Salomon, ce chef-d'ceuvre inimitable et modelle de toute bonne architecture, a remarque cnrieusement en certaines pieces la mesme proportion, et par ce moien en tout le gros de Touvrage, une symmetric si rare qu'il a bien ose asseurer que d'une seule partie de ce grand bastiment, d'nne base ou d'un cbapiteau de quelque colonne, on pouvoit coignoistre les mesures de ce bel edifice. Les autres architectes nous advisent que les fondemens des niaisons et les bases des colonnes sont comme le pied ; les ohapi- teaux, les toicts et couronnement, comme la teste, le reste comme V98 BRUSSELS MANUSCRIPT. like the body. There is also similarity as well in form as in name, and those who hare been rather more curious have remarked that, as in the human body, the single parts^ such as the nose, the mouth, are in the centre ; the others, which are double, are placed on the sides ; so the same order is observed in architecture. Indeed, some have made researches more curious than solid, assimilating all the ornaments of a cor- nice to the parts of the fisu^e, to the forehead, eyes, nose, and mouth ; comparing the volutes of the capitals to the flowing of the hair, and the flulings of the columns to the folds in the dresses of ladies ; indeed, so many resemblances do they find, that it would really seem that as art imitates nature, so the build- ing being the most artistical of all works, should be imitated firom the chef-d'oeuvre of nature, which is man, for the body of man is to other works what the statue of Polycletus was to other statues, which gave the rule to all others. It is for this reason that Vitruvius (book v.), and all the best architects, treat of the proportions of man, and among others Albert Diirer has written a whole work on the subject, measuring him firom the foot to the head, whether he is taken in face or in profile, down to the smallest parts. \The proportions of the human figure^ inserted at this place in the original^ being well known^ are omiitedl] Knowing the proportions of man, it is easy for painters, sta- tuaries, and image makers to proportion and perfect their works, and by these means is rendered credible what some have re- lated of Grecian statuaries, viz., that some of these having one day undertaken that each should form separately a part of the face of a man, the difierent parts were afterwards conjoined, and formed a beautiful and well-proportioned £au%. It is certain that from knowing the proportions one may know Hercules by his footsteps, the lion by his claw, the giant by his thumbs and the whole of a man by a sample of his body. It was thus that Pythagoras, having measured the foot of Her- DE LA PROPORTION DU CORPS HUMAIN. 799 le corps. II y a de la convenance aussi bien en effet qu'au sumom, et ceiix qui ont este un peu plus curieux ont encore remarque que, comme au corps humain, les parties qui sont unicques comme le nez, la bouche, le nombril, sont au milieu ; les autres, qui sont doubles, sont mises de coste, et d'autre avec une parfaicte esgalite, de mesme en architecture. Voire mesme quelqneuns ont fait des recherches plus curieuses que solides, apparians tons les omements d'une comiche aux parties de la &ce au front, aux yeux, au nez, a la bouche, comparant les Yolutes des chapiteaux aux cheveux entortillez et les cavelures des colonnes aux plis de la robe des dames, tant y a qu'il semble avec raison que comme I'art imite la nature, le bastiment estant rcBuvre le plus artiste, devoit prendre son imitation du chef- d'oeuvre de nature, qui est Thomme, de fagon que son corps en comparaison des ouvrages, est comme la statue de Polyclete, qui regloit toutes les autres. Cest pourquoi Vitruve, (liv. v.) et tons les meilleurs archi- tected, traictent des proportions de I'homme, et entre autre Albert Durer en a fait un livre entier, le mesurant depuis le pied jusqua a la teste, soit qu'on le prenne de front ou de profil, jusques au moindre parties. Sachant les proportions de Thomme, il est facile aux peintres statuaires et imageres (?) de proportionner et perfectionner leurs ouvrages ; et par le mesme moien est rendu croyable ce que quelques uns racontes des statuaires de Grece qu'ayant un jour entrepris de former chacim a part et en divers une partie de la &ce d'un homme toutes les parties estant puis apres assem- blees, la face se trouva tres belle et bien proportionnee. C'est chose claire que la faveur des proportions on pent cognoistre Hercule par ses pas, le lyon par son ongle, le geant par son poulce, et tout un homme par un eschantillon de son corps. Car c'est ainsi que Pithagore ayant pris la grandeur du pied 800 BRUSSELS MANUSCRIPT. oules, according to the impression which he had left on the earthy was enabled to calculate his height ; it was thus that Phidias from the claw of a lion could represent the whole ani- mal conformable to its prototype ; and finally, it was thus that the painter Timanthes having represented some pigmies who were measuring with a fathom line the thumb of a giant, could give a good idea of his size. CHAPTER VI. OF THE BEAUTT OF THE FACE. The beauty of the face consists in a forehead large, square, open, clear, and serene ; the eyebrows being well-arranged, fine, and separated ; the eye well opened, gay, and brilliant ; the nose , the mouth small ; the lips coralline ; the chin short and forked ; the cheeks full and dimpled, the ear round and well turned ; and the whole combined with a clear, fair, and smooth complexion. There are several points to be considered with regard to beauty. The beauty of man properly consists in the form and size of his body: the other kinds of beauty are for women; there are two kinds of beauty — one still, which does not more, and which consists in the due proportion and colour of the limbs, the body not being puffed or swollen, the sinews not visible nor the bones piercing the skin, but the body full of blood, vigorous, and plump, the muscles raised, the skin polished, the colour vermilion. The other kind is moving and is called grace, consisting in the movement of the limbs, and espe- cially of the eyes ; one kind is as it were dead, the other living and acting ; there is rude, fiery, and severe beauty, and there is sofl beauty as well as insipid beauty. Beauty described. 1. The skin of the whole body like jasper or porphyry, inter- rupted by small and graceful azure veins. DE LA BEAUT^ DU VISAGE. 801 d'Hercule suivant les traces qu'il en avoit laissees sur la terre tolligea tout sa hauteur, c'est ainsi. que Phydias ayant seule- ment Tongle d'un lyon figura toute la beste entierement con- formes a son prototype. Ainsi le peintre Timante ayant peint des pigmees qui mesuroient avec une toise le poulce d'un geant donne suffisamment a cognoistre la grandeur du geant. CHAPITRE VI. DE LA BEAUTE DU VISAGE. La beaute du visage^ gist en un front large, quarre, tendu, clair et serain, sourcils bien ranges menu et deli&, Toeil bien fendu gay et brillant, nez bien , bouche petite aux levres coralines, n^enton court et fourchu, joues relevees et au milieu le plaisant gelasin, oreille ronde et bien troussee, le tout avec nn teint vif, blanc, et vemie. II y a diverses considerations en la beaute ; celle des hommes est proprement la forme et la taille du corps, les autres beauts soot pour les femmes, il y a deux sortes de beaute ; Tune ares- tee qui ne se remue point et est en la proportion et couleur deue des membres, un corps qui ne soit enfle ny boufiy, auquel d'ail- leurs les nerfe ne paroissent point, ni les os ne percent la peau, mais plain de sang, d'esprits et enbonpoint ayant les muscles releves, le cuir poli, la couleur vermeille ; I'autre mouvante, qui s'appelle grace, qui est la conduite des mouvemens des mem- bres, surtout des yeux; celle Ik seule est comme morte, celle cy est agente et vivante ; il y a de beautes rudes, fieres, aigres ; d'autre douces yoir encore fades. De la beautS descripte en dix-huict articles, 1. La peau de tout le corps comme jaspe ou porphyre, entre- coupee de petites veines azurees trenchant de bonne grace, c'est y voir mouvant. * Lecaron— L. dc la sapcssc. — Marginal note by Author. 802 BRUSSELS MANUSCRIPT. 2. The hair flaxeD, golden, and curling naturally. 3. The forehead gently arched, serene like the sky, polished like alabaster. 4. Two eyes on a level with the head, large, sparkling, and beaming mildly. 5. The eyebrows black, fine, well arranged, and arched. 6. The cheeks like lilies and roses, indented by two dimples. 7. The mouth flesh-coloured, and like pinks or coral. 8. Oriental pearls or diamonds, set in the scarlet gums, eTcn, all of the same size, close, not pressed together, and not yel- lowish. 9. The chin round and dimpled, not pointed or flat, or creased. 10. The whole complexion soft and smooth, without wrinkles or creases. 11. The neck like snow or coagulated milk, beautifully round and of proper size. 12. The temples well filled up, not deep andhoUow. 13. The cheeks not sunken, hollow, pendent, or withered, but slightly raised, without, however, being too much swollen or pufied. 14. The profile of the nose aquiline, dividing the &ce into two equal parts. 15. The ears small, vermilion, close, and in no wise torn or drooping, or deeply marked. 16. The head well rounded and proportioned to the other parts of the body, neither too small and thin, nor too long and pointed. 17. The colour lively and fresh, and neither too red nor of a pale saffiron colour, nor with similar defects of complexion. 18. The deportment grave, or gay without aflectadon or art, full of simple sweetness. DB LA BEAUTE DU VISAGE. 803 2. Cbeveux blond, dorez et frisez par nature fort naife. 3. Le front mollement voute, serain comme un ciel, polly comme albastre. 4. Deux yeux a fleur de teste, estincelant, d'une belle gran- deur et doucement rayonnant. 5. Les sourcis de brins d'ebene fort menus, bien arrangez, et ayeneez en fa^on d'arc. 6. Les joues comme de lys et de roses entasmees de deux foBsettes. 7. La bouche incarnadine, et d'oeillets ou de coraiL 8. Des perles orientales ou diamans enchassez dans I'escar- latte des gencives, et tout a Tesgal, et de mesme grandeur, non entrouyertes, n'y entrebassantes, ny jaunisaantes.^ 9. Le menton road et fosselu, non pointu, ny applaty, ny fendu. 10. Tout le teint uny et delie sans estre detranche de rides, ny fendu de sillons. 11. Le col de neige ou de laict caill^ d'une belle rondeur et grandeur proportionnee. 12. Les temples bien remplies, et non enfoncees et creuses. 13. Les joues non point abbatues, efiam^s, deschargees, pen- dantes ou flestries, mais doucement enflees sans estre pourtant trop bouffies et boursoufflees. 14. Le nez aquilin a pourfil, et fendant a droicture le visage party esgallement 15. Les oreilles petites, Termeilles, fermees et nulement arachees ou languissantes, et trop avallees. 16. La teste bien arrondie, d'une grosseur avenante au reste du corps, non trop menue ni mince, ny trop longue et pointue. 17. La couleur vive et animee sans excez de rongeur, de pasle couleur de safran ou pareille temissure de visage. 18. Le maintien grave, gay sans feintes et artifices, plein de naifve douceur. > P. Binet, < Essay de Nature.* VOL. II. 2 I 804 BRUSSELS MANTTSCRIPT. CHAPTER Vn. OF COLOURS. 1. Colours [pigments] are formed in the earth and in mines, or are composed by mixtures and combination, or are extracted from herbs or otherwise. 2. Black is made either with the soot and smoke of resin or with Tine twigs and shavings of pine, reduced to charcoal, pounded, and mixed with glue, or finally, with the burnt lees of good wine, dried and mixed with glue. This is very black, and imitates the Indian colour which is called ^^moree."^ 3.* " Cerulee," which is called blue or " turquin," is made by grinding sand with flower of nitre until it becomes as fine as flour. Some brass filings are then sprinkled over it and incor- porated with the other ingredients ; the whole is then made into pellets and ground between the hands, then placed in a furnace ; the brass and sand then mix, from the heat of the fire, change their nature, and are reduced to a blue colour. 4. '' Brusle " is made of ^^ mottee de sil" * heated, and extin- guished in vinegar, thus forming a purple colour. 5. Ceruse or white lead is made by putting vine branches in butts, pouring vinegar on to them, fixing sheets of lead on the top, and fastening them up air-tight ; then, after some time the ceruse will be found attached. If it be heated in a furnace, its colour will be changed, and it will be converted into ** sanda- racque" or massicot. When plates of copper or brass are attached in the same manner verdigris is made. 6. Ochre-<;oloured earth being taken from thcTeins of marble, when burnt and extinguished in vinegar, assumes the appear- 1 Probably Indian ink. 2 A marginal note states that this recipe was extracted from the '* Essa/ de Nature." This pigment is the Vestorian Asure of Vitruvius, the Azzurro di Pozzuoli and Smaldno of the Italian writers ; the term turguin — turchino, evidently shows its Italian origin. DES COULEURS. 805 CHAPITRE VII. DES COULEURS. 1. Les couleors se concreent en ]a terre et eu miniers, ou bien se composent par mixtioiis et temperatures, ou naissent en herbe ou autrement 2. Le noir se fait ou de suye et fumee de poix raisine, ou de sarment de vigne et coipeau de pin, redigez en charbon pilez et meslez avec la coUe, ou enfin de lie de bon vin bruslee, sechee et meslee avec la coUe, cela devieut fort noire, et imite la cou- lour d'Inde, qu'on nomme moree. 3. La cerulee qu'on nomme bleu ou turquin, se fait broyant du sable avec la fleure de nitre, si delie qu'il devient comme farine, on prend de la limaille d'airain de Cypre et en saupou- dre en cela afin de s'incorporer, on moule des pelottes entre ses mains, on les mets dans un vaisseau et dans une foumaise, lai- rain et le sable par la force du feu s'entredounant leurs sueurs, changent de nature, et se reduisent en couleur cerulee. 4. Le brusle se fait de mottee de sil, embrassees et desteintes en yinaigre, d'ou se fait la couleur de pourpre. 5. La ceruse ou blanc de plomb se fait mettant des branches des sarmens dans des tonneaux, les surfondant avec du yinaigre, et par dessus asseans des lames de plomb estoupant les queulles afin qu'il ne sort ny vent ny haleue, au bout de quelque temps on trouve la ceruse atachee. Si on la cuit en une foumaise, elle change de couleur et se convertit en sandaracque ou massicot, et quand on assied les lames de cuyvre ou dayrain ils en font du verdegris. 6. Le sil qui s'approche de I'ocre estant tire des veiues de marbres si on le brusle et esteind en yinaigre il prend semblance s The " mott^ di sil *' here mentioned is stone ochre. Motte or Mote signifies a stone, gleba. The term *' sil " denotes a mineral earth of which colours are made ; it appears to be always applied to iron ores. 2i 2 806 BRUSSELS MANUSCRIPT. ance of purple or crimson inclining to violet ; some think it is ultramarine azure. 7. *' Kubricks,'' or ** bloodstones," ^ are also taken out of the earth ; orpiment, cinnabar, green chalk, or " verd de terre," — that brought from Smyrna is the best. *^ Sandaraque," which some think is massicot, comes from Pontus, and in some places it is found ready prepared by nature, without the necessity of grinding, sifting, or pounding. ' 8. Minium is made of lead melted in an earthen vessel over the fire, and stirred with a stick until the whole is changed into minium, which is found attached to the sides of the vessel. 9. Indigo ' is made with the flowers of woad ; that is to say, the flower and starch mixed with urine and vinegar ; then made into pellets, and dried in the sun. 10. " Verdet " ^ is made of brass or copper filings, sprinkled with urine and sal ammoniac, then dried in the sun on a board, and sprinkled [vdth the same] until they become green. 11. The "rosette" is made with brazil wood boiled over the fire with " grain " [grana, or kermes] and gum ; and, if a light red is desired, pulverized alum is added. 12. Bose-coloiur is made with very small chips of brazil wood mixed with ceruse and roche alum, the whole distempered together, then covered with urine, and left in this state for some time ; it \& then strained through a doth, put into a glazed vessel, and placed in a dark diuation to dry. 13. Purpurino is made with fine molten brass mixed with mercury, and made into a paste ; sulphur and sal ammoniac, which have been well ground in a wooden mortar, is then taken, I HflematiteSy or red ores of IroD. The Lapis Aoiatito of Cennino and other old writers. * Native red orpiment is plainly alluded to in this last sentence. s A marginal note shows that this definition was extracted from the work of D. Alessio Piemontese. 4 Verdetto. Baldinucci says this is a mineral colour produced in the mines I3ES COULEURS. 807 de pourpre ou cramoisi riolet ; aucuns pensent que c'est I'azur d'outremer. 7. Les rubriches ou pierres sanguines se tirent aussi de la tenre ; Torpiment, le cinnabre, la craye verte ou verd de terre vient de la terre de Smyme et est la plus excellente. La san- daraoque qu'aucuns croyent estre le massicot, vient du pont et croit en certains lieux toute prqiar^ par nature sans qu'il la iaille moudre, cribler, sasser, ny piler. 8. La mine se fidt avec du plomb que I'on met fondre dans une vaisselle de terre sur le feu, en le remnant avec un baston jusque a ce qu'il soit tout converti en mine, laquelle on trouTe attachee autour du pot. 9. L'Inde se fait avec fleurs de pastel ou gueste, c'est a sea* voir, floree et fisurine d'amidon meslee avec urine et vinaigre ; puis on en fait des pelottes que Ton met seicher au soleil. 10. Le yerdet se fait ayec airain et cuijvre lime, arouse d'urine vielle et sel armoniac, puis seiche au soleil sur un ais et s'arrouse jusque a ce qu'il vienne verd. 11. On fait la rosette avec bresil que Ton met bouillir sur le feu avec graind et gomme ; si on veut avoir un rouge leger, on y adjouste de I'alun pulverise. 12. La rose se fait avec brenl derompu bien menu, mesl^ avec ceruse et alun de roche, le tout destremp^ ensemble, puis on verse dessus de I'urine tant que tout soit convert, et ainsi on la laisse une espace de temps apres, il la faut couler par un linge et la mettre en un pot plombe en un lieu ou il n'y entre ny soleil ny clarte, et la laisser ainsi seicher. 13. La couleur purpurine se fait avec fin estain fondu, et argent vif mesl^ ensemble, et en fSEut on une paste, puis on prend soulfre et sel armoniac tres bien broyez en un mortier de bois, of Germany. It cannot then have been synonymous with the colour men- tioned in the text, which corresponds in some measure with the Verdete of the Spanish writers, which is Yerdigris. Neither does it coirespond with the Verdetto of Lomazzo and the Paduan MS., which is a kind of Brown Pink. 808 BRUSSELS MANUSCRIPT. and the whole is incorporated together and put into a Inted phial in the furnace over a slow fire ; a gold-coloured yellow is thus obtained. 14. Common lake is made by putting some cuttings of fine scarlet [cloth] ^ into a strong ley, which is boiled tmtil the whole is dissolved ; some roche alum is then added, and it is passed through a bag, adding to it some raspings of brazil wood and gum arabic, mixing all these ingredients together, and then making them into small pellets, which must be suffered to dry. 15. Fine lake is made like common lake, except that no brazil wood is added.* 16. Cinnabar or vermilion is made of sulphur and mercury ground together on the porphyry, then burnt in the furnace un- til they are sublimed. 17. Azure is made by pulverizing mercury, sal anmioniac, and sulphur, and then burning them in an alembic 18. Ultramarine is made with calcined silver, aquafortis, and sal ammoniac ; these are placed for some time in a well-dosed leaden vessel. 19. The modern mode of making verdigris is to take some clean scales of copper, common salt, tartar of red wine, sal ammoniac, and leaven of wheat, distempered with vinegar ; the whole is then to be put into a glass vessel, and covered with dung for a certain time. 20. '^ Rouget " is made with bruised brazil wood, lime water, and roche alum, all boiled together. 21. Sap-green is made with the bruised fruit of the buck- thorn, which is boiled in a new pipkin with pounded roche alum, then left to stand in a warm place for 6 or 8 days ; it is after- wards put in a bladder, so that no air may have access to it Sometimes a little Spanish blue is used. 22. '' Stil de grain " is made with [white] earth mixed with the juice of the flowers.' * The cuttings of fine scarlet cloth were dyed with gmna (kennes). ' This is Lacca di Cimatura of the Italians. s The words " fleur de gencste'* are written in the margin of the MS., DES COULEURS. 809 on incorpore le tout ensemble, puis se met en ane fioUe lutee sar le fourneau a petit feu, ainsi Ton a un jaune qui imite la couleur d'or. 14. La grosse lacque se fait mettant de la tondure de fine escarlate dans de la forte lessive, que Ton fait bouillir tant qu'elle soit dissoulde en eau, on y met de Talun de rocbe, puis on la passe dans un sachet, en y ajoustant bresil raele et gomme arabiques, le tout mesle ensemble, puis on en fait des petites pommes qu'on laisse seicher. 15. La fine lacque se fait ainsi que la grosse, sinon qu'on n'y met pas de hresil. 16. Le Sinabre ou vermilion est compose de soulfre et mer- cure broye sur le porphir, puis brusle au fourneau a sublimer. 17. L'azur se fait avec sel armoniac, soulfre, et mercure, le tout pulverise [et] brusle en I'alembic. 18. L'outremarin se fsut avec argent calcine, eaue forte et sel armoniac qu'on met en un pot plombe tres-bien bouche quelque temps. 19. Le verdegris a la moderne se fait avec escaille de cuivre bien nettoyee, de pouldre, sel comun, tartre de vin rouge, sel armoniac, levain de froment, le tout destrempe en vin aigre, ainsi se met dans un pot verre soub le filmier un certain temps. 20. Le rouget se fait avec bresil brise, eau de chaux, allun de rocbe, le tout bouille ensemble. 21. Le ver de vessie se fait avec fruict de burguespine froissez, qu'on met en un pot neufVe bouiUir avec un pen d'alun de rocbe pile, ainsi se laisse reposer en lieu chaud par I'espace de six ou huict jours, puis se met en une vessie, de peur qu'il ne scorente ; on y adjouste si Ton veut, un pen de bleu d'espagne. 22. Le stil de grun se fait avec terre et le sue de certaines fleurs mesle dedans. opposite the word '* certaines," which shows that the stil de grain was sometimes made from the flowers of the Genista Tinctoria, Common Djrer's Genista or broom, Dycr*s gpreen, Le GenSt des teinturiers 810 BRUSSELS MANUSCRIPT. 23. English red, otberwuse called brown red, ^ red ochre, yellow ochre, umber, and yellow earth, are formed in the earth. NAMES OF THE COLOURS.' 1. Snow-white, lime-white, milk-colonr, black, yine-colonr, silver-colour, lead-colour, water-colour, grey or mouse colour, livid- colour, straw-colour, flaxen-colour, gold-colour, Isabel- colour, violet-colour, safiron-colour, aurora-colour, flame-oo- lour, scarlet red, rose-colour, green, colour of pastel ou yerd nussant, citron-colour, flesh-colour, amaranth-colour, leek- colour, colour of verdigris, chesnut-colour, sad-colour, bru- nette. 2. There are 4 principal colours, — white, red, green, and black, or obscure. 3. Colours which have great bri^tness, — snow-white, olver- colour, pale gold, green, scarlet, water-colour, blue, and purple ; all these colours are in the rainbow. 4. A purple colour is formed when an opaque whiteness is intermixed with the rays of the sun, as at daybreak. CHAPTER VIII. SEVERAL SECRETS IN PAINTING. 1. Light colours should be intermixed with dark colours, as they give grace and adorn the picture ; red ought to be inter- mixed with blue and green, white with grey and yellow ; but 1 Tern Ro88a dlnghilterra, the rod Haematite. PLUSEEURS SECRETS DB PBINTURE. 811 23. Le rouge d' Angleterre autrement dit rouge brun, Tocre rouge et jaune, terre d'ombre et terre jaune, se concreeut en la terre. NOMS DE8 COULEURS. 1. La couleur blanche comme neige, couleur blanche comnie diaux, couleur de laict, couleur noir, couleur provine, coideur d'argent, couleur de plomb, couleur d'eau, couleur grise ou de souris, couleur livide, couleur paille, couleur blonde, couleur jaune comme Tor, couleur Isabel, couleur qui est entre vio- lette, couleur de safran, couleur d'aurore, couleur de flame, escarlatte rouge, couleur vermeille comme le rose, couleur verde, couleur de pastel ou yerd naissant, couleur citrine, cou- leur incarnadine, couleur amaranthe, couleur de poireau, couleur de verdegris, couleur temee dit de chastaigne, couleur de deuil, couleur brunette. 2. Elles sont quatre principalles, la blanche, la rouge, la verde, et obscure. 3. Couleurs qui ont grand clarte, la blanche comme neige, couleur d'argent, d'or candide, verde, escarlatte, couleur d'eau, cendree, et de pourpre, lesquelles couleurs sont toutes en Tare celeste. 4. La couleur de pourpre se fait quand une blancheur ob- scure est entremeslee aux rayons du soleil, comme en Taube du jour. CHAPITRE VIIL PLU8IEUR8 SECRETS DE PEINTURE. 1. Les couleurs clairs doivent avoir lieu entre les obscures, elles donnent grace et omement en la peinture ; la rouge cou- leur doibt estre entremeslee entre la bleue et la verde, la * It appears irom a marginal note that the names of the colours are taken from Cardan, Lib. IV., de Subtilitate. 812 BRUSSELS MANUSCRIPT. you must take care not to use too much white, for it is like poison, inasmuch as its splendour diminishes the grace and beauty of the painting ; it also weakens other colours, and spoils their shadows. 2. Terre verte is used in the shades of flesh colour, but it must be employed sparingly, for, as the colours become old, they appear raw, and would thus produce a bad effect 3. Some use red ochre in their flesh colours, and with this make a beautiful colouring. 4. To imitate a laughing face, the comers of the moatb must be turned up ; if they are turned down, the figure will appear sorrowful and weeping.^ 5. The Italians use coal ' black for painting external works, because it is a black which resists the injuries of time longer than any other colour. 6. The Italians burnish their mouldings, and then apply the gold with strong glue. 7. You must shade very much in sketching, as that will enable you to finish with greater facility. 8. Umber is of no use in the primings, for it absorbs the colours which are laid on it, and this produces a bad effect.' 9. To make very beautiful green for glazing, verdigris must be used with varnish which shoiild be very brilliant and beau- tiful, and thus it will not fade soon.^ 10. Fat oil is added to orpiment to make it dry, otherwise it would never dry ; it is also added to indigo. 11. This orpiment is very beautiful in " dorage " and orna- ment. 1 A marginal note ascribes this well-known fact to " M. ThienoDy peintre." * Common coal was also used by the Flemings in painting in oil. See the authorities cited by Mr. Eastlake, * Materials, &c.,' p. 467. PLUSIEUKS SECRETS DE PEINTURE. 813 blanche entre la grise et la jaune. Mais il &ut prendre garde de auser trop de la blanche aux peintures, car elle est comme le Yenin et pour sa splendeur elle oste de la peintnre la grace et la beaute, elle diminue les autres couleurs et corrompt I'ombre des autres choses. 2. On met de la terre verd aux ombrages de la carnation, mais il faut prendre garde d'en trop mettre, car les couleurs venant a vieillir, elles demeurent crues, et cela feroit un mauvais efiet. 3. Aucuos usent d'ocre rouge dans les carnations, et avec icelluy font un tres beau coloris. 4. Pour fau-e un visage riant, il faut que les extremites de la bouche montent en haut, si Ton les abaisse il sera triste et plenrant 5. Les Italiens se servent de noir de charbon de terre pour trarailler hors d'oeuvres, comme estant un noir qui resiste plus longtemps a Tinjure du temps que pas ung autre. 6. Les Italiens brunissent leurs moulures, puis appliquent I'or dessus avec de la colle forte. 7. II faut fort ombrer en esbauchant, cela ayde a parachever avec plus grande facilite. 8. La terre d'ombre dans I'imprimure n'y vaut rien, car elle fidt imbiber les autres couleurs qu'on mets dessus, et cela fait un mauvais effets. 9. Pour faire de tres beau verd glasse, faut emploier le ver- degris avec du vemy ; cela sera fort beau et luisant, et si ne mouvera pas si tost. 10. L'on met dans I'orpin de rtiuile grasse pour le faire seicher, car autrement il ne seicheroit jamais, pareillement dans Tinde. 11. Le dit orpin est tres beau en drage [dorage?] et omement. s The reader will not fail to notice this condemnation of dark grounds. 4 Palomino and Lionardo da Vinci give similar inatnictiona respecting the use of verdigris. 814 BBUSSELS MAKTJSCRIFr. 12. Verdigrifl also is very good if employed with &t oiL 13. Perspective and geometry are the foundations of pant- ing, and serve to give proportions and measures to all things, and to give an appearance of reality. 14. Oil of chamomile is very good for painting,^ and is as clear as rock water. 15. Enamel is cleaned with a ley made of ashes, and then washed with clean water. Soap is very efficient for deaniDg brushes. 16. Vermilion is adulterated with lime; to detect this, it must be put on the blade of a knife [and heated] ; if good, it will, when cold, be of the same colour as before, but if one side of the knife remain black, and then become brown and blackish, it will be evident that the vermilion has been adul- terated. 17. Vermilion may be kept under cover for a long time, but when it is exposed to the air, the sun and moon spoil its beauty and diminish its brilliancy and vivacity. 18. Fat colours preserve their beauty longer than any others ; hence it arises that gold lasts longer than any colour ; on account of the ^* or de couleur," which is fiit. To render the colours more durable, they must be used very thidi, and must not be spared when they are used.' 19. The colour of the primed canvas is called *^ couleur mate," that is to say, ^' dead," on account of the fat oil ; and gold is applied only on a ** couleur mate," called ** or couleur, which is made of divers colours, and is good for receiving the gold of gildings and cornices.' 1 It is uncertain whether this word is written in the text " peindre " or '' prendre." The former is most probable. I am not aware that oil of chamomile is used in painting ; but from the manner in which it is toeo' tioned in the text, I should think it possible that it may hare been used to dilute the colours or varnish in the same way as distilled Unseed oil, oil of PLUSEETJIIS SECRETS DE PEINTURE. 815 12. Le verdegris est aussi fort beau emploie avee huille grasse. 13. La perspective et la geometrie sont les fondemens de la peinture, et servent a donner les proportions et mesures a toutes choses, et faire les reconnoissances. 14. L'huile de camamine est tres bonne pour prendre [pein-* dre 7] et est claire comme eau de roche. 15. On degraisse lesmaille avec laissive que Ton fait avec cendre, puis on la laye avec caue nette. Le savon est tres bon pour degraisser et nettoier les brosses. 16. On sophistique le vermilion avec de la chaux, pour Tes- prouver il % &ut mettre sur une lame, si il est loyal et mar- chant, estant refroidy, il aura sa mesme couleur, mais s'il garde une coste noire, et devient brun et noirastre, c'est signe qu'il a de la mechancet^. 17. Le vermilion se conserve longtemps s'il est a convert, mais a Tair le soleil et la lune massacrent sa beaute, et meur- trissent Tesclat de sa vivacite. 18. Les couleurs grasses demeurent plus longtemps belles, d'ou vient que For dure plus qu'aucunes couleurs, cela provient «de Tor de couleur qui est gras, aussi pour faire demeurer ses couleurs plus longtemps belles, il les faut emploier grasse^ et ne point espargner les couleurs en travaillant. 19. La couleur de la thoille imprimee se dit couleur mate, c'est-a-dire, qui est comme mort, a cause de l'huile grasse, et I'or ne se met sinon sur une couleur mate, ce qu'on dit or couleur qid se fait de diverses couleurs, et est bonne pour recevoir Tor des dorures des corniches. •pike, naphtha, &c. Oil of chamomile is mentioned in the Bolognese MS., p. 518. * Lebrun quotes the authority of M. Thiesson for these observations. ' Couleur mate. See this subject, supra. From this, as well as No. 7, Cap. I., it appears that yellow grounds were used at this period. 816 BRUSSELS MANUSCRIPT. 20. In pictures exposed to the air, artificial colours should not be employed, but mineral colours and earths only, such as red and yellow ochre, yellow earth, umber, green earth, English red, " cendrees,*' smalt, and similar pigments. Smalt becomes more beautiful by being exposed to the sun than by being left in a close situation ; also paintings are much better when exposed to the air than when kept in a moist and dark place. 20 a. The design must be bold, that is to say, the attitude of the person represented, making him look oyer the shoulder, for that gives grace and elegance to a picture. 21. Indigo entirely fades if exposed to the sun, and so does minium ; indigo also fades if exposed to water. 22. To preserve pictures from dust and fly-marks you must take some white of egg and beat it until it becomes like rock- water, and varnish the pictures with this : when necessary, the white of egg may be cleaned by passing a wet doth over the picture, which easily removes the white of egg, together with the dust attached to it. This cannot be done with vanusL 22 a. One of the principal points in painting is to balance the figures well in the picture, so that the head should not be beyond the foot on which the figure is placed, for this would give rise to great faults. 23. Drying-oil is made by putting some nut-oil into a pipkio, into which is put a rag containing umber and minium, which is suspended to the handle of the pipkin, and then boiled. 24. Fat oil is made by putting a bag of litharge into a pipkin with oil, and boiling it. 25. Or the litharge may be ground on the porphyry with oil made into a little ball and dried. When it is wanted for use it is boiled until the litharge is dissolved, and when cold the oil becomes as clear as rock-water. PLUSIETJRS SECRETS DE PEINTURE. 817 20. IJn tableau pour mettre a Tair, on ii*y doibt point emploier oouleurs qui sont composees, mais seulement les mineralles et qui proviennent de terre comme ocre rouge et jaune, terre jaune, terre d'ombre, terre verd, rouge d'Angle- terre, cendrees, esmailles et autres semblables. Uesmail devient plus belle au soleil qu*en lieu ferm^, aussi un tableau se porte toujours mieux a lair que en un lieu humide et obscure. 20 a, II faut que le crayon soit hardi, c'est-a-dire, le posture du personnage qu'on represente, en la faisant regarder par des- sus Tespaule, et cela donne de la grace et ome mieu un tableau. 21. L'inde devient toute blafarde si elle est mise au soleil, la mine toute de mesme si elle est a 1' eau ; de mesme pour Tinde. 22. Pour conserver les tableaux de poussiere et chiure de mouches, il faut prendre de la glaire d'ceuf et la battre tant qu'elle soit devenue comme eaue de roche, puis les vemir avec, lesquels on nettoie quant on veut, car prenant un linge mouille et en passant par dessus, on emportera facillement ladite glaire avec la poussiere attachee dessus, ce qui ne se pent faire avec vemy. 22 a. C'est un des principaux points de peinture que de bien planter les figures dans le tableau, en sorte que la teste n'excede la pied sur lequel la figure se pose ; car autrement il y auroit de lourdes fautes. 23. L'huile siccative se fait mettant en une chopine de Thuile de noix dans laquelle on y met un linge plain de terre d'ombre et mine, que Ton pend a lance du pot, puis la fait on bouillir. 24. Huille grasse se fait avec de la litarge que Ton met dans un sachet en une chopine avec de Thuile, puis on la fait bouillir. 25. Autrement on broie la litarge avec huille sur le por- phyre, et en fait on petite balle que Ton fait seicher, puis quand on s'en veult servir, on les fait bouillir jusques a ce que la litarge soit fondue ; puis estant froide, elle devient clair comme eaue de roche. 818 BRUSSELS MANUSCRIPT. 26. This oil is very good for drying the colours which do not dry, such as common lake, fine lake, white lead, black, ochre, [?] and other similar colours, which dry slowly. 27. To counterfeit ebony, take lamp-black, with which ink and a little glue are mixed ; some persons add vinegar instead of the glue ; the mouldings are then passed over 3 or 4 times with this composition, and afterwards rubbed with a piece of rag or a reed to polish them. After this they are rubbed with a waxed cloth or with a piece of wax, to make them shine like ebony. If there are any spots, they are to be removed by rubbing with reeds. 28. To make all kinds of polished woods take the colour of ebony, so as to deceive by them. The wood which is to be made the colour of ebony must be rubbed with a coat of " eau forte d'esteinte," (?) and when dry, 3 or 4 coats of good ink which does not contain any gum, must be applied. The wood must then be rubbed with a rag or cloth, or a brush made with Spanish reeds, and after- wards for a long time with wax ; and lastly, wiped with a clean cloth, when it will be like ebony. Note that the wood of the pear tree is more proper than any other wood. 29. Ground-glass mixed with the colours is good to make them dry. 30. To make wood of the colour of Brazil wood, rub it with distempered quicklime. The lime penetrates and thus makes it of a red colour. If the wood be afterwards rubbed with oil it will be more beautiful. Eemember that pear-tree wood is more proper for this than any other wood, because it is naturally much inclined to redden. 31. To fix the tin on coats of arms, take some parchment glue with a little honey, and boil them together. Some per- PLU8IBURS SECRBTS DE PEINTURE. 819 26. La dite htiille eat ires bonne pour faire seicher lea couleurs qui ne seichent point, oomme laoque fine et commune, blanc de plomb, noir, ocree, [?] et autres semblables couleurs qui Bont long temps a seicber. 27. Pour contrefaire le bois d'ebene, on prend de noir de fiimee avec de I'ancre, et un peu de coUe meslee dedans, aucuns y mettent du yinaigre au lieu de la dite colle, puis on passe par dessus les moulures trois ou 4 fois avec la dite com- position ; apr^s on les frottes avec un cbifire ou jonq pour les polir, cela estant fait on les frottes avec un linge cire ou avec un morceau de cire, pour les rendre luisantes comme ebene, s'il y a quelques taches, on les fait en aller avec des joncs a force de frotter. 28. Faire prendre couleur d'ebene a toute sorte de bois, pourveu qu'il soit polli, en sorte qu'on si pourra tromper. It &ut frotter le bois qu'on desire teindre en couleur d'ebene, d'une couche d'eau forte d'esteinte, puis estant seicbe, faire trois ou quatre couches de bonne ancre qui ne soit point gom- mee, faut frotter le dit bois avec un cbifire, ou linge, ou brosse faite avec joncqs d'Espagne, puis le refrotter longuement de cire, apres Tessuier d'un morceau de drap net, et sera, comme ebene. Notte, que le poirier y est plus propre qu'autre bois. 29. Le cristal broye mis dans les couleurs est tres bon pour les faire seicber. 30. Pour faire bois de couleur de bresil, il faut prendre de la chaux vive destrempee, et en fit)tter tres-bien le bois qu'on desir avoir de couleur de bresil. La chaux penetrant au dedans le fait devenir ainsi rouge, si on le frotte puis apres avec de I'huile il en sera plus luisant ; notte que le poirier y est plus propre qu'autro bois, a cause que de soy il ne demande qu'a rougir. 31. Pour asseoir I'estain sur des armoiries, on prend de la coUe de parchemin avec un peu de miel que Ton fait bouillir VOL. II. 2 K 820 BRUSSSLS MANUSCRIPT. SOUS use flour-paste. If the tin is to be fixed with oil, ^' or de eouleur " ^ is to be used. 32. To prime a canyas quickly, so that a person may paint on it the same day that it has been primed, you must grind together some parchment glue and ml priming,' and immedi- ately prime the canvas with this ; it will harden directly, but this priming is very apt to scale off when the canvas is rolled up.» 33. Minium in the flesh colour makes a beautifol colouring without ochre, because it naturally contains ochre, provided that it is not exposed to the air ; for the sun causes it to fade and lose its beauty. 34. The longer the canvas has been primed the more valu- able is it, for the colours which are afterwards laid on it become brighter.* 35. If one desire to paint in oil on wax, the wax must first receive a coat of well-beaten white of egg to cause the colours to adhere, and also to enable one to paint on it more easily ; the white of egg must also be applied on glass and lead. 86. A similar coat of white of egg is also fq>plied on marble and alabaster before laying on the colours, whether they are used with gum or with oil. 37. Ivory must be washed with the water which is found under horse-dung, for the colours cannot be applied without this secret and invention. 38. The stones of peaches and plums burnt and extinguished in vinegar make a most excellent black. 39. To make blue draperies which are very beautiful, and which are made with azure in powder, first paint them with black and white, the lights being very strong (i. e. very white) 1 Or de eouleur. See p. 896. * Oil priming. See ante, p. 772. PLUSIEURS SBCRETS DE PEINTURE. 821 enBemble, aucuns 8e servent de coUe de farine. Sy Tod le veult asseoir en huile, on prend or de couleur. ' 82. Pour imprimer une thoille promptement en sorte qu'on y puis peiudre le meme jour qu^elle aura este imprim^, il faut prendre colle de parchemin et imprimure en huille, puis broyer le tout ensemble et aussitdt en imprimer sa toille, et durcit inccmtinent, mais le dit imprimure est suject a s'escailler sitot que Ton enrolle la toille. 33. La mine dans la carnation fait un beau colons sans ocre, a cause que de soy elle porte son ocre, pourveu qu'elle ne soit point mise a Tair, car le soleil la fait devenir toute blaffarde et massacre sa beaute. 84. Plus les thoilles sont vieilles imprimees tant mieux yallenty les couleurs qu'on met pas apres dessus en deviennent plus belles. 35. Sy I'on desire peindre sur la cire avec des couleurs en huyle, il faut luy donner auparavant que d'y appliquer les couleurs, une couche de blanc d'ceuf battu pour les faire tenir, et afin aussi d'y peindre plus facilement, il &ut faire le sem- blable sur le yerre et sur le plomb. 36. On donne a Talbastre et au marbre semblable couche de glaire d'ceuf auparavant que d'y mestre les couleurs, soit en gomme ou en huile. 37. Sur I'yvoire il faut que se soit avec Teau qui se trouve sous le fumier de cheval, car on n'y pent peindre autrement ; les couleurs n'y pouvant estre appliquees que par ce secret et invention. 38. Les noieaux des pesches et des prunes bruslees, et d'estains en vinaigre font un noir tres excellent 39. On fait des habits bleu qui sont fort beau et se font avec azur ^ poudrer, il les faut faire de blanc et noir, lesquelz il faut que le rehaut soit fort clair (c'est a dire fort blanc), et les 3 It must be previously glued with flour paste. — N^ote hy Author, * Because the surface is quite hard, and the colours do not sink into it. 2 K 2 822 BRUSSELS MANUSCRIPT. mid the shades very dark, so as to appear very beautifiil ; they must then be powdered with " azur." * 40. To illuminate figures or medals, either of plaster, ala- baster, wood, earth, or similar things, first apply a coat of clear fish-glue, and then the colours may be laid on with gain. Nothing is so beautiful and brilliant as these figures. This secret is considered rare, and is of the first importance to the illuminator. The glue does not in any manner fill up the folds and hollows of the figures as other glues do ; for eren when painted one may perceive their finest lines and most delicate hairs.' 40 a. Lamp-black is poison among the other colours, as well as verdigris. This black lasts a long time, and b very easy to use. 41. If some minium be mixed with white lead and a little fine lake a most beautiful carnation will be formed, as I know from experience. 42. If a little umber be mixed with bone-black and common lake, or if " stil de grain" be mixed with common lake and a little minium, a most beautiful colour for shadows will be produced. 43. The purple colour made with fine lake and white lead harmonizes very well with green, white, and yellow draperies. 44. Verdigris is added to charcoal black, or lamp black, to make these colours dry, but it is used only with the shadows, for it is a poison in painting, and kills all the colours with which it is mixed. 1 Azure in powder. This appears to be a good method of painting blue draperies, because no oil is necessary but that which cements the black and white. This method of employing azure in powder was common in France, as appears from a passage in the Traitd de Mignature de Cristophe Ballard (Lyon, 1693— the first Edition was published in 1682), p. 217. In the PLUSIEUKS SECRETS DE PEINTURE. 823 ombrages fort noirs pour paroistre fort beaux, puis les poudrer avec azur. 40. Si Ton yeult enluminer quelques images ou medale soit de piastre, albastre, bois, terre, et autres choses semblables, il faut passer par dessus une oouche de coUe de poisson fort claire, puis appliquer dessus ses couleurs avec de la gomme ; on ne voit rien de si beau et luisant comme sont les images (ce secret €8t tenu rare et est des premier pour Tenlumineur) la dite coUe ne remplit aucunement les plis et creux des images comme font les autres, car encore bien qu'elle soient peintes, on y pent remarquer jusques au moindres traictz et cheveux les plus deli* cats qui se voient. 40 a. Le noir de fumee est venin parmy les autres couleurs, aina que le verdegris. Ce noir dur fort long temps, et s'y est fort facille a employer. 41. 1% I'on mesle parmy le blanc de plomb de la mine avec un pen de fine lacque, cela fera une tres belle carnation, ainsy que je I'ay esprouve. 42. Si Ton y mesle un peu de terre d'ombre ayec noir d'os et grosse lacque, il fera un fort belle ombrage, ou bien stil de grun et grosse lacque avec un peu de mine. 43. La couleur de pourpre &ite ayec fine lacque et blanc de plomb reyient fort bien ayec les habitz yerds, et les blancs, en* semble ayec les jaulnes. 44. On met dans le noir, soit de cbarbon, ou fumee, du yer de gris pour le faire seicher, il ne s'en faut senrir que dans les ombrages, car il est yenin dans la peinture, et fait mourir tons les couleurs parmy lesquelz il est meslez. latter work the azure is called " emul," and was probably smalt or the Italian Smaltino, which all persons agree was extremely difficult to use on account of its gritty texture. And see Mr. Eastlake's * Materials, &c.,, p. 455. * P. Anselme.— ilfor^tno/ note hy Author, 824 BRUSSELS MANUSCRIPT. CHAPTER IX. HOW TO SPEAK OF BEAUTIFUL PAINTINGS. 1. That is not painting, it is nature ; and those figures look at the spectators, but with so natural a look that you would swear they are aliye. 2. Do you see those fish ? Why they would swim if you were to pour water on them I Then look at those Inrds, which would fly away and pierce the sky unless they were secured, they are so well done. 3. Is it possible that the pencil can have given such aoftiiess by such rough touches, and that such apparent carekssness should be so attractive ? 4. When painting was in its infancy, and a suckling, painteiB handled the pencil so clumsily, and their works were so badly executed, that they were obliged to write under an object ^* this is an ox,'' otherwise you might have taken it for a quarter of veal, but at the present time painters are obliged to write under the figures ^^ these are painted," lest the q>ectator should fiuK^ that they are dead figures glued to the canvas, and Aey appear like living beings without motion, from being so well executed. 5. Rich pictures must be spoken of as if they were real objects, not imitation. See how those dolphins play in the water which they have so agitated, and look at the birds, some c^ them warbling on the branches, others flying away and dis- appearing in the clouds I 6. Apelles painted what could not be painted : one might hear the roar of the thunder, and the crackling of the clouds, flashing with lightning. 7. See how well the folds of that drapery are arranged! Look at those snow white hands, where the veins seem to swell at each beat of the pulse I See how those muscles grow and swell I One may count the ribs, and the body is as well done as if Nature herself had formed it I Is it natural and real, or is it produced by art ? 8. \Vhy did you give this horse a bridle, this horse which is FAgON DE PARLER DBS BEAUX TABLEAUX. 825 CHAPITRE IX. LA FAQON DE PARLEB DBS BEAUX TABLEAUX. 1. Cela n'est pas peinture, mais nature et ces personnages la regardent tous ceux qui les regardent, mais d'uue oeillade si naifve que yous jureriez qu'ils sont en vie. 2. Voyez-Tous ces poissons la, si yous versez dessus de Feau lis nageront, car rien ne leur manque et les oyseauz s'ils n'es- toient attachez ils prendroient I'air, et fendroient le ciel, tant sont ils bien faitz. 3. Comme est il possible que le pinceau ait couche tant de douceurs sous ces traitz si rudes, sous des couleurs si rudes, et que parmy tant de nonchalance, on ait couche tant d'attraits. 4. Quand la peinture estoit encore au berceau et k son pre- mier laict, le {MBceau estoit si niais, les ouvrages si lourds, qu'il falloit escrire dessus : c'est un boeuf, autrement vous eussiez pris cela pour un quartier de veau, maintenant il faut mettre dessous, qu'un tel peignoit de peur qu'on ne crut que ce sont des morts qu'on a coUe sur la toile, et des personnages vivants sans vie tant le tout est bien &it. 5. Pour parler des riches peintures, il en faut parler comme si les choses estoient vrayes, non pas peintes. Voyez, je vous prie, comme ces dauphins follastrent dans ces bouillons d'eau qu'ils soulevent. Comme ces oyseaux, perchez sur ces ramees gazouilles, voi les qu'ils s'envolent et se cachent dans les nuees. 6. Apelles peignoit ce qui ne se pouvoit peindre : on oyoit craquer lestonnerres et les tintamares des nuees esclattantes et toutes trenchees d'esclaires. 7. Voyez comme ce drap est bien plisse, voyez ces mains de neige ou les veines s'enflent et semblent battre a la cadance du poux ; Yoyez ces muscles comme ils se poussent et s'enflent ; on pent center les costes de ce corps, tout le corps est aussi bien fait que si la nature I'avoit faconne de ses mains, mais encore est ce peinture ou nature, verite ou artifice ? 8. Mon amy, pourquoy avez vous donne une bride a ce che- 826 BRUSSELS MANUSCRIPT. running at fiill gallop, foaming at the mouth, and looking as if it were out of breath ? I did it on purpose, for with two mcnre bounds he would have been out of the road and out of the can- vas, so you see I was obliged to hold him back by a bit; see how it makes him rear and caper I 9. How finely and gracefully this groimd is broken and trel- lised I — you would swear that it was hollow and very deep. 10. See how these springs rise on the tope of the mountains, and how the pendl of the painter makes these brooks to flow as well as Nature could do I They pursue their course full of small ripples, so agreeable to those lively little fish that swim between the waves. Look at the ducks gliding ammig the herbs, and see how they dive, raising heaps of little threads or hair^like lines of water I but you had better move back a little, lest they should sprinkle or splash you by shaking and beating the water with their feet 11. The pictures of Philostratus are excellent in this respect, and will make you very rich in these matters. CHAPTER X. A TREATISE CONCERNING THE GREATEST PAINTERS OF THE WORLD. The first painters of reputation whose works are seen with admiration, and that not only on account of their antiquity, are Polygnotus and Ataglarphon,* whose simple method of using one colour only is even now practised by some, and is so esteemed, that these first elements of the new-bom art are preferred to the works of the great masters who followed them, from a certain ambition, as I presume, of attributing to themselves a more particular knowledge of things out of the common way. After- Probabl/ Aglaopho. LES PLUS EXCELLENS PEINTRES DE LTNIVERS. 827 yal qui court de tout sa puissance et jette son escume a gros bouillons et est hors d'haleine ? Je Tay fait a dessein, car en deux bonds il se fut jette hors de la carriere et hors la thoile ; il la fallu retenir par forche, yoyez comme par despit il s'en cabre. 9. Mon Dieu, que ce fonds est hache bien menu et trellissee de bonne grace, vous jureriez que c'est une chose creuse et bien profonde. 10. Voyez comme ces fontaines sordent des croupes de ces montagnes, comme la main du peintre meine les ruisseaux aussi bien que scauroit faire la nature, ils poussent hors par endroits tout plein de petits surjons bouillonnans commode a ces petits foUastres de poissons qui nagent entre flot et fiot. Voyez comme ces canards se coulent parmy ces herbes et couyillent. Voyez la comme ils se plongent boursoufiBant centre mont de petits brins et filet d'eau, retirezyous un peu h, I'escart, de peurqu'il ne yous aspergent et mouillent en fretillant ainsi des pattes et battant Teau. 11. Philostrate en ses tableaux est excellent en oecy, et yous fera riche en ceste matiere. CHAPITRE X. traicte touchant les plus excellens peintres de l'univbrs. Les premiers peintres de reputation dont les ouyrages se yoient ayec admiration, et non seulement en recommendation et fayeur de leur antiquity, furent Polygnotus et Ataglarphon,^ desquels le traict tout simple et d'une seule couleur, se fait encore aujourd'huy par aucuns tellement estimer, qu'ils pre- ferent ces premiers elementz de Tart qui ne fiiisoit encore que de naistre, aux ouyrages de ces grands maistres qui ont este depuis, par certaine ambition, comme je pr&ume, de s'attribuer 1 Quintilian, cb. zvf., Hv. 12. — Marginal note by Author^ 828 BRUSSELS MANUSCRIPT. wards Zeiixis and Parrhaaius, almost contemporariesi contri- buted greatly to the advancement of this art Zeuxis is said to have discovered the art of painting in relief by means of lij^t and shade, while Parrhasius proceeded to study delicacy and neatness of touch, for Zeuxis was the first who gave substance and living flesh to the limbs of his figures, as he found this manner more magnificent and august In this he is said to have imi- tated Homer, who represents the most robust figures as the most beautiful, even when speaking of women. Parrhaeius limited and determined all that concerns painting, so that he has ac- quired the name of the Legblator, inasmuch as all succeeding painters, as if compelled by necessity, have followed him in his manner of representing the gods and heroes. The art of punt- ing flourished principally in the time of Philip and Alexander, but in difierent degrees.of perfection. Protogenes was studiously elaborate ; Pamphilus and Melanthius possessed a fine style ; Antiphilus woriced with great f&cility ; Theo of Samos was wonderfully inventive and full of great imagination in design ; Apelles excelled in the beautiful and ingenious disposition of his subjects, and in his unequalled grace in painting amorous sub- jects, of which he made his boast ; and Euphranor was admired because, being among those most skilled in literature, he occa- sionally proved himself an excellent painter and sculptor. Among the modern painters we may mention Michael Angelo, Raffiiello d'Urbino, 'Chivoly (Cigoli ?) Buonarotli [I] Parmi- giano, Salviati, Polidor of Parma, and Titian. But Idlchael Angelo was greater in sculpture than in painting. Bassano was one of the most esteemed of his time, althou^ there was a cer- tain roughness in his style.^ Antonio Tempesta, an Italian, de- signed very cleverly, and for hunting scenes is unequalled. The Carracci are three Italian brothers,^ who are unequalled by any of their contemporaries, and paint with such grace that they are 1 Leonardo da Vinci, one of the moat remarkable of painters, was never satisfied with his works, few of which he completed, because, it is said, that he could never realise with his hand the conceptions of his mind. ' This is a mistake. Annibale and Agostino Carracci were brothers ; Ludovico was their elder cousin. LES PLUS EXCELLENS PEIlfTRES DB L'UNIVERS. 829 une propre et plus particuliere iotelligence de telles choses au dela du commun. En suite Zeuxis et Parrhasius, presque contemporaius, adjousterent grandement a cest art de peinture. On tient que Zeuxis trouva la maniere de peindre de relief par le moien des jours et des ombres, et que Parrhasius s'etudia d'avantage a la delicatesse et nettete du traict, car Zeuxis fdt le premier qui donna du corps et de la chair viye aux membres de ses figures, trouvant ceste maniere plus magnifique et plus auguste ; et oomme ils tiennent imitant en cela le poete Homere, qui nous represente les figures les plus robustes pour les plus beUes, mesmes en femmes ; quant a Parrhasius, il a tellement compris et determine tout ce qui conceme la peinture, qu'il en a remporte le nom de legislateur, d'autant que tons les auteurs comme par necessite forcee, le suyvent en sa maniere de repre- senter les dieux et les heros. Or la peinture fleurit principale- ment environ le temps de Philippe, et jusques aux successeurs d' Alexandre, mais en diverses parties de perfection, a part Pro- togenes estoit grandement studieux de bien elaborer ses out- rages, Pamplius et Melanthius tenoient une belle maniere, An- tiphilius travailloit avec grande fadlite, Theon de Samos estoit meryeilleusement inventif et plain d'imaginations pour le des- sein, Apelles excelloit en belle et ingenieuse disposition et grace nompareille de peindre amoureusem^it dont luy-mesme se vantoit, Euphranor se fait admirer en se questant des mieux pourveu de bonnes lettres, il estoit quant et quant un merveil- leux ouvrier de peinture et sculptiure, ensuit de ceux cy sont ensuivi plusieurs excel lents maistres comme Michel- Ange, Raphael, Urbain, Chiyoly, Bonnarot, Parmesan, Salviat, Poli- dore de Parme et du Titian, mais Michel- Ange estoit tenu pour plus grand ouvrier en fiiit de sculpture que de platte peinture. Basan estoit des mieux estime de son temps, toutefibis avoit une maniere rude en ses ouvrages. Anthonio Tempeste Italien * Leonard de Vinci, peintre singulier entre les autres, ne se contentoit jamais d'ouvrage qu'il pent faire, et n'en menoit que peu au point jusqu'a totale perfection, et disoit que cestoit a cause que sa main ne pouvoit atteindre k la conception dc son enten dement. — Note by Author . 830 BRUSSELS MANXTSCRIFT. admired by every one. Peter Paul Rubens is a very clevef man and a Fleming ; it was be who worked at the Luxem- bourg. Laurence Dubry,^ a Fleming, is considered one of the best landscape painters. M. Bunel' is the best painter in France ; he worked at the Tuileries and in the galleries of the Louvre ; his two best paintings are an Assumption and a ^' Pen- tecost ;" one is at the " Feuillans " and the other at the Augus- tines at Paris ; they are his latest works, and were executed a short time before he died. Freminet,' who left the unfinished paijitings at Fontainebleau, has been highly esteemed. Vouet* is considered one of the best of the present day. Vaulezar is re- puted to be very clever in painting and perspective. Lallemand * also is highly esteemed. M. Thiesson is also a very clever man. CHAPTER XI. OF " ESTOFFERIB," * OB HOW TO GILD. Painters use three kinds ; viz. ground gold, aiirum cantusum, which serves for illuminating images, or writing with the pen- cil ; burnished gold, aurum politum ; this word *^ bruni " haf two meanings ; sometimes it means to shade and make brown, sometimes to polish and lighten ; and ^^ or mat,^' aurum impoli' turn. ''Mat" comes from the Greek yi^rouo^y stultus, de- 1 Perhaps one of those paintere brought from the Netherlands by Am- brose du Bob and Jean de Hoiy, and who assisted in painting in the Luxembourg. (Felibien, Vol. II. p. 114.) s Jacob Bunel, painter to the King of France. He was bom at Blois in 1568. His father, Frangois Bunel, was also a punter. Jacob painted with Breuii in the small gallery of the Louvre. Felibien, &c. Vol. I. p. 712. s Martin Freminet, a native of Paris. He succeeded Du Breuil in the works of the Louvre and Fontainebleau, and was chosen painter in ordinsry to the King. He was in great favour with Henry IV. and Louis Xlllf DE L'ESTOFFERIE, OU IfANIERE BE DORER. 831 tres habil homme pour le dessein, mais pour des chasses il est sans pareille. Lea Caraches sont trois freres italiens des meil- leurs qui soit pour les present, et peignent de si belle grace qu'il se font admirer de tout le monde. Pierre Paul Rubens tres habil homme flaman de nation, e'est celuy qui a travaille a Lux- embourc. Laurens Dubry flaman est tenu des meilleurs pour le paysage. Monsieur Bunel estoit le meilleur peintre de la France, il a travaille aux Thuilleries et aux galleries du Louvre, les deux meilleurs pieces qu'il ait jamais fait sont une assomp- tion et une pentecost ; I'une est aux feuillan et I'autre aux Au- gustins a Paris ; ce sont les deux demieres pieces qu'il fist quel- que peu de temps auparavant que de mourir. Freminet a este aussi grandement estime, c'est celuy qui a laisse les peintures de fontaine blau imparfaite. Vouet est estime des meilleurs d'aujourd'huy. Vaulezar est estime tr^ habile homme pour la peinture mesme pour la perspective. Lallemand est aussi fort estime. Monsieur Thiesson est aussi tres habil homme. CHAPITRE XL DE l'ESTOFFERIE, OU MANIERE DE DORER. Les peintres se servent de trois sortes, d'or moulu, aurum can- tusum qui est propre pour enluminer les images ou escrire avec le pinceau ; d'or brum, aurum politum^ ce mot brunir a deux significations, quelquefois il signifie rendre brun et obscure et quelquefois pollir et esclaircir ; et d'or mat, aurum ifnpoKtum^ mat vient du grecq mataios, stultus, demens, inneptus ; et en bat did not live long to enjoy hb honours, dying in 1619, before he had completed the chapel at Fontainebleau. See Felibien, p. 114. 4 Vouet, Simon, bom at Paris in 1582, died 1641. F^libien says that France is indebted to him for having revived the good manner of painting, and for having educated a number of pupils, many of whom afterwards Toae to eminence. » Lallemand, Greorges, a native of Nancy. He executed a number of designs for tapestry, and many pictures in churches. « Estofferie—- the Estoiado of the Spanish. See Pacheco, p. 852. 832 BRUSSELS MANUSdUFT. mens, ineptus ; and in Italian mat signifies siUy^ so that *' or mat " is silly goldj without brilliancy and splendour. Matois, i. e. a do-nothing, a fool, and a good-for-nothing fellow ; it is gene- rally taken for a sharp and cunning man, per antiphrasim quasi minime stultus. It would also seem that this word, check-mate, and give check, and ^' mate," are derived from this root, mean- ing to stun a person, and exhaust all his resources ; the Ita- lians are great chess-players, th6 expression check-mate being derived from them. It may also be said that this word mat or mate is derived from the game of diess, so common among the Indians and Persians, for both nations call this by the same name. They call this game Scha^ i. e. king ; and Schatrahy i. e. the game of king ; as also schamate^ which means ^' the king is dead," just as we say check-mate ; so that ^' or mat " is a dead or dull gold, as opposed to a lively and brilliant gold. These words are taken from the author of the ^ States and Empires,' in the abridgment of his history of the kings of Persia, article ^ Nex- ere anauxion, 31 Roy.' '^Mat" signifies also a moist or flat colour. First, ground Gold} — To grind fine gold, so that one may paint or write with it with the pencil, you must take gold leaf with 4 drops of honey, mix the whole together, and put it in a small glass vessel ; when wanted for use, it must be distem- pered with gum-water. Another mode of grinding Gold, — A proper quantity of beaten gold or silver is to be spread inside a smooth glass cup, and moistened with clear water. The leaves are then rubbed with the finger, wetting them occasionally, and not spreading them too much while rubbing ; this process is con- tinued until all the leaves of gold are well ground, continually adding water. When they are properly ground, the cup I Ground gold. Note by Author, " Le Sieur Alexis." It is a tnuisla- BE L'ESTOFFERIE, OU MANIEKE BE DOBER. B33 langue italique, mat, signifie sot, de iSaqon que or mat est un or qui est sot et sans esclat et splendeur. Matois, id est homme vain qui ne fait rien qui yaille un plaisant et vaurain [vaurien]. On le prend ordinairement pour un homme fin et ruse -per antiphrastm quasi minime sttdtus^ il semble aussi que ee mot des eschets mat, comme donner escbets, et mat vient dela, Youlant dire rendre une personne toute estourdie et au bout de son roulait ; les Italiens sont iort grands joueurs d'eschets, leur ayant donne ce mot de mat. On pent aussi dire que ce mot de mat ou mate est derive du jeu des Eschets fort familier aux peuples Indiens et Persans qui tous deux usent en icelluy de mesme noms, car ils appel- lent ce jeu schaj c'est k dire roy et schatrah jeu de roy, comme aussi schamate qui signifie le roy est mort, c'est ce que nous disons eschets et mat ; de sorte que or mat c'est un or mort ou mome qui n'est point vif ny esclattant ; ces mots icy sont tires de I'autheur des Estats et Empires en I'abrege de I'his- toire des roys de Perse, article de Nexere anauxion 31 roy. Mat, signifie aussi une couleur moite et grasse. Premier^ Or maulu. — Pour broyer Tor fin duquel on puis peindre ou escripre avec le pinceau. II faut prendre feuilles d'or battu et quatre gouttes de miel, meslez le toute ensemble et les mettres en un comet de verre, et quand on s'en veult servir, il le faut detremper avec de Teau de gomme. Autre manihre de broyer tOr. — On prend autant d'or et d'argent battu que I'on veut et les estend on en une tasse de ▼erre bien unie mouillee d'eau clair, puis les broyer avec le doigt en les mouillant aucune fois, mais il ne les faut pas trop estendre en les broyant et ainsi continuer jusque a ce que toutes les feuilles d'or soient bien moulues en y adjoustant tousjours de I'eau et quand ils semblent assez broyee il faut tion of a recipe in the first part of the Secreti of D. Alessio Piemontese, Lib. V. 834 BRUSSELS MANUSCRIFT. must be filled with fresh water and stirred well. The gold is then left for j^ an hour to settle, after which the water is poured off, and the gold remains at the bottom of the cup. This is dried, and when used is distempered with gum-water. This is the best way of grinding gold. Burnished Gold. — ^To make the ground for burnished gold, you must take Armenian bole of the size of a nut, according to the quantity which is to be made ; bloodstone, of the size of a bean ; roche alum, of the size of a pea ; and a little vermilion, to colour the mordant, with a burnt crust of bread to make it dry ; the whole ground on the porphyry with a little water and glue. Another mode : — ^Take Armenian bole of the size of a bean, a little more or less according to the quantity which is to be made ; half as much of bloodstone, with a clove of garlic, and a little tallow, the whole ground up together with soap-suds and a little glue. Another way : — You must take gypsum of the size of a nut, Armenian bole of the size of a bean, the same quantity of he- patic aloes, and one-third as much of sugar candy ; powder each ingredient separately, then, putting them all together, you must finally add a little " civette " or a little honey. Another way : — ^Take equal quantities of fine gypsum, he- patic aloes, and Armenian bole, distempered with some white of egg which has been strained through a linen doth. If this composition is too stiff, it is to be distempered with fresh water. Another way : — Lay on the gold with well-gummed water alone ; and this method is very good for gilding parchment or skin. You may also use fresh white of egg or fig juice alone in the same manner. DE L'ESTOFFBRIB, OU MAKIERB BE DOREK. 835 emplir la tasse d^eau fraiche, et Tesmouvoir tres bien ; cela fidt il les faut laisser reposer une demye heure, puis on coule Teau hors, Tor demeurant au fond de la tasse qu'on laisse seicher, et Tor que Ton s'en veut aider et servir, on le destrempe avec de Teau gommee, cecy est la plus belle maniere qui soit pour faire Tor moulu. Or brunt. — Pour faire Tassiette a dorer d'or bruny, il faut prendre bol armenique euTiron la grosseur d'une noix selon la quantite que Ton en veult faire, la grosseur d'une febvre de sanguine, allun de roche la grosseur d'un poix, et un pen de Termillon pour donner couleur a la dite assiette, ayec une crouste de pain bruslee qui sert pour faire seicher, le tout broyez avec un peu d'eau et coUe sur le porphyre. Auti*ement : — On prend la grosseur d'une febvre debol arme- nie peu plus peu moins, selon la quanlite que Ton desire en feire, ct la moitie d'autant de sanguine, avec I'oeU d'un ail, et un peu de suif de chandelle, le tout broye avec de I'eau savonnee en y ajoustant un peu de colle. Autrement:— II faut prendre gipsum de la grosseur d'une noix, bol armenique la grosseur d'une febvre, aloe epatique la grosseur d'une febvre, et un tiers de succre candy ; etampe chacun k part soy et mettant I'un sur I'autre on y applique a la fin un peu de civette ou de miel. Autrement : — On prend gipsum fin, aloe epatique, bole ar- menique, autant de I'un que de I'autre, destrempe avec de la glair d'ceuf frais, laquelle on aura coule par im linge ; et si la dite assiette est trop forte, on la destrempe avec de I'eau fi^che. Autrement : — ^On prend de I'eau bien gommee, et avec icelle seule on met I'or ; et est (la dite assiette) bonne sur parcbemin ou sur peaux. Le mesme pent on faire avec de la glaire d'ceuf fraiz, et aussi avec laict de figue senile. VOL. II. 2 L 836 BRV8SBL9 HAmTSCRIFT. Remember, that, preTious to laying on the gold, the subject to be gilded must have seven coats of Spanish white distempered witb tolerably strong parchment glue,^ which must be smoothed with a linen cloth dipped in clear water, and then rasped or po- lished to make it smoother. When this is done, two coats of the aboTe-mentioned mordant are laid on it, and when these are dry, it is cleaned with a piece of frieze. When the gold is to be applied, the preparation is moistened with a pendl dipped in clear water, and the gold laid on. It is then allowed to dry, after which it is polished with the tooth of a dog or wol( and a beautiful burnished gold is the result If there are any defects in the gold after it is polidied, a piece of gold is to be laid on the defectiTO part, and attached with the breath, and then polished. To gild on copper with burnished gold, the copper must first be polished and made red hot, in order to ^>ply the gold with the agate burnisher, and it must then be heated agaiu. Two or three coats must be laid on in this manner, after eadi of which coats it must be replaced over a slow charcoal fire, in order to polish it. When gold is applied on or paper, the front tooth of an ox may be used. " Or matf** to make ^^orde cauleurJ*^ — You must take all the dirty coloiu^ and put them to boil on a dhafing dish in an earthen vessel, with fat oil out of the pinoeHere.* After .this has been thus boiled, it is passed through a loose cloth and again boiled ; and if the said ^^ or de eouleur " is not suffidently yellow, you must add some yellow ochre, a little coarse mas- sicot and minium, which must be well ground ; and this will make it dry well. Another mode. Take Armenian bole, ground up with Un- 1 Note by Author. " Before boiling the glue, it must be purified hj washing it with ashes and hot water, until it is cleansed from the imfiuritiea and becomes white ; it is then boiled, and aAerwards passed through a ue? • or strainer." » Seeon/e, p. 771,No. 4. BE L'ESTOFFBRIE, OU MANIERE DE DORER. 837 Nottez qn*il faut que an jR'ealable, la pi^ce qae I'em veult dorer soit blanchie sept fois avec blanc d'Espagne et coUe de pardiemia aasez forte,^ laquelle piece on adoucit avec un Hnge mouille dans de I'eau dair, puis on la racle ou (^presse pour la rendre unie. Ainai fiiite, on passe par dessus deux fois de la ditte assiette ej deasns, laquelle estant seiche, on la torche d'ua moroeau de firiae, et lors que Ton y yeult appliquer For, on la mouille d'nn pinceau avec de I'eau claire a mesure qu'on ap- plique YoTf puis on laisse seicher le dit or, lequel estant seicq, on le pollit avec une dent de chien ou de loup, cela fait on a un tr^ belle or bruny. £& d'avanture il y a quelque faute a I'or i^r^ qu'il est polypi on y remette un morceau d'or, qu'on fait tenir avec le hasle puis se pollit Pour employer I'or poly et bruny sur le cuiyre, il faut pre- mi^ment polir le dit cuivre et le faire rougir, afin d'appliqner I'or avec le caillou, et puis il le faut recuire, ce que Ton fait en mettant 2 ou 3 couches. Tune sur I'autre, et en le remestant tousjours a feu de charbon leger pour le polir, et lorsque Ton I'applique sur de la ou sur du papier, le dent de boeuf du devant y doit servir. Or mat pour faire or de cauJeur. — ^H iaut prendre toutes lea salles couleurs, et les mettre bouillir sur le rechault dans une vaisselle de terre avec de I'huile grasse que Ton prend dans le pinceliere, ainsi bouillie on le passe par dedans un Huge deliex, et puis on le taxi derechef un pen bouillir, et sy le dit or de couleur n'est pas asse jaune, on y adjoustera de I'ocre jaune, un pen de gros massicot et mine, le tout bien broyez ; et cela sert a le £ure seicher. Autrement : on prend boli-armenique broyez avec Thuile de 1 Note margmale,^ On degresse la colle auparavant que de la mettre bonillir avec des cendrei et de I'eaa chaude, en la lavant tr^-bien tant qu'elle aoit toute nestoite de son ordure^ et devenue blanche ; puis on la fait bouillir, et la passe par aprte dans un balot ou dedans une couloire. 2l2 838 BRUSSELS MANXTSCRIPT. seed or nut oil, and when gold is to be laid on the mordant, it must be neither too moist nor too dry.^ Another way.* " Or de couleur" is made with yellow earth or ochre, with a little white lead (to make it more similar to gold in colour), which is left to thicken on the porphyry, stirriDg it morning and evening lest it should skin over in drying. This mode is the best, because fire tarnishes and obscures the gold. The *^ or de couleur " may be exposed to the sUn in order to make it dry more quickly. 1. To make beautiful " or mat," a half dry brush must be passed over the " or de couleur," so as to freshen and render it fat and shining (that is, supposing the ^* or de couleur " is laid over the subject to be gilded). 2. Fat oil is very good if added to the " or de couleur," as it makes it brilliant and shining. Also, if a coat of this oil be passed over the " or de couleur," when it is half dry, it will produce a gold as brilliant as burnished gold. 3. Observe, that the " or couleur " must be nearly dry before the gold is laid on it, otherwise the gold would become dull without any brilliancy or splendour. 4. To make beautiful ** or mat," such as is seen on mirrors. The subject to be gilt must be whitened in distemper, in the same manner as for burnished gold ; you must piime it with oil, using some very drying colours, and when dry you must pass over it some new and fat nut oil, and then apply the gold at the proper time. To make very good ^mmish for varnishing gold and all other things, — ^Take benzoin, and grind it as finely as possible between two pieces of paper, then put it into a phial and pour on it some very good spirit of wine, which must cover the benzoin to the depth of 3 or 4 fingers, and leave it in this state for a day or two ; then to half a phial of this spirit of wine you must add 5 or 6 blades' oF safiron, slightly bruised, but not broken in pieces. 1 Nate by the Author. ** This size [assiette] is very good oa marble.*' • Note by the Author. " M. Thiesson the painter." DE L'ESTOFFERIE, OU MANIERE DE DORER. 839 Un OU de noix, et quand on veut mettre Tor dessus le dit assi- ette, il faut qu'elle ne soit ny trop seiche ny trop humide. Autrement : or de couleur se fait avee de la terre jaune, ou ocre avec un peu de blanc de plomb (pour le rendre plus aprochant de For) qu'on laisse engraisser sur le porphyre en le remuant du matin au soire, de peure qu'il ne s'y face des peaux. C^est [cette] maniere est la meilleure, parceque le feu isit ter- nir Tor et le rend obscure. Aussi on pent mettre ledit or de couleur au soleil pour le faire plustot engraisser. 1. Pour faire de bel or mat, il faut passer par dessus Tor de couleur avec une brosse estant a demy seicq pour le rafraichir et le tenir gras et luisant (cela s'entend quand il est couche sur la piece qu'on desire dorer.) 2. L'huile grasse est aussi tres bonne dans Tor de couleur, pour le rendre beau et luisant ; aussi, passant une couche de cest huile par dessus I'or de couleur estant a demy seicq, cela fera un or fort esclatant comme or bruny. 3. Nottez, qu'il fisiut que le dit or couleur soit quasi seicq auparavant que d'y appliquer I'or defsus, ear autrement I'or deviendroit tout mome et sans esclat et splendeur. 4. Pour faire de bel or mat comme Ton void de les miroirs, il &ut blanchir en destrampe la piece que Ton veut dorer tout ainsi que Ton fait pour I'or bruny ; puis il faut prendre des cou- leurs fort seccative pour I'imprimer en huille ; estant seicher il faut repasser par dessus avec de I'huille de noix qui soit nou- velle et grasse, puis appliquer son or en temps et heure. J^our faire de trh beau vemy pour vemir Vor et toiUe autres ouvraffes. — II faut prendre benioin, et le broyer le mieux qu'il sera possible entre deux papiers, puis le mettre en quelque phioUe, et y verser dessus de I'eau-de-yie tres bonne tant qu'elle passe le benioin de trois ou quatre doigts, et le laisser ainsi un jour ou deux, puis on y adjoust pour demye fiole de telle eaue de vie cinq ou six brin de safran legerement estampe et tout 3 Brins de Safl&on. The hair-like filaments of the safiron ia the part in which the colouring matter resides. 940 BRUSSELS MANUSCRIPT. When you have done this, siram it^ and vamisb with it some- thing that has been ^It, which will then become Yery beautifiil and shining ; diis varnish will dry qnickly, and will last seYeral years. Now, if it is wished to apply silver in the way in whidi gold is laid on, common white salt mnst be used instead of sa£BraiL This vamid is very good for varnishing all things, aB well painted as unpainted, such as tables and boxes of nut tree, ebony, &c., ^t or not gilt, or copper, for it causes to shine, preserves, and brings out colours, dries quickly without con- tracting dust or dirt, and may be cleaned with a cloth or fox- tail. 7b make a varnish with madic for oil paintififft.^ — ^Take 2 ounces of hard mastic and 1 ounce of huile de sapin, put the last into a small new pot, melt the mastic over a slow fire, then add the oil, whidi must boil when mixed with it, and must be kept boiling very slowly ; for if it were to boil too fiercely, the var- nish would become too viscous. To know when it is done yon must dip a hen's feather in it ; if this is burnt, the varnish will have been sufficiently boiled ; then pour it into a phial or bottle to preserve it from the Hust When required for use it must be warmed in the rays of the sun. Fine vamisV is made with turpentine melted over the fire ; when melted, remove it from the fire, and add oil ot spike with mastic, and, if required, sandarac. Gros' [vemis] is made with turpentine^ oil of turpentine, and resin, melted up together. 1 Vamish of Benzoin. Note by Author, " Le Sieur Alexis Pie- Bontois.'* BE L'ESTOFFERIE, OU MANIERE DE DORER. B41 cntiers ; ce fait on le coule^ et d'un pinceau on en verni quelque olioee doree, laquelle devient tres belle et luisante et seiche in- continent dnrant plusieurs annees. Or si I'on vent accomoder Fargent comme Tor, au lieu de safiran on y met du sel commun blanc, le dit verny est tres bon pour vemir toutes choses tant peintes que non peintes, et aussi pour faire reluire les tables et co£5res de bois de noier, d'ebene, et de toutes autres eboses, pareillement aussi ouvrage de cuivre dor^ et non doree, car il £dt reluire, preserve, ayde aux couleurs, et se seiche inconti- n^it sans recevoir pouldre, n'ordure ; et se pent nettoier d'un linge OU d'une queue de r^iard. Pour faire verni demasticpour mettre sur les jpeintures faites en huile. — On prend deux once de mastic ferme, et une once d'buile de sapin ; que Ton met dans un petit pot neufve, on fait fbndre le mastic a petit feu, puis on y adjouste I'huile qu'on laisse quelque peu bouillir en le meslant tousjours afin qu'il ne bouille presque pas, car s'il bouilloit fort le vemy deviendroit trop ▼isqueux, et pour scavoir s'il est cuit, on met une plume de poulle dedans le pot, et si elle se brusle incontinent c'est signe qu'il est fait> puis on le met en quelque fioUe ou bouteil pour le garder de la pouldre, et quand on ii'en veult servir, on le met au soleil pour I'eschauffer. Le fin Yemy se fait avec de la terebantine que I'on fiEut fondre «ur le feu, puis on la retire, et on y met de I'huile d'aspic avec du mastic, ou si Ton veult on y met du sandarac. Le gros se fait avec de la terrebantine, huile de terrebantine et poix resine, le tout fondu ensemble. • NoU by Author. <* M. Thiesson." > The Vermce groua of the Italians. See also Pierre Pomet, Hutoire G^o^rale des Drogues, VoL II. p. 64. EXTRACTS FROM AN ORIGINAL MANUSCRIPT, ENTITLED STORIA BELLA 0R6ANIZZAZI0NB CIVILE DELLE BELLE ARTI IN VENEZIA PER SERVIRE AL PIANO DI SISTEMA STABILE DI QUESTA IMPERIALE E REALE VENETA ACCADEMIA. AN. 1833. BT Sio. GIOVANNI O'KELLY EDWARDS, or VENICE. SIG. EDWARDS^S MANUSCEIPT. PRETiTMTNABY OBSERVATIONS. The consideration which induces me to publish these extracts is, that they treat of the restoration of tiie paintings of Venice from injuries arising from damp, moisture, and other causes, which probably have a similar operation in England. This restoration by Sig. Fietro Edwards has been noticed in the Art Union. I endeavoured to learn the method adopted, but the extracts I was able to procure relative to this subject are extremely meagre. The author of this MS. is the only son of Sig. Fietro Ekiwards, to whom the restoration of the public pictures of Venice was entrusted. « Sig. Fietro Edwards practised the art at Venice^ and was employed by that jealous Bepublic, and subse- quendy by the Austrian Government, in restoring the public pictures. He died in 1821, at the age of 76, and is still remembered with esteem for his know- ledge, skill, and integrity. The &mily were originally English, and lay claim to more than noble descent, but both father and son were bom in Venice, and the circumstance of the father having been employed by the Government in the restoration of the national 846 SIG. EDWARDS'S MANUSCRIPT. pictures, shows the estimation in which he was held by those whom it may be presumed were competent judges. Sig. 0*Kelly Edwards was also employed in their restoration under the superintendence of his father. It appears from the statement I have made in the general Introduction, that the art of restoring pictures is now practised in the north of Italy by professors of skill and eminence. I have noticed Sig. Fidanza as having practised this art aU his lifetime ; and when I saw him he had been engaged in this employment at Milan for thirty-six years. These professors are not only employed by private individuals, but by the Austrian Government, in cleaning, repairing, and restoring the national pictures.' The art has in some cases descended in families ; and I have scarcely a doubt but that many of those who now practise it, either from tradition, or from the accidental discovery of MS. recipes, or from both, and from some of them having analyzed the materials used in these old paintings, possess the know- ledge, which they claim, of having ascertained the pigments and vehicles used by the great Italian masters, and the mode of their use and application. The MS. from which the following extracts were made was written by Sig. O'Kelly Edwards with a view to publication ; but in the Venetian territories works on the fine arts are not permitted to be published without especial permission from the Academy of Venice. This permission was refused ; but the autho- rities at Vienna, to whom the MS. had been submitted, directed that a copy of it should be made and preserved in the Academy iat Venice. I saw this copy among PRELIMINARY OBSERVATIONS. 847 the Edwards' papers in the office of the secretary of the Academy. The first part of the book contains the history of the several academies of painting, &c^ in Venice. The beginning of the second part gives an interest* ing account of some of the public pictures ; of the search that was made for some that were missing ; and of the collecting of the best pictures from all parts of the Venetian territories, in order to form a public gallery at Venice, which should show the rise, progress, and decline of the art The extracts contained in the folloifing pages which treat of the general restoration of the public pictures under the direction of Sig. Fietro Edwards, and of the causes of their decay, are from this part of the work. Sig. Edwards relates that his father, in 1776, restored the only picture painted in distemper on a wall by Paolo Veronese. This painting is on the ceiling of the CoUegio in the Palazzo Ducale ; it is still in existence, but is in bad condition. In 1777 Sig. Pietro Edwards painted the head of the principal figure in Titian's beautiful picture of " Faith" (now in the Sala delle quattro Porte), which had been cut out and carried away ; and so well has this been done, that it is impossible to detect the part newly painted, and as his son observes, neither the French Commissioners, who removed the picture to Paris, nor the painters of that country ever detected the modem work. Sig. P. Edwards also painted the head of one of the Magi in the " Adoration " of Bonifazio, which had likewise been cut out and stolen. The number of public pictures restored by Sig. S48 SIG. EDWARDS'S MANUSCHOPT. Edwards, and those who worked under him, betweefi the years 1770 and 1817» amounted to upwards of 759. The third part of the work is uninteresting to the English reader, and therefore has not been transcribed. In consequence of a report from England, which reached me when I was in Venice, that Sig. Pietro Edwards had discovered the old method of painting in oil, and had sold his secret to the Government, I endeavoured to ascertain whether this was the fact. By the kindness of the Count and Countess Spiiidion Papadopoli I obtained permission from the President of the Academy to inspect the papers left by Sig. P. Edwards, which are preserved in the Academy, and^ from what I saw there, I am enabled to state my firm belief that no secret was either bought or sold ; but I saw among these papers much interesting matter relative to the restoration of pictures, which would be extremely useful, and of which Sig. O'Kelly Edwards promised to send me copies. I have reason to expect the Venetian jealousy has interfered, and that Sig. Edwards has been prevented from performing his pro- mise. Fortunately, however, while I was looking over the papers at the Academy, I employed my son in making extracts from some of the most useful parts, translations of which will be found in the notes. As this MS. is rather historical than technical, I have thought it unnecessary to publish the original text. ( 849 ) ON THE RESTORATION' OF THE ROYAL PAINTINGS UHDEB THE Venetian Goysrnhent. From the year 1725 to the year 1775 no leas than 751 Beportt of the Collie of Painters, concerning the necessity of the re- storation of the public paintings, are enumerated. AH these mentioned the gradual decay of the pictures, and ift each the attention of the public was earnestly called to this subject, and to the urgent necesmty of repairing the greater part of them, and of restoring them to their ancient lustre and splendour. A fact authenticated by so great a number of depositions, and attested not on the credit of a few intelligent persons only, but by the common consent of the professors of the art, determined the Venetian Senate to consider the subject of a general resto» ration. And although the individuals, the Government, and tiie mem- bers of the above-mentioned College were changed, this feeling still remained constant in the minds of the good citizens of Venice, and the Government was more and more inclined every day to attend to the public remonstrances. For if, in forming their judgment on other important subjects, the Senate relied on the opinion of one or two persons skilled in the yarious questions upon which they were sometimes required to decide, it could have had no difficulty in deciding on this subject, which was supported by the opinions of a long succes- 850 mSTORY OF THE RESTORATION 8ion of men, all agreeing on the same point, and incapable of entertaining views of promoting private interests. Nor could there be any doubt of the integrity of these men, because the business of restoring paintings was not, at that time, an employment to which masters of any reputation applied themselves, but, on the contrary, the society of which these were members, experienced continual difficulties and embarrassmaits on that account. It may be said that the names alone of Sebastian Kicci,^ Laz- zarini,* Balestra^' Tiepolo, Trevisano, and many others, were ^ Sebastiano Rioci, or, as he was called by the Venetians, Rizzi, wu a native of Belliino; he was bom in 1669 or 1660, and died in 1734. He painted in Venice, Milan, Bologna, Florence, find Rome ; and trayersed every part of Italy, where he accepted every commission and any terms he was offered. He afterwards visited Germany, £ngland, and Flanders, where he perfected himself in colouring. " In such a variety of schools," says Ldmzi (Vol. III. p. 225), '* he filled his mind with beautiful images, and copying many, he familiarized his hand vrith differoit styles. Like Giordano he possessed the power of imitating every manner, and several of his pictures, after Bassano or Paolo, have deceived many, as was the case with one of his pictures at Dresden, which was attributed to Gorreggio.** In addition to this jjower of imitating other painters, a most admirable and essential qualification for a restorer of pictures, he possessed excel- lences which were peculiarly his own, and which entities! him to rank highly among the original punters of that period. Zanetti, della Pittora Venoziana, p. 437, observes, 'Mf his pictures have in some degree darkened, the fault must be attributed to the bad preparations of the canvas and colours which were in use at that period.'*' s Gregorio Lazzarini, the scholar of Rosa, whose dark style he repudiated and banished from the Venetian school, of which, for the correctness of his design, he may almost be considered the Rafiaelle. At first sight it might be supposed he had been educated at Bologna, or rather at Rome. Lanzi says he was never out of Venice, but Moschini « proves that he was a scholar of Girolamo Forabosco at Padua. His genius secured him the esteem of the most learned professors of the art, and especially of Carlo Maratti, who had but little respect for his contemporaries. It is related " that the Venetian ambassador at Rome, having proposed to Maratti to paint a picture for the Sala del Scrutinio, he refused the em- ployment, expressing astonishment that they should seek him at Rome, when they had a Lazzarini at Venice ; and well did Lazzarini answer the * Moschini, della Origine e delle Vioende della Pittnra in Padova, p. ISO. OP THE PUBUC PICTURES AT VENICE. 851 sufficient to authorize this decision, but to these were also added the evidence of the eyes, and the voice of all the citizens of taste. For if the public could be persuaded of the necessity of a general restoration of their paintings fifty years previously, how much more should they be of this opinion in 1770, when the damaged pictures showed visible signs of decay, and it was feared that they would be entirely lost ; and when people spoke no more of the impending destruction, but of the ruin which was already visible I The disadvantages of this otherwise excellent climate, and their destructive influence on manufactures and natural pro- ductions, are well known ; for even marbles, metals, and the hardest articles are injured, and the action of the moist and saline particles of our atmosphere is particularly visible on the colours, and on the soft and porous grounds of canvas and panels on which these colours are used, and which are well adapted for the reception and retention of the minute particles which are introduced with the air. From this action of the atmosphere in diminishing the re- sistance of the glutinous parts, which consequently crack and cease to hold the colours in strong cohesion, it would follow expectations formed of him by Maratti in two pictures he painted in this apartment, in memory of the triumph of Morosini, sumamed * II Pelopon- nesiaco.' But he particularly signalized himself in the picture of S. Lo- renzo Giustiniani in S. Pietro di Castello, which is, perhaps, the best pic- ture in oil that the Venetian school has produced in this century for the taste of the composition, the elegance of the contours, and the originality and variety of the faces and attitudes. It is also distinguished for the force of the colouring, in which he was not always equally successful." This picture is still in excellent preservation. The date of his death is uncertain : some authors say it took place in 1730 ; others not until 1740. s Antonio Balestra, bom at Verona in 1666, died there in 1740. He painted in Venice, where he was much esteemed. His Nativity, in the Convent of La Caritk (now the Academy), and the Deposition from the Cross, may compete with the best paintings of the age. His S. Vincenzio is one of the best preserved of his pictures ; for his method of painting with boiled oil has spoiled not a few. Those painted with oil less boiled have changed less. Lanzi, iii., p. 230. VOL. II. 2 M 852 mSTORT OF THE BESTORATION that after the lapse of a certain time, pictures would be more deteriorated in a few years, than during a period three times as long as that which preceded it. This natural reasoning, preyed by experience, removed dl perplexity from the Venetian Goyemment, and perhaps from this they concluded that the restoration required by the greater part of the works of the Venetian masters not having been pro- perly effected since the year 1725, the pictures should naturally have suflered more injury during the last fifty-two years (from 1725 to 1777) than in the previous century and a hal^ and that therefore their condition required immediate reparation. It was, however, very fortunate that the Government should have acted with great circumspection until the year 1777, in consenting to the general and universal restoration of all the royal paintings, because the art of repairing paintings damaged by time had not then obtained perfection, and the greatest painters considered the employment as beneath tiieir dignity, and projected it merely with a view to obtain some office which might confer honour on themselves. The reparations, there- fore, fell to the lot of the unemployed artists, who are generally the worst, and who, when there was no part of the picture to be entirely removed, thought that any indifferent painter was equal to washing, strengthening, and introducing the proper juices for restoring the picture to its ancient beauty. In fine, a catalogue of the pictures, which were in a state requiring immediate restoration, being ordered in 1727 [to be prepared, the number was found to amount to twenty, and the Society of Painters selected Sebastiano Ricci to restore three of hose which required renovation, while, for repairing the others, they nominated five other painters, who worked very badly, and whose existence would, perhaps, never have been known, had not these works been spoiled by their hands. It is not, however, wonderftd, that even among professional persons such miserable blindness and wrong notions should have prevailed. The art of repairing paintings damaged by the in- juries of time was new to the world, and, until this period, OP THB PUBLIC PICTURBS AT VENICE. 853 notfaiiig was known of it beyond the occasional neoesmty of repairing rents and superficial blemishes and the corrosions which, at that date, the pictures had only begun to suffer from the hidden ravages of time. Necessity introduced the arts, and the art of restoring the works of the pencil from the decay to which they were liable from age could not arise unless pictures grew old and lost their beauty: therefore different modes of restoring them to their former state were tried. The learning and skill necessary for such a profesnon, fol- lowing the common order of things, were acquired by gradual steps only ; meanwhile public fiiith and the innocent error of the painters themselves kept occupied a few devastating hands* who left behind them much cause for grief. At last the eyes of men were opened, and by long and con- tinual experience it was discovered, that the restoration of ancient paintings was not a work of such small importance as to be entrusted to the hands of any person ; for it was some- times found that the most gentle washes would determine the fate of a painting, and some operations, after the ephemeral splendour of a few years, accelerated the destruction of the pictures, and it was discovered that it did not require less knowledge to restore the paintings to their pristine state, than skill to paint them. This last observation, which, on the authority of the before- mentioned Ricci, passed into a proverb among those who fol- lowed this profession, elevated the study of the art of restor- ing paintings among the Venetians. One after another, all professors of merit aspired to it ; and although the first trials showed that the art was not yet well understood, yet the second errors were far less dangerous than the first It was here, however, that party enmity broke forth in the Society of Painters. The maniSest necessity of restoring the Venetian paintings, and the already declared desire of the Go- vernment to repair them, gave rise to the belief that the period of some decisive resolution was not far distant ; meanwhile the 2m2 854 HISTORY OF THE RESTORATION watchful crowd of artiats, who saw themselyes in danger of being ungraciously dismissed firom their high stations, was anxiously expecting this moment, and with all the cunning which can be found in the idleness of the unemployed, and which human saga- city, sharpened by poverty, can suggest, they endeavoured to determine the event in their favour. On the first announcement that there had been some delibe- rations on this subject, it is impossible to describe the ferment which was excited in that agitated circle, in order to carry into efiect their preconcerted wiles. Hence it arose that men in- truded themselves into the works of restoration, who had no right but that of their own temerity, and who endeavoured to evade the prudence of the person who presided, and to obtain by trickery a consent which it was easy to procure in the con- fusion of such intricate and violent practices. Thus were united, to the injury of the ancient Venetian psdnt- ings, first the errors and afterwards the monopolies of those same artists, who themselves would be most injured by so deplorable a ruin, and this was certainly the principal reason why the public mind vacillated for seven years (from 1770 to 1777), uncertain which course to pursue. Nevertheless, as to abandon entirely the restoration of the public paintings would have been the same as to lose them entirely, three decrees were promulgated which contained orders to provide for this event, and the direction was entrusted to Commissioners of high rank. These were afterwards five in number. It is difficult to understand (but the fact is nevertheless well proved) why all the authority and viplance of the Venetian Commissioners up to the above-mentioned epoch were insuffi- cient to form a regular system of public restoration, since the authority of the Commissioners themselves, and the inter- vention of the Society of Painters, armed both parties. This Society, called in the year 1770 to give its vote con- firmed by an oath on this affair, did justice to Bertani, a most useftil man at that. time, and the first who instituted a good OF THE PUBLIC PICTtmES AT VENICE. 855 mode of restoration, whom the Senate had praised for haying restored the ceilmg of Paolo [Veronese] in the room called the ^^Sala della Bussola," for which work he was paid 220 ducats ; yet, with all this, such were the underhand dealings, that at last even this honoured artist protested against his com- mission if it were to he obtained by such means, and if he were to be dependent on the whole band of his competitors. It was evident, therefore, that the assistance of this great planter was only to be obtained through the interposition of the Society of Painters, and that everything would end badly if they could not be induced to agree together, and if, to promote their own private views, the contending parties continued obsti- nate in not proposing useful means for proceeding. This was the motive which at once put an end to the designs of the Senate and the activity of the plans set in operation for effisct- ing the general restoration ; nor did it produce any matured arrangements for rescuing the pictures from the long threatened injury to which they were subjected first by the ignorance, and afterwards by the artifices and poverty of the artists. If, however, the great necessity for restoring the celebrated paintings of the Venetians from the damage which had arisen from natural causes and from the injuries which they had suf- fered from the inexperienced hands of those who had operated on them, and the intrigues by which the best provisions were frustrated, had not been motives strong enough to determine the formation of a well-arranged system relative to the before- mentioned general restoration, there ought not to have been any hesitation on the subject, considering the quantity of money which had been thrown away, the dishonour with which the native glory and credit of Venetian genius was tarnished, and the disadvantages to which it subjected the liberal arts. It is true that the pecuniary value of these precious paintings has no regular standard, and that their real value consists prin- cipally in the combination of social circumstances ; the Vene- tians should, therefore, for this reason hold their national and classical pictures in the highest esteem. 866 mSTORT OP THB BSSTORATION If the half of a painting by Titian, which was at one time in a church of this city, and which was reputed to be almost rained, was sold by a dealer for 8000 ducats ; if a single picture by Paolo [Veronese], the greatest ornament of a noble bouse, was desired by a rich stranger at the price of 20,000 ducats ; ^ and if more than 70,000 ducats were paid at that time to the Duke of Modena"* for his collection, which consisted chiefly of small pidntingB ; most certainly a Tory great sum was worthy of being spent on the wonderful pictures possessed only by the then Grovemment of Venice. What must have been their value, for such property could not be valued according to the rules by which the treasures of private individuals and the wealth of merchants are determined, but as gems destined to enhance the splendour of the royal crown of a sovereign? Small indeed is the sum, in this view of the question, of a few thousands disbursed in the course of many years, with the object of recovering riches to the amount of some millions, and maintaining the public dignity, which could not certainly be adorned by more beautiful ornaments than those created by the genius of her sons. 1 The Family of Darius at the feet of Alexander, in the C& Pisani. This exquisite picture is in a perfect state of preservation : the colours appear to have undergone bat little change ; the flesh tints are beautiful, and the whites quite fresh. Sig. Edwards informed me it had been restored by Bertani in 1778, under the superintendence of Sig. Pietro Edwards, his father; that it then required but very little reparation. It was lined and cleaned, and some small touches of colour were replaced where necessary ; the blue sky, which had been painted in oil, was restored to its original colour, and the picture was re-yamished, and since that time the varnish has never changed, but the blue sky has agun acquired a slight greenish tinge. Sig. Edwards told me the colour used for tiie sky was ** Turchino," not ultramarine. The high degree of preservation in which this picture now is, may, perhaps, be partly attributable to the fortunate circumstance of its having always remained in the same family, to its being hung on an internal wall of a room apparently always inhabited, and, above all, to the prudent resolution of the owner not to allow either whole or par- tial copies to be made of it, on account of the destruction of so many first- dass pictures by copyists. 2 This collection is now in the Dresden Gallery. OF THE PUBLIC PICTURES AT VENICE. 857 For these reasons it may be remarked, that as one cannot judge of the greatness of the genius with which a nation is en- dowed from the secret resources of that nation^ but from those objects which it most esteems and which are visible ; so the rivals of the Venetians, from the general abandonment of so many sublime works, which had been the objects of their studies, would have had a very good argument for deductions rather unfavourable to that people. Well and wisely, then, would the Venetians have acted if they had bestowed all their care in forming a certain system of public restoration of their splendid paintings, which, besides being the object of an almost superstitious veneration, had been frequently sought for with so lavish an expenditure of gold, by those to whom nature had denied a Titian and a Paolo, and which had so gloriously contributed to the national renown, and which deserved to be respected, not only from gratitude^ but also from the precious deposit of fame which their authors had confided to the fidelity of their country. Nor could the Venetians allege in excuse the sanguinary incursions of barbarians and the perversion of political systems, which have been cited by some nations as apologies for the state of decay to which the famous pictures of the ancient masters were reduced ; nor can they exculpate themselves by pleading that the decline of taste was occasioned by the great number of excellent works left them by their native authors of the golden time. The humiliation of the Venetian genius would have been further increased by neglecting to restore them to their ancient beauty, and the indiiference they showed con- cerning their absolute destruction. On the contrary, we will say something more, namely, that the custody of the pictures being at that time entrusted to persons ' who had little love towards the fine arts, specimens of them are very rare which are not either blackened, torn, badly dtuated, badly repainted, or in some way or other entirely spoiled ; and for this reason the public testimonies of such neglect would have authorized the universal contempt, the increasing perver- 858 HISTORY OF THB BESTORATION sion of taate in painting; and would also have put an end to the wonder of those who could not perhaps understand how, with the flattering applause of strangers, nearly all the rich gal- leries of the state should have been emptied in less than seventy years ; and that only a very few private collections ^ should still ^ The principal private collections now existing in Venice are thoee in the Manfrini and Borberigo palaces. Among the latter are the Magdalen of Titian, and his St Sebastian, left unfinished hj this great artist, who was working on it when he was attacked, at the age of d9, with the plague. For those who are desirous of studying the method of Titian, there cannot be a better opportunity than thai afibrded by this picture. It should be studied with the work of Boschini in the hand. In the sky, on the left of the Saint, maj be seen, distinct and unsoftened, those vigoroas touches of terra-rossa, ocrea, biacca, and nero, of which he speaks. The distant land- scape, bounded by mountains, and a group of trees in the background, are merely indicated. The face and head are finished, the colours on the upper part of the body have been repeated, but the rest of the body is merely an « abbozzo." It is easy to see, from the length and boldness of the strd^es, that the artist used a large brush when punting, and stood at a distance from the picture. Most of the pictures in this collection are injured by cleaning, having apparently been washed with some solvent, such as spirits of wine or an alkali, which has removed all the glazings, which haye never been re- placed. From this cause all the pictures in this collection by the Bassani resemble pictures in distemper. The removal of the gladngs also gave me an opportunity of remarking that the dark leaves of the trees, and other extreme darks, as well as lake drapery, &c., in a picture by Tintoretto, were painted with colours mixed with varnish, while the rest of the picture looked dull ; and I cannot help thinking that as these colours mixed with varnish resisted the action of the corrosive liquid which had been aj^lied to the picture, an oleo-resinous varnish must have been used. The Magdalen by Titian has suffered much from copyists, who have applied oil and other substances to it in order to see to copy it The cele- brity of this picture may be estimated by the fact, that one artist employed himself solely for eight years in making copies of it In return for the liberality of the nobleman who had granted him this indulgence, the artist injured the sky by the tricks he employed to develop the colours, to such an extent, that he thought it necessary to repaint it, in order to conceal the mischief he had done. This part of the picture does not now harmonize with the rest The Venus also has been much injured, and part of it appears to have been repainted. Part of the drapery has changed to a dull flat black, ail the lights and shades being lost, apparently by the action of some chemical application. OP THE PUBLIC PICTURES AT VENICE. 859 remain embellished with the dusty remnants of this art, banished from the dwellings of the nobles. It has been already obsenred, in the first part of this work, concerning the organizaiion and state of the arts, that at the epoch of which we are speaMng, the spirit of frivolity having put an end to the cultivation of high art, works of puerile taste were substituted, which stamped with dishonour the cha- racter of the eighteenth century ; that the few good artists were driven to starvation, or to follow the common plan ; that the growing and youthful nobility, who should have been able to promote the arts, continued to form the first notions of arti- ficial beauty, both simple and sublime, from the study of the productions of the puerile, the ridiculous, and the hyperbolical style which, by a strange fascination of the mind, was then admired ; and that thus artists and their patrons joined hand and heart in ruining the genius of the nation while they culti- vated the arts. As little or nothing, therefore, could be hoped for in these bad times, or in those which were preparing, no hopes remained of the renaissance of the Venetian School, which, in the short space of a few years, had entirely lost not only the original art itself, but those persons who could direct the taste of the artists; the characters of its lost style could no longer be distinctly traced, and that number of examples which pointed out the various paths of excellence to native genius, were rapidly decaying. But the loss of the Venetian paintings which would have ensued through not organizing a system for restoring them, would not have produced tiie above-mentioned injuries only. In the rise and decline of painting is also included the history of the progress and decline of nearly all the inferior arts which are derived from it, such as the laws of well-adjusted design, the judicious choice of forms, and the various imitations of natural and artificial beauty. The art of painting has always influenced the productions of the chisel, and all kinds of work in which enthusiasm and 860 mSTOBY OP THB RB8TORATION the inyentiye fiu^ulties take part, and the pictorial discipliiie influences more than all the rest the general taste of the people, presenting to it lasting lessons, which are imderstood even by idiots ; encouraging that delicacy of finish and neat- ness in the manufactures of industry, which, when they are brought to the bi^iest degree of perfection, are said to be executed by the peneil^ and, to use the words of Bucmarotti, fixing the compasses of elegance and proportion in the eyes of artists. The destruction, therefore, of the pictures of this State, which mij^t by some be conddered the object of idle and superfluous cares, would have occasioned the universal ruin of those social arts which are based on design, a misfortune so much the greater because it would have happened at the period of the general decay of these arts themselves, and at a time when voices were heard firom other re^ons inviting them to leave this their ancient dwelling. These conaderations were of greater weight than all others, because the nearer the danger, the greater was tiie force of envy, and the value of the monuments of native genius which might still be saved, and so much the more was it the duty of the Venetians to put in operation the most active and efficacious measures for promoting the arts. It ought, however, to be observed, that without the appoint- ment of a IMrector well skilled in the Arts, espedally in the theory and practice of the diflerent styles of Venetian Painting, the regulation concerning the restoration of the public paintings would always have been essentially defective. This was ulti- mately determined in 1778. If the system of a general restoration had been confided to any other person, even though he were a man reputed very learned in the art, it might be believed that sudi a knowledge would extend to the proposing of a method of external custody only ; and thus the diflerent examination of various buildings in which the pictures were contained, the best defences firom acci- dental injuries, and other similar provisions, would have OF THE PUBLIC PICTUBES AT YENICB. 861 formed the aum of what was to be changed and what to be established. But when the contrary to this had become well known, and the &€i of many unfortunate experiments, before the time of Bertani and Diziani,^ had proved that the art of restoration had not yet attained any certain method and sdence, the Venetian GoYemment entrusted to the most learned person conversant with the art ttie whole undertaking (more important than any previous system partially eflfected), the object of which was to retard the decay of the Royal paintings as much as possible beyond the natural course of things ; and this may truly be called preservation. But although these researches reflected so much honour on the Government, they were equally calculated to perplex every man of honour, how well soever he might be informed on these matters. On the one hand, there were no authorized instruc- tions of classic artists, no example of successful experiments conducted on good methods ; and on the other, it was useless to say that the paintings were perishing because no one knew how to restore them. Hence, while the biting irony of empirics in painting, who mysteriously pretended that they alone knew what was unknown to all others, grew louder, great di£5culty 1 Gaspero Diziani, of Belluno. He was a pupil of Sebastiano Ricci, and a scene painter, in which branch of the art he liad great facility. He also painted cabinet pictures which were much esteemed. The following extract from the Decree of the Venetian Senate of the 3rd Sept., 1778, for restoring the pictures in the Ducal Palace, will show the estimation in which Bertani was then held : — " The Senate having maturely considered that it was not prudent to entrust so decisive and important, but necesaaiy, an operation to the plan proposed by J. , and being aware of the difficulty and risk of selecting a person of reputation and experience skilled in the most difficult art of re- storing the injured paintings, hereby declare it conyenicnt and in accord- ance with the express sentiments of the same conference, and with a perfect knowledge of the ability and probity of Prof. Giuseppe Bertani, proved on several occasions, to appoint him, in conjunction with his two usual asso- ciates Baldassini and Diziani, to be assisted by them only, to execute this important task," &c. 862 HISTORY OP THE RESTORATION was found in making every one understand the theoretical rea- sonings and practical observations which could undeceive the minds of people, confine their hopes to more just measures, and justify the moderation of those who only promised what could be expected from the limited strength of human ingenuity. However, at this period the Venetian Government began to place much confidence in the President' of the College of Painting. This person, who had opposed the decision of ten artists who had condemned as irrecoverable, and who had pro- posed to remove, the only work in tempera painted on a wall by Paolo Veronese on the ceiling of the college of the ducal palace,' undertook, in the year 1776, to save this splendid work from impending destruction, and to restore it to its pris- tine splendour. The improvement he eflected may be esti- mated by comparing with the present appearance of the pic- ture an apposite description of it by the pen of the President of the College of Painting, which is still preserved ; for without his ingenious operations and certainty of result, this painting most certainly would not now be in existence.' About the year 1777 occurred the robbery of the head of the celebrated Faith, painted by Titian, and now existing in the *^ Sala delle Quattro Porte," and the Senate had recourse to the • ' Sig. Pietro Edwards, the father of the author of this work. Sig. Pietro Edwards is mentioned in the decree of the 8rd of Sept., 1778, in thefdlow- ing terms :— *' The already suggested appointment of an inspector of intelli- gence and of tried probity, who, with attention and care, should assist this work and decide on the quality and merit of the worics, being of equal im- portance, the Coundl has therefore determined to intrust this important charge to Sig. Edwards, the other Professor, who alone is considered worthy to fulfil so delicate a task, having already shown his ability in Tarioos opera- tions, and especially in the public work of restoring the ceiling by Paolo Veronese in the Sala dell' Anti Collegio, then in danger of perishing, and who was by the Senate, in preceding decrees, acknowledged honest and skilful, and who has obligingly consented to accept the employment for certain considerations." s The picture is still in existence and in its original situation, but it is much injured. It appears from the description by Sig. Edwards of the state of this pic- ture in 1776, that it was in danger of falling in pieces from the ceiling, and that Sig. Edwards secured it in its situation by a multitude of iron cramps. OF THE PUBLIC PICTURES AT VENICE. 863 same (not mercenary) pencil to supply this loss ; nor could the French Commissioners who transported it to their country, or the painters of that country, ever discover the modem substi- tution.^ In the same manner the pencil of this person had, with exact imitation of style, filled up the empty space remaining in the Adoration^ of Bonifazio, by inserting the head of one of the Magi which^ at about the same epoch, had been cut out, perhaps by the same hand that had had the opportunity and audacity to cut out that other most beautiful head of Faith. These and other experiments, as well public as private, which had satisfied the minds of learned observers, added to the no- toriety of his profound theoretical knowledge and superior pro- bity, determined the Venetian Senate to trust the undertaking of the general restoration to the President of the College of Painters. It was required to preserve 92 paintings of Paolo, 57 of Bonifazio, 41 of Giacomo Tintoretto, 11 of the best of the Bassani, and a few by the great Titian, with many others by various classical masters, in all 405 pictures, which were re- stored between the years 1779 and 1785. These pictures were contained in thirty-two public buildings in the districts of St. Mark and the Rialto ; after which 270 more were restored, between the last-mentioned period and the year 1788, uudec the direction of the same person^ making a total of 675 public paintings restored out of 1187.' « I Sig. O'Eelly Edwards, the author of the MS., told me that the piece cut out of the picture waa nearly square, and about 4 or 6 inches larger than the head, and had eyidently been stolen for the purpose of framing. He also told me that he and another person who was then restoring pictures in the Ducal Palace, procured a ladder and examined the picture ; that the seams where it -was joined can be felt on the back of the picture, by press- ing it against the wall. I went purposely to see this picture twice, but from the distance at which I stood, it was impossible to detect any differ* enoe in the tone of the colours, or to distinguish the seams. This fine picture is injured in many places, and appears to be decaying fast. The piunt is scaling from the canvas in many of the dark parts. > The Adoration, by Bonifazio. Thb picture is now in the Academy at Venice. 3 The expenses incurred in the restoration of these 405 pictures are 864 HISTORY OF THE RSSTOBATIOK In order to guide ud i& determining with oertainty the merit of any pictorial restoration, with reference to the difficulties overcome, the propriety of the means used, and the probable success of the result, it is most essential to be fiilly acquainted with the three following points, namely, the preyious state of the restored works, the particular nature of the paintings, and the characteristic style of the authors. The partial or total want of these three requisites forjudging reasonably of the skill, diligent practice, patient investigation, and sure discoveries, which might direct and accompany the above-mentioned undertaking, was perhaps the principal cause of the silence of the learned Venetians concerning the benefits to be derived from this public provision. But as all agree in praising the worth and immense value of these royal pictures, and as the fact of the 751 Reports repre- senting their perishing state is noUvious, as well as their general restoration, and as there are in the public acts more than fifty written testimonials approving of this operation, so much puUic and private applause redounds to the honour of the art of re- storing at that period firmly established. It may be thought useful to indicate briefly some of the re- sults of this restoration from its commencement and during its progress ; these may with propriety be compared with those restorations which in later times were practised with less suc- cessful methods, and under the influence of a difierent manage- ment. Almost all the pictures, therefore, which adorn the Boyal ex-Ducal Palace, were preserved by the general restora- tion, and to this we owe the existence of the paintings illus- trative of some of the most splendid events in Venetian history. The painting by Andrea Vicentino, representing the arrival of atated by Sig. Edwards in his MS. to baye been 4S,595 florins, in which sum were included the expense of repairing and regilding the frames, and the sub-director's salaiy of one florin a day. The pictures of the first class which were restored, computed by Italian square feet, com{med an area of 6458 feet 26 inches ; of the second class, 6407 square feet and 6 ii ^total in square feet, 12,865 and 31 inches. or THE PCBMC PICTURES AT VENICE. S65 Henry m., now in the ^* Sala delle Qnattro Porte/' in tlie Ducal Palace, was restored to its andent beauty, as well as that by Leandro Bassano, representing the Victorious Return of the Doge Ziani and the Meeting with Alexander III., which adorns the Council Chamber of the X. ; and that other picture by Marco Vecellio, the nephew of Titian, in which is repre- sented the Confirmation of the Peace of Italy ; and, together with these, after many misfortunes, were at length repaired the paintings existing there by Bazzacco, by Paolo, by Zelotti, and by Aliense, so that they were again enabled to resist the cli- mate and seasons. By this general restoration were restored the greater part of the public paintings which now adorn the new public library, and which were previously injured by various causes and menaced with ruin. Among these we may cite the painting by Domenico Tintoretto, representing the Taking of Zara, and as a testimony of the well-directed restorations efiected about the year 1779, the Universal Judgment by Jacopo Palma. As examples of the execution and duration of works which have remained unaltered more than half a century, we may cite the paintings of Jacopo Tintoretto, of Palma, of Dolabella in the '* Sala del Pregadi," with many others which are omitted, and which form rich ornaments, and afibrd most excellent instruction to the learned subjects of this most peace- able kingdom. In spite, however, of the great practice and knowledge acquired by about twenty-six artists retained in the public service during the general restoration, it was very doubtful whether the skill they had acquired would become hereditary. It would undoubtedly have done so if they had not been very jealous of their superior information, of their almost inspired knowledge, and discoveries of secrets, especially when an oppo- sition school was formed by some of this profession, in which most excellent future restorers, to whom the public works might be trusted, were instructed. The best informed persons being dead, there was still less 866 mSTORT OF THB RESTORATION hope that the art would be transmitted as the patrimony of posterity; nor could other expectations be entertained firom those who succeeded them, who, notwithstanding the estima- tion to which they had been raised by the instructions of others and on account of the scarceness of other workmen, were, in fact, but idiots and mechanical artists only. These, nevertheless, were the men who, watched over and assisted by the assiduous lessons of the Royal Inspector of pic- torial restorations, continued to work well in Venice even until the year 1798-9, in restoring about eighty-two of the public pictures, and under the safeguard of the primitive Imperial and Royal Government of Austria. This remembrance is always a proof of the gratitude of the Venetian nation, who experienced the effects of tiie royal and paternal solicitude of his Majesty. It is also satisfactory to consider, that even without the example of the Venetians, the august genius of the monarch should have not only continued, but commenced this under- taking, it being weU known that the royal munificence had ex- pended, between the years 1777 and 1781, 75,000 florins in the restoration of the Imperial Gallery. Now all that was provided or proposed, from 1798-9 to 1805, on this subject, at Venice, through the care of the Prince Reitz, of the Commissioner and President Pellegrini, and of his Excellency Count Bissingen, was much praised, both for the prudence with which it was executed and the judgment with which it was planned, and ever afterwards for the value of the paintings, the restoration of which was the object of the atten- tion of the Government. Under its superintendence fifty-four paintings were restored (on the 15th of January), 1797-8, to their places in the ex-ducal palace. Some of these which, under the previous Government of Venice, had been removed for the necessary restorations were restored, and if the painting by the school of Marco Vecellio, OF THE PUBUC PICTURES AT VENICE. 867 representing the consecration of San Lorenzo Giustiniani, is still to be seen in the Sala del Pregadi, it is owing to this super- intendence. The other picture by Pietro Bellotti, representing the demolition of Margaritino, was restored to its pristine beauty, as well as the taking of Cattaro by Andrea Vicentino, in the " Sala dello Scrutinio." These were proofe, which satisfied the Royal Govem- ment of his Majesty, that the art of restoring injured pictures was proceeding in the right way in which it had been directed since the year 1779. Additional proofs were also afibrded by the two immense paintings of Jacopo Tintoretto, which were again placed in the church of the ^^ Madoima dell' Orto" in this dty ; and one of which, representing the Last Judgment^ had lost its colour in many places, and espe- cially in some of the principal figures, which had been twice re-painted. In the year 1803, the Government, after particular inspec- tion, deliberated on the propriety of restoring twenty-eight other pictures, which had not been repaired at the time of the general restoration, and which had been much injured by the Commission for the necessary external defence. It appears, from the notes of the Government of the 3rd of September, 1803 (No. 16,475), that— In the Sala del Mag^ore Consiglio : — The large painting by Domenico 'Hntoretto, of the taking of Zara (a subject similar to that in the " Sala dello Scrutinio "), " had in many ways suffered from the weather and the previous bad restorations," which had been executed by the painter Car- dinali, who had the execrable habit of re-painting old pictures with oil* In the same apartment : — The Apotheosis of Venice, a very large work, by Paolo Ve- ronese, on the ceiling, " reqidred the removal of many spots occasioned by the intrinsic change of colour and the irregular sinking in of the colours." The other two octagons painted by him, representing the Taking of Smyrna and the Liberation of VOL. II. 2 N 868 HISTORY OF THE RESTORATION Scutari,' were previously "almost destroyed by the decay of the colour/', and in 1803 the former "was much injured by rain water, and other causes, which had occasioned great alteration of colour/' and to the same causes was attributed the decay of the picture representing the Fortification of the Isthmus of Corinth, by Leonardo Corona. Agun, with regard to the Bout of the Dukes of Ferrara and of the Germans, painted by Francesco Bassano, and the Rout of the Arragonese, by Jacopo Tintoretto ; the first is represented as "entirely decayed," the second as "obscured and injured by the rains to which it had been exposed," and there was reason to " fear that it would become worse," and it was "also torn " in seyeral places, and " had greatly sufiered by the action of water, with which it had been saturated," and, consequently, that the " necessary operations for preservmg it coidd not be omitted.'' The picture of Otho, presented to Alexander IIL, was "dis- 1 I had an opportunity of closely examining one of tbew woiij whick bad been removed from the ceiling for the purpose of being repured. The picture had been lined, but much of it had absolutely decayed, and there were large blanks on the new can?as. The ground of the picture was ex- tremely thin, and was not visible ; the painting was much worn in places, and some of it had scaled off. The varnish also was removed except in one port, which did not appear to have been retouched. I saw that neither the blue pigment nor the lake had changed. The former was of a beautiful colour. The last colour was laid on transparently, and was deeper in the crevices than on the surface of the marks left by the brush. Vennilion also had been laid on the lights of one drapery, but it had been much rubbed, and I could see the solid painting and white lights beneath. There was a figure in the foreground with a sabre wound on the head. The blood was painted with vennilion, glaaed with deep lake, which appeared vanmhy in the darkest parts, and was of a very fine colour. There were also some lights on a yellow drapery, painted solidly and glazed with a transparent yellow resembling Indian yellow. Part of an embroidered drapery was painted with an orange colour, resembling red orpiment, or that pigment now almost unknown in Italy, called *' Rauschel Minerale'* (if, indeed, they are not synonymous). It was contrasted with a rich warm green, and a lake-coloured drapery of the usual bluish tint was near it. The lights of this drapery were white; the lake was glazed on the shadows, and softened off exactly as it is used in painting in water colours. OF THE PUBLIC PICTURBS AT VENICE. 869 figured by the running of damp (colatura) from the top to the bottom." Ilnally, we read the following remarks on the Paradise, by Jacopo Tintoretto : — '^ It suffered much damage from the last disaster of the penetration of the rain through the large roof. Independently of this misfortune its injuries are indescribable, and would require the hand of its author to repair them, because they are not restricted to particular parts of the picture, but extend to the general harmony, to the distinction of the masses, and to the entire effect of a composition of excessive richness, and almost entirely dependent for effect on the separation of tint and chiaroscuro, which are now so much altered, that they leave great doubt concerning the true and primitive conception of the master. To these great difficulties relative to the essen- tial part of the painting, are added other serious and hazardous operations belonging to the mechanism of the work, to the neces- sity of cutting the picture, to the mode of reuniting it, to the uncertainty of working on the parts in a divided state, and to the difficulty of comparing the whole together previous to re- placing it in the proper situation/' &c. In the " Sala dello Scrutinio :" — Although the Taking of Padua by Night, painted by Fran- cesco Bassano, *' did not appear to be injured by the water which lay on it ;" yet, for the sake of prudence, ^* it was secured with appropriate precautions from injury." The Rout of the Pisans by Giovanni Michele at the Port of Rhodes, painted by Andrea Vicentino^ ** was lined, and the surface of the paint fixed to the ground." The Morea in Chains, and the Fame, painted by Lazzarini, had ^'suffered great injuries, and will still suffer more from the corrosive droppings of the moisture which collects on the marbles of the architecture," such as that of which the monument of the Doge Peloponnesiaco (Morosini) is constructed. Of the Victory gained over Ruggiero King of Sicily, and painted by Marco di Tiziano, it is remarked, " great is the damage which it has received from the calcareous drop- 2n2 870 HISTORY OF I'HE RESTORATION pings by which it is disfigured ; it appears also to be otherwise damaged." In the " Sala delle Quattro Porte :"— The work of Carletto Caliari, representing the Ambassadors of Persia introduced at the CoUe^o dei Savii, was restored to its present state, and to show its former condition we quote the following passage, in which it was thus described : — ^** ITiis beautiful work has contracted a general obscurity from being exposed to the sun ; and it is besides much spotted by the rain and snow which penetrated by the side of the window, so as to cover half the picture." In the " Sala del Pregadi :"— The painting by Jacopo Tintoretto, representing the Doge Leonardo Loredano imploring the protection of the Virgin Mary, was restored ; and the three paintings of Palma Gio- vane, in which are represented the League of Cambray, the Union of Candia to the Venetian Dominion, and the Tri- butes of Various Cities, ** were so much damaged that they ought to be repaired." To these was added, the Dead Christ supported by Angels, of which we read, " its greatest injury resulted from being washed in an improper manner, by which it was injured, and from a very great blackness which seen^ to be incorporated with the colour ; hence success cannot be pro- mised." And lower down we read, relative to the oval paint- ing on the ceiling, painted by the same author, and to the other two by Marco Vecellio and Dolabella, that they had suffered " from the same misfortunes," It would also have been desirable to restore to their former splendour six frescoes,^ of whose existence few are now aware, * Frescoes of Titian. Since this was written the whitewash has been re- moved from one ot these frescoes, the S. Cristoforo over the door leading down to the Church of S. NicoI5. Kugler says the head is fine, the rest of the figure very mediocre. The surface of the picture is broken in a few places as if from accident, and the surface is dirty. The figures are perfect, and have never been retouched. The colours are dark like those of a OF THE PUBLIC PICTURES AT VENICE. 871 which were painted by Titian in the small church of St. Nicholas, in the same ex-ducal palace, and which, unknown to the GoYcm- ment, were whitewashed by the troops' who were quartered there. The Commissioners, who still remember them, believe that they have perished from the effects of time. These paintings had been overlooked during the researches of the members of the College of Painters, who visited the public places. If no operation has yet been put in practice to recover them, some laudable efforts might now, at all events, be easily made, to remove from the walls the calcareous crust which encloses them, as was done to the celebrated Last Supper of Leonardo da Vinci, en- graved by Morghen, and which, after being covered for two centuries with whitewash, was again brought to light by a traveller. punting in oil, the red (terra rossa) drapery is of a good colour, but it was impossible to saj whether the inner drapery had been blue or green. The sky was also a heavy dirty grey. It is rather singular that Boschini (Ricche Minere, p. 54, Ed. 1 674) mentions the five other frescoes, painted in the Church of S. Nicol6,» but he does not mention this S. Cristoforo. Sig. P. Edwards frequently suggested to the Government by memorials (one of which I have seen among his papera in the Academy) the propriety of re- moving the whitewash from these pictures, but no notice was taken of his communications. His son, the author of the MS., told me he should him- self offer to remove the whitewash. Boschini notices that these pictures were injured, he says, from the effects of time, but probably tlie injury aroae from other causes, since the frescoes punted by Titian in the Scuola of S. Antonio at Padua are still in good preservation. > In 1798. See the Report of Edwards for the yean 1805, 1810, in the Academy. I have copied this date from a marginal note by Sig. Edwards,' written in a copy of Boschini's Ricche Minere which he lent me at Venice. * Boschini says, '* Passing onwards a few steps, and on the left of the Scala de' Giganti, and the open stairs, we shall find the small Church of S. Nicol6, where Titian painted in fresco by the altar the four Evangelists, two on each side ; and in the Lunette the Virgin and Child ^ith S. Nicol6 kneeling on her right hand, and the Doge Gritti on the left. '* Opposite the altar in the Lunette over the door is S. Mark sitting on the Lion, and all these pictures are, as I have said, by Titian." 872 HISTORY OF THE RESTORATION The public restoration of paintings being directed by the same inspector, produced good results also under the Italian Government. Few pictures were restored during this period, except those which were effected for the ornament of the rice-regal palaces of Venice and of Strii : and it will readily be supposed that these are sufficient to demonstrate the necessity of publicly teaching this art, thus diligently promoted by the above-mentioned in- spector, who, besides being the guardian of the royal pictures, had been elected conseryator of the Picture Gallery of the Academy. This was also proved by the restored paintings destined for the Vice-regal Gallery of Milan, among which were many portraits of Venetian senators, some of the best of Tintoretto's, and some even by the great Titian, which, on account of their extreme blackness,^ required to undergo a process of cleaning, at oDce so difficult and dangerous, that the pictures would pro- bably have been destroyed had the task been conducted under the direction of another man. If an opportunity be desired of studying some of the efiects of tiie first restoration, as well as tiiat executed in 1814, on works painted in various styles and all by classical masters, it will be found in the rooms of the Old Library and of the Pro- curatie Nuove. There is the Virgin by Cima [da Conegliano], another by Bellino, and the Christ of Albert Durer, in restoring which, in the year 1779, 128 days of work were spent. Then there is the Noah's Ark, by Bassano, which, being recovered about the above-mentioned period from a foreign country, was restored to Venice in a most ruinous condition, folded in several places, and in several parts detached from tiie ground. Then, 1 The cause of this darkening of the pictures of Titian and Tintoretto is ascribed in Venice to the excessive use of Asphdtum, not only on the sha- dows, but in glazing and harmonising the picture. The tendency of this pigment to grow darker in time is well known. OP THE PUBLIC PICTURES AT VENICE. 873 as examples of the more recent restorations, there is the San Marco saving the Saracen from Shipwreck, the Adoration of the Magi, and the St. Joachim driven out of the Temple, with many others, the daily and private ocidar inspection of which, united with assiduous lessons of art, were always entrusted to the above-mentioned Conservator of the Academy. It must not be attributed to partiality in the writer, if he wander from his subject, in order to draw attention to the great knowledge and artistic skill which constitutes the merits of these restorations, in which it is well known that the charac* teristic style of the authors was not departed from, or the origi- nal beauties diminished or obscured. But the great excellence of the most eminent works of this kind can never include an idea more perfect than that cor- responding to the ori^nal condition of this or that work just as it came from the hands of its author, and for this reason, if, after this date, a picture began to show symptoms of decay, it would be unjust to pretend that when restored' to its pristine youth, it should also acquire an incorruptibility, which it did not possess in its first state. Hence, if after a long course of years some of the restored paintings should have again begun to decay, this ia only a con- tinuation and consequence of their inseparable tendencies, and not a defect of the ai*t, the scope of which can never be to change nature, but only to give it help and succour. Then the reciprocal affinity between the most active elements of this Venetian atmosphere, and the material substance of the paint- ings, and more especially of oil paintings, and the various me- chanical methods employed by their authors, being accurately known, more physical causes of insensible destruction are to be found than are sufficient to produce, in spite of the most skilful restorations, greater alteration in the before -mentioned pictures than we find to have occurred between the year 1779 and the present time. But excepting all these innumerable and acci- dental causes, the results of the public restoration of the royal pictures between 1779 and 1814, although sixty years ago, 874 HISTORY OP THE RESTORATION prove, even in their present state, that they were directed with uncommon learning and great skill. From this it is manifest, that if a superintendent be provided with sufficient knowledge, prudence, true zeal, and superior probity, the Government may at all events rest quietly in the certainty of its confidence being well placed. It is now time to see from the facts which follow, whether, from 1814 to the present day, the restorations of the royal paintings have pro- ceeded with equal success, and whether the pictures themselves have been safely preserved. In the year 1816, the Venetian Academy, having become possessed of 250 paintings, presented to them by the royal munificence for the decoration of the public picture gallery, raised a doubt, notwithstanding the successful experiments of sixty years since the commencement of the public restoration, whether it would be of greater utility and security to leave the above-mentioned paintings in the state in which they then were, or to repair them in the usual manner. The votes being taken, there was not found to be a sufficient majority in favour of the definitive determination of the Govern- ment to promote an undertaking, the execution of which would have decided the fate of so valuable a portion of the public property, of the honour of the art of restoration among the Venetians, of the reputation of the Royal Academy, in the bosom of which it ought to be exercised, of the fame of the celebrated ** Capi-Scuola,*' recommended in their works to the fidelity of their country, and, finally, of the utility which would arise to the public in the education of the rising artists. Objects of such importance obliged them to entrust to the ex- perience of the above-mentioned aged director of the public resto- rations and conservator of the picture galleries of the Academy, the commission of writing an official Report^ on the necessity 1 The Report here alluded to is preserved in the Academy at Venice. It 18 a most interesting document, but owing to circumstances which 1 could not control, I was prevented from taking a copy of it. I, however, procured an extract to be made from it, a translation of which will be found ^^mt^^mimmmmmmmit^mmmm^. OF THE PTTBLIC PICTimES AT VENICE. 875 and utility of the restoration of the pictares, in which might also be demonstrated the advantages that would arise from the establishment of a public school for this purpose. The practi- cability of the subject first suggested being abundantly proved, it was adopted in the year 1817, and the restoration was per- mitted, but, as will be easily believed, in the full confidence that the execution of such operations should be directed by that same conservator to whom it exclusively belonged by reason of his office. A decree so well considered, through the care of his Excel- lency the Governor (Count Goess), did not limit to a certain period of time so delicate an enterprise, for accomplishing which many years and many restorers were necessary ; the Government well knowing that had they acted difierently, they could not have expected a result corresponding with the views which, in their provisions, they had contemplated. The President of the Academy,* having given to this judicious decree an interpretation which could not possibly have been contemplated, waiving the above-mentioned considerations, and reflecting that the slow re-establishment of the health of the Conservator, who was then indisposed, was incompatible with the rapidity with which he desired to complete the splendid decorations of the room destined for the annual distribution of the prizes in August, 1817, resolved to commence immediately the restoration of those pictures which were to be used for this purpose. The exclusion of so important a surveillance was the first error of the then President ; we think proper to make this remark on account of the importance of his influence. In addition to this, the whole work was confided to two artists only, on whom the Inspector of restorations thought he could not depend unless he kept them under his daily ocular inspec- tion, and directed their labours with assiduous artistical lessons, and the best of whom he did not consider sufficiently careful to in p. 8S6, which will show Mr. Edwards's opinion as to the best method of rendering paintings in oil durable. > The Conte Cicognara, author of the works on Sculpture and on Nielli. S76 HISTORY OF THB RBSTOUATION be propoeed as master of the school of pictorial restoration pro- jected in 1816. This second oversight was not inferior to the first ; indeed it was worse, inasmuch as these artists were gene- rally reputed for various reasons to require the most rigorous and careful superintendence. But when it is considered that the labour of the two artists above-mentioned was limited to the short space of four months, when five or six years were really necessary, and that within this time they were required to repair thirty paintings of great size,^ both on panel and on canvas, one may easily be con- 1 Among the pictures restored in this hasty manner was the Assumption of the Vir^n by Titian, formerly in the Charch of the Frari, bat now in the Gallery of the Academy. I saw the contract for the restoration of this picture among the papers of Sig. Pietro Edwards. It was made between Sig. Edwards, as Director of the Restorations, and Sig. Floriani, by whom the pictuie was restored. It contuned the following stipulations : — * that the paste used for lining the picture was composed of flour paste, Flanders glue, and ox-gall. The use of the latter ingredient was to preserve the paste from the attacks of insects. The method of pressing freshly lined pictures pursued by Sig. Edwards differed from that practised in this country. The process was described to me by his son ; it was as follows : — The lace of the picture being secured by pasting paper over it, it was laid on the polished Venetian floor, or, as it is called, " Terrazzo,*' and the lining was fixed to it. Hot sand was then lud all over it, beginning always in the middle of the picture, whence the sand gradually spread to the edge, and the picture was covered to a certain height. By this means the air was pressed out from between the canvas and the picture, and an equal * Accordiog to Sig. Edwards, the best proportions for making this varnish are 1^ oz. of spirit of turpentine to 1 oz. of mastic. OF THE PUBUC PICTURES AT VENICE. 877 ▼inced, even by merely conffldering the probabilities of the case, that the result would be anything but satisfactory. This was the third blunder committed while the Academy was under the guidance of this President ; nor is it easy to understand how, when the effects were so evident on these precious monuments of art, and on the other objects which relate to them, even in*- dependently of their belonging to royalty, it should have been decided to employ such dangerous measures. The result of his zeal corresponded with the anticipations of the Conservator of the Academy, and justified his respectful disapprobation. We cannot do otherwise than believe that the former President was ignorant both of his anticipations and of his disapprobation, for in the annual discourse for 1817 his activity in bringing to new life those splendid monuments of degree of warmth and presfiure was communicated at the same time to the whole surface, much more safely and effectually than with a hot iron. The information I had obtsuned relative to technical processes used by Sig. Edwards in restoring the Venetian pictures, naturally induced me to examine carefully some of the paintingts that had been repaired under his superintendence, and especially the " Assumption of the Virgin " above- mentioned. The general effect of this picture is fresh and beautiful in the extreme, but on looking into it, many parts are perceived which appear to have been retouched with meguilp, for they exhibit the cracks to which paintings executed with this vehicle are liable. In other parts the colour is lowered, as if oil had been used, evidently showing that the painting had been repaired with more than one vehicle. The darks of the picture look as if they had been injured by the application of something corrosive. From these remarks I think it very probable that the picture has been repaired more than once since its restoration under Sig. Edwards in 1816, now 30 years ago. At the same time, I must acknowledge that Sig. O 'Kelly Edwards frequently lamented the extreme haste with which the painting had been repaired, and which perhaps will account sufficiently for the numerous cracks in the new parts. Titian*s picture of the '* Presentation in the Temple" is also much cracked in several parts, apparently from the effects of restorations. The same may be observed of the Miracle of St Mark by Tintoretto. I have been informed that Sig. Edwards used no varnish but that of mastic in restoring the decayed pictures, but this is objected to by many modem Venetian restorers of the Grovernment pictures, some of whom use raw linseed oil only, others linseed oil boiled on litharge. It is unneces- sary to comment on the effects of such restorations. 878 raSTORY OF THE RESTORATION which, according to his cautious expression, he was the *^ pas- sive keeper/' is highly praised. Some of the injuries effected by the restoration of 1817 are visible to all intelligent persons, but there are others which work secreUy and which are only known to a few — time will show the result of these. He who does not know the pre- vious state of the pictures, or who is unacquainted with the nature of the painting, and the mode in which the picture was executed by its author, who cannot distinguish the intrinsic and inherent defects incident to the works themselves, from those which are the consequence of bad restorations, who possesses or trades with paintings restored in the same manner as those of which we are speaking, and lastly, who is contented with an apparent illusion, cannot be a judge in these affairs. A written report was wanting, from which might be known the state of the paintings of the Royal Academy at the time of the above-mentioned restoration, and fifteen years previous, as well as the methods then established, which were to be observed in the practical execution, in order to form just conclusions as to the former, and to recognize, by evidence, the latter, and hence to judge of the consequent injuries sufiered by the pic* tures. But this deficiency is supplied by the catalogues^ of the defunct Conservator, in which is described the state of the royal paintings from 1808, at which time they were collected in the public depository of St. Antonio, where they were care* fully preserved. But even without this, how well soever the nature of the paintings may be known as we have just observed, and the various executive methods of the different styles, it is easy to distinguish, by comparing the parts of the pictures which are in- tact with those which are nearest to them, the defects origi- nally inherent in the paintings, from those which were caused in them by the influence of the climate or seasons, and from the injuries arising from the want of skill or negligence of others. 1 These catalogues are now preserved in the Academy. OF THE PUBLIC PICTURES AT VENICE. 879 It is certain that in the peculiar nature of this or that pic- ture is to be found the intrinsic cause of its greater or less resistance depending on the nature of the material, and on the method of the work. The use of ill-prepared and fleeting colours, the mixture of substances which act upon each other reciprocally, the want of skill in employing alone and in large masses colours which do not well receive the cementation of the oils unless they are united with other bodies, such as vitreous and sandy colours;^ the introduction of various liquids calculated to produce changes in various degrees in the body of a painting, and to cause it to separate in laminse" of various consistence, instead of forming one single homogeneous and uniform body, and the excessive liquidity of the too-dilute colours f all these are defects inhe- rent in the solid part of the paintings, proceeding from the mechanical execution, and which cannot be remedied. To this may be added the rigidity of the friable glues, the bad choice of the preparations and grounds used by the different painters, the thinness of the coats of colour, the glazings and the sfreffozziy* so much loved by the Venetian school, and indeed perhaps indispensable, the retouches applied by the painter to 1 The difficulty of employing vitreous colours, such as smalt, is acknow- ledgid by all writers on art. s I may mention as a fact that Sig. Schiavone assured me, that in restoring lectures by Titian, he had removed eight or nine layers of colour. B The ill effects of employing the colours too liquid are frequently men- tioned by Malvasia and Lanzi. ^ Sfiregazzi or sfregature. By this term is meant a peculiar thin kind of glazing, which is executed by dipping the finger into the colour and drawing it once lightly and evenly along the part of the picture on which it was to be applied, such as the shade on the cheek, the limbs, &c., or wherever it is wished to lay a soft thin shadow. It is ouiy to understand that the layer of colour must be very thin. These sfregazzi are distinguished from the glazings by the manner in which they are executed, as well as their effects. The glazings which are commonly mixed with varnish may be applied either with a brush or with the hand, but instead of drawing the finger once along the part to be painted, it may be rubbed in with the whole hand. Glazings are used for laying a flat transparent tint, but sfregazzi for soft shadows only. 880 mSTORY OF THE RESTORATION the picture when in a state too dry and hard, with a hundred other things, are all defects inherent in the pictores and which spoil them, making them appear as if injured by the climate, and preventing the perfect union of the surface and of the in- terior. Hence, besides the decay of the finer parts exposed to the contact of the external air, the whole substance of the pic- ture becomes porous, which increases the fEuality of ingress to the dissolving acids, and these give rise to a secret disunion of parts, and form various combinations which are afterwards manifested by change of colour, blackness, and other marks of destruction. In addition to these, there are the intrinsic defects peculiar to painting in oil, notwithstanding the misapplied praises of many writers. The nature of the vegetable oik obtained by expresr sion causes them to blacken in the paintings; the peculiar loss or sinking in of the half-tints, which takes place more firequently in this kind of painting than in distemper or firesco ; the drying and want of cohesion in the small particles of the colours ;^ the 1 The effects produced on pictures hj their hang^g for a period of 100 or 200 years on a south wall were described to me by Sig. SchiaTone. He says such pictures invariably appear as if painted in distemper, from the evaporation of the thin and fluid parts of the oil. Such pictures preserve the purity of their colours, which Sig. Schiavone assured me would wash off with water. He denies that the Venetians painted any part of their pic- tures with water colours, and says the appearance of it is to be attributed to this cause only. He also told me that paintings which had hong on north walls never had this appearance, but always perished from damp. Mr. Edwaids also concurred in this, and in order to show the effects pro- duced on an old picture which had always hung on a north wall, by ex- posure to the sun, he related to me the following account of a Capo d'Opera painted by Cima da Conegliano, for an altar-piece in a church at Venice, which was intended to be hung on a north wall : — The picture was on wood, and in order to preserve it from damp, the wall against which it was to be placed was lined with wood, and the space between this vrood and the picture was filled with charcoal. The con- trivance succeeded, and the picture was preserved until recently in a perfect state ; but the late Abbate required new garments for the priests, and not having ready money available, the picture was sold. The purchaaer mort- gaged the picture, which was deposited for safety with a restorer of pic- OF THE PUBLIC PICTURES AT VENICE. 881 rigidity of the painting, which acquires almost the transparency of talc ; the coagulation of some colours, which contract into distinct, dark-coloured, aM very hard globular particles, a great and inyincible defect, which is known among artists by the name of sobbollimento. Although these liquids are very capable of being volatilized, the proportion of their elements is restored to equilibrium by the regularity of the evaporation, after which no part of them re- mains but the dregs (fecde), which are incapable of being sub- limed,^ and which are called by the chemists ^' inflammable earth,"' which, in the slow operation of years and in the state of commixtion in which it is found, acquires greater friability and perhaps also greater blackness than is remarked in the artificial separation by distillation,^ and instead of considering it as the tures, who, without conndenng that the picture had hung ever since it was finished on a north wall, left it on the floor of a room exposed to the mid- day sun. In the mean time the old Abbate died and a new one was ap- pointed, who, thinking the picture had been unlawfully disposed of, insti- tuted law proceedings against the purchaser and recovered the picture. But the picture was no longer of the same value, for it was found dried up, crocked, and almost destroyed by the exposure to the sun. 2^The oil is converted into resin by the evaporation of the watery par- ticles. * It is almost unnecessary to remark that this theory, founded upon Stahl's '* Tbeoria Chemicse Dogmaticse," the doctrines of which were in- culcated as the infallible code of professors of chemistry for almost a century, is now found to be incorrect. Stahl supposed that light and heat were occasioned by the emission of a common inflammable principle, which he called Phlo^ston. s These remarks of Mr. Gio. Edwards are evidently founded on the opi- nion of his father, expressed in the Report from which I have given an extract at page 885. Mr. Edwards appears to have been well acquainted with the distillation of oils, the residue of which is a kind of resin, liquid when heated, but solid when cold ; black in colour when viewed in the mass, but a transparent brown yellow when spread on a light ground. It is without any smell, and may be diluted to any extent by the volatile oil which has been distilled from it. The smell of this volatile oil is extremely pungent and unpleasant, and as oil paintings cease to smell when perfectly dry, it may fairly be pre- sumed that all the volatile parts of the oil have evaporated (especially if the 882 HISTORY OF THE RESTORATION usual residuum of all oilsy it may be considered as a result similar to that mentioned in the observations of Kunckel, who, by uniting a vegetable essential oil to a highly concentrated add, obtained from the residue after distillation a dry and shining eaith (terra) which was infusible. For if the substance of this oily cement is supposed to change so materially, in the same manner we may readily suppose the change which it induces in the various bodies to which it is united. The strong smell of oil colours is sufficient to show the effervescence of the parts of the fresh composition, and the formation of the last combinations among the different prin- ciples which disengage themselves and unite together. Hence, the scrutinizing and experienced eye, investigating the changes of an old painting of tiiis kind, will find, among many other things, impure concretions of sulphur,* which was never used, and indeed could not have been used on that part of the picture, a phenomenon obtained artificially, as Boyle and Stahl obtained it, by simple digestion of the vegetable oils with sulphuric acid. picture has been placed in the son and air), and that the resin alone is left. The change therefore produced in oils by drjring is a chemical change, for different salts come over with the volatile parts in the process of distillation. These become visible when the distilled oil is cooled to a temperature of 40^ Fahrenheit, when it becomes a mass of white needle-shaped crystals which again disappear on warming the distilled oil. If this distilled oil be rectified by distilling it a second time upon water, the salts are removed and the volatile oil remains limpid and clear in the coldest weather. The good effects therefore of exposing newly painted pictures to the sun and dew, by which the volatile particles and salts or rather acids are evaporated, become apparent. In addition to the partial decomposition of the oil, and tlie evaporation of the volatile acids from paintings in oil which have been expoaed to the sun and dew, another important chemical change is effected, and the resinous part of the oil is bleached by the action of the chemical rays of light, and by the absorption of oxygen from the air, and especially from the dew which contains much air and free oxygen. 1 Mr. Edwards told me his father had sometimes found particles of sul- phur on old paintings, and that he had more than once called hb attention to the subject, and had pointed out to him the grains of sulphur, which he had picked out of the paintings. OP THE PUBLIC PICrrtJRBS AT VBKICE. 883 Besides these defects naturally inherent in the painting, there is the following, namely, that in an oil painting 200 or 300 years old, no eflbrts of art can remove the fixed and blackened part which cannot be evaporated. Lead, copper, and mercury are also subject to almost the same alterations when tiiey are used on the same agents. From these fects we conclude Aat the changes of these bodies in some parts of the painting can frequently be revived, but this should be understood, with very great restrictions, for some tints, especially those composed of metallic green, blackened by an excess of add, which enters into a sulphurous combination with the oil, although once restored by the use of an alkali pro- perly diluted, do not pennanently better their condition. There are also the injuries arising from the climate, which is the most active enemy of paintings, and only in a few cases, perhaps, can they be defended from its universal and incessant action, and althou^ climate is most important everywhere, it is especially so at Venice, for if a writer were to make a long description of the phenomena peculiar to all the different cli- mates of the world, he would characterize that of Venice by merely indicatinig its singular property of corroding all paintings in a very short space of time. Having reUted the difierent effects of the immovable causes which we have indicated, with their modifications, I would ob- serve that they can, by a very easy comparison, be distinguished from those which are produced by bad restorations. For ex- ample, the impossibility of increasing the thickness of the coats of colour in painting, is not a fault of the art of restoration, but the continual attenuation of them with corrosive substances is so ; it is not the £ftult of the art if that which causes them to divide into tlun lanmue cannot be removed, but it is a fault to introduce a menstruum which disjoins the parts still more ; it is not a fiEiult if the unequal porosity of the mass of colour in a painting cannot be reduced to the consistence of a body fused all at one time, but the want of skill consists in rendering its surface even by rasping and by stippling it So it is not to be VOL. II. 2 o 884 HISTORY OP THE RESTORATIOK imputed to ignorance if the volatile and light nature of the mezze tinte are not changed into solid and reasting substances, but it shows great ignorance to increase and make them heavy with that kind of re-painting called ^^ di corpo," nor is it an artistical error if the heterogeneous and improper ingredients which enter into the composition of tiie diflferent mixtures cannot be separated from the other substances, but it is very wrong to use those things which decompose them. In order to verify the accuracy of these observations on the visible injuries of which we are speaking, we think it suffi- cient to refer to the concordant testimony of the academic body to whom the anterior state of the chosen pictures, and the mode followed in their restoration, is well known. OF THE PUBUC PICTURES AT VENICE. 885 EXTRACTS A DISSERTATION READ BY SIG. PIETRO EDWARDS IN THE ACADEMY OF FINE ARTS AT VENICE ON THE PROPRIETY OF RESTORING THE PUBLIC PICTURES. DATED MARCH, 1812. Of gesso and oil grounds, — ^The practice of painting in dia- temper having almost entirely ceased towards tlie end of the fifteenth century, another century, at least, elapsed before there was any necessity for the frequent reparation of paintings in oil. After this period the use of gesso grounds being abandoned, with great injury to the Venetian colouring, the practice of employing grounds prepared with oil was introduced, which led to the adoption of different methods of painting. Of the art of restoring pictares. — At this time the experience derived from previous trials must necessarily have been want- ing, and no experiment could be said to have been properly tried until it had stood the test of a long course of years. Mean- while each artist adopted the method which to him seemed best, or followed, without examination, the custom which then pre- vailed, until the year 1730 or 1740, when, warned by the many past errors and few fortunate results, some artists adopted a better method. This reform gradually progressed, so that we can maintain on the base of indisputable facts, proved by the testimony of more than sixty years, that the art is now carried to a point of the highest utility, and has become so much the more valuable and important inasmuch as the necessity of our having recourse to its aid is daily augmenting. Nor is any discredit thrown on the art by general accusations 2o2 886 mSTORT OF THE RBSTOBATION founded on the unsuccessful result of its undertakings, when they are considered oollectiTely without distinction of times, and when all the dates of so dubious a career are put together from its first beginning. The commencement of all the arts was feeble and insignificant, and even at the hei^t of their renown they always numbered among their professors some obtuse or bad workmen. Hence, if it is wished to insinuate that the restoration of paintings should be absolutely forbidden, on the pretence that it is generally productive of the worst efiects, it is necessary to show, previously to such a conclunon, that all the testimony that has been, or that can be, adduced in favour of good restorations, by means of which many valu- able works of art, now admired, and formerly considered use- less or entirely lost, were recovered, is evidently fidse or dic- tated by a ibolish anticipation ; it is also necessary to prove that the opinions of the most expert professors on pictures valued at 20 or 30 before their restoration, and actually sold for 100 or 1000 after it, were absurd, or that they were all purchased by bribery ; and, finally, it must be proved that, in this general condemnation, the whole course or state of the art must be com- prehended, so that from its commencement until the present time, neither work nor workman can be pointed out deserving of praise. But if all this cannot be demonstrated, the lamentable belief cf tins universal falling off should be partially removed, because, while it does not correspond with historical truth, it drives to despair all those amateurs and artists who wish that by systematic laws the cheis-d'oeuvre of ancient pencils may in a few years afford us no occupation but that of weeping over their legally consummated misfortunes. I well know that all this is not suf- ficient to change the firm opnions of my opponents who, though they cannot contradict my statements, stiU believe that they derive a strong argument against the restoration from some essential defects inseparable from it, and on which I ought not even to touch, lest I should increase the tedium of this long discourse ; yet, that my silence may not be attributed to OF THE PUBLIC PICTUBSS AT VKNICE. 887 an endeavour to avoid answering this objection which is reputed to be the Achilles of its party, and so g^ve rise to suspicion against my cause, let me entreat you to suffer me to allude briefly to the alteration of tints by retouchings *^ di corpo " in ancient pictures, of which so much has been said. My adveraaries being persuaded that so gigantic an objection must be insuperable, inquire, almost smilingly, fVhat colour now u»ed will he the same heretifterf To this I have a mostde- dded and short answer. That colour whose liqmd cement shall be quickly absorbed by the ground on which it is placed, and which shall be afterwards covered with an appropriate varnish, by which it is preserved from immediate contact with the air, thai will be the colour which, being used to-day, will remain permanentiy the same for more than a century. The assertion that all colours in all cases must change is gratuitously put forward without the slightest evidence. I might therefore dis- pense with adducing proofs of the correctness of my answer, were it not that the respect due to the honourable assembly which hears me obliges me to say something on the subject, with a proper regard to the greatness of your knowledge before which alone I am permitted to justify my expressions, merely observing, that from the chemical doctrines of the fermentation of the mixtures into which fluid components enter, results the cause of the intrinsic or internal alteration of the colours ; that from the same doctrines of the action of the inflammable gases and carbon wluch float about in the atmospheric air as well as from the aqueous vapours of the same atmosphere, are derived what may be called the extrinsic change in the same colours when thoroughly consolidated ; that from the knowledge, also derived from chemical science, of the attractions or affinities of aggregation alone, is demonstrated the power possessed by cer- tain absorbent earths, such as our gesso after calcination, of attracting to themselves the oils as well expressed as essential, not miscible with water ; that the most subtie and fluid portion of these substances being absorbed, and the cause of fermenta- tion being thus removed, the most viscous and resinous parts 888 HISTORY OP THE RESTORATIOK which remain, withdraw into themselves and condense the par- ticles of the mixture into more strict ooheuon, which thus acquires a uniform consistence most proper for preventing the penetration of the dissolving prindples contained in the external air ; that the interposition of a varnish between the painting and this external air, as it prevents their immediate contact, so it preserves the surfiuse of tfie colours derived from metallic oxides, which by their affinity for the before-mentioned inflam- mable gases might be deprived of their oxygen and be revivified ; that the foundation of these theories may be seen expressed in the old chemical terms in the works of the celelnrated Bergman, of Boume, and of Macquer ; and in the formulae of modem chemistry, which we have used, in the works of Fourcroy and other modems, not omitting, with respect to the article of var- nishes, the useful practical treatise of Watin, praised by the before-mentioned Macquer, besides all those passages in the works of various respectable authors which in a purely physical sense may be compared with them ; that, finally, the truth of my proposition is proved by the inex>ntrovertible, though rarely occurring, fact of ancient pictures painted in oil with very few repaintings on grounds of gesso not hardened, (mark well,) not hardened by strong glue, or on canvas having a thin coalsng of gesso, whose colours have been preserved willi as much fireshneas as if just painted. Sudi are the three paintings representii^ the legend of Sta. Cristina, and another, the subject of winch is the Annunciation, all of which are the works of Paolo [Veronese], now existing in our Royal Academy, and already prepared in the "Gran Sala" for any observations you may wish to make on them, which being considered solely with reference to the colours not being obscured by any intrinsic change, would be judged to have been painted but two days in- stead of upwards of two centuries, yet not having been defended by varnish they have sufiered great injuries in the parts most deficient in solid colour, being consumed by repeated rubbings or indiscreet applications on pictures remarkably rigid and dry, as well as by the continual, though imperceptible action of the OF THE PUBUC PICTURES AT VENICE. 889 surrounding atmosphere ; so also in those small portions which present a surface of metallic colour to the contact of the air, such as the copper greens and a certain mineral blue which is no longer used, they have manifestly suffered in a small degree from the actiyity of the inflammable principles, according as the substance adapted to feel their action was combined in a greater or less degree with other ingredients, agreeable to the practice of Paolo, who, differing from other Venetian masters, scarcely ever used the above-mentioned colours unless mixed with others. You will perceive, learned academicians, that I omit adding a hundred other things on this special proposition, as I ought to do in every other division of my discourse, because each by itself would have required a particular treatise ; but your pene- tration will certainly understand, even from what I have hitherto stated concerning the apprehended alteration of colours in the retouchings *'di corpo," that it was not the impossibility of making the colours of the restored parts remain always the same, that occasioned their change, which in part ori^nated in the then unknown bad effect of stuccoes and grounds incapable of absorbing the more fluid part of the recent painting, and, con- sequently, of permitting it to dry; it was the want of an universal knowledge of the theories necessary for the secure practice of the art, and these effects were sometimes produced by the desire of increasing the prospect of gain by hastening the work, aided by the stuccoes being either naturally unab- sorbent or being saturated with oil previous to the retouching, or being formed of the colour itself distempered with what ought afterwards to serve for the retouches themselves, all these being common errors on such a subject. ( 891 ) ADDITIONAL NOTES AND COMECnONS. Note, p. clxzy. The Bolognese MS. (p. 454) contains a recipe, which I had overlooked, in the later handwriting, for making lake from '< lac overo grana." Lake made from kermes was known, therefore, in the fifteenth century, and pre- vious to the time of Neri. P. clxzxviii. I am informed by a friend that the Germans consider the terms Morellen Salz, Eisen Ozyd, and Caput Mortuum as synonymous. P. cclxi. By the earliest varnish used in Italy, I mean to say, that which was in general use after the revival of the arts. Note, p. ccxcv. Since this Introduction was written, it has been pointed out to me by a friend, on whose judgment I have perfect reliance, that Paolo Pino was alludinf^, in the passage I have quoted, to the drawing, which the old masters were accustomed to finish with great accuracy, and not to the com- mencement of the pictwre in chiaroscuro. On a closer examination of the passage in Paolo Pino's Dialogue, I am satisfied my friend is right. I must, however, observe, that although there may be no documentary evidence that Gian Bellino began his pictures in chiaroscuro, we have still the testi- mony of an eminent Venetian artist that this was his usual practice. See p. cxxxiii. Page 60, No. 11 . Several kinds of ley are mentioned in these MSS. Common ley was made by an infusion or decoction of the ashes of burnt wood in water. This was called Hanno in Tuscany, Lucia in other parts of Italy. It was also called CokUo ^ and JBucato, which is the ley used by laundresses. Strong ley was called Zdscia fortissima, weak ley Liscia dolce. CapUello was by some persons considered the same as Liscia; but D. Alessio says that Capi- tello was made of strong ashes and of soda with quicklime, like that of which soap is made. It was then caustic ley. Manno da Mezzo is the same as Capitello,* and JRtmno da Capo ^ is probably the same. The strength of the ley was determined during the middle ages in the same manner as it is now— namely, by laying a fresh egg upon it : if the egg sank, the ley was » D. Alessio. • Alberto's Diet. • Bol. MS., p. 354. VOL. II. 2 P 892 ADDITIONAL NOTBS AND CORRECTIONS. too weak ; if it swam, it was of tlie proper strength. See Bol. MS., p. 498. Page 70, No. 48. Tutia, Tuzia, or Tuchia, is an impure oxide of anc found in the cLimnejs of the furnaces in which zinc ores are roasted, or in which anciferous lead- ores are smelted. (Note by the Translators of Beckmann*8 Inventions, Art. Zinc.) Alexandrine Tuzia was prepared artificially by placing in the furnaces where the ore was smelted rods of iron, to which the zinc, being sublimed by the heat, adhered. (See Ricettario Fiorentino.) Oxide of zinc was called by the Romans Pompholyx and Bulla, Pompholige by the Italians, Tuzia by the Arabs ; at a later period it has been known by the names of Lana philosophica, nil album, flowers of zinc, &c. Matthioli (Diosc, lib. v., cc. 43, 44, 45) distinguishes between the real Tutaa, which he calls Cadmia Minerale, and Alexandrine Tutia. Depping (Hist, da Commerce, &c., vol. i. p. 144) says — " La tuthie, poudre de Tarbre Goan^ que les Egypticns tiraient d'Alexandrie ; Pegoletti la nomme ispodio^ d'apr^ le mot spodos, que donnaient k cette drogue les Grecs et les Arabes." In this he is not correct. Tutia and Spodio are not to be confounded. The difference between them is pointed out by Matthioli, who, quoting Galen, says — " Bypomphoiige was understood the more subtle part which rose to the top of the furnace ; and by spodio the grosser particles which fell to the bottom.*' The same author mentions an artificial kind of spodio which was stated by Avicenna to be prepared from different vegetables, chiefly from canes, and it is this artificial kind of spodio which Depping has con- founded with Tutia. See Matthioli's Dioac, lib. ▼. cap. 46. P. 86, note 6. The ** lot " is not a liquid measure, but a w^ght. See the < Note on the Weights and Measures,' p. 898. Note, p. 112. The proof that S. Audemar was a Frenchman and an ecclesiastic is to be found in No. 165 (p. 131), where he says, <* in hac nostra patria Galliae ut in tota Francia crescit," and ** quedam herba cujus flores nos crocum laid vero safran vocant.'* P. 178. Since writing the passage in the text I have had reason to think that the glass described in the page referred to may have been black, and not blue, but as yet I have no proof of this fact. P. 305, No. 232. Cuprum ustum or JSa ustum, called also Ferretta di Spagna, was, according to Cesalpino (De Metallicis, lib. iii. c. 5), nothing but calcined copper. In modem chemistry it is denominated the protoxide of copper. The terms Ferret and Ferretta di Spagna were also applied to the native red ore of iron, called Heematite. See Art of Fresco-painting, p. xxxii. ADDITIONAL NOTES AND CORBECTIONS. 893 P. 209. Copper was at first called as cyprium : but in course of time cyprhtm odIj ; from which was at length formed cuprum. See Beckmann*s Inven- tions, tit. Zinc. Page 211, No. v. AdnuwUrnu. — ^This should be ammonitrttm or hammonitrtanj the ancient term for the " frit " or first mixture obtained by the fusion of the sand and alkali. See Pliny, lib. xxxvi. cap. 26. Cesalpino speaks positively on this point: he says that ** of sand and nitre is made a mass which Pliny calls hammon^rumf and which is now called ' fritte.' " See Merret's Notes to Neri's Arte Vetraria, cap. viii. Page 227, No. XXII. Paramenhtm. — The saline efiiorescence which is found on old walls. It is more acrid than common salt. Merret says that he had a specimen in his cabinet which was transparent, and very similar to alum. It is more acrid to the taste than sea-salt. See Merret's Notes to Neri's Arte Vetraria, cap. vii. Page 244, No. L. Alumbv. — The name formerly given to all salts which had sulphuric acid for a base. In medieval MSS. these salts are also called '* Glassa,*' or " Glace.** It appears that the Romans gave this name to sulphate of iron. "The difiTerence, that the vitriols are combinations of sulphuric acid with a metallic oxide, either that of iron, copper, or zinc, and alum on the other hand with a peculiar white earth, called on this account alumina, has been established only in modem times." i Many kinds of alumen are mentioned in medieval MSS. A pigment of this name, which appears to have been Allume Scagliuolo, is twice alluded to in the third book of Eradius. See pp. 245 and 232. Ahanen glade, Alumen glarum^ Ahm de glace, AhanenjamenL — There is little doubt that these were merely different names for Roche Alum.* AOume difeoda — Tartar of wine dried in the sun during the dog-days. > Carbonate of potash. Allume caiino — Carbonate of soda. AMume dx pkane^ Alunde plume — called also Allume Scissile. It is a natural alum, composed of many threads, which are white, straight, fine, and shining like crystal, which form hera and there certain fringes or beards like feathers. It is frequentiy con- founded with the stone called Amyanthus, or Fiore di pietra. ^ Allume eU Rocca, Roche Alum, Ahm de Roche — The best kinds of alum are known by this name. The genuine is of a pale red colour ; but this is frequentiy imitated by colouring the common kinds of alum. The origin of the term > Beckmann, Inventions, tit Alum. * See MS. of Le Begne, Nos. 42, 93, 299, and Table of Synonymes ; and the Bol. Ma, No. 3. * Rioettario Fiorentino. * Alb., Dis. Enc. ; and see Itioett Fior. 2p 2 894 ADDITIONAL NOTES AND COfiRECTlONa Roche alum is doubtful. Bcckmann thinks, with Leibnitz, that the nAme was derived from Rocca, in Syria. AUume ScagUuolo — ^A kind of stone resembling talc, of which, when calcined, is made the *' gesso da oro," or gesso of the gilders, and which is also used for the grounds of pictures. The heat renders it opaque like gesso, and causes it to split into layers. ^ It has been observed (p. cliii.) that this was probably the pigment called Abi- men by Eraclius. AUume Zuccarino — ^Roche alum poanded with sugar, white of egg, and rose water. ^ Page 258, note. Li a dissertation, published at Vicenza in 1845, entitled * La Carta,' Sig. Giuseppe Riva, author of several arcbseological works, endeavours to prove that the manufacture of paper was known to the Romans, and described by Pliny* and in the Appendix to the Second Edition of this Treatise, pub- lished in the following year, Sig. Riva mentions two medieval documents which are among the earliest known to be written on paper. They are preserved in glass cases in the Archivio Capitolare at Verona. The first, which is of the ninth century and of the reign of Charlemagne, was signed by Bishop Ratoldo in the year 814, as appears in the Italia Sacra of Ughelli (2nd edit., tom. v. pp. 707, 708). The other is about a century earlier, and was subscribed by Diodato, son of the Doge Orso. (See Maffei, Verona Illustrata, iii. p. 1, p. 298, and Apol. Rifl., p. 25 and 27.) Both documents, which were examined by Sig. Riva and other antiquaries, were found to be on paper similar to what is now in use, and in excellent preserva- tion ; but it could not be ascertained whether the paper was made of linen or cotton. P. 303, No. 322. Since this work was printed, I have been favoured with another copy of this recipe which appears to be more correct than my version ; I therefore subjoin the variations : — Pour or mouler recipe. R. tres fin or lime bien menu, &c Mais avant ce doit estre bien limanze d'or bien lave en wa bachin ou une conche de limee en [a] un pincel et a ce mortier dessus dit molez tant or que Teaue qui y sera mise soit au departir clere. £t en telle maniere pourrei molir cuivre, argent estaing ou tout autre metal mais gardez que lor ne se paerde car il faudroit remoudre de rechief, &c. A recipe for grinding gold. Take some very fine gold filings, &c but your filings should be previously well washed in a basin or shell with a pencil. Then grind aU your gold in the above-mentioned mortar, until the water passes off clear. And in this way you may grind copper, ailver, tin, and all other metals, but take care that the gold is not lost, for it would then be necessary to regrind it, &c. Page 313, No. 341. The word '* glas " occurs frequently in medieval MSS. It is sometimes 1 Alb., Diz. Enc. ; Ricett Fior. ; Matthioli, p. 1430. * Rioett Fior. ADDITIONAL NOTES AND CORRECTIONS. 895 written '^ glasse " or ^' glasse aromatique/' and sometimes it is joined with alam ; for instance, '* alun de glace/' ** alumen glacie," " alumen jameni vel glasso." The term has many significations. It was applied during the middle ages to alum ; the name being probably given from the resemblance of the crystallised salts to glass, in the same manner as the sulphates of iron, copper, and zinc were called " Vitriols " from their glassy appearance. (See Agricola, De Metallicis.) In Welsh, Armoric, and Irish, the herb woad, which was used as an alkali in glass-blowing, was denominated *^ glas " (glastum or vitruin) : the same term was also applied by these people to the colours blue and green. (See Edinburgh Review for July, 1847, p. 201, n.) The Romans gave the name of glessum to amber, which was called by the Germans " glas." The latter term was also applied to San- darac, the principal ingredient in the Italian '* Vemice liquida," and this has occasioned much confusion. The following passage from Mr. Eastlake's * Materials* (p. 246) will serve as a guide in determining the meaning of '* glas " when used with reference to varnishes: — *' Where both terms [vemix and glas] appear together, they mean distinct things, and the text can alone show which of the two mean- ings each conveys ; but in general glas means amber, and vemix sandarac." With this view of the subject, therefore, the word " vemix " in No. 207 of the MS. of S. Audemar (p. 163) means sandarac, and " glasse '* in the foU lowing recipe amber : the same may be observed of the passage in No. 274 of the Paris copy of Eradius, ^' si autem vemix non habueris, accipies gku' sam." But with respect to the term *^ glasse aromatique " in the Le Begue MS., p. 341, there is no positive evidence which ingredient is meant. As late as the year 1617 the word ** glasse " was synonymous with the English word varnish. See Minshew's ' Guide unto Tongues,' London, 1617. There is yet another signification of the word '* glace " which has become obsolete, namely, " glace d'^tain," the old name for bismuth. P. 327. '' La Comoaille foumissait au commerce du moyen-&ge son dtain. On Tenvoyaient brut dans I'Ue de Majorque, en Provence, et k Venise, pour lo foudre. Celui qu'on avait appr§td k Venise 4tait le plus estim^ dans le Levant." — Balducci Pegoletti, Prattica della Mercatura, cap. xxix., quoted by Depping, Histoire du Commerce. P. 334. This observation refers to the second kind of Giallolino, which is described in p. civiii. P. 606, last line but 4. This passage has been inserted by mistake— powdered glass is not, I believe, mentioned in the Marciana MS. P. 636, line 16. Instead of the present translation, read thus — 896 ADDITIONAL NOTES AND COBRECnON& When making the Tarniflh, you muat boil and skim it well, if n that it may be clear and thick. P. 649, note 5. It may be neoessarj to remark that the name '* Biadetto " was fprea both to the native and the artificial blue carbonate of copper. See p. ceii. P. 822, note. The reference to the * Traits de Mignatnre de Criatophe Ballard * is in- correct. The method described in this work of applying the blue pigment differs from that in the text. See p. ccviii. NOTE ON THR WEIGHTS AND MEASURES WHICH OCCUR IN THIS WORK. The weights and measures mentioned in the diffisrent MSS. vary so mncfa that it may be necessary to give a short account of them. Those which occur in the French MSS. are the following — namely, the pound, the quarteron, the ounce, the denier, the blanc, and the est^lin : the last was, properly speaking, an English weight. The pound varied in difierent parts of France. At Paris it contained 16 oz. ; at Lyons 14 ; at Touk)use and in Provence 13^ oz. ; and at Rooen 16} OK. and {ths of the Paris weight. The weights mentioned by Le Begue were those used at Paris ; and those in the recipes brought from England, which have French names, were probably the same as were then used in the Anglo-French provinces. The Paris pound, used to weigh gold, silver, and the richer commodities, was thus 8ub>divided — 24 grains = 1 pennyweight or denier. 3 deniers=r I gros. 8 gros = 1 ounce. 8 ounces = 1 marc = 2 quarterons. 2 marcs = 1 pound =7 560 grains Troy. The grain was sub-divided by the moneyers in the following manner — 1 grain s 20 mites. 1 mite =• 24 droits. 1 droit s 20 periots. 1 periot= 24 blancs. *> The Ester] in was a goldsmith's weight, equal to 18j^ grains.* It was intro- duced into England by the Anglo-Saxons, who were called Easterlings or > See p. 86, No. 94. • See p. 88. ADDITIONAL NOTES AND CORRECTIONS. 897 Esterlings, whence the name of the coin. From this it is easy to perceive the derivatioa of the term <* sterling" now applied to English money generally. The English weights have their first composition from the silrer penny, which ought to weigh 32 wheat corns taken from the middle of the ear (some authors add, which should be well dried). The silver denarius was, in its diminished state, the pattern of the English and Cvothic penny ; and as the denarius gave name to the weight used on the Continent, the penny gave its name to our pennyweight. The weight of the penny, from the Conquest to the 28th Edward I., was originally 24 grs.,^ but in the reign of Edward III.» it fell to 18.* This, it will be observed, was only half a grain less than the goldsmith's weight called Esterlin, and it is extremely probable that this Esterlin was of the same weight as those Anglo-Gallic pence coined in the reign of Edward III., by himself and his son the Black Prince, which were actually denominated '* Sterlings " and *^ Aquitaine Sterlings."^ Twenty pence (of the weight of 82 wheat corns) made an ounce, and 12 ounces 1 pound. This was Troy weight, called by Fleta *' Trone weight."^ It was used to weigh gold, silver, precious stones, medicinal preparations, and bread. The quantities then, in the recipes given by Theodore of Flanders to Le Begue, must be calciUated by Troy weight, and not by the Paris weight Italian weights and measures are mentioned in those parts of the Le Begue MS. which were translated from the Italian. The Italian pound was divided as follows — G 24 grains = 1 Scropolo (scruple) or danaro, the French denier and English pennyweight. 9 3 scruples = 1 dragma (drachm). 3 8 drachms = 1 ounce. 3 12 ounces = 1 pound, equal to 12 oz. of the Imperial pound avoirdupois, or to |tbs of that standard. The Venetian ounce contained 9 drachms. The modem Roman pound was equal to 1 marc i gros 14 grs. French. At Genoa and Venice goods were weighed either by the peso grosso or the peso sottile. The latter was used for weighing gold, silver, and valu- able articles ; the former for other things. 100 pounds of the peso sottile of Venice were equal to 61|ths com- mercial pounds of Amsterdam. 100 pounds of the peso grosso = 94iths of the same pounds. The following table will show the relative proportion of the several weights used in the countries mentioned in the MSS. — ^ Redding, Annals, vol. i. p. 388. ' Euc. Brit., tit Medals, ' Edward III. died in 1377, only five years before the earliest date mentioned by Alcherius. * See Akerman*s Numismatic Manual, p. 377, 379, and 383. ^ Some authors derive the name of Troy weight from Troy NovarU, the monkish name for Loudon, the former capital of the Trinobantes, as the inha- bitants of Middlesex and Essex are called by Cesar (B. G. 6, 20). 898 ADDITIONAL NOTES AND CORRECTIONS. lbs. oi. 91 8 of Amsterdam, Paris, &c. 137 4 of Genoa. J 100 poimds of England are equal to ^132 11 of Leghorn. 153 11 of Milan. 152 ofVenice.i A Rotolo 18 a Venetian weight of 32 oz. : also a Sicilian wttght of 2^ lbs. The '* loth '* mentioned in Nos. 96 and 97 (p. 86), and still used in Germany, Denmark, and other parts of the north of Europe, was probably introduced into England by the Anglo-Saxons. It is equivalent to half an ounce. The German pound is divided in the following manner : — 4 drachms = 1 loth. 2 loths s= 1 ounce. 8 ounces = 1 marc. 2 marcs s 1 livre or pound. In No. 97 " creeres de Inde " are mentioned. The term " creeres " may have been a corruption of ^' seer," the common Indian pound, which is equal to 12 Paris ounces. MEASURES. In the MS. of Le Begue the pint, the quart, and the chopine are men- tioned. Their relative value was as follows : — The old Paris quart was equal to 2 pints. 1 pint „ 2 chopines. 1 chopine „ 2 demi setters. The Paris pint was nearly equivalent to the English wine quart. These measures are mentioned in the recipes given by Theodore of Flanders to Alcherius. BOMAN LIQUID MXA8UBI8. Eng. wine gallon. 4 cartocci = 1 Foglietta, equal to 0*0868 4fogliette= I Boccale „ 0*3471 *S2boccali = 1 Barrile „ 11*1072 TOBIir LIQUID MEASURES. 2 Boccali =r 1 pintOf equal to O'^ths epinte = 1 Rubbo „ 2'^ FLORENTINE LIQUID MEASURES. 2 quattrini- 1 Mezzetta or metadella 0-13125 2 mezzette « 1 boccale 0*2626 2boccaH s 1 fiascho 0*525 20Jia8cki - 1 barrile 10* 5 10 barrili = 1 congo 105 The words in Italics occur in the Italian MSS. ; and in those parts of the Le Begue MS. which were translated from the Italian. 1 From the Enc. Brit, art Weightg. INDEX. Abbozzo Abbozzo, coc, 746 Abezzo. See Olio di A- bezzo AdmoTitrins, 210 JEs ustum, 892 Afronitre, 316 Agatino, 650 Aglaopho, 826 Albacreta, 19,275, 281 Albano, ccxii Albert Diirer, 798 Albert!, Leon Batista, Ixvi Album de Pallea, or Apa- leya, 289 Albos, 18 D Alcherios, notice o^ 3-14; his writings and their date, 4, 6, 258, 280 Alexander the Great, 766 Aliense, xlii, 865 ' Alia prima,* cxxxiv, cxxxix, ccdii AUnme catino, 893 di feccia, ib, di piame, 89, 893 di rocca, 893 ■ scagliuolo, 893, 894 znccarino, 894 Almagre, Almagra, clxx, cclxxxvi, ccxcvii, 696 n Almond sheik, black pig- ment from, ccxxT, ccxxvii, 651 Aloes, dxiv, elxvii, 163, 241,695 , different kinds of, dxvii Alamen,diii, 233, 245, 893, 894 glade or glanun, 19, 88, 345 n, 893 Jameni, 79, 344, 345 n, 893 ■rotnndiim, 222 and n, 223 Alan de Glace, 89, 893 Amalgam, 624, 672 and n Amassette, 770 and n Amber, used as a sy nonyme for beads, xci ; statne of the Virgin of, ib. ; fsicti- tioQS, t6. 515, 517,609; necklace of, fonnd on skeleton near £1^, xcii ; origin of, ccUt ; its com- VOL. II. position, odv ; where found, ib. ; called glea- sum, glas, gltuaa^ cclvi ; formerly confounded with resin of the black S>plar, odvi; and with riental copal, cclvii, cdyiii ; is oi two kinds, of which the Prussian is best, cclvii; not used at an early period by the Italians in varnishes, ib, ; method of dissolving, cclxxiv Amber Tarnish, probably one of the improvements introduced into Italy by the Flemings, cclxvii ; notices of by Italian writers, ib, ; different kinds of, cclxviii, cclxix, 628, 644, 688, 698, 723, 742 ; as a vehicle for painting, cclxxii ; Shel- drake's experiments on, ib.\ advantages of, t6. ; used by Correggio in paintinff, cxlviii Ambruogio di Bindo^ Ixii Ammonitrum, 893 Ancorca or Encorca, cliii, clxi Andrea Domenicano, Ixi ■ di Salerno. See Sabbatini del Sarto, 605 Angioletto da Gubbio, Ixii Ange, Pfere T, 789 n Anguillaria, 19 Ansino di Pietro, xxxii Antiphilus, 829 Antoine, P^ 760, 789 n Antonello da Messina, cxvi Antonio di Compendlo, 4, 280 de* Rossi, 12 Apelles, 766 Apollonio, xliii Apsis, xxxix and n Aqua fortis, 332, 402, 666, 678 regia, 65 n, 334, 388 n Arabians, arts of, 176 Arabesques, 782 Archerius. See Alcherius Aurum Architecture, domestic, in England and France dunng the 13th and 14th centuries, xxv Argenta, Jacopo Filipo d', xxxi Argilla, 20 Aries, early commerce of, xxiii, cxiv Armenini da Faenza, his work recommended, 724, 742, 746 Amald de Villenenve, 168 Arsenic, crystallized, 516 n Arsenicon, cliv Artificial gems, 196, 331, 338 pearls, xcii, 511- 513, 523 Arts, progress of in middle a^, xxiii, xxiv Arzica, cliii, clxi, clxiv, ccxxix, 19 and n, 328, 482 , burnt, dxvii Arzicon, cliv, 19 and n, 246 and n Ashes used in the prepara- tion of grounds, cclxxxv Asphaltum, cxx, cxxiii, cxxvi, cxxviii, cxxx, cxxxii, cxxxiii, cxxxiv, cxxxvi, cxli, cxliv, cclx, ccxcviii, ccd ; different kinds of, ccxxiii ; its properties, ccxxiv; me- thod of preparing, ccxxv ; dryer for, ccxliv, 749 AssafoBtida, cxxv, 435 n Assiete, size, 262 Assisia auri, 19, 283 Asurblau, cxcviii * Assumption ' of Titian, 876 Atramentum, 19, 68, 138, 152, 248, 298 Aubonne, Daniel d', xxxvi Andemar, St, 112, 130,892 Aureola, 18 Anripetrum, or Anripen- trum, xcviii, 19, 1 14, 158, 240 Auripigmentum, cliv, 18, 19 Aurum, 18 2Q 900 Azarcon AzarooDi cliv de latierra, native red lead, clxx Azoch, 476 and n Azogue, 477 n Azur d'Acre. See Ultra- marine k poudrer, ccviii • See Smal- to, ccviii, 822 Azzurro, A2are,cxcvi, 808 ; native, cxcvi, ccii, 341- 383; artificial mineral, ccix, 47, 49, 67, 136, 319, 384, 405, 612; price of, ccix; from plants, 136, 272, 298, 406--416; to distinguish one kind fVom another, 24ti, 340; to temper, 134, 156; to grind, 408; to colour, 360, 410, 412 ; to refine, 356, 360, 362, 410; to multiply, 412 and n ; to purify, 134; for walls, 400 ; to prepare as a body colour, 500; for painting pottery, 536, 538, 540; mixtures of other colours with, 652 Azzurro di Anglia, 349. 8ef Azzurro della Magna di Biadetto. See Biadetto ■ di Germania, cccxi n diLombardia. See Azzurro della Magna, 327, 348 della Magna, na- tive blue carbonate of copper, cxcvi ; proved to be so by analysis of old pictures, cxcvii ; used on mural paintings and on pictures, cxcix, 327, 340, 342, 344, 364, 375 and n, 768 Oltramarino. See Ultramarine di Pozzuoli, ocvi, cccxi n, 659, 761,804 Spagnuolo, or di Spagna. See Azzurro di Terra ; Azzurro della Magna, 327, 364, 748 and n — — di terra, cc, cci- cciu Todesoo. See Az- -zurro della Magna Azure, whether produced from silver, ccx ; fine, to make, 316; to try, 246 and n INDEX. Azzumun Citramarinum. See Azzurro della Magna Transmarinum. See Ultramarine B. Balas rubies, to make, 518 Baldovinetti, Alesso, xlvii Balestra, Antonio, 850, 851 Bamboccio (Peter Van Laer), cxxv Barbarigo Gallery at Venice, 850 n Barcelona, xxiv Bardo. xliv Baroooio, czliv, cexiv, ccxciv Barone Brunacd, Fran- cesco di, Ixxi Barras, cell Bartolomeo di S. Marco, Fra, olxix, ocxxvii, ccxcv, ccxcvii, ccciv di Pietro ^ Vanni Acoomandati, Ixiii — da Scarperia, IxU Bassano, Giacomo^ cxxxiii, dxiii, clxv, 828, 863, 872 -, Leandro, xlii, clxxxiii, ccxi, 865 -, Francesco, 868, 869 Bassi rilievi, painted, 762 Bazzacco, 865 Beads, xoi Begue, Le, notice of his MS., 1-15; his instruc- tions for mural paintings, XXV ; his recipe for ink, 288 Beauty described, 800 Bellino,Gian, cxlii,cl,ocxcv, ccxcix, 872 ; his method of painting, cxxxiii, cxlii, 891 ; grounds used by, cclxxxviii " Bel aprest," 792 Bellotti, 867 Benedetto, Fra, or Bcttao- cio, XXXV Benedictines (the) practised painting generally, xxi Bene, Monte, natural pheno> menon of adjacent coun- try, 5 Benevento, duchy of, state of arts there during the middle ages, 170 Benzoin, ccix, 628, 630, 698 Beretino, 21, 652 Berglblau. See Azzurro di terra Bernardo, Fra, Ixxi Bemiz, ocl Blue Bertani, 854, 861, and n Biacca. See White lead Biadetto, cxxiii, cxxiv, cxxxvi, cxcvii, cc, odi- ccvi, cccxi n, 649 Bice, 649, u ; and tee Az- zurro di terra ^ green, ccxvi Biancluni, Domenico, called " II Rosso," xl-xlii y Gian Antonio, xlii iVincente, xl-xliii Bianco, San Giovanni, di secco, dii Bijon, ccl Biondo, 650 Birsus, 21 Bisetus, or Biseth iblii, cxciy, cxcy, 21, and n, 250 Bistre, ccxxi, 21, 24, 27 Bitume Giudaioo, or He- braioo^ ocxx. See A»- phaltum Blacha. See White lead, 20,21 Black pigments, oexxv- ccxxix, 202, 452, 650, 704, 804, 812, and u; are slow dryers, cczxyiii ; dryers for, ccxxviii, ccxxxix, ocxi, ccxiiv, 748, 818, 820; fW>ni peach-stones, ccxxvii, 820; from poplar resin, cclvi ; from burnt paper, ccxxvii; chalk, ocxxv; charcoal, 300, 604; mir- ror belonging to Bam- boccio, cxxv ; for paint- ing on glass, Ixxxiii, 614, 792; earth, 650; plum, bark o^ its use, 162, 164 ; water, 85 ; skins, to turn white, 82 ; to write with on gold or silver, 70; mixtures of widi other colours, 654; to make, 138, 158, 452, 610, 650^ 654, 704, 820 Blanchet, 94 Blaui oolores, 21 Blaucus, 20 Bleu de Montagne, cc ; and see Azzurro di terra minerale, ciii, cxix, ccx. Sre Aazurro di terra Blond, Le, his yaniish, cdxix Blood-stone, 806 Blue, used in the shadows of flesh, ccxii blade, ccxxvii draperies, how paint- ed, cxxiii, cxxix, 8^ Blue Blae glass, Izriii , Egyptian, co- loured with cobalt, liii n of old mosaics at Pisa and Rome, liv — — pigments, cxcvi- ccxvii, lid, 374 n, 648, 704, 748, 761 — used by the great masters, cxix, cxxy, cxxxvi, cciii'-ccYi; how used, cxxix, cxxxii, cxxxvii, cocii, 820 ; always laid on thicker than other colours, cxx, cxxriii, ocvi; directions for using, ccv — vegetable pigments, OCXY — copper ore, 300, 480 — water, 86 ink, 684; how com- posed, 650 ; how applied in fresco, 618 ; mixtures of other colours with, 652 " Bocc^lajo di Urbino," origin of term, 336 n Body, how given to lake, 612 colours, 608, 610 — ^— distinguished from transparent colours, 608 Boiled oil. See Olio cotto Bolognese MS., account of, 325 Bolognini, 344 Bombelli, cocviii, n Bone of cuttle fish, clii , black, ccxxvi, ccxcv Bones, or boms, calcined, clii, ocxxxvii, ccxliv, 63, 275, 473; to soften, 592, 594 ; to dye or stain, ccxxvi, ocxxxix, 65, 70, 72, 80, 590, 592, 680, 682 Bonifazio, cxxxiii, cxxxiv, cxxxvi, civ, clxviii; re- storation of one of his pictures, 847, 863 Books, to gild the leaves of, 666 Borace Alexandrina, to make, 498 Borax, 20 n, 498 n, 694 , to distemper, 242 Borghini, Rafiiel, 724, 742 Borro, Battista, Ixxv Bordeaux turpentine, cell Box wood, to dye, 592 Bozco, Bartolomeo, xl, xlii Bracha, 21. Sm White lead Bramante, Ixxiii, Ixxix, 605 Brasil wood, 21 and n, 30^ 154, 178, 234, 270, 282, INDEX. 292, 328, 344, 440, 682, 684, 702. .S^ Versino Brasilium identified with venino. 44, 328 Brass, greens from. See Copper , to make letters the colour of, 79 , to gild, 222 — without gold, 306 , to make, 71, 81 — -, to write with, 298 Brown pink, clxiv red, clxx pigments, ccxxi Brunus, clxx, 20 and n Brushes, 770 Brusl^ 804 Brussels MS., 759 Bucato, 891 Buokthom, yellow piflment from, 662. See spmcer- vino BuffiUmaoco, Ixii, xcvi, clxxxviii Bularroinium, 20 Bnlengerus, 760 and n Bunel, 830 and n Buonarroti, Michael An- gelo, Ixv, Ixix, Ixxi, 764, 828 ; ground his own co- lours, ccxxx Bares (borax), 20, 242, 243 Burgundy pitch, ccli Burnt paper, black from, ccxxvii terra verde, ccxxi, ccxxii, ccxcviii, 744 vitriol, Gcxxxviii Busts, 782 Byzantine Greeks, many resorted to Italy in the 13th century, xxiii ; practised mosaic painting in Italy, xl, xli, xlv; many went to France in A.D. 687, for the purpose of working in glass, lix, xcix ; MS. on art, ex- tracts from in old MSS., 179 ; ty]pe of painting, characteristics of, xxi ; where prevalent, ib, C. Calamita femina, 524 Galandra, Gio. Batt, 1 Caliari, Carlo, 870 , Paolo. See Paolo Veronese Calligraphv, importance of, berore the invention of printing, 901 Cellini Callot, cxxxviii, cclxxxviii Calvart, Denys, ccxii Camaldolites (The) prac- tised painting generally, xxi Cameos, 782 CamilUna, 481, 482, 486 Campeachy wood, 645 Camphor, to make, 498 Canal, cxxxv, ccxl Canaletto, cxxxv, ccxl Candle, to li^ht one without fire and with water, 73 Canes, to colour and imitate those of India, 710 Cano, Alonso, cvi Cantarini, Simone, ccxiv, ccxxi Canvass, what kind proper for painting, 728 ; its ad- vantages for painting on, oclxxxiii; how prepared for painting, cclxxxiv, 728, 772,762, 820; tore- pair injuries to, 748 ; to prepare quickly, 820 Canuti, Domenico Maria, cclxxviii Causiani, 722, 748, 749 CapitAllo, 891 Caput mortuum, 891 Carabe, ocliv, cclxviii, 628 Carbone, cclxviii Carbonates of copper, na- tive, ccxxviii Cardenillo, ccxviii Cardinals wore .the crim- son dress previous to ▲.d. 1464, 327 Cardinali, 867 Carmine, clxxxvi ; dryer fbr, ccxliv ; colour, to make, 698, 708, 710 Carmininm, 24; to temper,. 156 Carnation tint, 822 Carnatura, 22 Caroti, cclxxvi, cclxxxt Carraoci, The, cxii, cxivi, ccxdi, 759, 764, 828, and n Cartouches, 782, and n ^ Caseum, varnish of, xcii Cassius, purple of, 334, 388 n Castelli, Jaoopo, Ixv Cathedrals, what built in the nth and 12th centu- ries, xviii n Catholicon, The, 2 n Ceccato, Lorenzo, xlii Celeste, 650 Celestinus, 23 Cellini, Benvenuto, Ixv, • • • CXUl 2 Q2 902 Cement Cement, for mosaics, 1 — lii ; used by AgnoloGaddi in repairing mosaics, xlvi, ci ; for brass, 78 ; which will resist fire and water, 592 ; that will resist damp bat not heat, 626 ; for gems, &c, t^ ; for vases and woodwork, ib, ; for broken vessels, 83 ; for joining parchment or paper, 61 ; of fish glue, 595 ; of cheese, 596 ; of various kinds, 74, 78, 82 Cendres, La Cendree, ocii, 761, 772, 786, 816 -^-^ blenesycxcvii, cc, cci, and eee Azzurro de terra Cenere azzurre, 616; and see Azzurro di terra ■ verde, ccxvi Ceneretta, ccviii. See Az- zurro di terra Cenizas azules. See Azzur- ro di terra Cennino Cennini,xlvi, xlix, Izxi Cera coUa, c, ciii Cerasin, 174 Cerulde, 761, 804 Cerulus, cernlens, 23 Cerusa, 23, 244, 314, 774 ; see White*lead ; to make, 234; to purify, 490; to temper, 156, 295 Cespides, ccxxxii Chairs, whether in general use in 15th and 16th cen- turies, xxvi Chalk, as a pigment, clii ; a baid dryer, cdxxxvi Chamois leather, to make, 568, 570, 572, 574, 576 ; from parchment, cxi, 572, 574 Chamomile, oil of, ccxxxii, 763 and n, 814 and n Charcoal, 738, 772 ; to make,^ 752 ; blacks, ccxxvi, 138 Cheese cement, cdxxxii, 128, 595 Chiaroscuro, whether early Italian paintings begun in, cxxvi, cxxxiii, czxxviii, cxxxix, cxlii, ccxcvi, 891 Chilone, cxxxv, ccxl Chinese grapes, to extract the colour from, 708 Chamomile, oil of. See Oil Chio turpentine, ccxlviii, cclxix Chloride of lime a dryer, ocxxxvi D INDEX. Choral books, xxxi, xxxii Chriso, Chrisas, 22 Chrysocolla, ccxvi Cignani, Carlo, cdxxviii Cigoli, 828 Cima da Conegliano, cxli, ccxcix, 872 Cimabue, xxi, xxii, xxiii, xliv, xlv Cimatnra di Scarlato, cccxi, n Cimatura. See Lacca Cinabro minerale, cxxxvi, clxxi Cineres crebellati, 349, n Ci nnabar, ocxxxix, 1 38, 1 40, 478, 480, 650, 744, 808 ; native, cxxxvi, cxxxviii, clxxi, ccxxviii ; artificial, t&., clxxi ; how adultera- ted, dxxii ; should be purchased unground, clxxiii ; mixtures of with other colours, 654 ; to re- fine, 660, 664, 678; to write with, 676 ; to pre- pare for miniature paint- ing, 500, 664 ; to distem- per, 706 Cinobrium, 25 Citramarinum, 348, n. See Azzurro della Magna " Clare," 296 Clay and chalk are bad dryers, cclxxxvi Claudio, Ixxii Cleret, to make, 320 Clocks, when in general use, xxvii Cloth, to dye red, 580, 598; painted, a substitute for windows, cclxxxiii ; to stain it all colours, and to make it white, 7, 84; painting on with trans- parent colours, ib.'y or canvass, its advantages for painting, cclxxxiii ; how prepared for paint- ing, cclxxxiv Clovio, Don Ginlio, xxxiv Cobalt liii and n, ocix and n Coccus, Coccicus, clxziv, 22 Cochineal, clxxvi, dxxvii, cccxi n, 645 ~ Jake, clxxiii, ocxxix, 645, 660, 669, 698, 702, 708; whether used by the old masters, cxxvi, dxxvii Cologne earth, cxxxvi, cxi, ccxxii, ccxcv Colophony, ccxlviii, cell Colore Cardiualesco, 327, 452, 454 n CciumM Colore aureo Lombardico, 198 n Colours, names of^ 810; of grinding, 232; in general carefblly ground by the old masters, cxix, cxlviii, ccxxx ; all do not require grinding, 764 ; always ground in oil for oil painting, ib^ cxiiii, ccxxx, 606, 626, 738; and as stiff as possible, ccxxx, ccxxxi ; how to be preserved, 740; ,whatare used with water, 784; what colours used by the Venetians, cxxxvi, 784; of their agreement or in- compatibility with each other, cxlix, 252, 608; choice of good pigments, d, 742, 744 ; their drying Sroperties, cl, ccxxxvi; ryers for, cl; oil in- jurious to some, ib. ; what are now lost or not in use, ccxxviii; not findy ground by the Venetians, ccxxx; how diluted fat use in oil - painting, ccxxxi; transparent, 7, 610 ; how to be tempered, 232, 248, 294, 296; for painting, 250, 254, 608 ; from flowers, 184 ; direc- tions for burning, 744; for miniature painting, 698; for shadows, 761, 786, 822; for painting on glass, 614, 616; how applied on glass, 794; used with water, 784; names of, 244, 810; ar- rangement of in pictures, 810; what most durable, 814 ; how rendered more brilliant and durable, 682; how rendered du- rable in fresco^ 668; to distinguish good from bad, 742 ; red, 242 ; mix- tures of, 156, 248 ; waters for distempering, 306, 316; what should be used on pictures exposed to the air, 816 ; composition of in general, 648 ; com- positions and mixtures with other colours, 250, 254, 650; soiled oil- colours, use of, ocxliv, 732, 770 Colpesce, 192 Columns, to prepare for painting, 230 Common Common green, 124 oil, 102 Cona, Jacob, 4 Copalva, cdzi Copal, cclviii, ccHz, 694 , Oriental, cclvii varnish, cclxix n, cclxz Coperosa, 620 Copper, carbonates of, ccxxviii. See Axzurro Copperas, white. &« Dryers Copper, to coloar like gold, 160, 198; to giJd with- out gold, 308 bines, cciii. See Azzurro della Magna and Axzorro di terra greens, 116, 120; and 000 .Greens from copper Copyists, injury done to pictures by, 724, 734 Corals, imitation, 544; to make large out of small, 520 Cordova, when taken by the Moors, 176 n; distin- guished for its manufac- tures, ih. ; its decline, t6. Cordovan leather, cix, 172, 176; to dye, 234 Coriscos, 24, 132 Cornflower, blue colour P from, ccziv, 300 Corona, Lionardo, 868 Comu cervi, 275 Correggio, what blue pig- ments used by, cxix, cciv, ccxii ; whose pupil he is reputed to have been, czxi ; his S. Jerome, ih, ; amber varnish f«und on his pictures on analysis, czlviii ; design by, drawn with cinabro minerale, clxxiii ; his varnish, cclxx ; what grounds used by, odxxxvii; re- peated his tints many times, ccxcvi Cosmati, Adeodati ^ Cos- mo, xlix Cosmati, Giovanni, ib, , Jacopo, i6. Coxie, Michael, ocii Cortex, 23 Couleur mate, 814 Crayon noir, cczxv Crayons, 752 ; to make, ih. Cracking of pictures, cause of, cxix, cxxiv, cxxxii, cccv Cremese, Cremesino, clxxvj, clxxxvi, ccczi n INDEX. Crespi^ Giuseppe Maria, called Lo Spagnuolo, anecdote of, cclxxvii ; remarks on his style of painting, cclxxx Creta viridis, 25, 37, 38, 245 Crimson, to make, 694 Crisicula (chrysocoUa), 25, 248 Cristoforo, Fra, Ixxi Crivelli, Carlo, Ixxxviii Crocante, cxxvi Crocea terra, 23 Croceus, 22 Crocus, 23, 24; used to denote yellow, 18 n Crocus martis, Iv, 338, 540 Croma, 23 Crowquills used for draw- ing outiines on glass, 792 "Crucifixion" by Tinto- retto, cxl, cclxxxix Crystal, xc ; cement for, 74 ; to cut, 194, 218 ; defini- tion of, 194 n ; to make, 518; to soften, t6.; to imitate precious stones with, ih, ; to calcine, 516, 518 ; vessels, to make, 506 Cuiraterie, cix Cuttle-fish bone, clii Cyprium, 893 D. Damara resin, cclxi varnish, cxxxv, cxxxvi Damascus vases, 335, 338, 540 Damiani, Felice, cxii Damiano di Bergamo, Fra, Iviii Damp, efiect of on oil-paint- ings, cxxxvii ; precau- tions to secure paintings against, 880 n Darks, why raised higher than the lights on old oil- paintin||8, cxx, cxxvii, cxxxviii Dato, xliv Dead gold, to lay upon co- lours, 462 Dejettement, 774 Denarius, a coin and a weight, 224 n, 226 n "D^roberunjour," 780 Diamond used for cutting glaas in the early part of ttie i5th century, Ixxxv, 331 D)onisio,Fra, MS.fbrmerly belonging to him, 4, 82 Distemper, whether any 903 Dyeing part of Venetian pictures painted in, cxliii, cxliv, cxlvi Distemper, painting in, 784 , colours, how made to adhere on oil- colours, cxl Distilled or volatile oil of linseed and nuts, ccxlvi, 881 Distillation of oils practised at Bologna in the begin- ning of the 15th century, 330 Dixiani, Gaspero, 861 Dolabella, 865, 870 Domenichino, I, cclxxix Dominicans, the, practised every branch of painting except mosaics, xxi Donatello, Ixiv Dragon's-blood, clxxxvi, 25, 248, 449, 706, 772 Draperies, to make them of three colours, 308 ; how painted in the Venetian school, cxxviii, clxxxvi Dryers and drying oil, ccxxxvi, 762, 816, and see Olio Cotto ; earliest notice in these treatises, ccxxxvi ; preparations of lead most used for dryers in Italy, ccxl, ccxliv; not so injurious as some have imagined, ccxl ; white-lead and lime, ccxxxvi ; minium, ccxxxvii, ccxli; garlic, ccxxxvii ; umber and minium, ccxxxviii ; gial- lorino and burnt vitriol, ih,\ calcined bones, t6., ccxliv; litharge, cxxvii, cxxx, cxxxv, ccxxxviii, ccxl, ccxli, 740; lithargo and sandarac, ccxxxix, cclxiii; powdered glass^ cxxx, ccxxxix, ccxl, ccxli, 645, 666, 762,818; verdigris, ccxl, ccxli, ccxlii, ccxliv, 748, 820 ; white copperas, ccxli, ccxlii; soiled oil from the brushes, ccxliv, cclxxxvi, 740 ; mastic, ccxliv Duccio, xliv Diirer, Albert, 798, 872 Dubry, Laurent, 759, 830 Dyeinff, trade in, during the dark ages, carried on by the Jews, cxiii ; after- wards by the Italians, ib*\ 904 JBarth Venice and Florence fa- mous for their red dyes, cxiv; when practised in England, ib.; formerly practised by the monks, cxv; recipes for, 547-593 E. Earth of different coloars nsed by the Venetians, cxxxvi ■ for mending broken yases, 540 for making casts, 494 -, black, red, and green, 650, 653 Earths, to prepare for paint- ing on walls, 504 ■ should be chosen in lumps, not in powder, 744 Earthen yases, to paint, 184. See Pottery , green, white, and black, 202, 204, 206 '■ , to glaze, 204 , cement for, 82 Easel, 770 Ebony, to counterfeit, 818 Ecarlatte, dxxiy n Edera, 26 gomma, 29 , lake from, 30 Edwards, Sig. P., his ac- count of the restoration of the Venetian pictures under, 845, 862 n; ye- hicle used by him, cxxxi ; extracts from his Report on the propriety of re- storing toe Venetian pic- tures, 885; his opinion as to the best mode of making paintings in oil durable, ccxc, 887 GioyanniO Kelly, account of his MS., 845 Egg-^hell, white, dii ,648 Egg, white of, to prepare for painting, 232, 234 Egyptian blue pigments prepared from copper, ccix n . glass, coloured with cobalt, cdx n figurines, colour- ed with copper, liii Eisen Oxyd, 891 Elbus, 26 Email, 823 n. See Smalto .Emerald, artificial, 514 INDEX. Emerald, used for cutting glass, Ixxzy Enamel, how cleaned, 812 Encaufitum, 138 Ekioens blanc, ccli marbr^ ocli English blue, cciii Engrayings, 782 Engraved surfaces, to take impreasions of, 74 Eradius, account of his MS., 166 Essential oils, ccxxxi ; used to dilute certdn colours, ccxzxii ; should be pure, cczly; become dark on exposure to light, ib. ; what commonly nsed in painting, ib. ; cautions to be obseryed in using them, ccxlyiti — yamishes, odxx, cdxxi Esterlin, 88 n Estofado, cliii, 831 n Estofferie or gilding, 830 Etching on copper with aqua fortis, mode of, 666 Exedra, Bxcedre, 26, 314 Eyck, Van, ccxliii, odxyii, ccxoix, ocoi , altar-piece at Ghen^ ocii, cccix F. Fabiaui, Stagio, Ixii Fabiok 1 Face, of the beauty of, 800 < Faith,' theft of the head of the principal figure in Titian s picture o^ 847, 862 and n Falzalo, ocxcyiii; and see Umber * Family of Darius,' by Paolo Veronese, 856 Pat oil, 762, 812, 816, 838 ' Faux jour,' 780 Fayence, origin of term,' 336 n Pel, 26 Fen^ite, Ixxyi Fenix, 27 Ferrari, Gaudenrio, ciii andn Ferretta di Spagna, dzx, 892 Ferula, 27 Figurinet, Egyptian, co- loured with copper, liii n, ccixn Fin Janne (massicot), clrii, dyiu Frate Pine azure, 770 Fini^erra, Maso, cxii, exiii Piore di guato, 886 n Fire that will bum under water, 79; to presenre ftom being eztingiuahedy 81 Fish ^lue, 156, 192, 594 Flashmg, luy, ixxzy, Ixxxyi Flayns, 27 Flemish painters frequently used gold grounds, cclxxxii; the first who employed eloth for paint- ing on, cclxxxiii ; doth prepared by them in great repute, cdxxxiii, oclxzxy ; used yamish with their colours, cccix Flesh colour, to make, 3(>0, 482, 822; for a crud- fizion, 800; shadow co- lour for fiesh, oczcyi Florentine lake, dzxzi Florentines, improyements introduced into painting by, zxi, xxiy ; school of mosaic painters, xliii ; cnltiyated painting on glass, Ixy; fiunoQS for Uieir red dyes, oziy Flour paste, whether it should be used in grounds, ozzzyii, cxI, cclzxxiy, edxxxy, oclxzziz, 728 Flowers, to make colours from, 312 Folium, czy, clxzzyiii, czciii, 26, 128, 132, 248, 252; prepared firom the juice m the Groton Tinc- toriun, dzzxiz ; was of three ooIours,dxxxTiii, cxcii ; why so called, ib. ; not to be confounded with the Folium of S. Isidore^ czciii; nor with Folio Indiano, ib, PoKum Ittdicum, Fdio In- diano, czciii Foraboeoo, GlrolaincH 840 Frate Ambr^gino da Soo- dno> Izyiii, Izz Ambruogio di Bindo, Izii Anaatasio, Izx — — Bartolomeo di Pietro di Vanni Aceomandati, Ixiii — « Bartolomeo di S. Marco, clxiz, cezxyii, cczcy, ocxcyii, ocdy r Frate Frate Benedetto orBettuccio^ XXXY Benedetto del Mu- gelio, xzxi — Bernardo, Ixxi Cristopboro, Ixxi — Damiano da Bersamo, Will Dionisio, 4, 68, 82 — Domenico PoUini, Ixi Eastachio, xxxvi -^^ Evangelista da Reggie, xxxi Fortonato di Rovigo, notice of his MS., oecxi n ; hb instmctions for mi- niature painting cocxii Giacomo di Andrea, Ixi — Giovanni da Verona, lyii, Iviii Marco Penitaben, clxxxT, cc Mariano di Viterbo, Ixxi Micfaele Pina, Ixi — Pietro di Tramog- giano^ xxxiii — Raphael Peregrini, Ixxi — Venetiano, ccxliii, 603, 620 Francesco, Maestro, xliv ' dai libri, xxxiv Francia, Ixv ; what grounds used by, cxlvi Francis I., anecdote of, 331 Frankincense, ccUi, 115, 164 Freminet, 830 and n French, their skill in paint- ing on f^assat an early period, 174 Fresco painting, its great , advantages, cxxi, cxxiii, 790; with colours not mineral, cccxii ; practical directions, 788; how to apply the blue colours in, 618 ; to make the colours stand in, 668 ; to prepare lime for, 674 Frescoee by Titian at Venice, 870 and n Fruits, to make them grow without keroels, 716 Fttligo, 27 Fnlvns, 27 Fumus, 27 Fundano or Fontano^ 603, 620, 621 Furnace for buminff in the colours of painted glass, 792 Fttsctts, 26, 244 INDEX. G. Gaddi, Agnolo, xM, Ixxi ; repaired the mosaics of Andrea Tafi in S. Gio- vanni at Florence, xIt, 1, liii, ci — , Gaddo, xlv — , Taddeo^ xlv, Ixxi, xcvi Gadus, 28 GaetanOj Lnigi, xlii Gainsborough, cxxii n Galbanum, 27 Galienum, red glass so called, 174, 178,214 Galipot, cell Gall, how used, 160, 198, 596 Gallstone, clxvit, 26 and n Gambara, Lattanzio, Ixxv Gamboge, clxvi, 644, 648, 650, 784 ; how prepared for painting in oil, dxvi ; to refine, 660 Ganaccio, xliv Garance, Garancia, 28, 175. See Madder Garlic, cxxv, ccxxxvii, 94, 748 -^— juice, mordant of, 622, 624 Gasparo di Volterra, Ixxi Gaterice, 29 Gelatine, 316 Geminiano da Modena, Ixxv Gems, cement for, 74 ; fac- titious, Ixxxvii, Ixxxviii ; artificial, to make, 196, 506, 518; to polish, 192 Grenuli, clxiii Gkrman azure, 364, 374. See Azzurro della Magna Gerso, 28. See Gesso Gesso, clii. See Grounds Marcio, cxviii, oelxxxii, odxxxviii sottile, 93, 490 Gesuato, directions for the preparation of oil by a, ccxxxii Gesuati (the) cultivated einting on glass, xxi, i, Ixxi Ghebbi, seeds of, 452 Gherardo, xlviii Ghiberti, Lorenzo^ Ixiii- Ixvi Ghirhmdaio, Domenico, xxxviii, xlviii, xcv Giacomo da]Ulmo, Ixvii, Ixxi, 339 and n Filipo, cc Gialdolino. Su Giallolino 905 Glwi Giallo mineraUf clix — di Napoli, two kinds of, clix, dx, clxii santo^ dxiv, dxv. 648, 744 ; to make, 708 ; must not be kept in water, 740 ; mixtures of other colours with, 654 di vetro, cWiii, clxiii Giallolino, Giallorino, Gi- aldolino^ dvi-clxiii, ccxxviii, ccxxxviii, cclxxxiv, 334, 504, 528, 610, 648, 652; three kinds known to the old masters, clxii; mixtures of other colours with, 652 fino, clvi — — di Fomace di Fiandra, clviii, clx, clxii a native pig^ ment, clx, ccxxviii d'Alemagna, clviii, 649 Gianneto, or Johanneto, Ix Gilding. See Mordants and Gold of old mosaics at Rome and Pisa, Iv-lvii ; formerly much employed on pictures of all kinds, xcv; two kinds of grounds for, t6. ; ana- lysis of ground of, in some pictures in the Campo Santo of Pisa, xcvi, 15; with Quicksil- ver, 220; tin-foil, t6. ; directions for, 152, 154, 156, 280,300, 830; pre- cautions required in, 1 54 ; to restore, 224 ; to varnish, t&. ; for all things, 464; burnished, 834 ; Italian method, 812; on glass, 186, 526, 607 GUosia, Erba, 438 Giorgione, cxxi, cxxxiii, oxxxiv, cxlii Giotto^ xxi, xxii, xlix, Ixv, Ixxi Glrolamo dai Libri, xxxiv Giovanni da Udine, 603, 635, 638 — — Rossi di Modena, 9. 10, 11 Veronese, Fra, Ivii, Iviii Giuliano di S. Gallo, 605 Glace, 345 n Glas, Glassa, ccliv, cclvi, 28 and n, 115, 162, 240, 893, 894 np 906 Glass Glass, coloared or stained, probably made before colourless glass, Ixxxiii ; first arranged in windows in a kind of mosaic pat- tern, ib. ; brought to England in ^.d. 674, [ 1 xxvii ; formerly cut with an emerald, Ixxxt ; when first cut with a diamond, ib.j 331 ; yarious uses to which it was applied, Ixxxvii ; to sculpture, 1 86 ; phials, how gilded, ib. ; wnen invented, 208 ; Roman, to make gems from, 196 ; how and where made, 208; vol- canic, 210; furnace for, 212; of various colours, to make, t6. ; red, in French churches of the 12th century, 175 ; red, called Gallien or Ga]i> ennm, 178, 212, 214; to make, 524 ; from copper, 331, 524 ; red, from gold, 532; red, in old St. Paul's, was ' flashed,' Ixxxyi; blood red, 528; yellow, called Cerasin, 214; yellow, to make, • 528 ; purple, 214;' mem- branaoeum,' ib.; green, 200, 202, 204, 206, 214, 216; white, 200 and n, 204, 212, 704; white, for painting earthen vases, 200; black, 202; flexi- ble, or malleable, 210; coloured, brought from Germany, 616 ; vases, to shape, 214; tablets, or plates, to make, 216^ lead, how made and co- loured, ib, ; to cut, ib.j 218; to paint on, 242, 526, 616 ; etching on with acids, when prac- tised, 332 ; drinking ves- sels, Ixxxix ; mirrors, when in general use, xxvii, 333; substitutes for in windows, Ixxx, 492 ; Jews' glass, 245 n ; Jewish glass, xcii, 245 ; pulverized, used to pro- mote the drj'ing of cer- tain colours, cxxx, ccxl, ccxli, 606, 645,666,762, 818; gilding on, 186, 526, 607 ; water for cut- ting, 494 ; cement for, 74 ; to transfer prints to, 645, 692 ; powdered, as a INDEX. dryer for oil and colours, cxxx, ccxxxix, ccxl, ccxli, 645, 666, 762, 818 Glass - making formerly much practised by the Jews, xciii Glass-works at Murano. See Murano; at Altare, Ix ; at Hebron, xciii ; at Rimini, Ixxv Glass, painting on, 338, 339, 606, 607, 792, 794 ; superiority of the Ger^ mans and French over the Italians in, lix, Ixiii, Ixxxiv; all the great improvements in, intro- duced by the Transal- pine nations into Italy, lix; the Europeans re- ceived the art from the East, ib, and n. ; why the Venetians did not excel in, t6. ; designs for, fre- quently by Italians, Ix ; earliest stained glass in Italy, Ix, Ixxvi ; at Cham- b^ry in 1303, Ix ; much cultivated in Florence during the middle ages by the Gresuati, Ixi ; colours of the old painted glass in S. Petronio at Bologna, Ixviii n; blue fflass, ib. n ; colours for, Ixxxv, Ixxxvi, 524, 614, 616 ; colours for to be cotti al /uocot e turn messi a olio, Ixxi, Ixxiv ; * flashing,' Ixxv, Ixxxvi ; progress of the art in England and France, Ixxvii ; earliest recorded instance of, Ixxxi; ear- liest specimens consisted of stained glass with black outlines or shades, Ixxxiii; executed with colours mixed with egg oroil, i&., 607, 616,645, 696; with vitrified or enamel colours, Ixxxiii, 333, 616 ; practical direc- tions, Ixxxiv, 242, 792; how to bum the colours, Ixxxvi, 794 ; * a pntri- do,* 616 , painted, early in York and Lincoln ca- thedrals, Ixxvii ; present of from the Queen of England, in 1 1 53, to the Ck>unte88 of Braine, t6. ; in the Abbey of S. DeajB, ib. ; andent and Gold modem in the Duomo o Milan, Ixxxvi ; how ex- ecuted, ib, Glasse aromatique, 314 Glasso, 344 Glazes for pottery, 335, 336, 537 Glazing, cxxxii, cxlv, 376. See Oil painting k explanation of term, 776 Glue, or size, 276, 306, 3 1 6. See Cement— Size. Of pigskin, cxxvi, oclxxxix; whether laid between the ground and the pictare, cxxvi; of parings of leather, cxxxiii, 148 ; whether found between the picture and the var- nish, cxxxv ; for fixing hard bodies, 75 ; from cheese, 128; fix>m fish, 156 ; frt»n parchment or leather, 152 ; for making casts, 490; for damp places, 626 ; very strong, 666; whidi holds as tight as a nail, 662 ; to know when it is strong enough, 732 Godemann, xxxii Gold letters, to make, 47, 55, 57, 59, 61, 63, 308, 311, 312, 466, 468; 'without gold,' 57, 79, 61, 63, 304; for writing, 190, 240, 296, 298, 3U2, 464,466, 468, 470, 472; to grind, for writing, 302, 304, 660, 832 ; to bnrmsh, 834; nze, 19, 283; to solder, 224; worms, 73: to varnish, 224; to lay upon paper or books, 95, 462, 427, 668; to extract ftom lapis lazuli, 350; upon tin, 95 ; upon linen or cloth, 230, 232, 260, 462 ; upon parchment, paper, and walls, 152, 154, 238, 25d, 266; upon leather, 156; upon glass, 526; upon colours, 462; upon ivory, 192; upon paintings in water co- lours, 786; upon metals, ib. ; upon various articles, 668; to restore, 224; whether contained in lapis lazuli, 350 n, 374 ; leaf, secret for writing with, 674; colour, 464, 524, 706; see Porporino; to give metals, 79; on Gomma iron, 76 ; for pottery, 544 ; fringes, to make with the paint brush, 460; to soften, 304 ; leaf; to gild with, 302; red colour fh>m, 334, 532; purple colour from, 388 ; to try, 226 ; to separate by quick- silver, 246 ; dead, to lay upon colours, 462 ; grounds, cxxxi, cclzxxii Gomma di Gineparo, cclxi, oclxii, 489 ■ lacca, Gccxi u Gomme de pin, ccli, 295 ■ de sapin, ccl, 295 Gorma, clxxviii Gozzoli, Benozzo, xctI, xcvii Gradina, xxviii Grana, 692, 702, 806. See Kermes -^— da Tentori, dxxiy, occxi u Granetus, 28 Granxa. See Madder Grapes, Chinese, to extract a colour from them for painting, 708 Grassa, ccliii Graticola, 736 Gravelle, 286 Greek green, ccxrii, 124, 158 pitch, cdi, 102, 106, 354, 368, 372, 378, 382. Se«Pece Greca Gremispect, 27 Green pigments, ccxvi- ccxxi, 648 ; what used by theVenetians, cxxt ; bice, ccxyi, 649 n ; draperies, cxxx, cxxxix ; earth, 244 ; ink, 59 $ colour, to make according to the Normans, 158; for writ- ing, 58, 122, 194, 272, 308, 312, 424, 431, 678, 682, 684; ft-om copper, 48, 113, 116, 120, 124, 126, 238, 418, 422, 424, 426, 428, 658, 660, 666, 680 ; from salt, 116, 236 ; brass or copper, 1 24, 238 ; salt and copper, 116; fh>m lilies, 422, 658, 678, 684, 700 ; from orpiment and indigo, 420, 786; from plants, 67, 158, 200, 274, 312, 420, 422, 428, 430, 689; from rue and parsley, with verdigris, 66 ; for dyeing skins, 67 ; for staining bones, &c., ^5, 81 ; for glazing, 812 ; INDEX. for painting, 424, 431; opaque, to make, 286; mixed with flesh colour in painting, 144; water, 59, 85, 97, 122, 126; for miniature painting, 664, 666, 680; for pottery, 536; how tempered for painting, 120; glass for painting earthen vases, 200, 204; corrosive and transparent, to make, 284 ; another not transparent, 286 Grey, 610 Grisatoio, Ixxxv Grisus, 27 Grotesones, 638, 782 Grounas, 746 n ; of the use of white lead in, cxviii, cxxxi ; used by Titian, cxviii, exxvi, cxxvii, cxxix ; in Venetian school, cxxvii, cxxxi, cxlii, cxlv, 728; how rendered pliant, cxxviii, cxxxiii ; absorbent, cxviii, cxliii, cxliv, cxlv, cclxxxviii-ccxcii ; non- absorbent,cxxvi,cclxxxii, cclxxxix, ccxcii, ccxciv ; used by Paolo Veronese, cxxxviii, ccxc ; by Callot, cxxxviii ; by Pozzo, ib. ; b^ Bassano, 723, 730 ; b^ Tintoretto for his * Cruci- flxion,' cxl, oclxxxix ; by the Bolognese school, cxlvi, ccxcii; by the Parmesan school, cxWii, ccxci ; of gesso, their ad- vantages and disadvan- tages, cclxxxv], ccxc- ccxcii, 730. 885; f^ quentlv covered with a coat of boiled oil, cxliii ; are the most durable and unchangeable, cxlvi ; earliest pictures were on panels, cclxxxii ; white grounds, their advantages, cclxxxii, cclxxxvii ; sometimes of a warm tint, inclining to yellow, cclxxxiii n ; advantages of cloth fbr paintinff on, t6. ; various methods of preparing, i&.,ccxciii, 228, 230, 268, 728, 730, 761, 772, 814, 815 n; some- times prepared with glue only, cclxxxviii ; to pre- vent their cracking, ccxci ; great requisites of,ccxciii; early Italians painted on 907 Horn non • absorbent grounds^ ccxciv; to prevent their being attacked by insects, cxxv ; to prepare quickly, 820 ; for gildmg, 238, 260 ; ibr columns, 230; fbr panels, 274 Guado, ccxiv, 28 Gualda, cliii, 483 Guamello^ to dye, 588 Guercino, 1, cxii, cxlvi i, clxxxv, cclxxviii, ccxcii, ccxciii Guido Reni, ccxiv, ccxxi, ccxcii da Siena, xxiii Guimefs Ultramarine, cxxvi Gum, to temper for lay« ing ou gold, 154; Ara- bic, 154, 156; ammo- niac, 1 56 ; Andrianum, cclvi, 5, 82; Edera or ivy, 29, 113; of the ivy, see Gum Edera ; of the plum tree, 154 ; lac, var- nishes of, 644, see Lacca ; water, to make, 502, 658 ; prevents the ink from flowing, 158 Gntiambar. See Gamboge, clxvi Gypsum cannot be used in the intonaco for fresco- painting, 792 H. Hflematite, clxx, 220, 806, 810 n Hair, to boil, 710 Half-light, 777 and n Hambro' blue, cciii Hartshorn, calcined, clii Hempseed oil, 164 Heur^ II. of England, de- seiiption of the effigy on his tomb, cvi Herba or Erba Gilosia, 438 — — Morella, clxxxix, 29 and n, 31 and n, 86, 200, 312 Scaldabassa or Scalda- Jussa^ 29 Sandix, 29, 36 Vaccinium, 29 Viola, 29 Holcns, 29 Honey, cxliii, cclxxxiv, cclxxxv, ccxci of roses, 468, 469 Horn. See Bones , to blacken, 72 908 Hem Horn, colours preserved in, 272 Homaza, dzii Horses formerly used at Venice, 604 n Hungarian blue, 648, 649 n. See OngaroJ ^— — green, ccxyi I. Ichthyooolla, 192 "Illuminer," origin of term, zxx Illuminating, meaning of term, 786 ; practical di- rections, 822 Implements used in paint- ing, cvii Incaustum, 30, 150, 240 Incense, Incenso, cdii, cclxii, 100, 878, 489, 680 Indaco del Golfo. See In- digo Indian red, clzx, dzzi lac lake, cxliz Indigo, cxliz, ocxt, ccxxti, ocxxtx, 244, 272, 650, 738, 744, 761, 786, 806, 816; term applied fre- quently to woad, ccxy; whether a durable pig* ment for oil-painting, ccxvi; to make, 412, 416, 612; to prepare, 676; dryer for, 666, 812 ; mix- tures of, with other co- lours, 652; Bagadel or de Bandas, ccxt, 86 Ingessare, odxxxii Ink, ocxxYii ; to make, 61, 69, 150, 158, 288, 290, 676; that will remain blade when water is added, 662; blue^ to make, 684 Innooenzo da Imola, ccxii Iris green, ccxix Iron, to gild, 222, 404; to temper, 75, 77, 83, 310; for cutting stones, 196 ; to preserve from rust, 78, 316 Isinglass, 192, 594 Italian pink, dxiv Ivory, to bend and orna- ment, 224 ; to paint, 820 ; black, ccxxvi, ccxxvii, 775; to gild, 192 ; burnt, 774 Ivy, lake from, dxxxii, 144, 146, 190, 310 INDEX. J. Japanning, colours and re- dpes for, 644, 686, 688 Jacopo da Monte. See Sansavino , Don, xxxii Tatti. See Sanaa- vmo da Tholeto, 328 ^— ^— da Turrita, xliv Jacc^ues PAllemand. See Giacomo da Ulmo Jalde. See Orpiment —^^ quemado. See Bed or Onmge Orpiment Jas,30 Jaune de Naples, clix Jewish glass, xcii, 244 and n, 245 Jews practised the art of glass-making at Constan- tinople in the 6th century, xcii ; and at T^re during the 12th, xciii; mono- policed the trade in dye- m^ during the dark ages, cxiii Jew's glass, 245 n Johannes da Modena, 9, 10, 11 Johanneto, Ix < Jonrd^rob^oucach^,' 780 * du droit fil,' ib. • faint,' ib, Julius II., 605, 606 Juniper gum (Sandarac), 696 K. Kassler blue, ciii Kermes, cxiv, cxxxvi, clxxiii, clxxiv, ccxxix, 51 n, 454, 806; a very durable colour, dxxvi Knife -handles, to stain green, 64, 80 L. Lac, dxxviii, cclix; im- ported into Ekuope in the 1 2th century, cdx ; when first mentioned as a var- nish, t6. ; to extract the colour from the gam, 686 ; to purify, 688 — calvisde, 387 — lake, dxxviii, ccxxix, 446, 448, 456 ' Turtumagli, 392 n Laoca or lake, 30, 250, 650, ' 822 Laeca di dmatura, clxxtii, 51, 53,91, 432, 434, 454» 456, 490, 808 Colombina, cxxxi n Lake, diffierent kinds oC cbouii ; from ivy, clxxxii, 146, 190, 810; from lac, clxxiii, 51, 63, 294, 446, 454, 700 ; from Brazil wood or VersiDO, cxxxi, 53, 55, 57, 65, 93, 95, 146, 271, 295, 437, 439, 440, 694; from grana, dxxiii, 702; of various kinds, 250, 708; from cochineal, dxxiii, dxxvi, dxxvis, ccxxix, 645, 660, 6G9, 698, 702. 708; from Brazil wood and lac, 93, 97, 144. 294, 694, 702; to grind, 712; to temper, dxxxv, 504; to prepare for miniature paintinff, 660; mixtures of, with other oolouis, 654 ; dryers for, cexxxix, 645, 666, 818; Floren- tine, dxxzi, clxxxii ; Venetiui, ib. 772; com- mon, 808 ; fine, ib, ; must not be kept in water, 740 ; should have body, 744 ; are slow dryers, dxxxv; how used by the Vene- tians, cxxviii, cxxxii, ocd ; beauty of the Vene- tian lakes, dxxxii ; what kinds most approved, t6. Lallemand, 830, 831 Lamp - black, ccxxvii, ccxxviii, 27, 138, 618, 678, 822 ; dryer for, 666 Lana, Padre Francesco, his work on painting, 746 and n L'Ange, P£re, 760, 789 n Lard, 350 Lapis Amatito,cixx, dxxii, 806 n Lazuli, 30, 96, 100, 102, 104, 177, 340, 341- 383 nicer, 30 Lapo ox Florence, xliv Lar^ cd. See Venice Tuipentiiie Jjuicina. See Venice Tor- tine, ecxlix Laughing fiioe, 612 Lawrence, Sir T^ cxxii Lazur, 178 n, 203 Lazurium^ 30 Lacurstein. See Axzano della Magna Lazzarini Lazzarini, Gregorio, 850, 869 Ijead glaze, xcix, 177 • calcined or burnt, Ivi, 540, 614 Glass, xciT, 216 Leather, worn onlined for garments, zviii, dx ; pre- paration of during miadle ages, chiefly carried on in the soutn of Europe by the Saracens, cix ; em- ployed as hangings of apartments, ex ; covers for books and frames, cxi; gilt, extensive commerce of the Venetians in, ex ; used for painting on, either gilt or plain, ib,\ parchment converted into by the Monks, cxi; to dye, 546, 560, 562 ; scai^ let, 548, 550, 552, 554; pavonavo^ 554; red, 308, 556 ; greeo, 556, 558, 596 ; azure, 404, 558 Lebrun, Pierre, account of his MS., 760 Lely, cdxxviii, ccxcv, ccxcvi Letters, to efface, 47, 57, 63 Leuoos, 31 Leyden, Lucas Van, ccxcix Liberale di Verona, xxxii Light red, clxx Light in which paintings should be placed, 776 Lights and shades of dra- peries, 250, 252, 256 Lignum Braxilii, 30 Lily green, ccxix, 650, 678, 684, 700 Lime as a pigment, cli; blue, ciii; as a dryer, ccxxxvi ; colours mixed with, 300 ; to prepare for fresco painting, 674 Linen, to prepare for paint- ing, 230 Linseed oil, 348, 362, 370, 378, 383 ; to make, 488 ; and white of egg vehicle, 486; what colours ground with, 738 ; with resins, 163, 164; how purified, 606, 620; thickened in the sun, proper for mak- ing varnishes, 634 ; boiled with litharge, 692; for tempering^ ooloara, 316; and see Oil Lippo Dalmasio, 329 Liquid varnish, 42, 98, 102, 159,312, 329,339, 346; to make, 488, 520 INDEX. Uscia, 891 Litharge, cxxvii, cxxx, cxxxv, ccxxxvii, ccxl, ccxli, cccxii, 335, 692, 740 and n, 816; whether a safe dryer for oil, cxxii, cxxx, exxxix Livi, Francesco Dominici, Ixiii Longhi, ccxci Lorenzo de' Medici, effigies of, in wax, painted in oil, cxi Luca della Robbia, cv, 335 Lucas van Leyden, ccxcix Luoee, 30 Luini, Bernardino, ccxcix ; his paintings in the Monastero Maggiore at Milan, xxv Lumina, 30, 314 Lunardo, Ixii Lustro di rasa, 696 Luteolum Belgicum, clix — Napolitanum, clix, clx RomsB, clix Lutnm Sapientie, 386 n M. Madder, czxxii, cxxxvi, cxii, clxxviii, elxxx, 34, 175, 248, 250 lake, cxxxii, clxxix; its properties, clxxix Madonna di S. Sisto,cclxxix and n < Maesta,' lii n Mahl stick, whether used by the great masters, cxxii ' Mag&Ien ' of Titian, 858 Majolica, clxx, 540 Vases, 335, 338, 540 Malachite, ocxvi Manganese, purple colour from, 338 Mantegna, Andrea, painting in wax by, d ; colour used by, cxcix Mapps Clavicnla, supposed date o( 178 n Mantta, Carlo, 1, celxx Marble dust, cxlvii, clii, cliii, 650; cement for, 82; to paint in oil on, 820 Maroellus Palingenius, 168 Marchasita anrea, 472 n, 488 n Marchasite, 371 Mardllat, Gulielmo de, Ixxii, Ixxv, Ixxix, Ixxxiv 909 Minium Marciana MS., account of, 603 Marco, Maestro, Ixii di Tiziano. See Vecellio Marini, Gia Antonio, xlii Marseille^ early commerce of, xxiii, cxvi, cxxi; fiunous for its dyes, cxxi Martino di Giorgio da Mo- dena, xxxi Marzachotta, 335, 536, 537 Massicot, clvii, clix, ccxxix, 536 n, €48 n, 772, 786, 804 ; two kinds oi^ clviii ; identified with one kind of giallolino, clvi ; of the Dutch, 335 Mastic,cxxxv,cxxxvi,cxliv, ccliv, 100, 102, 346, 354, 362, 372, 383, 620, 632, 634, 670, 672, 694, 698 ; as a dryer, ccxliv; var- nish, cxxxv, exxxvi, cclxiv, 742, 748 Materia Musica, 1 Maurelle, cxc, cxci, ocxix, 200 Melanthins, 828 Meline earth, 244 Mellana, 31 - Membrana, 22, 29, 31, 111, 298 Menesch, clxxix, 31 and o, 36 Mengs, cxix Menjui. See Benzoin Metals, names of jdanets ^ven to, 67, 69 Michael Angelo. See Buo- narroti Michele, xliv Michelino de Vesuccio, or Besuzzo^ or di Milano, ccxi, 12, 13, 102 Milan, painted glass in the Duomo, Ixxxvi Milk, as a vehicle for co- lours, exxxix, 618; added to grounds to prevent their cracking, cxxix, exxxix, ocxci Mineral blue, ciii Miniatori, xxix — — eali^frafi, xxix Miniature, origin of term, XXX ; painting much prac- tised by the Monks, xxi- xxviii ; the art divided into two branches, xxix ; how executed, xxxvii, cccxii Minium, cxxvi, cxxxii, cxxxvi, cliv, clxviii, 910 Mino CCXXYIII, CCZZ1Z, ccxxxvii, cczxxiz, cczli, cclzzzT, ccxcvii, cccU, 31, 36, 113, 314, 650, 744, 806,816, 820,822; native, dzz, oczzviii; to make, 122, 140, 234; nature of, 314 ; to temper, 156, 294, 296, 304; to 'prepare, 704; to purify and renoTate, dziz, 142, 294; to mix with ver- milioD, 140; to make quickly 484; to illu- minate books with, 298 ; miztures with other co- lours, 654 Mino, Maestro. SeeJaoopo da Turrita Mirca, 32 Mirror, black,V used by the Flemish painters, CXZY Mnitsch, clzziz Mooetto, Izyii Mommia, mummy, czli, CZliv, CCXZY Monastic institutionsp their influence on the arts during the middle ages. Z1Z, zz Moniculum, moniaeulnm, 32, 157 Monks, the, cultivated the arts, ziz; services ren- dered by them to society in the middle ages, ib, Monte, Jacopo da. See Sansavino ■ Casino, monks of, practised miniature paint- mg, zzi MontpelIier,earlj commerce of, zziii, cziv; famous for its dyes, ib. Montanes, cvi Mordants for gold, cczliv, 94, 282, 470, 474 ; with garlic, 95, 622, 624 ; not affected by the weather, 95 ; on walls, 464 ; for gilding on glass, cczliii, 620, 692 ; on marble or stones, 620 ; on iron and all things, 620, 622 Morella, clzzziz. See Herba Morella ; green colour from, 200, 420 Morello coloured pigments, clzzzvi-cxcvi, 650 '^— di ferro, clxxxvi, 650 di sale, clxxxvi, clxxxviii, 650 Morellen salz, clxxxviii INDEX. Moresques, 782 Mortars used by apothe- caries, how made, 304 Mottle de sil, clxiii, dxx, 804 Moulette, 771 Mountain blue, eciii, 786; and tee Azzurro di Terra green, ccxvi, 706 Mosaic, xxiii, 334; the most durable of all kinds of painting, xxxviii ; the art known to the ancients, t6. ; practised by the By- zantine Greeks, ih. ; early Italian specimens, ih, ; early Roman, generally on white grounds, ib.\ early Byzantine on gold grounds, tfr. ; schools of Venice and Rome existed in the 11th century, xxxix; Venetian school of, ib. ; Florentine school of, xliii ; old mosaics at Florence repaired by A^- nolo Gaddi, xlvi, liii; designs for mosaics ^ne- rally made by distin- ffui&ed artists, xliii ; Roman school, xlix ; ce- ment or ground for, 1; analysis of cement of the mosaics in the Duomo of Pisa, li ; verified by re- ference to accounts in the books of the Duomo, lii ; analysis of glass of, at Rome and at Pisa, liii, Iv ; colours for the glass of the mosaics described in the Bolognese MS., Iv ; gilding of, ih, ; to make the white for, 530 ; safiron or gold-colouied, 532; red, t6. ; rose-co- loured, ib. i pomegranate- coloured, to.; blue, t&. ; green, ib, ; crysolite, ib. Mulberry - coloured pig- ments. See Morello Muller, 770 Mural paintings, how painted, xxv ; at Bologna m the 15th century, 338 Murano, glass-works at, lix, Ixxxiz, xc; their cele- brity, ib.\ the workmen forbidden to disclose the secrets of the art, zc, zci n Muziani, zliz Myrrh, 162 and n, 240 Oil N. Naphtha, cxxxiv, ccxxxii, 670 ; used by the Italians, is a native production, ccxlv ; that of the shops is distilled from wood, ccxlvi ; native should be preferred, and should be previously rectified, cclxx Naples yellow, cxxxvi, cexxxviii Natron, 2U8 Naval pitch, 370 Nero di Schiuma di ferro, ccxxvi Spalto, ccxxiii. See Asphaltum terra. See Terra Nera Nerucci, P. Johannes, Ixi Neuwieder blue, cciii Neveda, 3S Niello or nigellnm, 70; the art known to the an- cients, cxii ; practised by the Byzantine Greeks and much cultivated by the Milanese, ib, ; treatise on, b^ R Cellini, cxiii ; descnption of mode of executing, ib. 242 Nitre, 208 Nitro-muriatic acid, 65, 334, 388 Noah's ark, proportions of, 796 Normans, when they set- tled in Italy, 179 Norman origin of some re- cipes, 112 Nottingham Castle, early paintings at, xxiv Novan^ painted figures of plastic work in the bap- tistery at, ciii * Nozze di Cana,' by Paolo Veronese, ccxd and n o. Obsidian, 210 and n Ochres, clxiii, 32, 658, 810, 812, 816 ; should be pur- chased in the lump, dxiii, 744 ; red, 812 ; de ru, cbdii, 280 ; bunit, 804 Oderigi da Gubbio, zzxiii Oil, why old pictures can- not be repaired with, cxzzi, czzxv; ooloon always ground in, czxiv, ccxxx, 606, 627 ; whether Oil used to paint with, cxix ; preparation and parifica- tion o^ cxxYi, cxxzY, cxxxTii, ocxxxii, ccxxxiii, 232, 302, 621 ; contrivance for absorb- ing, cxliv; injurioas to some coloQrs, cl ; much oil always injurious to the colours, ccxxxi, ccxxxii ; drying oils, ccxxxTi. &e Dryers and Drying oil ; effect of burning, ccxxxvii ; dark- ens all colours, cclxxxiv ; to remove stains of, from parchment or paper, 63, 81 ; colours for painting on glass, 616; fat, 812, 81 6, 838 ; distilled, ccxlvi, 330. 506 ; pressed out of brushes, for what used, 740; not good on old pictures, 725, 750 ; boiled, 115. See Olio cotto; gilding on stone, 668 Oil of chamomile, ccxxxu; of spike, ccxxxii, 670, 688; used in painting, ccxxxi ; what usually sold as such, ccxIt of turpentine. See Tur- pentine, spirit of painting practised in an imperfect manner in Italy previoas to the time of Antonello da Mes- sina, cxvi, 330 ; the me- thod of the brothers Van Eyck soon modified con- siderably in Italy, i6. ; exposure of pictures to the sun, see Sun ; cause of shriyelled,sur5ice of, cxx ; why the darks are raised above the lights, cxx, cxxviii, cxxxvi ; all artists did not obserre Che same process, cxxiv, cxxxix ; whether oil should be laid upon oil, cxxvi ; rapid drying of vehicle conducive to the permanence of the picture, cxxxiii, ccdx ; tracing the design, ccxciv, 734; method of early Venetian painters, t6. ; lights in early oil-paint- ing semi-opaque, cxxxiii, cxxxiv and n; exces- sive hardness of, cxli ; effects of the atmosphere upon, cxxxvii, cxxxix, . 880; colours should not INDEX. be too oily, ccxxxi, ccxxxii; or too dry, cxliii ; surface of, how polished without var- nish, cxlv; amber var- nish probably one of the improvements introduced into Italy b^ the Flem- ings, ccIxYii; did not require varnishing, cclxxx, 747, 762 ; early varnishing, when com- paratively safe, cxxxvii ; m Italy there were two distinct processes, ccxciii ; the early me- thod was that adopted among the Flemings, ib. ; the other was the Vene- tian method, ccxiii ; both methods afterwards con- siderably modified, ccxciii; the Flemish or earl^ Italian process, ccxciv; in which the shadows were transpa- rent, and the lights semi- opaque, ccxcvii; advan- tages of this method, ib. ; perfect outline neces- sary, ib. ; when this me- thod was discontinued in Venice, ocxcix ; causes to which the darkening of Italian pictures is at- tributed, cxliv, ceciii n, 872 and n ; whether tints were mixed previously to painting, ccxcvii ; glaz- ings, how executed, cxx, cxxxii ; whether they are permanent, cxlv ; Borghi- ni's description of the Flo- rentine method of paint- ing, cccv ; why one layer of colour should dry be- fore another is applied, ib.; rubbing the surface with pumice stone, cccvi ; colours dried slowly in winter, ib. ; dried in the sun or by a stove, ib.; * oiling out,' occx ; causes of their decay, 879-883, 887 ; most durable, how painted, 888 ; colours for, 608 ; directions for clean- ing, 645, 750; whether any part executed in dis- temper, cxxxvii, cxliii varnishing, cclxxx, 747 n, 762 Oil gilding, 668 * Oil upon oil,' meaning of expression, cxxvi 911 Orpimeni * Oiling out,' cccx Olchus, 32, 144 Oleo - resinous varnishes, proper for mixing with colours, 606 ; whether used in painting, cxxi, cxxx and n ; composi- tion of, cclxii - cclxix ; high colour of, how re- medied, cclxxi Olibanum, cclii, 372 Olio di Abezzo, ccl, cclxx, 294, 634, 670, 672, 696, 740, 742, 763; to know when it is genuine, ccl, 635 Olio cotto — boiled oil — pre- pared with litharge, cxxvii, ccxxxix, ccxl, cccxii, 740 ; to know when it is sufficiently boiled,ccxxxvii,ccxxxix, ccxl, 644, 692, 740,746; and see Boiled Oil, Dry- ers Olio diPetrolio. See Naph- tha — - di Sasso. See Naphtha di Spigo. See Oil of Spike Olive oil, 380 Olivetani (the) practised tarsia work, xxi Ongaro, ccii, cciii, and see Azzurro di terra Or de couleur, 814, 836, 838 Or moulu, 832 Or mat, 836, 838 Orange-coloured pigments, clxvii-dxx, 650, 662 ; said to have been used by Titian, cxix Orgagna, Ixii Oricello, xxxvii, cxiv, cxcvi, 474 Oropimente. See Orpi- ment quemado. See Orange or Hed Orpiment Orpiment, cxxviii, cxxxvi, cliv, 298, 648, 650, 786 ; a bad drver, and difficult to grind, cliv ; dryers for, ib,t ccxl, 812; na- tive and artificial, cliv, ccxxviii ; powdered glass mixed with, cliv; pre- paration of, dv, 238, 502 ; used by some of the Ve- netian painters, civ ; whe- ther it should be mixed with other colours, i6.y 252; not a durable co- lour, ib. ; burnt, dv ; colour resembling, 198 912 Orpiment Orpiment, red or orange, realgar, clzTii, 662 ; na- tive and artificial, r6. ; the latter prepared at Venice, dzTiii ; its pro- perties, i6. Onini, ct Oster, 32, 250 P. Pacheoo, cxt PadoTanino, zlii Padnan MS., aoooimt of, 644 Painted glass. See Glass — — - ^rments, formerly worn in England, 8 Painters, societies of, when first formed, xxir; go- verned hy certain regu- lations, cxvii; sworn to observe the secrets of the profession, ib, ; long pe- riod of pupilage, to. ; names of the most cele- brated, 824 Painting in oil. See Oil painting. On glass. See Glass. On linen, in- tended for wearing ap- parel, cxv; formerly a religions occupation, xx ; what kinds most prac- tised during; the 1 2th century, xxiii ; technical terms, 72-80; imple- ments used in, cvii Paintings, how to speak of beautiful, 824 ; decorated with artificial gems, Ixxxviii Pala d'Oro of S. Mark's at Venice, cxii Palingenius, Marcellus, 168 Palette in use in the 15th century, crii ; to set for flesh colour, 770 Pallidus, 33 Palma, Jacopo (Giovane), xlii, xlv, cxxxiii, ccxii, ccxcii, cexcix, 865, 870 Palma Vecchio, cxxi Pamphilns, 828 Panaino, Stefiino, Ixvii Panels. See Grounds. To preserve them from being worm-eaten, cxxv ; ear- liest pictures on,ccIxxxii ; composed of several pieces, ib.; how cement- ed, tfr. *, to prepare for painting, cxlvi, 274, 594 Panicella, 452 INDEX. Paolo Veronese, xli, xlii, 855, 856, 862, 863, 865, 867, 888, 889 ; blue pig- ments used by, cxix; method of painting blue drapery, cxxiii n; whe- ther he used sixe colours on his oil paintings, cxxiv, cxxix, cxxxv, cxxxvii, cxl, cxli, cxlii, cxliv, ccxci, cccii, cccx; why the can- vass of 'his pictures has darkened, cxxxviii ; grounds used by, t6., cxl, cclxxxix, ccxcii ; did not glaze much, cxli ; method of painting, cxxix, cxxxiv, czl, cexcix, cccii, cccx ; his method opposed to that of Titian, cxiii, oociii ; colours used by, exxxii, cxli, dv, clxui, clxvi, dxix, cdii, ccxi; whe- ther he began his oil- pictures in distemper, cccii, codx; painting in distemper by, restoration of, 862 Paper, of linen and cotton, when introduced into Europe, 258 n, 894; or parchment, to gild, 626 ; to make it transparent, 678, 680, 734, 736 Paramentum, 227, 893 Parchment, to gild, 238 ; converted into leather by the Monks, exviii ; to prepare for painting, 274 Parcium, 146 Paretonium, 33, 244 Parisino, or Parisian red, 702 Parmesan school, grounds used by, cxlvii, ccxci ; method of painting in, cxlvii, cdxxxi Parmigiano, 828 Parrhasins, 828 Parri, Spinello, Ixvii Parsley, to make a green colour with, 66 Pasta verde, ocxviii, 650, 662 Paste for modelling, 484, 494; etching, 666, 678 Pasterini, Jacopo, xlii Pastille for ultramarine, 99, 101, 346, 348, 350, 354, 362, 368, 370, 380, 382 Pastorino da Siena, Ixxv Pavonazo, clxx, dxxxvi, 439, 442, 444, 610; cc>- Pmuo lour for painting on walls, 442 Pearls, artificial, xdi, 508, 511, 513,523,543 Peee Greca, cdi — - Spagnuola, or di Spagna, cdi Pechoris, Domenioo PSetro Vannis de, Ixxii Pegola, cdi — di Spagna, odi, 350, 362 Pellegrini da Bologna. See Samacchini Peregrini, Fra Raphad, Ixxi Persus, 33 Pezzette, cxeiii, excv, 250 n, 406, 422, 426, 438, 442 Phidias, 798 Piagnoni, xxxvi Pictura translndda, 33 Pictures should be exposed to the air, 762; charac- teristics of good, 776 ; in what light they shoiUd be placed, ib.; to clean old, 672 ; to be preserved from dost, 762 ; deaning, 750 Piero di Perugia, xxxii Pietra mala, 5 Pietro di Lianori, 329, 330 — ^ Perueino^ what co- lours used by, oevii, ecxii ; reason why some of his pittures cracked, ccev; painted the blue of a sky in tempera, cxxxvii n, ccvii, codx di Tmmoggiano, Fra, xxxiii da Verona, 6 Pigments, white, d ; yellow, diii ; orange, clxvii ; red, dxx ; mulberry and purple, dxxxvi ; blue, cxcvi ; green, ccxvi ; brown, ccxxi ; black, ocxxv, and eee Colours ■ from flowers, 184 Pina, Fra Midiele, Ixi Pinceli^re, 770 Pine resin, cdi, 106 ' Knk,' dxiv Pilastra,34 Plnmbos albus, 33 Polidor of Parma, 828 Pollini, Fra Domenioo, Ixi Polydetus, 778 Polygnotus, 826 Pompholyx, 892 Pondiino,Gio. Batista, ccxii Pondf, 782 Ponso, dxxxvi Poplar ^ Poplar (black) resin, odyi| cclix PordenoDe, czxi. dzix Porporino, xcviii, 65, 65, 248, 458-476, 806 Porro Maso, Ixxt Porzello, Alberto, xxix, 4, 288 Posch, 33, 298, 314 Potter^s clay, cclxxxri — earth (Terra da Boocali), 772 Pottery, glazes for, 177, 537. oee Earthen vases ; to make white withont painting, 536 ; white with glass, 537; white on which to lay azure, 536, 538; colours for painting on, 536, 537, 544 Pounce, 636, 696 Poussin, Caspar, cxxv Powder, to light a candle withont fire, 72 Pozzo, cxxxviii, oclxxxviii Prasino, Prasinns, ccxvii, 33, 244 and n, 298, 502, 651 Prasis, 33 Predella, xxriii Priming. See Grounds Printing ink, ccxxvii, 618; with separate wooden types, first essay, 2 n, 1 Prints, to transfer on to glass, 645, 692 Proportions of the human body, 796 Protogenes, 828 Provenzale, Maroello, 1 ' Pulchri Scriptores,* xxix Purple of the ancients, clxxxii, 25 n, 32; of Cassius, 334, 388 n ; lake, 702 utrido,' 608, 610; to paint on glass, 616 Purpnreus, 33 Purpurinus. See Porporino Pyrophorus, 73, 79 Pythagoras, 798 Q. Qninetilian, 764 R. Bafiaello, or Raphael d'Ui^ bino^ IxY, clxiii, 336 n, 604, 828 Kagia, ccxlviii Ranno da capo^ 3S4 Ranschel minerale, dxviii, 868 INDEX. Ranschgelb. SssRedorpi* ment, clxviii Rava, 34 Realgar. Sw Orange or red orpiment« dxvii Red pigments, clxx- dxxxvi, 650 Red, English. See Terra rossa ; Indian, dxx, dxxi; lead. &e Minium; light red, cxx ; brilliant, czxx ; Venetian, cxx; ochres, clxx ; draperies, cxxviii, cxxix; colour for shad- ing letters, 482; beauti- ful, from Verzino, 612; water, 85, 87 ; glass, to make, 524 ; earths, cxxx Resins, ccxlviii, cdi ; of the pine, cdi; of the black poplar, cdvi, cclix R^toring of pictures, his- tory m, in Venice, 849 ; Tehide used in, exxxi, exl, cxliii Reynolds, Sir J. ; his con- trivance for absorbing the oil, cxliv Rhubarb, 88 Riooi, Sebastiano, 860 n, 852, 853 Rizzo, Marco Luciano, xl Robbia. See Madder Rocaille, 792 and n Roche alum, in varnishes, 628, 630, 632, 634, 636 Rocon, olxxvii Roman vitriol, burnt, clxxxvi, 650 Rosa, 34 — di Flandra. See Mad- der Rose colour, 652, 704 ; to make, 52, 54, 234, 270, 282, 292, 310, 486 ; water, 56; to make it become white, 716 Rosato, 432, 434 Rosette, 806 di Verzino, 680 < La Rosette.' 772 Rosetto di Verzino, 680 Rosseto di Spagna, 660 RoBsetta, to temper, 504 Rossetti, Paolo, 1 Rothomagensian green, 124 Rouget, 808 Rnbea,34 — Major. See Madder — terra, 34 — — * tinctoria, dxxviii Rubens, ccxx, ccxcvii, 759, 764. 830 ; his method of paintinff contrasted with that of Titian, cxxii; 913 SatUttvino painted his < Descent* in 9 days, cxxiv; his direc- tions for preventing the yellowing of his pictures, oocvii, occviii Rubies, to make, 508, 510 Rubrics, 806 Rue, to make a green colour fh>m, 66, 650; juice of, how used, 286 Ruschegel or Rauschgelb, elxiu S. Sabbatini, cxlvi, cdxxxvii, 603, 604, 605, 618 | Sacramental cups with gems, Ixxxix Sacro catino, liii and n Saddles^ to paint, 40 Sa&r, cdx Saffron, clxiv, 35, 114, 128, 130, 158,306, 648, 786; when procured, clxv ; when and how introduced into England, t6.: dif- ferent kinds of, 130; to prepare, 504, 706 Sagio, Sagium, 98, 100 S. Jacopo di Pistoia, early paintmgs in the chapel oi^ XXV, xcviii, xdx «S. Retro Martire* of Ti- tian, cdxxxix 'S. Sebastian' of Titian, cxxxviii, 858 Sal ammoniac, 385 Salt green, 116 Salts, their presence in pic- tures injurious, ccxliii Salviati, xlii, 828 Sal vino degli Armati, the inventor of spectacles, XXXV n Samaochini, what grounds used by, cxlvi Sanctonicus, 36 Sandal-wood, 516, 517 n Sandalica, 36 Sandarac, cdiii, odxii, 1 ] 5, 488, 630, 644, 696, 698 Sandaraca, dxviii, ccxxix, US, 140, 246 n, 314 Sandarace, ccxxix, 314 Sandaracum, 36 Sandaraqne, 804 Sanders blue, cd. See Azzurro di terra Sandis, Sandix, 86, 175, 248. See Madder Sanguine, clxx, 806 Sanguis Drachonis, 36 Sansavino or Sansovino, xlii, 603, 605, 630, 638 ; 914 Sap varnish approved by, 630 ; stuooo approved by, 638 and n Sap green, ocxviii, 420, 650, 662, 706, 708, 786, 808. See Pasta Verde Sapin, gomme de, 295 Sapphire, to coloar, 506, 524 ; for painting on glass, 216, 242 Saracens, their influence on arts and commerce during the dark aces, xxii, cix Saturnine red, clxz Savonarola, xxxvi Sbiadato, 650 Scammony, preparation of, 700 Scarlato ool secreto, 684 Schiavone, Andrea, xli Schwanhu^, Henry, 332 Seals, to take impressions of, 75 Sfregazzi, cxxix, cxli, cod, 879 n Shades in general, and of shading colours, 656 Shadow colour, 761, 786, 822 ; for . flesh, ccxcvi, 650, 651 ; of various co- lours, 656 Sheldrake's Essays, cclxix, cclxxii, ccciii Shells for colours, cvii, 274 Shrivelled surface of oil paintings, to what attri* buted, cxxi, 230 Silaoetus, clxiv, 36 and n Silk, to dye green, 558, 584, 586, 598; grey, 590; black, 558, 584, 588; red, 580, 586; purple, 582 ; violet, ib. ; blue, 586 Silver letters, to make, 51, 61 ; without silver, 302, 304 ; to write with, 298, 302, 464; yellow colour from, 335 ; colours from, for painting on glass and pottery, 334, 544, 614 and n; blue pigments from, ccx, 47, 48, 394, 398; to gild, 222; to try, 226; to grind for writing, 660; to gild with amalgam, 624; to lay on flowers, 668; to apply on paintings in water-colours, 786 Silvering, durable methods of, 71 Silvestro, Don, xxxii Simone di Domenico, M^ Ixii Sindone, 260 and n INDEX. Sinopia, cxx, cxxi, cxzxix, clxx, clxxi Sinopis, 35, 142, 182 de Mellana, clxxi, 114, 144 Sinople, 300, 302 Size, whether found on Ve- netian painting8,cxxxvii ; for gilding, 466, 468 ; or assiete, 262 colours, how they can be made to adhere to oil- colours, cxl Skins. See Leather; to turn black skins white, 83; to prepare, 562; with or without the hair, ib. Smalto, Smalti, Ixxxiii, ccvi, ccvii, ccix, ccxxix, 333. 340 and n, 364, 526, . 616, 649, 804, 816; mixed with colours, oxxv di Fiaadra. See Smalto Smaltino, ccxxix. CCVl, CCVll, 712, 761, 804, 823 n. See Smalto • Smoke of burnt nut oil, pigment from, 650 ; resin, ccxxv, ccxxvii, 650 Smooth surface of pictures, advantages of, 730 Soap, 116, 118, 346, 366, 377, 496 Society, state of, during the middle ages, xvii Softening, 776 Soldering for metals, 224 Soler, xxvi, 88, 89 n Solomon's Temple, propor- tions of, 796 Sombre del Viejo, oclxxxvi de Venecia, ccxxii Spadari, Benedetto, Ixxi Lo Spagnuolo, cclxxvii Spanish axnre or blue, 364, 748 and n; green, 128, 1 56, 266 ; pitch, cdi, 350, 362 Spectacles, when and by whom invented, zxxv and n Spike, oil of. See Oil of Spike Spina, P. Alessandro della, XXXV Spincervino (buckthorn), green from, 420, 422, 428 SpodiO, 892 Spirit of turpentine. 330, 670, 672, 698; used to dilute the colours, ccxxxii, 749 TaueriiMtu Stagii, Stagio, Fabiano, Ixxii Stains, to remove from. woollen doth, &C., 81 Stanniferous glaaefor pot- tery, 338 Stannnm, 36 Statues were frequently painted during the mid- dle a^es, di ; description of pamted statues in the baptistery at Novara, dii ; wax figures of Lorenzo de' Medids painted in oil, dv; of wood, co- loured in Spain, cvi ; method of painting, taught by Pacheoo, ib. ; monumental statues of stone coloured to imitate life, ib. ; of terra cotta coloured, cv; to paint, 40, 762, 822 Stefimo da Pandino, IxvU Stellerie, to make, 320 Stil de grain, clxiv, 808 Stone colour, 652 ^— for grinding colours, how cleaned, 738 Stones, precious, to engrave, 188 ; to polish, 192, 820 ; to cut, 216, 21ft; for rings, artifidal, 506 Stone, oil gilding on, 66S for grinding colours, how cleaned, 738 Stove, drying oil-paintinga by, cccvi Strassburg turpentine, cd Straw colour, 652, 704 Stuooo invented by Gia da Udine, 638 and n Succinum, ccliv Suocus Sambucis, 36 Succus, 35 and n — ^ herbamm, 36 Sulphate of xinc, 620. See Dryers Sulphur, cxxv Sumach, juice o^ 452 Sun, exposure of pictures to, cxx, cxxvi,cxxvii, cxxxi, cxxxv, cccv, cccvi, codz T. Tables, to redden, SIS Tafi, Andrea, xziv, xliv- xlvi, xlviii, 1 Tano, xliv Tarsia work, Ivii, Iviii; three Olivetani monks most distinguished for their skill in, ifr. Tavertinus, 37 and n Technical Technical tenns in painting, 772, 774, 778, 780 Tempera,whet]ier employed oo oil paintingSf cxziy, cxziz-cxzxit, cxxKiy ; for colo«ra prepared * a \ pntrido^' 610 Tempesta, Antonio, 838 Terebenlhina, ccxlviii, cclii, 372 T6ii^Dthine de Venise, ccl Terlise, ecxc Terms, 782, 790 Terra azzurra, cciii — « biaoa. Set Aimrro di Terra -— — da Boocali, clii, cdxxxTi, 730 and n, 752 — -»di CaTa. See Terra da Boocali — — « di Campane, eczzTi. Sp« Terra nera di Cam- paue crocea, 37; sen creta alba, ib.' di Colonia, cxzzit uera, nigra, oczzv, eczxxiz, 37 — >— nera di Campane, CCXZTi nera di Roma, eczzvi neradiyenezia,ccxzTi roasa, czli, 650 rotsa d'lnghilterra, clzz, 69C, 810, 816 rofisa di Spagna, clzz, 696 rubea, clzz, 34, 37 di Siena,' czli verde, oczvi, cczz, cczzziz, 37, 38, 126, 236, 611, 650, 744, 772, 786; burnt, oczzii, 744 Terraghetta, 335 Terretta. &e Terra di Cave Terream yiride, 126 Terreos color, 37 Tbeo of Samoa, 828 Theodolinda, ziz Theodore of Flanders, zzri, 6,85 — ^, recipes for colours, collected by, 7, 85. 89 Theodote, cezvii, 25, 37, 244 Theophilus, his instmctions for mural paintings, zzv; his varnishes, cclzi Thierson, or Thiesson, M., 760, 764, 830 Thread, lo dye, 588, 595, 598 Thunderbolts, what so called, 204, n Thus album, cclii Tiarini, cczer VOL. II. INDEX. Tibaldi, what grounds used by, czlvi Tiepolo, 850 Tierra de Esqnivias, cetzzzvi Timanthes, 800 Tin, gilded, how employed, zcviii, 160, 162, 304; leaves, to beat, 160; to gild, 162, 220, 240, 624 ; to know when it is good, 150 ; to calcine, 402, 540, 614; to fix on coats of arms, 818; to write or paint with, 146 ; Roman and Venetian, 327 Tints, various, how formed, 156 Tintoretto, Jacopo (Ro- busti), zli, zlii, czxziii, czzzvi, cclzzz, occiii, 863, 865, 867, 868, 869, 870, 872 ; his method ;of sketching, ezzziz,cczciv; and of painting, czzziz n, czli; his grounds, czl, • cclxzziz; colours used by, czzzvi, dzzxiii, ccdii — , Domenioo, 865, 867 Titian, zli, zlii, 724, 760, 828, 858, 863, 870 and n, 872, 876, 879; grounds used by, czviii, cxzvi, czzviii, czziz, czzziii, czlii, czliii, cclzzzviii, cclzzziz ; where he pur- chased his colours, czix ; his methods of painting, tfr., czziii, czzviii,czzzii, czzziv, czzzviti, czlii, cczcvii, cczciz, ooc ; effect of daylight discern- ible in his pictures, czz ; shrivelled sur£u^ of some of his pictures, czzi ; con- trast of his method with that of Rubens, czzii; and of Paolo Veronese, ccciii ; his remark on oil, czzii; his method of painting blue drapery, czziii n; repeated his tints many times, czz. czzvi, czziz, czzziv, cczcvi, ccc; his employ- ment of asphaltum, czz, czzviii, czzzii; is said to have used a yellow varnish in glazing, czzvi, czzzii, coci ; what vehi- cles he used, t6. ; fre- quently laid on the paint with his fingers, czzziv; whether he be- 916 Turpeniine gan his pictures in chia- roscuro, czzzviii ; early pictures by, czzziz ; whether he mized any of his colours with size, czli, czlvi; is said to have used more oil than other artists, czli ; eolouit vsed by, cziz, czziz, cxli, dzviii, dziz, ecn, eeiii ; cban^ his method of painting many times, czlii, oczdii, coe; fre- quently used an deo-resin- ous varnish for this pur- pose, ccd ; description of a miniature by, e(M&i 2 his method adopted partially bj other spools, eeeiv ; his firescoes at Venice, 870; caosesofthedarkeu- in^ of his pictures, 672 Tom, Angelo IGdwle, cdzzviii Tepo, Izzzv Torre Flaminio^ cczzzll Tradng, or transparent paper, 292, 376, 678, 680, 734, 736 Tracings by the sons of Bassano, 738 Transfiguration, eezzvii Transparent colours for punting or dyeing, 7 ; distinguished from body colours, 608 ; colours, 6 1 0 Travertine, clii, 36 Trementina, oczlviii, 879, 380, 383 Trevisano, 850 Tribune, zzziz n Tuda Alezandrina, 71, 82, 100, 892 ; to prepare, 71 Tura, zliv Tnrchino, czziz, ceSi, 651, 761, 856 n, and sosAz- surro di Terra Turessio, Francesco, ztii Turetto, zliv Turkish paper, marMed with various colours, 712 Turusol, dzzzviii, ezc, czcii, 86, 96, 98, 650, 660 Turpentine, cczlviii, 96, 98, 686, 696 ; Bordeauz tur- pentine, odi; Strassburg turpentine,cd; Venice tur- pentine, cczliz ; Chio tur- pentine, cczlviii, cdziz; colours tempered with, 294 ; with linseed oil, med for cementing the mosaics of the Duomo of Pisa, Hi , spirit of, used in paint- ing, oczzzii, oczlv, 830 ; 2 R 916 Tutiio caation necessary in luing it, ocxlviii Tutiio, xzxiii u. UltramariDe, Iv, ccxxix' 96, 113, 327, 772, 786, 808; whether used by the old masters, czix, cxxY, cxxxi, cxzxTiii, cxxxvi, ocx-ccxii; not much used by the Spa- nish painters, ocxiii, 787 n; how nsed, ocy, ccx, ccxIt; price of^ ocxiii; to make or prepare, 47, 97, 111, 114, 344-382; used ibr paindng on pot- tery, 337 ; to distinguish the real from the facti- tions, 246, 340, 384 ; to know when it is pure, 744, 761 ; to distemper, 660; nsed to colour ar- tificial sapphires, 506 ; whence procured, 374 and n Umber, ccxxi, ccxxxix, cclxxxiv, ccxcyii, 650, 652, 654, 656, 658, 7-10, 747, 810, 812 UpechiDO^ xliy Urchilla, cxcvi V. Vaccinium, 38, 250 Yandyck, ccxct Varnish, 114, 162,618,742, 763; with colours in painting, cxxiv, ccIxxy ; what used in restoring, cxxxi ; Damara, cxxxt, cxxxTi, oclxi, Bee Dama- ra ; mastic, cxxxy, cxliv, 632, 670, 723, 740, 840, Mee Mastic; earliest Ita- lian, cclxi ; remice li- quida, gee Vernice li- quida; vernice comune, see Vernice comune ; of P^ri, cclxv; gros ▼emis, oclxTi, 840 ; ver- nice grossa, cclxTi ; fine, 840; copal, oclxix,cclxx, olio di abezzo and naph- tha, cclxx, 634, 644, 670, 672, 696 ; oleo-rt-sinous, cdxii-cclxix, 628, 630, 632, 634, 636, 644, 670; of resins and bal- sams, ccIaix ; of balsams, or resins, and essential oils, cclxx, cclxxi, 628, INDEX. 644, 670, 688, 694, 696, 698 ; formerly very thick, cclxx, cclxxi, 606 ; how applied, cclxx, 606 ; how diluted, when neces- sary, cclxx, 606, 628, 632, 636 ; whether used in painting, cclxxv-eclxxx, 606 ; Fra Fortuoato's re- cipes for, cocxii ; of benzoin, 628, 630, 838, 840; that will dry in the shade, 6St8; quick dry- ing, 628, 630, 670, 672; slow drying, 670, 672; for all thin|;s, 630 ; tried by Sausavino, ib. ; for lutes, leather, cloth, &c., cdxiv, 632 ; for colours, as well in oil as in other kinds of painting, ib.; for arquebusses, cross- bows, &c., 636 ; common varnish, eee Vernice comune; for writing pi- per, 636 ; * alia Fiamin- gha,' 644, 690 ; of gum- kc, 644, 686, 688, 694, 696 ; of amber, or carabe, see Amber ; clear and fine, 670, 696, 840; for Stcture frames, 674 ; In- ian, 686, 688, 694 ; for painters and paper, 690 ; for gold, 694, 838 ; Chi- nese, 696 ; highly colour- ed, 762 ; for mmiature and picture frames, 698; of mastic for oil painting, 840 ; not always applied on pictures, 747 n, 762 Vasan, Giorgio, Ixxv Vaulezar, 830 Vecellio, Marco, 865, 866, 870 , Tiziauo. See Ti- tian Vegetable pigments, 184, 200 ; yellow, clxiv- clxvii ; red lakes, eee Lake; purple or mul- berry, clxxxviii ; blue, ccxiv ; green, ccxviii Vehicle, rapid drying of conducive to permanence of colours, cxxxiii, cxxxiv; for colours for miniatures, 156 Velasquez, cxxii n Velatura, cxli, ccci Velo, 736 and n Vendramini, Giovanni, of Padua, xxxi Veneda, 38, 310' Venetian azure, 761 ; pic- Veniee tures, historical acooTmt of the restoration of, 845 ; lake, clxxxi ; glass, lix, xciv n ; red, clxx ; om- ber, ocxxii Venetians,early commercial enterprise o^ xiii, xxii, xdii ; had mannfiictDries of gauzes, doth of pold, &c., during the middle ages, xxiii ; first traded by sea with Antwerp in the 15th century, t5. ; their school of mosaic painting, xxxix ; of Tar- sia work, Ivii; glass works at Murano^ lix, Ixxxix, xc; seldom prac- tised painting on glass, ib, ; their commerce with the East, xdii ; tbdr manuikctoiy of gilt lea^ ther, ex ; sometimes piunted on leather, cxi ; famous for their red dyes, cxiv ; acquired the art of glass-making in the Elast, xciii ; traded with the ports oif Egypt and Syria in the 9th century, t6. ; obtained a third part of the city of Tjrre, ib.; pounds nsed by, cxxvii, cxxxi, cclxxxiii, cclxxxviii ; exposed thdr pictures to the sun,cxxvii; used chiefly earths in painting, cxxviii, cxlii; early method of oil- painting, cxxxiii,ocxcvii ; various other methods, cxxvii, ocxdx, ccciv ; colours used by, cxix, cxxiti, cxxx, cxxxiii, cxxxvi, clxxxii, clxxxiii, clxxxvi, cciii, ocxi, ccxviii ; did not grind their colours fine, cxxxvii, ccxxx ; method of painting drapery, cxxviii, cxxx, cxxxiv, dxxxvi; vehicles,cxxxii, cclxxiv,cclxxix; the first among the Italians who paintedonUnen,cdxxxiii; whether they be^;an their pictures in distemper, cccii, ccdx ; rubbing the surface of the picture with pumice-stone, cocvi ; 'oiling out,' cccx; mo- dem method, cxlv Venetiano, Frate, 603, 620 Venice, climate of, injuri- ous to pictures, 883 Venice Venioe tarpentine, ccxlix, cclxiz 'Veniu' of Titian in the Barbarigo palace, 858 Verblean. See Vert blea, 38 Vercanda, 38 Verd de terre, 772; and Me Terra verde Verde alomino, 425; az- zurro, ocxyii, 423, 424, 431, 610, 648,658, 659 n; etemo, czxiy and n, ozzzvi,ccxyiii, 738, 744 ; di miniera, ccxvi; di Montagna, 706; porro, ccxyi, 648, 649 n, 651 ; di Spagna, ccxyi; di Vesicha, ccxviii, 650 Verdigris, cxlix, ccxvii, ccxix, ccxz, ccxl, 49, 67, 126, 418, 427, 428, 502, 648, 658, 668, 706, 822, 804, 808, 820; to refine, 664; to be used with varnish, 812; or fkt oil, 814 ; as a dryer, 748; mixtures of other colours with, 652 ; must not be kept in water, 740 Verderame. See Verdigris Verdete, ccxviii Verdet, 806 Verdetto, ccxvi, ccxviii, ccxxix, 648, 649, 806 Vergaut, 38 Vermiculus, clxxi, 38, 449 Vermilion, ccxxix, ccxxxvii, cccii, 113, 138, 140, 500, 522, 772, 804, 814. See Cinnabar and Kermes Vemioe, cclxi ' comune, cclxiv, cclxviii, 607, 636 ; grossa, ccliii, cclxvi, cclxvii, 723, 742, 763, 840; in grana, ccliii; liquida, cxxxv, ccxxxix, ccliii, ccliv, cclxii,cclxiii, 42,98,102,114,159,314, 329, 339, 346, 489, 493, 521, 593; da scrivere, ccliii, cclxi Vemis commun, oclxv gros, cclxv, cclxvi, cclxvii Vemix, ccliii, 114, 162, 240 anuarii, 372 Verona, Maffeo, xlii, clxix Verrins, Ixxviii, Ixxix Verrocchio, Andrea, civ Verzino, or Brasii wood, clxx, cccxi n, 44, 52, 54, 56, 64, 92, 94, 328, 350, INDEX. 436, 438, 440, 442, 444, 450, 612, 660, 682, 684, 694, 702 Verzino Colombino, clxxx, 440 and n lake, cxxx, cxxxvi, dxxiii, clxxx Vesprum, 240 Vestorian azure, 804. See Smalto Veze, Andrea delle, xxxi Vicentino, 864, 867, 869 Vicini, xliv Villalpandus, 796 Vinci, Lionardo da, Ixv, cxxi, clxii, dxvii, cciv, ccvii, ccxxvii, cclxvii, cclxxxviii, ccxciv, 828 n ; his experiments on oils, cxxi ; description of un- finished picture by, ccxcviii and n, ccxcix; recommended drying pic- tures by a stove, cccvi; his careful preparation of oilfCCxxxii; LiBst Supper (Cenacolo), 871 Vinegar, to xnake, 116 Viola, 38 Violet colour, 482, 704 water, 86 Viride Grsecum, ccxvii Hispanicum, ccxvii — Rothomagense, ccxvii Salsnm, ccxvii Viridis, 37 terra, 38 Visentin, Giovanni, xl Viterbo, Fra Mariano di, Ixxi Viterolo de lamanea, 372 and n Vitriol, to know when it is good, 596 Vitriuolo Bomano, clxxxvi Vitnivius, 798 Vittorio, xliv Vivarino, Aloese, ccxi Volpato, Gian Batista, ac- count of his MS., 721, 722 Volterra, D. Gasparro di, Ixxi Vouet, 759, 764, 830,831 w. Walls, to paint, 298; to prepare for painting, 734, 788 ; pavonazo colour for, 442 Warantia, 38, 175, and tee Madder Water, fur stainins any colour, 64; for distem- pering colours, 306, 316 ; 917 ^hite which corrodes iron, 77 ; which cleanses wounds, 76 ; for cutting glass, 494 ; for gilding, 472, 466 ; for painting on linen and cloth, 490 ; for dissolving pearls, 542; yellow, 490; (varnish) to apply upon figures, 488; of qmck- silver for gilding, 476 ; coloured, for staining cloth, 84-89; method of working with, 89 Wax, 78, 100, 106, 372, 380, 346, 348, 370; found in the ground of the gilding in die old pictures of the Campo Santo at Pisa, xcvi, xcviii ; supposed to have been diluted with an essential oil, ib, and n; used as a varnish for pic- tures, i6., and for statues, c ; as a vehicle for paint- ing, t6., 306; as an in- gredient in cements, c, ci ; picture b^ Andrea Man- tegna, painted with, ci; and by Appiani, ib,; paint- ing now practised at Parma, cii; description of process, ib. ; statues of, painted in oil, civ; whether used in oil paint- ing, cxxii, cxxx, cxliv ; to paint in oil on, 820; its use during the middle apes, 228 Weights and measures, 896 Weld, 650 n Westminster, early paint- ings at, xxiv White pigments, cl~cliil, 480, 610, 648, 704 chalk, clii — ^— copperas, ccxl, ccxlii, ccxliii lead, cxxxvi, cxlix. cl, cclxxxiv, 484, 650, 738, 744, 770, 804; to make, 120, 484, 502, 698, 804; generally a good dryer, cl ; in what cases it does not dry well, ib., 818 ; to make it dry with- out changing, ib. ; me- thod of purifying, ib., 502 ; as a dryer, ccxxxvi, ccxxxix, ccxli ; whether good in grounds, cxix, ccxci ; mixtures of other colours with, 650 resin, ccli — of Arabia, cclvii 2 R 2 M8 WhUe White, to temper, 120 .. ^ mixtores of with other oolours, 656 . for potterj, 536 of egg, to pre|Mire Ibr paintiog, 23S, S82 MftTamish, ocUjcju, 748, 762, 816 ■ ,, sprttd on wax or nuu-Ue as a pre- paratioii for paintiDg, 620 Wmchesler, early paintings at,xxiT Window-g^ass, siihstitotes for, Uzx, cclzxxiii, 389, 492 Windows of stained glass, earliest in Italy, U, Ixiv, IxxTi ; aometimes elosed iritli TalTes of stone, IzxTi; or with slabs of ti^e or alabaster, ib. ; of glass, not fleneni in Eng- lish ehurelies in the rei^ of Henry III., Ixxvii; not eonuBon in piiyate houses during the middle ftges, ib.'t when com- monly used in France and England, Izzviii ; in INDEX. lenna, Izxlz; during the middle ages were movable, ib. ; in the early Venetian ehnrches, lix; substitates for glass in, lucx Wine, spirit of, whjr it dh- soWes old paintings, ezxxi Woad, CXT, 28 Wood, to stain, 65, 80, 592, 710, 712,818; to piepare for punting, 228 * Writing,' XXX on glan,' xxx, 792; with gold, 190. teGold Writing4nk, to make, 590. Seeluk Y. Teliow ^gmcots, diii, 648, 050 — ^— vegelable pigments, 650 n, 660, 662, 694 glass, 528, 542 — colour on glass from silver, 1x13^ Izxxvi, €14^ 794 Yellow for pottery, 586 ■ waiter, 490 colour for tewing, 480 earth, how to be burnt, 746 paste like anther, 608 rerin or pitch, odi Yolkofegg, eidT Z. Zailera, safAra, nffie, eeix Zaffierano, elxiv, 35 Zaffre, eeriy eem, crax, 649 n Zafirro, eeix,4e87, 524 Zambom or Giaraboni, Ml- chele, xl Zelotti, 865 Zeuxis, 828 Zinc, sulphate o^ 620. See Dryers Zio, Alberto, xl Zoocato, Francesco, xl>xlii , Valerio, xl, xli THE END. London • Printed by WlLi.iAM Cbowks And ^irs« 8umfoid Street. ( 919 ) RECENT WORKS RELATING TO ART. 1. An Encyclopeedia of the Arts of the Middle Ages. By the Monk THEOPHILUS. Tranfllftted, with Notes, by ROBERT HENDRIE. 8yo., 21«. " Mr. Hendrie has done good senriee to this class of literatore by the publication of the completest edition of this work." — ^wdnior. The Philosophy and Anatomy of Expression as con- nected with the Fine Arts. ^y SIR CHARLES BELL. FMtrth Editkm, Plates. Imperial 8yo., 2U. ** The artist, the writer of fiction, the dramatist, the man of taste, will receive the present work with mtitade, and dctusc it with a lively and increasing interest and deHght.^ — ChrtUioM Semembraneer. 3. Sketches of the History of Christian Art By LORD LINDSAY. 3 vols. 8vo., 3U. 6d. ^'As a contribution to the History of Art, Lord Lindsajr's work !s unquestionably the most valuable which has vet appeared in England, and with whatever richness of detail succeeding imters may illustrate them, the leading lines of Lord Lindsay's Chart will always nenceforth be followed."— QMtrt«r/y Reokm. Contributions to the Literature of the Fine Arts. By C. L. SASTLARE, R.A. 8vo., ISs. 5. Kiigler's History of Painting — the Italian Schools. From the German. Edited by C. L. EASTLAKE, R.A. Post Svo., 12f . 6. 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